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Copyright, © 2004 Rock Star Recipes Ltd.


Acknowledgments.

The Jamorama Piano series was created on behalf of Rock Star Recipes LTD.

Author & Music: Ashleigh Southam.

Edit & Graphic Design: Unica Design LTD

Multimedia Content: Rock Star Recipes Studios

Publisher: Rock Star Recipes LTD


Welcome to Jamorama Piano’s Intermediate Piano
Course!
A Personal Message from Me
Welcome back to Jamorama Piano! In this book you’re going to learn more about chord
progressions, new keys and time signatures, dynamic signs, and much, much more! You’ll
learn how to reach those tricky notes with ease using my hand positioning techniques.

You’ll also have over fifteen original compositions to play, as well as popular songs like
“Amazing Grace” and “House of the Rising Sun.” Don’t forget to listen to the nearly 30
audio tracks included.

I’ve also included the New Jamorama Piano Progress Tracker so that you can have a
checklist of all the techniques you can expect to learn in the course. It is also a Record of
Learning for when you finish whether you want to revise your skills or just show off to your
friends all the amazing skills and techniques that you have learned!

Once you have mastered a lesson or skill tick it off on the Progress Tracker, and move on
to the next lesson! Commit yourself to ticking off the skills you learn as you go and see
your improvement instantly!

Are you ready?

Ruth 23

Listen to a personal
message from Ruth

Page 
Table Contents Chapter Four.........................................................33
Seventh Chords......................................................33
Dominant 7th Chords..............................................35
Welcome!..................................................................3 Minor 7th Chords....................................................36
A Personal Message from Me..................................3 Minor 7 Flat 5 Chords.............................................37
Jamorama Piano Progress Tracker..........................5 Recap of 7th Chords...............................................37
7th Chords in I, IV, V Progressions.........................38
Chapter One............................................................6 Non Troppo Allegretto.............................................39
Review of Chord Progressions.................................6 Sforzando...............................................................40
She’ll be Comin’ Round the Mountain......................6
Shifting Inversions....................................................7 Chapter Five . .......................................................42
New Hand Technique: 2nd Finger Over Thumb.......8 Three-note 7th Chords...........................................42
Re-cap of Rhythmic Notation....................................9 Adding Inversions...................................................44
8th Note Triplets.....................................................10 Dominant Chords in Four Keys..............................45
Counting 8th Note Triplets......................................10 Andantino...............................................................46
Chapter Two..........................................................14 Chapter Six............................................................48
A New Time Signature............................................14 Key of E Minor........................................................48
Another Key Signature: B Flat Major......................16 E Harmonic Minor Scale.........................................49
Primary Triads in B Flat Major................................17 E Melodic minor scale............................................49
Amazing Grace.......................................................18 Primary Triads in E Harmonic Minor.......................50
The A Major Scale..................................................19 Revision Test: Part Four.........................................54
Primary Triads in A major........................................20 Revision Test: Part Four continued.........................55
Play it Faster: Vivace..............................................21 Revision Test: Part Four Answers...........................56
Revision Test: Part Three.......................................22 So Long!.................................................................57
Revision Test: Part Three continued.......................23
Revision Test: Part Three Answers.........................24

Chapter Three.......................................................25
More Signs that Modify Notes................................25 Every time you see this
The E Flat Major Scale...........................................27 01 button, play the relevant
Primary Triads in E Flat Major................................28 video!
Play it Slower: Largo...............................................29
Playing the Scales over Two Octaves....................30
Arpeggios over Two Octaves..................................31 Every time you see this
01 button, play the relevant
Pedal Practice........................................................32
track!

Page 
Jamorama Piano Progress Tracker
Lesson or Skill Page # Date Signature
Shifting inversions . ........... .............. ..........................
New Hand technique: 2 Finger Over Thumb . ........... .............. ..........................
8th note triplets . ........... .............. ..........................
A New Time Signature: 6/8 . ........... .............. ..........................
Key Signature: B flat major . ........... .............. ..........................
Primary triads in B flat major . ........... .............. ..........................
The A major scale . ........... .............. ..........................
Primary triads in A major . ........... .............. ..........................
Performance direction: Vivace . ........... .............. ..........................
Accents . ........... .............. ..........................
Staccato & Staccatissimo . ........... .............. ..........................
Playing in unison . ........... .............. ..........................
The E flat major scale . ........... .............. ..........................
Primary triads in E flat major . ........... .............. ..........................
Performance direction: Largo . ........... .............. ..........................
Playing scales over two octaves . ........... .............. ..........................
Playing arpeggios over two octaves . ........... .............. ..........................
Pedal practice: Ped___ . ........... .............. ..........................
Seventh chords . ........... .............. ..........................
Dominant 7th chords . ........... .............. ..........................
7th chords in a I IV V progression . ........... .............. ..........................
Three note 7th chords . ........... .............. ..........................
7th chord inversions . ........... .............. ..........................
Dominant chords in:G . ........... .............. ..........................
In: F . ........... .............. ..........................
In: D . ........... .............. ..........................
In: Bb . ........... .............. ..........................
Performance direction: Andantino . ........... .............. ..........................
Key of E minor . ........... .............. ..........................
E harmonic Minor scale . ........... .............. ..........................
E melodic minor scale . ........... .............. ..........................
Primary chords in E harmonic minor . ........... .............. ..........................

Page 
Chapter One
Review of Chord Progressions
In Chapter 17 of the previous Jamorama Piano book, you learned about chord progressions;
the series of primary triads that begin on the first, fourth, and fifth notes of a scale. In this
chapter, you will learn a few more pieces with a I, IV, V progression in order to familiarize
yourself with this important sequence.

Exercise: This piece is a I, IV, V progression in the key of G major. Practice identifying
the chords as you play.

She’ll be Comin’ Round the Mountain 01


Allegro

q = 126

            
   


 13    13
    5    5 


6

                

 1   1
    35   3
5    


10

              

 1     13 
   14    35    5 

Page 
Shifting Inversions
You should be comfortable with chord and chord inversions. Now let’s look at shifting
inversions and the difference in sound they can make. You may have noticed that a chord
in root position always sounds very grounded and stable, while the same chord played in
the various inversions has a very different quality. The more you play chords, the more
you’ll notice their tonal qualities.
C major in root position and
inversions in the right hand
 
 


 
 
   

Root 1st 2nd Root
position inversion inversion position
(with the root (with the 3rd (now an octave
note C at the note E at the higher)
top) top)

Here are the same inversions for the left hand.


 
 


 



 
Root 1st 2nd Root
position inversion inversion position
(with the root (with the 3rd (now an octave
note C at the note E at the higher)
top) top)
02
Exercise: Practice chord inversion with the following piece.

Moderato 13 5 1 2 5 1 3 5 1 3 5 3 1 5 3 4 1 5 1

             
  
  
 

  

 
  

 

6 1 3 5 1 2 5 1 3 5 1 3 5 3 1 5 3 5 3 2 1
       
           
 

 

 
  

  

Page 
New Hand Technique: 2nd Finger Over Thumb
At this stage, the pieces that you’re playing are going to demand more technical fingering
and frequent hand position changes. To hit all the notes in a piece more easily, try this
technique. When six notes occur in a row in the melody of a piece, let your 2nd finger go
over the thumb. 2 finger
goes over
24
  
     

Exercise: Practice putting your 2 finger over the thumb with this peice.
Allegretto 03

 b                     

  
1 
 
 

b  35  135  125 
1
3
5

b                    

b 

 125


 125


 

b                    

  15   1   1   1 
b 5 4 4

13
4
b                    
  25   2   1   1 
b 5 4  35

Page 
Re-cap of Rhythmic Notation
It was a long, long time ago that you learned about rhythmic notation, so here’s a brief
re-cap to refresh your memory. Notice the new names for the quarter, half, whole, etc.
notes. They are more difficult to remember but are used often, so it is important to be
familiar with both.

Whole note
or breve Written as a
(4 beats) single note Whole note rest
     

Half note or
minim Written as a
(2 beats) single note Half note rest

      

Quarter note
or crotchet Written as a
(1 beat) single note Quarter note rest

      

8th note or
quaver Written as a
(½ beat) single note 8th note rest
 
         

16th note or
semi-quaver Written as a
(¼ beat) single note 16th note rest
 
  

Page 
8th Note Triplets
Eight note triplets occur when there are three 8th notes played in the time of two 8th
notes, or one quarter note. When you play a triplet, then, you will spread the playing of
the three notes evenly across the time it would take to play a quarter note.

When 8th note triplets are written, a small number ‘3’ appears above or below the group
of notes.
triplet sign
3

    25

Remember ... 3 3 3 3
   =    OR     
iiq q
three 8th note triplets =
one quarter note OR
two 8th notes. iiq = iq
  
         
Counting 8th Note Triplets
When counting 8th note triplets, you count:

one-and-then, two-and-then, three-and-then, four-and-then

Exercise: Clap the beats and count aloud the rhythm and also try clapping the rhythm
and counting aloud the beats.

one-and-then two-and-then three-and-then four-and-then one two three four one-and-then two three-and-then four
3 3 3 3 3 3 3 3 3 33 3
   4                     
iiq iiq iiq iiq
4
       
 

q q q q iiq q iiq q
                           
Listen to the following track, which will familiarize you with the sound of triplets.

04

Page 10
Exercise: Try playing triplets with this piece.

05

Andante moderato
q = 96
 3 3 3 3

           

          
1 1 2 3
3 3 4 5

Exercise: Here’s a small piece just for the L.H to practice 8th note triplets. When notes
in the L.H appear like this and have a repetitive pattern, the following can be called a bass
line.

06
q = 96

b     

 3 3 3 3

b                       
 

Page 11
Exercise: This piece has a few 8th note triplets, so take it slowly at first to get your timing
right. Then, speed up as you get the hang of it.
Moderato 07
q = 96
3 3 3
q = 96
    3      3        3     
          
  
    
         
 
  

         

6
3 3
               

        

  

11
3 3 3 3 3 3
               
 
               
      
16
3 3 3 3
          
 
     
      
 

Page 12
Exercise: This piece also has a bass line in it. The bass line is the repetitive melodic
line in the L.H. Again, play slowly at first until you feel comfortable with the piece.

It is a good idea to practice with each hand separately before putting them together. Start
by learning how to play the L.H (or bass line), then add the R.H once you’ve mastered
the L.H.
Andante 08

q = 78

 b   
        

 b  3
 
3
 
3
   
       
5

b 
 
        
       
   
       
3
b
       

b                
 
b
3 3 3

               


13

b 
 
    
   
 
3
b          
 
16

b       


 
   3   3   3   3 
b       

Page 13
Chapter Two
A New Time Signature

By now you should be able to play 4 2 3


4, 4 , and 4 time. In this chapter, we’ll look at a new
6
time signature: . 8
Normal bars and measures are counted by notes that can be divided evenly in half. With
6
8 time, however, the beat is represented by dotted notes (like q. ) and thus gets divided
evenly into threes. A bar may consist of two dotted quarter notes ( q. q. ) or six 8th notes
iiq iiq
( ).

Basically, the 6 on top means the bar gets divided up into 6, while the 8 on the bottom
means that an 8th note gets one beat.

This means that this time signature is quite different from those we’ve looked at before.
All the previous time signatures you’ve seen (with a 4 at the bottom) take the quarter note
as the standard for one beat, which makes an eighth note last for half a beat. Now, the
eighth note is the standard for one beat. This means that all the other note values change
correspondingly.

Here is a list of the new values of our notes when played in 8 time.
6

e ‘one’ beat instead of a half

h.
= beat ‘one-two-three-four-five-six’
‘one-two’ beats instead of = instead of three beats. The

q
dotted half note now makes
one beat up a whole bar in 6 time.
8
=
‘one-two-three’ beats now

q.
instead of one and a half. This
= also divides the bar into half, so
two dotted quarter notes make
up a bar in 6 time.
8
6
Exercise: Clap the beat and count the rhythm of this exercise in 8 time.

one two three four five six one two three four five six one-two three four-five six one-two-three four five six

6
8 iiq iiq iiq iiq q e q e q. iiq
Page 14
Exercise: Most pieces in 8 6 time are played quite fast, but for this piece - as with a lot
of others - it is okay to play it slowly when you’re first learning, then speed up. It’s much
more important to get the notes and rhythm correct than to play it fast straight away.

Allegro 09
q = 120

 b                 3
 

  13           
b 5                
    

 
6
2
 b                

  135   13       13           


     
b  5
  5
   
11

b            4     3 
5

      
      13
 5  

 

     
    

  

 
b      
16
 
b            
  13      
b 5           
  
19
   
b                
   1    
b   35           
  

Page 15
Another Key Signature: B Flat Major
Now, you’re ready to learn another key signature: that of B b major. B b major has two flats
in it, B b and E b. Below, you can see how this key signature is indicated on the staff.

Remember that any major scale can be created by two tetrachords joined by a whole note
(Chapter 13 of the previous book). Therefore, the two tetrachords starting on Bb will make
the B b major scale.

Use the same R.H. fingering to play Bb major as you do in F major. The R.H fingering will
go: 1, 2, 3, 4, 1, 2, 3, 4, both ascending and descending. The thumb will go under the 4 finger
on ascending, and on descending the 4 finger will go over the thumb.

Here’s the scale ascending.


R.H.

b
b        
 
W W H W W W H
first tetrachord second tetrachord
joined
L.H.

b      
b  
W W H W W W H
first tetrachord second tetrachord
joined

Exercise: Here is the scales with both hands ascending and descending. Play over it
several times slowly to begin with. Pay particular attention to the R.H fingering.

10

b
b              
 
b          
b      

Page 16
Primary Triads in B Flat Major
The three primary triads in Bbmajor are Bb, Eb, and F.

Position Triad Chord


1st note Bb major I
4th note Eb major IV
5th note F major V
R.H.
b I IV V

b  


 
   
  5 6 7 8
3 4
1 2 Eb F
Bb
Here is the I, IV, V chord progression in Bb major for the L.H, with the chords in the root
position.
L.H.


IV 

V
 bb 


I
   
1 2 3 4 5
Bb Eb F
This time the same progression except now with the inversions we’ve used previously
when looking at the primary chords.

L.H.

IV V
bI
 
b 
   
 
1 2 3 4 5
Bb Eb F
(root position) (1st inversion) (2nd inversion)

11
Exercise: Now play the inversions with both hands.

b
 b       
    
 bb       
 

Page 17
Exercise: This piece has the same chords as the I, IV, V progression but in a different
order than what you’ve been playing. This time, the chord progression goes: I, IV, I, V.
Try to identify the chords and their names in reference to their place in the progression.

Amazing Grace
12
Moderato

q = 88
b  3   
b      
 bb         
 
1 1
3 3
5 5

 
5
b  3   
b  

 bb      


 
1
3
5


9
b
b   3      
 bb       
 

13
b    
3
 
b   

 b      
b      

Page 18
The A Major Scale
Now that you’ve mastered the B flat scale, you’re ready for another: the A major scale.
The A major scale has three sharps in it: F#, C#, and G#.

Take a look at the ascending A major scale for both hands below. Remember that you can
create the A major scale yourself by using the two major tetrachords joined by a whole
note principle.
R.H.

     
   
W W H W W W H
first tetrachord second tetrachord
joined

L.H.

       
 
W W H W W W H
first tetrachord second tetrachord
joined

Exercise: Play through the A major scale with both hands ascending and descending.
Use the normal fingering for the major scales.

13

          
      

           
     

Page 19
Primary Triads in A major
The three primary triads in A major are A, D, and E.
Position Triad Chord
1st note A major I
4th note D major IV
5th note E major V
R.H.
 I IV V

  

 
   

   6 7 8
3 4 5
1 D 2 E
A
Here is the same progression for the L.H with the chords in the root position.
L.H.
  
I 
IV
 

V
    

1 2 3 4 5
A D E
Again, the same progression, except this time with the inversions.
L.H.
  
I
 
IV
 

V
  
 
1 2 3 4 5
A D E
(root position) (1st inversion) (2nd inversion)

You can vary how you play the I, IV, V progression by using the inversions differently,
which will give the progression a different type of quality in the chords. As you already
know, a chord that isn’t played in the root position usually has a sense of movement about
it. On the other hand, a chord played in the root position feels more grounded. If you use
the inversions differently, you can shift the progression in terms of the range in which it is
played.

Look at the example below, in which inversions of the I chord are played. These inversions
change what inversions you will use to play the other chords, as well as making the chord
type easier to hear. Remember: if a chord is played too low on the keyboard, it loses
quality, definition and becomes unclear.

    V I I  I  I


I IV IV V
      
 
A E A A A
(1st inversion) D (2nd inversion) A (1st inversion) D (1st inversion) E (1st inversion)
(root position) (1st inversion) (root position) (2nd inversion)

Page 20
Play it Faster: Vivace
Vivace is the next tempo indicator you’ll learn. It means to play the piece lively and quick.
It is a faster tempo than allegro, so vivace is now the fastest tempo you’ve played.

Exercise: Try this piece. Remember what the staccato dot means? (If you don’t,
refer to Chapter 9 p.68 of the previous book.)

Vivace 14
q = 132
 
        
             
     
f 
           

 
6

          
        
         
     


11

     
 
      
          
2 1
4 3


16

     
         
            
 

Page 21
Revision Test: Part Three
1. If the root position of the C chord is made up of C E G in that order, what is the 1st
inversion of the C chord made up of?
a. C G E
b. E G C
c. E C G
d. G C E

2. How many 8th note triplets fit into a measure of 4/4?


a. 4
b. 8
c. 12
d. 16

3. What does 6/8 at the beginning of a piece indicate?


a. there are eight 6th notes per measure
b. there are six 8th notes per stave
c. there are six 8th notes per measure
d. there are 6 sharps and 8 flats in the key signature.

4. What is in the key signature of Bb major?


a. Bb
b. Bb and Eb
c. A# and D#
d. 5 flats

5. What are the sharps in the key of A major? Name them in order of their appearance
on the stave from left to right.
a. C# F# G#
b. C# G#
c. F# C# G#
d. F# C#

Page 22
Revision Test: Part Three continued..

6. What does the term vivace mean?


a. play lively and quick
b. play slow and solemn
c. gradually getting faster
d. play sweetly

7. What is the defining characteristic of a harmonic minor scale?

a. it has no sharps or flats


b. the descending scale is different to the ascending scale
c. it has a raised 7th note
d. it is played with harmony in 3rds

8. What is the defining characteristic of a melodic minor scale?


a. it has no sharps or flats
b. the descending scale is different to the ascending scale
c. it has raised 7th note
d. it is the opening melody of the song “House of the Rising Sun”

9. What is the defining characteristic of a natural minor?


a. it has no sharps or flats
b. it has the same key signature as it’s relative major
c. it has the same key signature as E melodic minor
d. it played only on black notes

Page 23
Revision Test: Part Three Answers

1. (b) The first inversion of the C major chord is E G C (pg 7)

2. (c) There are three 8th note triplets for every quarter note, so 3x4=12 (pg 10)

3. (c) The 6/8 time signature indicates that there are six 8th notes to be played in
each measure. (pg 14)

4. (b) The key signature of Bb major contains Bb and Eb. (pg 16)

5. (c) The key of A major contains the sharps C# F# and G#. They are written on the
stave from left to right as, F#, C#, G#. (Remembering that the sharps are placed on
the key signature beginning with F# and going up a 5th each time a sharp is added.)
(pg 19)

6. (a) Vivace means to play vivaciously, meaning lively and quick. (pg 21)

7. (c) The Harmonic Minor has a raised 7th in addition to it’s key signature. (pg 142
Beginner book)

8. (b) The Melodic Minor is different descending from ascending. Ascending it has a
raised 6th and 7th, and when descending the 6th and 7th become natural again. (pg
142 Beginner Book)

9. (b) The Natural Minor has the same key signature as it’s relative Major which is
located a minor 3rd up from the Natural Minor scales root note. (pg 141 Beginner
Book)

Page 24
Chapter Three
26
More Signs that Modify Notes
Here are a few more signs that you should know. They are less frequent than the other
signs we’ve looked at but they’re important to know in case they come up in any of the
pieces.
Play it Louder:

> n >
n
You’ve seen the sign before. It is an accent sign, which

q> q
n
q q n
tells you that you should play that note louder. You may
also see a sign above or an sign below a note. Both
mean the same as an accent sign.

Play it a Little Less Staccato:

q. q.
q _ q. q.
q. _
Dots inside a slur mean that the notes should be played
slightly staccato (in other words, a little bit less staccato
than when the notes have ordinary staccato dots).

Play it a Lot More Staccato:

-
q -
q
The sign is a wedge sign. When you see this sign, play
the note super staccato. In other words, play the note as
- briefly as possible. This is referred to as staccatissimo.

Play it a Bit Harder:

-
q
q The - sign means the note is to be played with slightly
more pressure to it.
-

Page 25
Exercise: Note the section below where the R.H and L.H play the same notes and same
rhythm, but an octave apart. This is called playing in unison.
15
Vivace q = 128
b > >
 b                  
>>    >   
 b    >       > >      
b 

> >
6
b           
b         >

>>
 >       >
b  
b 
>
> >
10
b              
b 
   >    >
 bb  > >
               
>    >
15
b                    
b   
 
 bb           1
  5

19
b  
 b                        
        
 
 bb                    

24
b  5
b              41
             1
  1 
 b            
b     3

Page 26
The E Flat Major Scale
The next scale for us to look at is the scale of Eb major. Eb major has three flats:
Eb, Bb, Ab.
R.H.

b  
b b      
W W H W W W H
first tetrachord second tetrachord
joined
L.H.
     
b  
bb
W W H W W W H
first tetrachord second tetrachord
OR written this way, joined
an octave lower

b
bb        
W W H W W W H
first tetrachord second tetrachord
joined

Exercise: Play through the Eb major scale with both hands ascending and descending.

16

b       
b b          

           
b     
bb

Page 27
Primary Triads in E Flat Major
The three primary triads in Eb major are Eb, Ab, and Bb.

Position Triad Chord


1st note E bmajor I
4th note Ab major IV
5th note Bb major V
R.H.
b I

IV
 
V
   
b b 

    
4 5 6 7 8
Bb
3
Ab
1 2
Eb
Here is the same progression for the L.H. with the chords in the root position.
L.H. IV V
I
 bb  
 


b
   
1 2 3 4 5
Eb Ab Bb
The same progression with the inversions:
L.H.
I IV V
 bb  
b
   
 


1 2 3 5
Eb Bb
4
Ab
(root position) (1st inversion) (2nd inversion)

This time, when playing the I, IV, V progression, try using different inversions in different
hands. It creates a different quality; the sound becomes more full. Try playing the standard
inversions in both hands and then the different inversions in different hands and notice the
tonal quality difference.
17

I IV V I I IV V I
b    
(1st inversion) (root position) (2nd inversion) (1st inversion) (root position) (2nd inversion) (1st inversion) (root position)

 b b      
  
 b        
bb      
I IV V I I IV V I
(root position) (2nd inversion) (1st inversion) (root position) (2nd inversion) (1st inversion) (root position) (2nd inversion)

Page 28
Play it Slower: Largo
Now that you’ve learned to play fast (vivace), it’s time to learn how to play slowly. Largo
is another tempo indicator that means to play slower than adagio, or in a slow and stately
way. In fact, largo is the slowest tempo you have played thus far.
Exercise: Practice this tempo with the following piece. 18
Largo

q = 58
b
b b                
 bb   13      
 
    


b 5

6
b
b b             

 bb      135     




b
11
b         
b b        
b     
bb     
16
b
b b                    
 
 
 bb      
b    
21
b           
b b          

b     1
bb     35 

Page 29
Playing the Scales over Two Octaves 27
You’re now ready to try playing scales over not just one octave, but two. You’re going to
need a new hand technique for this one. You’ll have to cross your thumb under your 4
finger after playing the first octave. Once the thumb has been repositioned, it can cover
the second octave.
Here, the 1 thumb goes under the 4 finger so that the
rest of the notes in the two octaves can be reached.

   
    
     

Now, on the descending, the 4 finger


has to cross over the hand to make all
the notes accessible.
         
     

Now, let’s apply the same technique to the left hand.


On the ascending L.H scale, the 4
finger goes over the hand, making the
rest of the notes accessible.

   
    
   
  

Finally, on the descending scale, the 1 thumb goes under


the hand so that the hand is positioned to get all the notes
in both octaves.
   
           

Exercise: Now, try playing the scales in unison with two octaves. Then go back and play
the other scales you’ve learned so far with both hands and two octaves. These exercises
are important to learn because they familiarize you with the scales and can also be used
to warm up the fingers before playing.

Page 30
Arpeggios over Two Octaves
Now that you know how to play scales covering two octaves, you need to know how to
play arpeggios covering two octaves.

Let’s start with the right hand. This time, the 1 thumb has to go under the 3 finger as the
right hand ascends. Upon descending, the 3 finger will have to go over the the 1 thumb.

Now the 3 finger


1 thumb goes under
goes over the 1
R.H. the 3 finger
thumb

  
   
    
 

The same principle applies to the left hand, except reversed. On ascending, the 3 finger
will go over the 1 thumb. Upon descending, the 1 thumb will go under the 3 finger.

3 finger goes over Now the 1 thumb goes


L.H. the 1 thumb under the 3 finger

  
    
   
 

Exercise: Now try both hands together. Go slowly until you get the hang of it.

  
   
      
   
   
     

Exercise: Once you’ve gotten the hang of playing two octave arpeggios in C major, try
playing two octave arpeggios in all the other keys, using the same fingering.

Page 31
q = 63

     
               
 
     
   
Pedal Practice    28 
5
 learned how to use the pedal. The       
In the Chapter 11, pg 
     book,
82 of the previous  you  These tell you to 
pedal sign may be  with small upward arrows, as seen above.
modified
release the pedal then press down again, so that you’re only releasing it for a moment.
Exercise: Practicewith the following
 piece. Note the dynamic
 

sign. Dolce is a performance 

  
   
indicator that means toplay sweet and soft.
Dolce
 19
q = 63

      
                
                
10

    
 
     

     
 
  
     
5


           
          
 
15

              
  



 
    

     
          
 
10


           
 
  19 
         
           
    
 

                   
15
     
     
     
      
    
    
 
    
19        
         

 
 
  
 
  
    
     

Page 32
Chapter Four
Seventh Chords 29

All the chords you’ve played so far have had at most three stacked notes. Now, you’re
ready to add one more note to create a 7th chord.

A 7th chord is created by adding another note to an already existing triad. It gets its name
because the additional note is a 7th interval above the root note of the chord.

     
As you can see, the 7th chord Here is the 7th


7th note
5th note is named because there is a interval without the
3rd note
root note
7th interval in the chord. other chordal notes.

7th chords create a more complex type of harmony within the chord. The additional note
adds harmonic complexity as well as making the chord more distinct.

Now, let’s take a look at the left hand. The chord below is a C major 7th chord. It is built


up from the C note in the root. It has a C major triad in it and a 7th note at the top.
  
7th note
5th note
3rd note
root note

Seventh chords, like triads, can be major or minor. For now, think about the 7th chords
that appear in the key of C major. The fingering for playing 7th chords is:

R.H. 1, 2, 3, 5 or 1, 2, 4, 5.
L.H. 5, 3, 2, 1 or 5, 4, 2, 1.

At this stage use the fingering that is most comfortable for you. The fingering that appears
on the music is simply a guide.

  
5

  
5 3

 
3 2

     
2 1

   
1


      
         
1
  1
2 2
3 3
5 5
Familiarize yourself with 7th chords by playing through the seventh chords of notes in C
major. It is quite a stretch, so don’t worry if you have to go quite slowly to start with.

Page 33
Exercise: Practice seventh chords with the following piece. 20
Moderato
q = 84

                         
     
mf
      
1
2
3
5

   
5
     
   

   
   
  
     
1
2
3
5

     
9

       
          

    


      

13
        
           
         
              
  

         
17
             
  
  
          
     

           
        

21
             
          
  

 

 



 

Page 34
Dominant 7th Chords 30

Before you go further, you need to know about dominant 7th chords. It is when a minor
7th interval is added to the major V chord. It is called the Dominant 7 chord because
adding the minor 7th gives it a dominant pull towards the I (1) chord.

In the I, IV, V progression that you already know, the V chord will be played as a dominant
7th chord. Below is an example using the C major key. Notice that the V chord (G major)
now appears as a dominant 7th chord (V7).
The notes in a G major
dominant chord are G, B,
I V7 
D, F. So...
       
 G is the root note.
B is the 3rd note.
C G D is the perfect 5th.
F is the 7th note.

A dominant 7th chord is normally used on the V chord of a progression.

Here are the dominant 7th chords in a few of the major scales:
V7
I V

7

I
  
           
  
 
     
     
   
In C major, G is the V chord, so G In G major, D is the V chord, so D
becomes the dominant 7th chord. becomes the dominant 7th chord.

V7 
I
 
I   bb   V
7

 b        

   

b        bb     

In F major, C is the V chord, so C In Bb major, F is the V chord, so F


becomes the dominant 7th chord. becomes the dominant 7th chord.

Page 35
Minor 7th Chords
Minor 7th chords are a snap once you understand dominant 7th chords. Basically, a
minor 7th chord is a dominant 7th chord with a flattened 3rd note.

To get a minor 7th chord, take the major 7th chord. Flatten the 7th note (which makes it
a dominant 7th). Then, flatten the 3rd note. Look at the example below.

C minor 7th chord


 bb b7 

(root position)
b53
1

● The 7th note, B b, is a minor 7th away from C.


● The 5th note, G, is a perfect 5th away from C.
● The 3rd note, E b, is a minor 3rd away from C. This gives the chord its minor
quality.
● The root note is C.

Relative to the root note, a minor 7th chord goes 1, b3, 5, b7. It looks like a minor triad with
a minor 7th on top.

Page 36
Minor 7 Flat 5 Chords
This is the last 7th chord you’ll learn in this book. With the addition of this chord, you’ll
have the vocabulary you need to cover the 7th chords in any major key.

Minor 7 flat 5 chords are written minor 7 b 5 for short. To create one of these chords, all
you have to do is take the existing minor 7 chord (1,b 3, 5, b7) and flatten the 5th. In other
words, it will look like this:

1, b 3,b 5, b 7

These chords sound quite unusual, and it may take a while to get used to how they
sound.

Here is an example. This is a C minor 7 b5 chord in the root position.

C minor 7 flat 5
(root position)  bbb b7
b5
b3

1

● The 7th note, B b, is a minor 7th away from C.


● The 5th note is now flattened from G to Gb. This note gives the chord its unique
sound.
● The 3rd note, E b, is a minor 3rd away from C. This gives the chord its minor
quality.
● The root note is C.
b b b
Relative to the root note, a minor 7 flat 5 chord goes 1, 3, 5, 7. It looks like a regular
minor 7 chord with a flattened 5th note.

Recap of 7th Chords


Here’s a brief recap of the chords you have learned to play so far:

● Major 7th chord: 1, 3, 5, 7


● Dominant 7th chord: 1, 3, 5, b7
● Minor 7th chord: 1, b3, 5, b7
● Minor 7 b5 chord: 1, b3, b5, b7

To learn more about 7th chords go to the Jamorama Piano Introduction to Jazz Piano
book.

Page 37
7th Chords in I, IV, V Progressions
Now that you understand how to create a dominant 7th chord, you can put 7th chords
into the I, IV, V chord progression that you already know. This creates a I, IV, V7th chord
progression.

Let’s try creating this chord progression now in the key of C major.
I IV V7 I
       
    

    


    
 
I IV V7 I
Be careful when playing 7th chords. Because of the new added notes -- and especially
if the chords are played lower down the keyboard -- the chords can sound muddy and
unclear. To avoid this, play the inversions of the chords. The same inversion principle that
you learned with triads will apply, except now that there are more notes, the inversions will
be a little more tricky.

Here are the inversions of the C major 7th chord for the right hand.
Because there are now four notes
C major 7th chords with all inversions in every chord, there are also four
R.H.
 different inversions to play:

    


 • root position
• 1st inversion
root 1st 2nd 3rd • 2nd inversion
position inversion inversion inversion • and now a new position, the
3rd inversion.

Here are the same inversions for the left hand. Notice that the last inversion, the 3rd, has
to be played down an octave. This is because it would be too high to play in the L.H.at
this stage. The third inversion still has the same notes as a 3rd inversion C major 7 chord,
but is simply an octave lower.

L.H.
    
    
root 1st 2nd 3rd
position inversion inversion inversion (played down an octave)

Page 38
Non Troppo Allegretto
In this next piece, all the chords are inversions of a C major 7th chord. This will get you
used to their sounds and shapes.

Note the new dynamic sign. Non troppo allegretto is Italian for “not too much allegretto,”
or not too fast. (The word troppo means ‘too much,’ while the word non means ‘not.’ So
non troppo means, ‘not too much.’)

Exercise: Play this piece slowly, or adagio, to begin with, then get up to speed.

Non troppo allegretto 21

    
        
3

      

mf
  1  

   23  
 23   23     

1 1
5
5 5

      
6

   
      
  12    
    
3
5

                  
11

    
     21
     35

Page 39
On the following page, you’ll play a piece with the I, IV, V progression in C major using the
seventh chords. You’ll also note that the V7 chord (G) is played with an inversion instead
of in root position. This is because the root position would be too low and cause the chord
to sound muddy and unclear.

Study the four positions of the G dominant 7th chord for the left hand below.

L.H.

    

root 1st 2nd 3rd
position inversion inversion inversion

When the G dominant 7 chord appears, play it in the second inversion. This makes the
chord more clear and gets all the tonal qualities of the chord.

Exercise: Play the inversions below until you are familiar with the sound qualities of the
7th chords.

5
3

        


2


1

    
    
 

    
1
2
3
5
2nd
root inversion
position

Sforzando
To play the piece on the next page, you also need to know what sforzando or sforzato
means. Whenever you see the abbreviations sfz or sf appear in the musical score, you
should play in a forced and accented way.

This is considered an expression mark and is similar to playing notes with accents signs
(>) over them. It’s just a different way of writing the direction.

Page 40
Non troppo vivace
22


        
      
   123  
mp
 1 
5
      35   

 
6
       
      
  123    





   1
   35





    





5

13
     >
         
> > > > > > > > > > >
   > > > > 1 > > > > > > > >
              3        
5

20
> > > > > > > >  
            
> > > >
> > > > > > > > > > > >
      12 
mp
       35 

        41
25
    
 
  123   
 13 

5    5

Page 41
Chapter Five
31
Three-note 7th Chords
7th chords don’t always come in groups of four. Sometimes, you will omit one of the notes
and play only three notes of the chord. But which three?

The most important notes of the 7th chord are the 3rd, 7th, and root note. You can usually
remove the 5th note in the chord while still maintaining the quality of the 7th chord. This
is because the 5th adds no real tonal quality.

To hear how this works, play the 7th chords in the C major scale below and listen carefully.
The 5th note has been removed from each chord.

R.H.
   
     
     
 5
5 3
1
3
1

When you remove the 5th, you’ll find that 7th chords become easier to play and slightly
less cumbersome.

Now, try playing the same chords with the left hand.

     
L.H.        
   1
3
1 5
3
5

As you play, you’ll notice that the lower chords sound quite muddy and unclear. Do you
also hear the change that happens when you remove the 5th note in the 7th chord?

Page 42
Exercise: Play through this progression slowly to get used to the shape, sound and
finger position of the 7th chords with the 5th note omitted.

23
5 5

 
3
 
3

      
1 1

       
  






 
1     
3 1
5 3
5

6 5
3

          
1

     
       
        
1
3
5

Page 43
Adding Inversions
Now that you understand how to play 7th chords with the 5th note omitted, you’re ready
to look at inversions. Just like the other chords, 7th chords with the omitted 5th note
also have inversions. Because there are only three notes, there are only three possible
positions.

Below are the C major 7th chords in the three positions with their 5th notes omitted.

root 1st 2nd root


position inversion

inversion position

      

    


  
root 1st 2nd root
position inversion inversion position

Now, see if you can use the same rule with the dominant 7th chord. Below is an
example of the G dominant 7 chord in the three positions, omitting the 5th note.

root 1st 2nd root

 
position inversion inversion position
 
     

      
 
root 1st 2nd root
position inversion inversion position

Page 44
Dominant Chords in Four Keys
Now, it’s time to look at the other dominant chords of the keys you’ve learned so far.
Remember that the dominant chord is always the V chord from the 5th note in whatever
major scale. Also, note the key signature for each key.

root 1st 2nd root

   
Key of G major position inversion inversion position

       

Here is the D dominant 7 chord
omitting the 5th note in three

    
inversions. D is the V chord in

     
the key of G major.

root 1st 2nd root


position inversion inversion position


root 1st 2nd root

 
position inversion inversion position
Key of F major
 b     
Here is the C dominant 7 chord 
in the 3 positions omitting the 5th

 b    


note. C is the V chord in the key

 
of F major.
  
root 1st 2nd root
position inversion inversion position

Page 45
root 1st 2nd root

  
position inversion inversion position

    
Here is the A dominant 7 chord  
Key of D major
 in all the 3 positions omitting the

    
5th note. A dominant is the V
  
chord in the key of D major.
 
 
root 1st 2nd root
position inversion inversion position

root 1st 2nd root

b    
position inversion inversion position

Key of Bb major  b     
Here is the F dominant chord
 
played in the 3 positions omitting

  the 5th note. F dominant is the V
 bb   chord in the key of B b major.
   
 
root 1st 2nd root
position inversion inversion position

Andantino
Andantino is another tempo indicator. It’s a bit confusing, as it usually means to play
slightly faster than andante, but can also mean to play slightly slower. Be certain by
checking the metronome mark (the q = 78 below) to make sure that you’re playing the
piece at the right tempo.

Page 46
Exercise: This piece shows the inversion of the dominant V 7th chords with the 5th
omitted in context with the I chord relative to it. There are many key changes in this piece,
so just go slowly and notice the inversions of each chord.

Andantino 24

q = 78 4

 
5


3 3

     
2 1
          
   
      








1 1
3 2
5 3
6 4 5 5 5

 b
2 2 3 4
1
     
1
      
2

1

 
           b 
     
1
3
5
11 5 5
3 4

 b              
2 1

   
    
 b  


       
 
1 1 1 1 1
3 2 3 2 2
5 5 5 5 3
5 4
16
b b  
2 2

 
1 1
       b  b   
b 
   





  
b b   
b   b  
1
3
5

Page 47
Chapter Six
The final key that you’ll learn in this book is E minor. You learned about minor keys in
Chapter 18 of the previous book. You should recall that every minor key is relative to
a major key. In fact, the sixth note of every major key is the starting note of its relative
minor. Both relative major and minor keys share the same key signature.

Key of E Minor
The relative major key of E minor is G major, because E is the 6th note in the G major
scale. The notes in E minor are the same as the notes in G major. Note that the key
signature for G major tell us that it has one sharp in it, F#.

6th note of the scale, E


Key signature
    
    
G major
1 2 3 4 5 6 7 8

To create the natural minor key, use the same notes as in G major, but start the scale on
the sixth note (in this case, E).
    
    

Here is the same scale, down an octave in the L.H.

    
   

You may also recall that there are three minor scales: the natural minor, harmonic minor,
and melodic minor. The natural minor has all the same notes of the relative major
scale. You can see that the E natural minor scale below shares the same notes (and key
signature) as the G major scale.

       
           


               
 

Page 48
E Harmonic Minor Scale
In the harmonic minor scale, the seventh note is raised a half step (or up a semi-tone.
To create the E harmonic minor scale, the seventh note, D, gets raised to D #.

E harmonic minor scale


       
           

           
      

7th note raised by a semi-tone to D#


The harmonic minor is the commonly used minor scale. So, when looking at E minor, we
will refer to the harmonic minor.

E Melodic minor scale


The last minor scale is the melodic minor. The melodic minor scale uses different notes
depending on whether the scale is ascending or descending.

On ascending scale, the sixth and seventh notes are raised a half step. The sixth note,
C, becomes C#, while the seventh note, D, becomes D#.

On the descending scale, you will play the same notes in the natural minor scale. In other
words, the sixth note (C) and seventh note (D) will now be played as naturals.
E melodic minor scale

       
           


               
 
6th and 7th notes 6th and 7th notes
raised to C# and D# return to naturals

Page 49
Primary Triads in E Harmonic Minor
Now that you understand the scale of E harmonic minor, you can use the same process
as before to form the primary chords for this key. The only difference is that you will play
the V chord as a dominant 7th chord in the most suitable inversion.

The primary chords of E minor are E, A, and B7.

Position Triad Chord


1st note E minor 7 i7
4th note A minor 7 iv7
5th note B dominant 7 V7
R.H
  
V7

iv7
i7 
    
 

    
1 2 3 4 5 6 7 8
E minor 7 A minor 7 B dominant 7

The V chord triad in E harmonic minor is B major. Now that we have learned dominant 7th
chords, we can add the seventh to turn this V chord into a V7 chord.

Here is the same progression for the left hand.

L.H
V7
 
i7

iv7
 
  

   
  

1 2 3 4 5 6 7 8
E minor 7 A minor 7 B dominant 7

Here is an example of a i, iv, V chord progression with some inversions and some with
the 5th omitted.
25
i minor7 iv minor7

V dominant7
   
    
       





 
  
        
   

Page 50
Exercise: Practice chords with the following piece. 26
Moderato
q = 90

   521             32  
1

   
    1 1
 35
 
   135    1 
 5
2
3

   
5

  531                 



   123  1
 35
 
   135 

 
   
  
5


9
 
           32  
1

    1
 35
 
       
    


13
  5     
  53      21    
1

        123
      


17

                
   
            
          


21

 
     
  
 

Page 51
Exercise: Here’s another song for you to practice on.
27
Moderato
House of the Rising Sun
q = 96

      
       
    13     
 5           

           
    
 
       1   1    
 35 3 5  
14

  
      51        

 
   134    
   
      

21

                 
1
  13  
   35     
  
 
5
27

   5
          1
  13       13   
4   4 

Page 52
Exercise: Here’s another piece to play for fun!
28
Allegretto

q = 96
 1      1     
5
  
5 5

b  
1

         
 b     
           
1 1

           
4 5

    
5

 b    

 b                
           
1 1
5 5

     
9
           
 b      
3 5
1 1

b        
       

     
13
   
3

b    
1

b           
   
  
     
1 1
4 5

             
16

b    

           
b           
1
5

Page 53
Revision Test: Part Four
1. Name all the notes included in the scale of Eb major?
a. Eb, F, Gb, Ab, B, C, Db, Eb
b. Eb, F, G, Ab, Bb, C, D, Eb
c. Eb, Fb, G, A, Bb, C, Db, Eb
d. Eb, F, G, A, Bb, C, D, Eb

2. What is the term Largo indicating for you to do?


a. Play to the end and repeat from the Largo indication
b. Play in a slow, stately way
c. Play notes stressed and full
d. Largo is the italian term for song-like, indicating to play expressively

3. Name a fingering technique used in playing a scale over two octaves


a. 3 finger over thumb technique
b. 4 finger under thumb technique
c. thumb under four finger technique
d. all of the above

4. Which finger is not used when playing an arpeggio over two octaves with the right
hand?
a. the 2 finger
b. the 3 finger
c. the 4 finger
d. the 5 finger

5. What does the term dolce mean?


a. to play soft and sweetly
b. to play quietly and dull
c. to hold or pause on the note
d. to play moderately loud and at a walking pace

Page 54
Revision Test: Part Four continued..

6. What kind of chord does the symbol V7 indicate?


a. Major chord
b. Minor 7th chord
c. Minor 7 b5 chord
d. Dominant 7th chord

7. What does the term non troppo mean?


a. no tripping
b. not to be played as a triplet
c. not too much
d. play without repeats

8. Which chord tone is omitted when making three note 7th chords?

a. the root
b. the third
c. the fifth
d. the seventh

9. What is the key signature of E harmonic minor scale?


a. F#
b. F# C#
c. F# D#
d. F# C# D#

Page 55
Revision Test: Part Four Answers

1. (b) The notes in the scale of Eb major are Eb, F, G, Ab, Bb, C, D, Eb. Eb key
signature has three flats. (pg 27)

2. (b) Largo is an indication to play in a slow and stately way, ‘largely’. (pg 29)

3. (d) All of these fingering technique are used in playing a scale over two octaves. (pg
30)

4. (c) The 4 finger is not needed to play an arpeggio over two octaves. (pg 31)

5. (a) Dolce is the italian term for sweet, and it indicates to play soft and sweetly. (pg 32)

6. (d) V7 is the chord symbol for the Dominant 7th chord. The dominant 7th chord
consists of root, 3rd, 5th and flat 7th, a major triad with a minor 7th added. (pg 35)

7. (c) Non troppo means ‘not too much’ and normally precedes another expression - for
example, non troppo allegro, means not too fast. (pg 39)

8. (c) The 5th chord tone is usually omitted to create a 3 note 7th chord. This is because
it is least important in describing the function of the chord. (pg 42)

9. (a) The key signature is F# and is the same as its relative key G major. Because it is
a harmonic minor the 7th note D is also raised or sharpened, but this is written as an
accidental beside the note rather then in the actual key signature at the beginning of
the stave. (pg 49)

Well done! What score did you get out


of 9? If you got less then 5/9, go back
and do the test again and refer to the
book to find your answers. This is a
good way to ensure you are familiar
with this book before going on to the
next.

Page 56
So Long!
Well, that’s it for now! I hope you’ve enjoyed my Jamorama Piano Intermediate course.
Now you’re ready to go onto the third book in the Jamorama Piano series, the Advanced
course. You’re doing great!

Until next time!

Ruth

Page 57