!

COMMON
COURSE

KEYBOARD PROFICIENCY 2
Author:!Devin!Kelly!

CLASS TYPE COURSE CODE CREDITS

Core CC-208 1.0

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 C hap te r% 1: %H arm oni c %M in or% Scal e s%
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Practice!the!following!scales!using!the!provided!fingerings:!
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Exercise!#1:!C%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.1%

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Exercise!#2:!C%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.2%

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Exercise!#3:!C%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.3%

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Exercise!#4:!C%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.4%

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Exercise!#5:!G%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.5%

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Exercise!#6:!G%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.6%

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Exercise!#7:!G%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.7%

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Exercise!#8:!G%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.8%

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Exercise!#9:!D%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.9%

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Exercise!#10:!D%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.10%

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Exercise!#11:!D%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.11%

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Exercise!#12:!D%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.12%

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Exercise!#13:!A%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.13%

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Exercise!#14:!A%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.14%

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Exercise!#15:!A%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.15%

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Exercise!#16:!A%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.16%
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Exercise!#17:!E%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.17%

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Exercise!#18:!E%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.18%
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Exercise!#19:!E%Harmonic%Minor%ScaleXLeft%Hand%Ascending!
Ex.%10.19%

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Exercise!#20:!E%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.20%

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Exercise!#21:!B%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.21%

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Exercise!#22:!B%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.22%

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Exercise!#23:!B%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.23%

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Exercise!#24:!B%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.24%

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Exercise!#25:!F#%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.25%

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Exercise!#26:!F#%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.26%

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Exercise!#27:!F#%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.27%

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Exercise!#28:!F#%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.28%

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Exercise!#29:!C#%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.29%

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Exercise!#30:!C#%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.30%

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Exercise!#31:!C#%Harmonic%Minor%ScaleXLeft%Hand%Ascending!
Ex.%10.31%

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!
Exercise!#32:!C#%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.32%

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Exercise!#33:!Ab%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.33%

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Exercise!#34:!Ab%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.34%

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Exercise!#35:!Ab%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.35%

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Exercise!#36:!Ab%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.36%

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Exercise!#37:!Eb%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.37%

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Exercise!#38:!Eb%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.38%

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Exercise!#39:!Eb%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.39%

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Exercise!#40:!Eb%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.40%

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Exercise!#41:!Bb%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.41%

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Exercise!#42:!Bb%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.42%

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Exercise!#43:!Bb%Harmonic%Minor%ScaleXLeft%Hand%Ascending!
Ex.%10.43%

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Exercise!#44:!Bb%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.44%

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Exercise!#45:!F%Harmonic%Minor%ScaleXRight%Hand%Ascending%
Ex.%10.45%

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Exercise!#46:!F%Harmonic%Minor%ScaleXRight%Hand%Descending%
Ex.%10.46%

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Exercise!#47:!F%Harmonic%Minor%ScaleXLeft%Hand%Ascending%
Ex.%10.47%

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Exercise!#48:!F%Harmonic%Minor%ScaleXLeft%Hand%Descending%
Ex.%10.48%

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 C hap te r% 2: %T he %M ajor% Se v e nt h% Cho rd%%
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Seventh!Chords!
Seventh%chords%contain%1)%a%root,%2)%a%third,%3)%a%fifth%and%4)%a%seventh.%%
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The!Major!Seventh!Chord!
A%major! seventh! chord%in%root%position%contains%a%major! third! (between%the%root%and%third),%a%
Perfect!fifth%(between%the%root%and%fifth)%and%a%major!seventh%(between%the%root%and%seventh).%
Just% as% the% major% triad% is% derived% from% the% major% scale,% so% is% the% major% seventh% chord.% For%
example:%%
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Ex.%10.49%
C%Major%Scale%
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% m a 3% m a 7%
P5 %
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As! shown! in! the! following! illustration,! a! major! seventh! stacked! on! top! of! a! major! triad!
produces!a!major!seventh!chord!(Ex.%10.50):%%
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Ex.%10.50%
C%Major%Seventh%Chord%in%Root%Position%%%%% %
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% % % % %%%Cma7:%%%%%%%%Root%%%%%%3rd%%%%%5th%%%%%%7th%
! ! ! ! ! ! !!!Finger!#’s:%%%%1%%%%%%%%%%%2% %%%%%%3%%%%%%%%5%

BACH%Keyboard%Proficiency%II%by%Devin%Kelly%%©%Musicians%Institute%2013%All%rights%reserved.% 163%
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The% following% example% (Ex.% 10.51)% illustrates% the% 12! major! seventh! chords! in! root! position,%
which%are%derived%from%the%Circle%of%Fourths%as%follows:%
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Ex.%10.51!
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 C hap te r% 3: %T he %D om i nant %Se v e nt h% Ch ord% %
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A%dominant!seventh!chord%in%root%position%contains%a%major!third!(between%the%root%and%third),%
a% Perfect! fifth% (between% the% root% and% fifth)% and% a% minor! seventh% (between% the% root% and%
seventh).%For%example:%
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Ex.%10.52%
C%Major%Scale%with%Lowered%Seventh%

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%% m a 3% %
P 5 % m i7
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A! minor! seventh! stacked! on! top! of! a! major! triad! produces! a! dominant! seventh! chord,% as%
shown%in%the%following%illustration%(Ex.%10.53):%%
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Ex.%10.53%
C%Dominant%Seventh%Chord%in%Root%Position%%%
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! ! ! ! !!!C7:%%%%%%%%%%%%%%%%Root%%%%3rd%%%%%5th%%%%%b7th%
! ! ! ! ! ! !!!Finger!#’s:%%%%%%1%%%%%%%%%2% %%%%%%3%%%%%%%%%5%
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BACH%Keyboard%Proficiency%II%by%Devin%Kelly%%©%Musicians%Institute%2013%All%rights%reserved.% 165%
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The%following%example%(Ex.%10.54)%illustrates%the%12!dominant!seventh!chords!in!root!position,%
which%are%derived%from%the%Circle%of%Fourths%as%follows:%
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Ex.%10.54!
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 C hap te r% 4: %T he %M in or% Se v e nth %C hor d%%
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A%minor!seventh!chord%in%root%position%contains%a%minor!third! (between%the%root%and%third),%a%
Perfect!fifth%(between%the%root%and%fifth)%and%a%minor!seventh%(between%the%root%and%seventh).%
Just%as%the%minor%triad%is%derived%from%the%natural%minor%scale,%so%is%the%minor%seventh%chord,%as%
shown%in%the%following%illustration%(Ex.%10.55):%
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Ex.%10.55%
C%Natural%Minor%Scale%

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%%% mi3 % P5 % mi 7 %
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A! minor! seventh! stacked! on! top! of! a! minor! triad! produces! a! minor! seventh! chord.% For%
example:%%
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Ex.%10.56%
C%Minor%Seventh%Chord%in%Root%Position%%%%%
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! ! ! ! !!!Cmi7:%%%%%%%%%%%Root%%%%b3rd%%%5th%%%%%b7th%
! ! ! ! ! ! !!!Finger!#’s:%%%%%%1%%%%%%%%%%2%%%%%%%3%%%%%%%%%5%
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BACH%Keyboard%Proficiency%II%by%Devin%Kelly%%©%Musicians%Institute%2013%All%rights%reserved.% 167%
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The% following% example% (Ex.% 10.57)% illustrates% the% 12! minor! seventh! chords! in! root! position,%
which%are%derived%from%the%Circle%of%Fourths%as%follows:%
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Ex.%10.57%
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 C hap te r% 5: %T he %H al fXDi m i nis he d% Se v e nt h%C ho rd%%
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A%halfNdiminished!seventh!chord%in%root%position%contains%a%minor!third!(between%the%root%and%
third),%a%diminished! fifth%(between%the%root%and%fifth)%and%a%minor! seventh%(between%the%root%
and%seventh),%as%shown%in%the%following%illustration%(Ex.%10.58):%
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Ex.%10.58%
C%Natural%Minor%Scale%with%Lowered%Fifth%
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mi3% b 5”) %
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%%% di m 5 % ( “ mi7%
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*In!contemporary!music,!halfNdiminished!seventh!chords!(ø7)!are!more!frequently!referred!to!
as!“minor!sevenNflat!five!chords.”!“Flat%five”%refers%to%the%lowered%fifth%(diminished%instead%of%
perfect).% A! minor! seventh! stacked! on! top! of! a! diminished! triad! produces! a! minor! sevenNflat!
five!chord.%For%example:%
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Ex.%10.59%
C%Minor%SevenXFlat%Five%Chord%in%Root%Position%
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! ! ! ! !!!Cmi7(b5):%%%%Root%%b3rd%%b5th%%%%b7th%
! ! ! ! ! ! !!!Finger!#’s:%%%%%%1%%%%%%%%%2% %%%%3%%%%%%%%%%5%
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BACH%Keyboard%Proficiency%II%by%Devin%Kelly%%©%Musicians%Institute%2013%All%rights%reserved.% 169%
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The% following% example% (Ex.% 10.60)% illustrates% the% 12! minor! sevenNflat! five! chords! in! root!
position,%which%are%derived%from%the%Circle%of%Fourths%as%follows:%
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Ex.%10.60%
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 C hap te r% 6: %T he %D im i ni she d% Se v e nt h%C ho rd%%
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A% diminished! seventh! chord% in% root% position% contains% a% minor! third! (between% the% root% and%
third),%a%diminished! fifth%(between%the%root%and%fifth)%and%a%diminished! seventh%(between%the%
root%and%seventh),%as%shown%in%the%following%illustration%(Ex.%10.61):%
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Ex.%10.61%
C%Natural%Minor%Scale%with%Lowered%Fifth%&%Diminished%Seventh%
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%%% mi3% ( “ b 5 ”) % % m 7 %
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A! diminished! seventh! stacked! on! top! of! a! diminished! triad! produces! a! diminished! seventh!
chord.%For%example:%
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Ex.%10.62%
C%Diminished%Seventh%Chord%in%Root%Position%
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!!!! ! ! ! !!!C07:%%%%%%%%%%%%%%%%%Root%%b3rd%%b5th%dim7th%
! ! ! ! ! ! !!!Finger!#’s:%%%%%%%%%1%%%%%%%%2%%%%%%%%3%%%%%%%%5%%%%%%
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BACH%Keyboard%Proficiency%II%by%Devin%Kelly%%©%Musicians%Institute%2013%All%rights%reserved.% 171%
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The%following%example%(Ex.%10.63)%illustrates%each%of%the%12!diminished!seventh!chords!in!root!
position,%which%are%also%derived%from%the%Circle%of%Fourths:%
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Ex.%10.63%
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 C hap te r% 7: %Se v e nt h% Ch ord% P rog re ssi ons%
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Exercise!#1:!Practice%the%Ima7XIVma7XV7XIma7%progression%in%the%following%keys:%
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Ex.%10.64:%C!major!

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Ex.%10.65:%G!major!

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Ex.%10.66:%D!major!

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Ex.%10.67:%A!major!

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Ex.%10.68:%E!major!

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Ex.%10.69:%B!major!

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Ex.%10.70:%Gb!major!

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Ex.%10.71:%Db!major!

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Ex.%10.72:%Ab!major!

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Ex.%10.73:!Eb!major!

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Ex.%10.74:%Bb!major!

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Ex.%10.75:%F!major!

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Exercise!#2:!Practice%the%imi7Xivmi7XV7Ximi7%progression%in%the%following%keys:!
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Ex.%10.76:%C!minor!

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Ex.%10.77:%G!minor!

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Ex.%10.78:%D!minor!

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Ex.%10.79:%A!minor!

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Ex.%10.80:%E!minor!

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Ex.%10.81:%B!minor!

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Ex.%10.82:%F#!minor!

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Ex.%10.83:%C#!minor!

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Ex.%10.84:%Ab!minor!

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Ex.%10.85:!Eb!minor!

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Ex.%10.86:%Bb!minor!

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Ex.%10.87:%F!minor!

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Exercise!#3:!Practice%the%imi7Xivmi7XV7XIma7%progression%in%the%following%keys:!
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Ex.%10.88:%C!minor!

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Ex.%10.89:%G!minor!

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Ex.%10.90:%D!minor!

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Ex.%10.91:%A!minor!

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Ex.%10.92:%E!minor!

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Ex.%10.93:%B!minor!

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Ex.%10.94:%F#!minor!

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Ex.%10.95:%C#!minor!

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Ex.%10.96:%Ab!minor!

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Ex.%10.97:!Eb!minor!

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Ex.%10.98:%Bb!minor!

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Ex.10.99:%F!minor!

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Exercise!#4:!Practice%the%imi7XIVma7XV7Ximi7%progression%in%the%following%keys:!
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Ex.%10.100:%C!minor!

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Ex.%10.101:%G!minor!

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Ex.%10.102:%D!minor%

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Ex.%10.103:%A!minor!

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Ex.%10.104:%E!minor!

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Ex.%10.105:%B!minor!

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Ex.%10.106:%F#!minor!

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Ex.%10.107:%C#!minor!

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Ex.%10.108:%Ab!minor!

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Ex.%10.109:!Eb!minor!

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Ex.%10.110:%Bb!minor!

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Ex.%10.111:%F!minor!

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 C hap te r% 8: %P op %T une s%# 9% &% # 10 %
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Using!the!specified!chord!symbols!(and!inversions!where!appropriate),!practice!“Pop!Tune!
#9”:!
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Ex.%10.112%

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BACH%Keyboard%Proficiency%II%by%Devin%Kelly%%©%Musicians%Institute%2013%All%rights%reserved.% 183%
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Using!the!specified!chord!symbols!(and!inversions!where!appropriate),!practice!“Pop!Tune!
#10”:!
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Ex.%10.113%

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