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 Leqrn to Ptqg
the Piono qia
Uboord
A step-bu-step -puide
tF--

NICK FREETH

Q
! i#Jrr .tur"r*+s

illllllll ffiffiillil
80009955+
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.

A11rights reserved. No part of this publication

may be reproduced, stored rfl a retrieval system,
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
A11 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:
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 6 5 Co-ordinoting Uour hqnds 58
Leading with the left hand 60
1 Choosing o kegboord 8 An extended bass riff 62
A brief history of the piano 10 Two-handed workouts 64
Upright v. grand 12 Tallis's canon 66
Acoustic v. electronic l4
Stools and stands 16 6 Mojor ond minor 68
Maintenance and technical matters 18 Major and minor chords 70
Harmonic minor scales 72
2 Getting storted 20 Melodic minor scales 74
Preparing to play 1 22
- Greensleeves -I 16
Preparing to play - 2 24 Greensleeves -2 78
Naming the notes 26
FrdreJacques-1 28 7 Putting on the stgle 80
FrereJacques-2 30 The sustaining pedal 82
The 'soft'pedal and dynamic control 84
3 Scoles ond chords 32 The 'three-chord trick' 86
Covering eight notes with five fingers - Bluesy chords and syncopated rhythms 88
right hand 34 TheEntertainer-190
Covering eight notes with five fingers - TheEntertarner-2 92
left hand 36 Epilogue - taking it further 94
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
 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 self-
contained 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
willbe, 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, lcarning how to sLlpport then.r with suitablc
it will also be fun as you'll sootr realize when chords. Tr,rrn the pagc, and let's get startcdl
 INTITOI)tJ( t-tON

Opposite: The piono is perfect for supplging simpte Above: Colc: ag s Chr s Morrin is one of mong leoding
chordoL bocl<ings - but equoltg odept ot tol<ing on more rocl< nrus c o -s ,1 -. -rol<e britliont use of the piono

prominent musicol roles. onstoge onc :-: 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<g enough 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<ings of the piono.
 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
the harpsichord, fitted with string-plttcking quills, and the organ,
whose keys

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
ltictno e forte'- literally, a 'harpischord
with
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 bg Germon-born NewYorker Henrg E'

is more limited thon the Piono's. Steinwog in 1853.

l0
( 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,

Above: Grond pionos - even'bobg' gronds like the one
sound and look suPerb, but is verY
itlustroted here - mog be difficutt to occommodqte in
expensive a new 'baby' may cost well
smotler sized homes, but theg ore the undoubted
over f5000 and won't be heard to its best
oristocrots of the kegboord wortd.
advantage unless it's placed in a big roorn'
t2
 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 i
tIEIII I I I
titt'
Right: Piono srrings ore
mode from steel wire: the
Jlff;ltrr*w
thicl<er boss ones ore

encosed in copper

wroppings, while their

higher pitched counterpor$
ore left bore.
 C'HOOSI\(, \ Kl \ 13tl 11111

-!:
_- -4___
-^ - .7**i-s t
\ ,\ i.Lr$ fo' -
_",^\
Acoustic v. electronic
itta"- -44'<-
Il'space ond c'ash ore ot 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 i tt te g r u I I ct t r cl.s pe o lie rs.

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
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
samples actual rccordiltgs of acottstic 49 is o moderotetg priced

nroclcls plor iclc 'touch sensitivity' (responding pianos. If you have a suitablc colltpLltcr. yotl etectronic l<egboord

to hcar ier or urore gentle playing with louder can prrrchasc soflware cotttainit-ttl thesc sctttt-tds. controtter, designed to
or clurctcr notcs arrd chords). they rarely coue and acccss thent using att extcrnal keyboarcl ptog sounds supplied from

clos.. tc'r nratching the sLrbtlc l'csponsc that can likc the onc itr our picttrrcs. Therc's tlrore softwore or other

hc crokcd frorl lr lcal piarro. infirrnration aboLrt doing this on pagcs I 8- I 9. outboord devices.
 (.IIOOSING A KEYBOARD

Hou,ever, a dedicated electronic piano, with

samples, keyboard, and (usually) a loudspeaker
el) o) ry)"y,"
ot
systeur all built in, rnay be a preferable, though
on r.nore expensive, option: Yarnaha, Roland and
[*\ eer
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.

Left: Though lightweight, the Xboord 49's kegs ore full-

size, 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 - and taking time and care over choosing

a suitable seatfor your instrument v'ill not onb) prevent aches and pains, but help to

ensure that your plaving technique develops correctly'

For most pianists, the traditional stool or bench A few performers prefer to use a chair at
supplied with rrany standard uprights and the piano; try this by all n-reans, but
grands is ideal, as it's well padded, stable and make sure you select an uPright,

usually adjustable. Being able to raise or lower dining table-type seat with a
the stool is handy because, when sitting down substantial frame and,
to play, your arrns should be roughly parallel to most crucially, no

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

t*l iE
I

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

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 perfbmrance, and trost t-tratrttfactttret's Above: A piono tuner ot

have to budget for this; if you hire or 'hirc to rccorlmcnd that hotre pianos shor.rld be tuncd work on o concert grond.

buy' an instrut.nent, it rnay be possible to arrangc at least cvcry six t'uonths. Kcys. darttpcrs and All stringed kegboords

for servicirrg as part of the rer.rtal package. othcr cor.r.rpcrncuts aIso need occasiotral attcntiotl require foirlg frequent

though nrany of thc problcrus that afflict thcnl mointenonce to l<eep

The n.rost frequent adjustment requircd by arl can bc avoidcd by carcfirlly rcgr'rlating the them in peol< condition.

acoustic piano is, of course, tttning: a -tlrand irl a tcrrperature (which should be bctween about
major concefi hall will have its strir.rg pitchcs 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
 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,
and can be severely darlraged by spilled fluids
(especially sticky drinks) arrd rough handling.
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;
you've decided to use a keyboard in conjunction
you will necd a MIDI (n.rusical instrulnent
digital interfacc) corrnecter to link it to your PC.
Your electronic instrurrent's sound source.
wl.rethcr built-in or supplied fl'on.r software,
should have at lcast '12-note polypl.ror.ry'; in
other words, it n.rust be capable of playing a
of l2 r.rotes sirrultaneously. This
rninir.r.rur.r.r
if figure will be substantially exceeded by more
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 h

N
ore produced bg groups 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<g-tonk'.

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 r I
Before you sit down to play for the.first 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.
Just for now, we're only concerned with one of
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 of Now stand about half-way along the keyboard, Below: Don't be dqunted
the keyboard will be lower in pitch, and as you put your right hand out, and locate the C bg this exponse of kegs:

move upwards, the Cs you play will sound nearest to you: this note is known as 'rniddle C', once gou're fomitior with

higher...but they should all closely resemble and will serve as a focal point for rnuch of your their logout, gou'll be obte

one another; ifthey don't, check that you've playing. Get your stool or chair, position it to find the notes gou need

correctly identified the keys producing them! more-or-less opposite rniddle C, and sit down. virtuottg instonttg.

22
 (it: I I I\(i sl'.\lt'l l:i)

lw
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

the differing lengths ofyour fingers and honds to ptog witl soon
but relaxed, and to rest your feet firmly on the
thumbs, minirnizes stress, and produces a become second noture
floor not on the piano's Pedalsl
better, tnore even tone. NEVER strike the keys to gou - but until it

Let's focus now on your hands. Pianists use all with flat fingers it's a recipe for rnusical and does, gour knees con

muscuiar disasterl serve os o convenient

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
'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
sor,rnd the four white notes itnmediatelv above
it, one after the other, with your cun'ed fingcrs.
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
thot [ies seven white notes
beneoth middte C, its
other digits, ott suitobtg
orched, prepore to ptog
the four odjocent'ivories',
one ot o time.
four white kegs obove it,
should be eosilg reochobte
with gour right hond. lf
necessorg, odjust gour
seot bg moving it slighttg
inwords or outwords for
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
the volume, and reversing the direction of the
notes, going downwards (towards C) as well as
upwards. Remember to keep your hands arched
as you play the notes.
These patterns of note-names recur all the way
along the piano, so we've now identified all its
white keys. We'll examine the black ones later,
but first, let's put all this knowledge to practical
use by learning a real tune.

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

The seven letters representing the pianob

white ket's are o-ften used to create easy-to-
tunes. over the nextfew pages, you'll be
of the notes that make up simple
read lists

learninghowtoplayamelodyfromoneofthese,andalsofindingouthownumbers
canbecombinedwithittoshowsuitablefingerings.

t2 31 12 3l t45345
The nursery rhyme Frire Jacques has been
CD E C CD E C EFGEFG
chosen as our first tune because you're almost
Frd - re loc - ques, Frd - re loc
- ques' Dor - mez vous? Dor - mez vous?
certain to know it lthis is important' as setting
the details of an unfamiliar rnelody down on
4
paper is not easy unless we can employ musical
notation 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
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
athree-decker 'list'. The song's lyrics are at the
in
bottom, the note-names that go with them are
the middle, and the top line indicates the
fingering you should use to play the notes'
Pianists always use the figure I to represent
the

thurnb, while the other digits (index to little)

are assigned in sequence the numbers 2'
3' 4

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
note (C) in tine one of Frdre Jocques; now finger
2

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 4 5 4 3 21 4 s 4 3 21

following notes - G A G F EC G A G F E C
Son - nez les mo - ti - nes, Son - nez les mo - ti - nes,

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

- how is your right hand going to reach the

br,rt
A. ri'hich lies beyond the G you've been playing
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
A (see photograph), your 3rd on F, and your 2nd
on E,. Your thun-rb plays middle C as before.
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
C to finger 4 (see photograph at the top of
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
 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 C
Ding, Dong, Dong, Ding, Dong, Dong

It'll 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.

12 3 I 12 3 I 34534 5

CD E C C D E C EFGEF G

Frd - re Joc - ques, Frd - re Joc - ques, Dor - mez vous? Dor - mez vous?

4 5 4 3 21 4 s 4 321 4 14 4 14
G A G F EC G A G FEC C lowG C C lowG C
Son - nez les mo - ti - nes, Son - nez les mo-ti-nes, Ding, Dong, Dong, Ding, Dong, Dong
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 Above: Finger 2 plogs
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 close to the keys, and having each digit ready oscending scqle thot

reach F and G with (respectively) digits 4 and 5 to play a little before it's needcd, so that you begon on middle C. Digit
but having donc so, there'd be no fingers can sound the next note as soon as you release 3 is otreodg in position
available for the notes beyond G, and you'd be the previous one. over the E thot witl be
obliged to reposition your hand in order to required next.
continue up the keyboard. Fortunately, there's a For a downward scale ending on middle C,
simple solution to this problern; instead of you'll need to finger as indicated below:
playing F with your 4th finger, use your thumb
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, B and C, and, with a little practice, you As you can sec, the 'crossover'here occurs
should be able to play the eight notes upwards bctween F and E,, where finger 3 traverses the
from middle C the technical term for such a thurnb to rcach E; this rnovement brings digits
sequence is a scale swiftly and srnoothly. Thc 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 up-

ond-down scoLe of C
being ptoged obove it.

t\ I

\-

-rl
 SCALES ,\\D ( HORDS

Covering eight notes with

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

Lct's start putting it through its paccs, using tl.re

samc C to C excrcise wc featured on the

prcvior-rs tu/o pages. Below: The tronsition
from the fifth to the sixth

Pkrcc the'-5th (little) fingel of your left liar.rd orr note of o rising C scote:

thr' C scr en n hite kcys below middlc C. and the teft hondi finger 3

plar the t'lrst fivc notes of atr asccnding scale posses over the thumb to

(C. D. E. F and C) with digits 5,4.3.2 and I get to A.

(thumb). You t.tow havc no further'spare'

fingcrs - until yoll cl-oss 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

12 312345
(down) CBAGFEDC
3(r
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 for a scale.

Rest the little finger of your left hand on the C RIGHT HAND: SCALE/LEFT HAND: CHORDS
below middle C, then place your 3rd finger and 1 2 31 2 3 4
RHFINGER 5

thurnb on, respectively, E and G (see RHNOTE C D E F G A B C

photograph). Now lift your hand about a ttl
centimetre above the keyboard, and bring its LH CHORDS CIEIG G/B/D CIEIG (plog chords with fingers 5,3 ond 1)
-
three fingers down on these three notes, -
sounding them sirnultaneously and with equal LEFT HAND: SCALE/RIGHT HAND: CHORDS
pressure. Practise this until it feels cornfortable, RH CHORDS CIEIG G/B/D CIEIG (plag chords with fingers 1,3 and 5)
-
then try a second chord- cornprising G, B and ttt -
D, as shown on the diagram opposite with the 5 4 3 21 3 2
LHFINGER 1

sarne fingers. LHNOTE C D E F G A B C

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

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

unfamiliar sensations of chord-playing, see 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
 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<les o G chord,with
the thumb on G. ond the
notesBondDfingered
(respectivelg) bq 3 ond 5

Right hond scole/left hond chords

!
MIDDLE C

Left hond scote/right hond chords

l9
 SCALES AND CHORDS

lntroducing the block kegs

So we've focused exclusively on the piano s white keys, but now it s time to
far
investigate the 'ebonies'that separate some of them, and, in the process, learn a little
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'):
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 Betow: This chromotic
deploying the piano's black keys where scote feets ond sounds verg

131317 3131312 necessary enables us to create S-note scales different to the 8-note

cbtDbtEFbtGbtAbtBc with identical intervals starting from any note scote potterns rooted on C

we choose a procedure which, as you're gou've leorned previoustg.

What you've just played is a chromatic scale, about to find out, can help to breathe new life Finger 3 is used for otl its

and the difference in pitch between each of its into familiar tunes... btock notes.

steps is a semitone - the narrowest interval

(distance between notes) that the piano can
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

I 2 3 4 sl5 7 B

C D E F GIA B C
LJLJLJLJLJLJLJ
S/T s/T

T= tone S/T = semitone

40
 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 keg.

-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.
 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: Bb, the fourth
28-3I was in the key of C - but here we're whether the black note is higher or lower than step of the scote of F, is

going to transpose it (to use another new the white one from which it takes its narne. The struck bg the 4th finger ol

technical term!) to F, and give it a new left 'ebony'we're concerned with lies a semitone the right hond, white the
hand accompaniment. below B, and is therefore called B ftat (nb;. thumb moves below the
finger into position on C
First, let's master a basic scale starting on F. This is a right hand fingering diagrarn for the (see diogrom betow).

The piano keys needed to play it, shown in the new scale. It begins on the F located three white
diagram opposite, are all white except the one notes above middle C; after striking 3b, pass
producing the scale's fourth note, for which we your thun.rb beneath finger 4 to reach the
use the 'ebony' immediately to the right of 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
 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, mez
Dor - vous? Dor _ mez vous?

4 5 4 321 4 s 4 321 4 1 4 4 14
C D C EbN F C D C abn F F c:r F F c,j< F
Son - nez les mo - ti - nes, Son - nez les mo - ti - nes, Ding, Dong, Dong, Ding, Dong, 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 -

one sounded bg rhe right
hond's 3rd finger on the
this

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
Theg con't, for exqmple, conveg its rhgthm, or
I
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 thot
gou [eorn to reod stoff nototion - 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

Mtsic.for piano is written dov,tt ott llt'o gt"oups o././ive lines called staves. The
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
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 as a 'ledgcr line'. Lcdger lines can also be used
tbur rihite notcs above middle C. It's now for other notes lyir.rg above or beneath thc stave
lclatir elr easy to u,ork out the locations of all (see r.rotation).

thc- other notes on tlie stave: the four spaces

bets'een its five lines correspond (respectively)
to F. A, C (the one seven white keys above Below: The littte finger of

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

Musical notes are also placed below the lowest tine thot is curted oround
stave line, and beyond its top one: the position 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
The low,er o/'the h+,o stcrves usecl.fbr picrnomusic hcts the some five lines ond.fbur

spaces as the Ltpper one - but beccntse it c'crn'ies another c'le/ sign, the
musical

pitches these 'stancl .fbr' ctre cluite tli//brent to those on tlte treble statte.

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
I
placetnent of rniddle C, as you can see frour the
notation opposite...though irr the bass clef, the
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.

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
Oeulr
thot oppeors on the boss stove
immediotetg ofter the verticol 'bor line'. CDEFGABC 5432t3 2t
I
-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 - rhythm.

Nearly all songs and instrutnental pieces have a

regular underlying pattem of pulses; a waltz, for
exarnple, consists of a recurring cycle of three o+eee o+e e
beats (one strong, two weak l-2-3,1-2-3),
while a march is often made up of groups of
1234 2 3
I I

fbur beats - with the strongest stress falling, once

again. on the first of these (l-2-3-4,1-2-3-4).
You can identify the pulse pattem of a written
piccc of music fror.r.r the top figure of the'tirne
signature'that appears at its start. This usually The time signature's lower figure is a kind of
corresponds to the nurrrber of beats in its 'code nurnber', identifying the type of note that
rhythmic cycle so a four-beat composition is going to be used to represent individual
such as a march will have an upper figure of 4, beats. Here's a table showing the most
and a waltz will be prefixed by a 3. frequently encountered ofthese notes, and also

50
 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 A composition in 314 time, by contrast, will
horizontal space marked off with vertical lines. have 3 crotchets to the bar.

{> a) I 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
Frb - re Jac-ques, Frd re Jac-ques,

rhythrn, appears alongside. Try playing it with

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

Dor- mez vous? Dor - mez vous?
indicated by a minim.

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,
Son-nez les ma - ti nes, Son-nez les ma - ti
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
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, Ding, Dang, Dong,

52
 I\TRODUCINC STAFF NOT.\TIO\

Left: The left hond storts to plog bor '1

of Frdre Jocques, 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 perfonr it with your left hand.

Frd- re Jac-ques, Frd-re Jac-ques, Dor-mez VOUS? Dor-mez vous? Son-nez les ma-ti - nes,

2 2 2

Son-nez les ma-ti - ncs, Ding, Dang, Dong, Ding. Dang, Dong.
il
 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 This rnethod becot.nes rather repctitious in a

yotr'll rer.nernber from pages 42-43, includes a
black note, B flat. There are two ways of
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.
key like F, in which every B is nomally
flattened. A convenient shortcut is to insert a
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 F).

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.
 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 Ye

Ken John Peel, 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 is
written only once, at the start of the piece.

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
Semibreve Crotchet Quover of the second [ine of the nototion beLow), the right hond
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.

tt tt
t2 34 I 23 4 t2 rl 34 t2 34 12 3 4
2). 3;.s
3
5
45 e s:e 3 2
4
3 3
5
2 3
5 5 4 5

4 3 5 3

1 2.34 t234 1234 t2 34

I ).
3
5 e
J 4\ 31 32 1
\
 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 the two Fs, A, C and D and br-rild
therr ir.rto the sequence set 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 E thot wi[[ be
ploged next.

60
 CO-ORDINATING YOUR HA\DS

Left: Here, the 3rd finger

stril<es the D from our ott-
crotchet riff (F-A-C-D-F-
D-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 a
change, by the right hand. lt consists ofa three-
note. semibreve chord which is sustained for a

bar at a time, helping to 'fill in the gaps' left

by the faster-moving left hand.

5 -5
3 3 Above: This photogroph shows the
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-G-
to-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 Left: The third, C-bosed
then
returning to a variation ofthe F pattern version of the riff ctimbs
at the
end. clcatcs a plcasing progrcssiorr espccially to middle C, which is

whcrr you cornbine it wirlr the riglrt harrd strucl< bg the rhumb.
.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 2
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<ing ploging
C, F ond A.
 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'

featuring sirnttltaneous rapid tnoveuent in both Above: Here left ond

The reuaining cxercises and rlrusic in this
tl.reir upper and lower parts. The best way to get right honds plog the third
chapter are going to t.nake additional deuarrds
your fingers ar.rd brair.r accttstoured to these is to step (E) of the two-
on thct.t.t, though the tcchnical challcngcs they
practise two-har.rd, scale-bascd passages so honded C scote nototed
present will be shared rnore eqr'rally lvith the
right hand. here. to start with. is a bass-and-treble scale of betow.The right hond
thumb. en route to hos
C: son-rethirtg yott've played before with
F,

just possed under the 3rd

The 'br.rsy' bass ir.r our earlier riffir.rg seqttence scparatc hands, though it's rruch harder whcn

was linked to a comparatively static treble - but

you combinc therl-r. Take it slowly at first and finger; simultoneoustg,

gradually br'rilcl up speed as you gain confidence' finger 2 in the left hond is
you'll also be frequerrtly confronted with picces
heoding towords the F

thot ties on octove betow.

64
 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 a

seamless 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
Above: Here we've orrived ot the end of full bor
notes, cxcept the final one, are crotchets (of 7.
The right hond hos reoched its tost few
which there are four to a bar, as the 4/4 time notes (it.s
currentlg ploging the B on beot 4). bur the tefr,
signature tells us); but the fingering required on D
is still hos some wog to gol
not always straightforward, especially in
the
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, 4 4 3 3 2, 2, I
4 33
Q)
" l l ,ll

I)tt 443-
^)-) lSzl !!s?
I
{&r
W1#
4",.
I
\ su."')
ffi ,*{ t
m&
ya :J
'*'t t
'1t
tr'],
;i. , ,t,
, l't
\b

{\t t ,. }
\
; tt
 Chopter 5

Moior ond
I
t
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, <rs gou'tl discover when gou
tockle the trqditionql Engtish rune Greensleeves,
ond theg ore qlso essentiql ingredients in blues,
jozz, ond mqng other poputor music stgles.
Reod on 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

The 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
(: 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 'flat'sign 1b1

different intervals. The notation shown below
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
E flat (see photograph) instead ofthe regular
(E natural) featured in its predecessor.
Flats and sharps placed in front of individual
notes are known as 'accidentals'. and unlike the
syn,bols shown in key signatures (which apply
'universally' throughout an entire piece), they
E only affect pitches of specific notes within the
bar where they appear.

Scole steps:
1t2 2t3
MAJOR I ]t I

TT
MINOR I ]LJ T = tone
T S/T S/T = semitone

Right: This is the two-

honded 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.
 MAJOR AND MINOR

Left: A four-note chord of

F minor, os written on the
stoves betow. lt comprises
F qnd 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

HARMON|C
s/r 3s/rs S/r
MAJOR I II ILJI ILJLJU
TTS/TTTTS/T
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 three-
semitone intervoi betweer
its 5th ond 7th steps - F

5 4. 3, 2 3,.2 3, 4, ond G# in A hormonic

1 \,,2 3 1 2 5
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 as with the hannonic rninor - a gap
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 I ILJI ILJL_-Jt I1._-.1
MINOR T S/T T T S/T 3S/Ts S/T
Above: Sounding C# in o rising scole of Below: The some scote, going
T= tone S/T = semitone E metodic minor (see nototion ot the top downwords: both honds strike D
of poge 75), with the honds seporoted bg noturol (its 7th step), ond ore reodg
When the scale descends, however, the distance two octoves. to continue to C noturot.
between its top note and the seventh step
widens to a tone - 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 r

MINOR T T S/T T T S/TT

HARMONIC U L-J U L_Jt tLJt I

MINOR
(some when
S/T 3S/Ts S/T T TS/T T
oscending or
descending)

T= tone S/T = semitone

74
 MAJOR AND MINOR

5432y32123, | ', 2 3 4 5

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#
in its key signature, but in its rising forrn, its
sixth and seventh degrees (C# and D#) have to
be prefixed with sharp signs - which rnust then
be cancelled with naturals on the wav down.
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
subsequently reinstated as B flat in the
descending scale. C# and 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, Above: The second beot of the second futl bor of
with three crotchet beats to every bar. Begin by Greensleeyes, with the right hond's 5th finger sounding F

playing the right hand part by itself(because of

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
 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
2
3 I
4
.5 I
a + ? 5 2 121

I
I
2 3
I 3 2
5 .5
5l 3
a 4 I
4 I
.5
O 2

2 3

I
2 2 l
5 5 4 -5
I 3 2 I
5

77
 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, Exomple 1

however, position some of these notes 'off the

beat' on the second halfofa bar's second
crotchet pulse. First. to reurind yourselfofthe
simplcr rhythm, try playing Example 1 with your a
J
risht hand. counting out the beats as indicated.
Exomple 2
ln Eran.rple 2. by contrast, the two quavers (E 454
and F) in bar 2 subdivide the secor.rd bcat, with
thc F fhlling - as it should exactly half way
betu'een beat 2 and beat 3. The E immediately 2 elc.
before it, though, sounds wrong: instead of
striking il as a separate quaver note. as we just Exompte 3
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 Exomple 4
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
 MAJOR AND MINOR

The sccond section of Greensleet e.r. set ollt

below in its two-handed fonl, uses dottcd
crotchets, cornbined with quavels, to convey th\?,\"rt,
tlre tune's correct rhythrn; you'll soon become
accustomed to these. and 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 3 I
5 I
5 5 5
e' 3 5

I I
3 2 I
2 I 5 .5
4 3 5 e' e' 2

I l 1
5 3 3 2
5 5 5

79
\
\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 grond piono.The sustoining

inappropriately, nicknarned the'loud' pedal). sustain: it will opcn r.rp all the piano's darupers, pedot is on the right; beside

the farlhest to thc right of the two (occasionally adding an impressive alnotlnt of extra it ore the sostenuto ond

three) pedals fitted to an acoustic piano. Sorne lesonancc. but also blurrir.rg the notcs you've uno cordo pedols, whose

digital keyboards offer an electrotric simulation already sounded into any othcrs that are played functions ore described

of the eflect it providcs. thor,rgh on cheapcr while it's depressed. This can n.ruddy the on poges 84 ond 85.

rnodels the pedal unit itself may be a plug-in. overall texture. and causc Lrndesirable discords,
optiorral cxtra. so as a gencral rulc. it's bcst to lifi off the pedal
 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 il you rcally
nccd to dcploy it and never allow it to bcconrc
a substitLrtc fbr srnoothness oltouch.

3/,5
I-5 1

a (, U

I
.5 4 3 5 a 5

.'. c[g
'JLo 'X''Jizd. 'X''iizo. -X-'Xa. '.F.\s.0.

lJl
 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 is

generate, but don't alter the overall sound as depressed on o grond

much as a true una cordu. piono, the instrument's

string-striking hommers
The short piece shown opposite gives you the move sidewogs. . . ond so
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
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 4
I
I 2 3

pp p nf=
I
-5 ) -)r
r1

Una corda
5 5
2 5 5
2
I 3 2
I
1
I

f tr f- mJ mp- p
2y) I
5 321 2
3

5
2
I
Thbte of Dgnomics

gp pp - pionissimo (verg quiet)

a-) fie'
pp
I
I 1 p-piono(quiet)
-5
5 I

ntlp mp - mezzo piono (moderotelg quiet)

mf mt - mezzo forte (moderotetg toud)

Una corda
yP f -forte(loud)

ff - fortissimo (verg [oud)

flP

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. deolr

To understand the three-chord concept, take a

a 9,
look at the scale of C major (right), and the
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 FGC
tonic subdominant dominant tonic
C. F. and G.

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 F Bflat C F
the don.rinant C; and chords with these roots tonic subdominant dominant tonic
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 trick- -

based 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 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
 PUTTING ON THE STYLE

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 E on the l2-Bor Blues (ii): On the third 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 into track of the 'displaced' accents, you may find it
the opening four bars ofour blues. A combination helpful to count out the quaver subdivisions of
pages
ofdots and ties, like those first seen on the four crotchets in each bar as you play the
78-19, is used to notate them - and to keep passage below.

Bors 1-4
4

a)

!-. i- r aih
We'll now ' jazz lp'bars 5 to 8 with a little major subdominant chord in bar 5 and then,
more syncopation (whose workings should be during the next bar, the substitution of C rninor
clear enough from the notation below) and some 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 of
addition of a slight discord (a Bb) to the C the trade among jazz and blues arlists.

Bors 5-8
14 1
2 ;t -.t

L, L'-.
2 1

i -. 'i..
-l 3
,5 5
[,.e e' +

88
 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
4-
3
l !t lr?

f
7
V
1
2

4|
4 51
r*J 2t
I
5

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
 PUTTING ON THE STYLE

The Entertoiner - I
The 'ragtime' music of Scott Joplin (1 868- 1 9 1 7) predates blues and j azz, but shares
some o.f their rhythmic and harmonic characteristics - though it has a poise,
elegance and sophistication that are all 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 a these are displayed in its key signature. Here's
slightly simplified form. a two-handed scale of D, and beside it are the
'three-chord trick'chords ofD (tonic), G
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,
supplies harmonic accompaniment in the form of even when it's confronted with leaps like the
crotchet chords and bass notes. The demands 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 finger D.

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 a

corrplete, 20-bar section of Tlte Etttertuitter.

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
 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 its 2nd finger sounds o
key in the final two phrases, and throughout the quover E, ond its thumb is

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 with o four-noteA chord
avoid using the sustaining pedal until you can (see lost bor of nototion
finger the tune and backing reasonably on this poge).After
srnoothly. The piece doesn't require very much stril<ing this, lift gour
variation in volurne, though a few crescenclos fingers obruptlg off the
and tlinrinuerlrlos (the Italian tenns r.rsed by kegs in order to produce
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 be
sure to satisfy your listeners as well as yor,rrself.

92
 PUTTING ON THE ST\'LE

Phrase 1
Phrase 2

tzt3^ u!t23,^ 3

ry 1 I cresc. ,Inf
.I ,2 3
sE+ s I I L 5153
1 3
5

(Phrase 2 cont.) Phrase 3

5-:--
- 4 5

a) 4

I
cresc. ,f
i4
) dim.
23 )
*f
h*
J
s 3 3.4 ,2 + 5 e a br

Phrase 4

t2

cresc. f dim.

ibl ) I
r1

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.
 PUTTiNG ON THE STYLE

Epitogue - toking it further

You should be pleased 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
f ott rne.v of' nttts ica I d iscovery.

When doing so, it's worlh considering what
styles of pianisrn and music in general - most
appeal to you. Do you have a favourite
composer or songwriter? Is there a specific
keyboardist you particularly admirc? lf so, try
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: Intemet-
bascd stores offer the urost extensive stocks of
these, and your local library rray also have a
collection of printed music frorn wl.rich you can
borrow. Initially. it will take sor.ne tirne to
lnaster even a colnparatively straightforward
piece - but the cor.nbination of listening, careful
scrutiny ofthe dots and (ofcourse) painstaking
practice will eventually pay dividends.
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
press, to find sorneone suitable: a good starting
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
Piano Tuners' U K Picuto website
(http://www.uk-piano. org/piano_teachers/).
It's essential to develop your knowledge of
musical theory as well as the practicalities of
keyboard technique; several excellent beginners'
guides to this subject are available, and, with
their assistance, your grasp ofthe finer points of
hannony and rhythm will keep pace with the
steady growtl.r of your playing skills.
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
the articles and ads in rrasazines such as Soand
ort Sound. rvhich are full of useful infonnation.
Have fun as you leam and practise. and you'll
be sure to derive years ofpleasure froul your
piano or keyboard!

95
 lndex
acconrpaniment 6, 21, 3 l, 35, 36, 42, 55, harrnonic scales 72, 73.74.16.86, 87, 88, pulse 50, 51, 52. 56, 57, 78, 88
56, 58,60,76,86 90 quaver 50, 51, 52, 57,78,79, 88,91,92,
Association of Blind Piano Tuners 95 harpsichord l0 93. 94
backing 6, 7, 38, 63, 76, 92 interval 40, 62, 70, 72, 90 ragtime 90
bar 49, 50-51, 52, 55, 56, 57, 61, 63, 66, ja22 6, 60, 69, 88, 90 rhythrn 6, 45, 50, 51, 52, 67, 78, 79, 81,
67, 70, 7 t, 75, 76, 78. 79, 81, 85, 86, Joplin, Scott 90.91,92 88-89. 90, 95
87, 88, 89, 90, 9t , 92, 93 keys 6. I0. 14. 15. 18. 1s.21.22.24.25. riff60,6l, 62-63,64
bass clef48, 53, 56, 57. 66 26,28,30.33,34.36, 40, 42. 43, 46. 47. Rodgers, Richard 60
beat 50-51, 52, 56, 57, 61, 63. 66, 67, 76, s5. 60, 72, 82, 83, 84, 86, 92 Roland l5
78, 83, 86, 87, 89,91,93 key signature 54, 55, 56. 66. 70, 72, 73, 75, root rlotes 33, 40,42,62,86,87
black keys 21, 22, 26, 33, 40, 42 76.90 sample 9, 14, 15, 19
blues 69, 86, 87, 88, 89, 90. 92 ledger line 47, 49 scales 32-43, 45, 46, 68-79
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
86-89 maintenance 16. l8 shary 42, 54, 66,70,72,75,76,90
chrornatic scale 40, 4l major chord 60. 68-79. 86, 88. 89, 90, 92 sostenuto pedal 82, 84
classical music 6 melodic scales 72, 7 4-7 5 Sound of Music', The 58
computer 14, l9 rnelody 6, 21, 26.28, 31, 33, 38, 43, 56, 59, Soturcl on Somtd nagazine 95
contrary rnotion 65 60. 66, 67 , 69, 7 6, 78. 86, 90, 91. 92 staccato 92
crescendo 85.92 mezzo forte 85 staff notation 6, 44-57, 8l
Cristofori, Bartolonreo I 0 rr-rezzo piano 85 stand, keyboard 16-17, 94
crossover 34 middle C 22, 23, 25, 26, 28, 30, 3 l, 34, 35, stave 46-47, 48-49, 51, 54, 56, 57,7 l.
crotchet 51, 52, 53, 55, 56, 57, 60, 61, 66, 36. 37, 38, 39, 40, 42. 43, 46. 48, 49, 52, 83,85
76.'.l8, 79, 86, 88, 89, 90 57 61 65 Steinway, Henry E. (& Sons) 10
dampers 18,82,83,84 MIDI (rnusical instrument digital interface) stool, nrusic 13, 16-17,22,24
dirninuendo 85. 92 19.95 subdominant 86, 87, 88
don.rinant 86, 87, 88, 89, 92 rninirn 51, 52, 57,75 sustaining pedal 82-83
dot 45, 48, 49, 54,78,79, 88, 94 n.rinor chord 68-79. 85, 88 syncopated rtrythrn 88-89, 90
Do Ye Ken John Peel 54-5'7, 59,71 natural 54, 66. 70. 7 l. 74, 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 acoustic 6, 14, 15, 18,82 tirre signature 50, 51, 56, 57,67
exercise 25, 26, 36, 60, 61, 62, 64, 65, baby grand l2 tone 6, 10, 14,24,40,68, 74, 83. 84
83.9r concert grand 10, 12, 18, l9 tonic 86,87,90,92
fingering 24,28,30,31, 32,36,38, 40, 42, electlonic l5 transposing a ttrne 42, 43
43. 49, 52, 53, 55, 60, 62, 63. 65, 67, 76. forle l0 treble ctef46, 52.57
81. 9l grand 9, 10, 12, 13, 16. 18,82,84,94 tune 6, 18, 19, 21, 24, 26, 28, 33, 34, 40,
tlat 42, 54, 62, 63, 70, 7 l, 7 5, 7 6 upright 9, 10, 12. 13. 16, 18,24,84 53, 55, 57, 66. 67, 69, 76. 79. 86. 90. 92
fbrte 85 piano strings 10. ll, 13, 18, 19,82,84 tuner 18,95
fortissimo 85 pitch I 3, 18. 19.22.26, 30, 40, 46, 47, 48, tuning 18, l9
Frire JocEres 28-31,34, 42-43, 52, 53, 50, 52, 70, 7 4. 7 5 utra c'orda pedal 82, 84, 85
60.66 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
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