The Complete Piano Player Book 2

THE COMPLETE PIANO PLAYEROMNIBUS EDITION

BOOK 2This is the second book in The CompletePiano Player course.

Carefully follow the lessons, and by the endof the book you will find that you havemade excellent progress in reading musicand in technique and have built up a finerepertoire. In all this, you are helped by theeasy to follow text combined with the cleardiagrams, of special value if you are workingon your own.

Play regularly every day. Little and often isan excellent way of making rapid progresstowards becoming the complete pianoplayer.

FLATS

4 A flat: |? against a note means play thenearest available key (black or white) tothe left of that note.

The flat continues through the bar but

is cancelled automatically at the next bar.

A 'natural': tj may also be used tocancel a flat.

The most commonly used flat is:

F P (E (F IGIAIB CJ

iBb

left hand right hand

EXAMPLES OF OTHER FLATS

Written:

Db Gb Cb(B) Eb Ab

6 P E F..\ r.\ \

Db

left hand

* ^

•right hand

Notice that Cb and B are exactly thesame note. Sometimes it is moreconvenient to call B 'Cj?'

64

LET HIM GO, LET HIM TARRYTraditional

Watch out for 'flat' notes in this and thefollowing piece. Remember to return to'natural' notes.

Bb Bb

H c

Flowing J = 128 F

F7

< LEFT HANDX RIGHT HAND >

Bb

« ^*~"*^H*"*^

V- 1 J -f —

eJ /

Let himmp ,

~5T 3

/ (*,£-££-

i

1

1^ -*--+-

go, let him

•

- Ih^

431 « 2

tar - ry, let him

SiS1_

'4»

S* J* j. I

W

sink or let him

bp f— *A 1

s-&-swim.

o

Bflat Bf la t

Gm C7

-#& ^—

^f

— d —K

tTHe does - n't

2ats- —^v• 1.Z A

iSb^ n «3 HJ

care for me, and

j 5

— i i ? — iJ1 W- •*- *I don't care for

TOM, r- ? A'

s~ — • ^^^ —X^ S'\ /

^ /him. He can

a m—bj*IxAl

B flat Bf lat B flat

f /Ksffl Itj iW- V -J- Vgo and get an -

• V/• ~7

Jh*' _J J_ 43B * *'

oth - er that I

p /O |O •

q— J5*1 f

hope he will en -

\>pC-

AJ

z

\11 1

•«L- -*L

joy. For

cresc.22

Bflat

GmC7

JE3 ^ ^9 ^

fj

J

•

I'm going

7r>« T»- «4"\- r r/•V 41 E, —

R flat

to

™

5 5 jv

mar - ry

rjI

^ \a N.

A

A 1

T~^

Bflat

C 53R 1^ rm1 »

far ./ nic - er

k f^&S "''• 2* a!?«

AI Tl

f2

boy.

3u_ _ , _ _ , _ _u,

R flat

Here the melody is taken

over briefly by the left hand.

© Copyright 1984 Dorsev Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.

THE WINNER TAKES IT ALLWords & Music: Benny Andersson & Bjorn Ulvaeus

Bb Bb

< LEFT HANDX RIGHT HAND >

With a precise rhythm J = 92

I don't wan-na

mp

talk

3O^

a - bout things we've

rBf la t

Gm

B flat B flat B flat

and that's what you've

Gm

f\ 1 /f/TV J- 54"-K J o 9fJ

done TOO,

•csf^ 1£V')• f — 1

>1

_ ,

no -thing mo re to

— U-l —9

> 1 —r r J J J5 5 fl2* 0 0

sav.

I ^

W W

no mnre are To

~~a 1+-\>m m* i*J U

_J 1 4^^ 'Bflat Bflat B flat

66

C7Bf la t

A7

HE^4^=?^d=play.

bo"""^£V

1*z

— /^

3 — k~sl>J J

The win-ner takes it

> mfr >? «' ^

^all

1"T^ •[*• "f"i l l<

I — I — "

The lo

- 3, J

^^

-5* — J ^~

s-er stand-ing

5* T ir ^ 1 ** \1 I..'.. .-J— £

B flat

DmBf lat

Dm07

B flat

\ Gm B flat

friend,.

ST* 1» ^

A big thing or a small. the win-ner takes it

F sharp

flat

© Copyright 1980 Union Songs AB, Stockholm, Sweden for the world, Bocu Music Ltd., 1 Wyndham Yard, Wyndham Place, London Wl for Great Britain and Eire.All rights reserved. International copyright secured.

NEW NOTES

5 You are now going to learn a famoussong by The Beatles. But before youtackle it, here are two new notes:

D for right handD for left hand

D-€*-

Both these notes-which are shownabove-occur in your new piece, somake sure you know them.

A HARD DAY'S NIGHTWords & Music: John Lennon and Paul McCartney

Ft* Bb Eb Bb Db

•( LEFT HAND X RIGHT HANDI

With energy J = 96

— T* —v^I -^

e/. w «-^ ^ %r* -

It's been a

mf4V• I. /• «y L^ /

.2X

4 " 4| --n ^ -ib?

, 1

Hard Day's

431/ /r r

^

* —4 a itrv)

Night,

0> •\

^ ^1 —- jy * * *

and I've been

Cm

5 K y-

IUJ ^ 3^ W

work - ing like a

2tJ2jtfj* f f•^ r ' r

J Jflr j

•^7

• 1^1

dog Tr'

i A 'fA

~^V>

K ^

5 been a

/A

4 A \ A*m U^H^rd Day's

1 i* A ""A >.

68

Bb

(— y — i 1 i i — i3fci= -^ -*-v-y x j m * m

Night, I should be

4V i W* }• > _./ f^

^^— S\HS —

1 CJsleep - ine lik

?r*1 F A 1 L* 5r {^ f-

•

z a

— T— 4iE — F — F —^^ ^v J

Ing BUT when I

/^^4>- •/_4. :0

/ rr1 \

D flatC7 F7

«) ' 1 1 1get home to you,

•3 ^~»£\- r** 1. 5 °f

• • •

I find the

Di* — v-f — m IT—[_ [ — / J J — — —

things that you do will make me

2f?A ^Jf

2

^ f 1-4lJ — TtJ • —feel all

r r'1. — J

2 43Kl_ ^m * 1 ^^ |

right. When I'm

2 \« . 0J* ^ v

-^ f*1

^*

1 ^^"^

home

1*2h(fvr

Ai* « J _J «*» ** m

U Jev' - ry - thing seems to

r r

~ ^

f«r

be

Em Am

-1right when I'm home

3i

D7Dm G7 * D.S. al Fine (end)

g-^-4 ^ 1 p

p — JT — d —C p f «t=

feel - ing you hold

4V H/ • f t(O ^^• •*"

— 1 ~"^<« P_? — p1

- ing me

U"0-

tight,

1

/ ^N |JT 1 ^^

V.«™

_O^J __

_3^! 71 — ii — J

Yeah! It's been a

mffu ^i

*Dal Segno al Fine. 'From the sign to continue playing until 'Fine' (the end ofthe end'. Go back to the sign % and the piece).

© Copyright 1964 Northern Songs Ltd., 19 Upper Brook Street, London Wl. All rights reserved. International copyright secured.

6

SCALE OF C, KEY OF C, PASSING NOTES

A 'Scale' is a succession of adjoining notesascending or descending.

The 'Scale of C (Major)' requires no black notes:

Scale of Cyf\_ 1 1fikSS J9) V *

C D

J

E

J•F

J

G

J•

A

P

B

P\

C

When the notes used in a piece of music areall taken from the Scale of C, the piece issaid to be in the 'Key of C'.

PASSING NOTES

However, a piece of music in C could usenotes which are not in the Scale of C. If thesenotes are brief they are called 'passingnotes'. Passing notes are of a temporarynature only and do not affect the overall key.

In the following piece, He 'II Have To Go,look out for 'passing notes' in both hands.

HE'LL HAVE TO GOWords & Music: Joe Allison & Audrey Allison

Andante (at a walking pace) J = 100

passing note VO

AbBb/AJJ Dtf G#Bb

< LEFT HAND

change finger

RIGHT HAND >

~~rr — n ^"^( foE JJ 2* tt*

Put yourP

4V "I t/• v ts 't ?•

— i i i r-'-iN ,n / ^sweet lips a lit - tie

rj.

i i i n =-4m 9« * *—

clo - ser to the

Fi ~~~^^^ 1phone

^- -,1f- .

s */1

n — — nj j j~x

> /s s

Dm G7 new hand position

fL *i Jf fn m ' * ' • VJ

tend that we're to -

J. — £ £

Gi

geth

r—*

\i/ j J

er all a

1 !.

jone

~- y^f

— * 1 h»

I'll f.ll th"

~~N

^ > ^4 * *

passing note

F Fm

passing note thumb under 2nd finger

man to turn thecresc.

juke - box way down low,mf

and you can

mp

passing note passing notepassing note

new hand position(FINE)

tell. your friend there

-379-

with you he'll have to go-

\£

You can't

passing notes inq note C7

say. the words I want to hear while you're with. an - oth - er man.

2k

If you

passing note

G7D.S. a/ F/A/E

want,cresc.

me an - swer 'yes' or 'no', dar-ling I.

/

will un - der -

2*

stand. Put yourP

© Copyright 1959,1960 Central Songs Incorporated, USA.Campbell Connelly & Company Limited, 8/9 Frith Street, London Wl.All Rights Reserved. International Copyright Secured.

7

COMMON TIME ANDCUT COMMON TIME (ALLA BREVE)

The sign C stands for | time, that is,there are four crotchets (or quarternotes) to the bar. 4 is also known as'Common Time'.

The sign 0 stands for g time, that is,there are two minims (or half notes) to

the bar. £ time is also known as 'Cutfa

Common Time', or Alia Breve.

Pieces written in Cut Common Timehave a distinct feel of two in a bar, andthey tend to be faster than those writtenin Common Time.

THOSE LAZY, HAZY,CRAZY DAYS OF SUMMERWords: Charles Tobias. Music: Hans Carste

Allegretto (moderately fast) J = 104

D7 G7

FJtGtf DbEb

stretchV .u —

&M^ 4-fiJ

Roll

f*iy , 2 ?)• I*S \ y

J

1

out those

^ ^§^-i H r i^

* *K r i i 1la - zy, ha - zy,la - zy, ha - zy,

\ J \ J

• 5 c>

n* p jr r J ^Jera - zy days ofera - zy days of

\ J \ J< >

count: 1 2 it

D7^ • _A cross over2 I

/L * If iY P/-Jt>

sumsum

J J

change finger^v, i i , , — :

r5fJ

mer,mer,

J jfe^ 4ff Of.

3-mW

-

those daysdust off

J j J

H

ofthe

jJo

1.G7

i j

so -

1

1^

da,

i j *

and

• j_4°

2 (etc.)

D7i cross over

G7

pret zels, and beer. Roll out

t J t J

those

squeeze together

72

new hand position(FINE) J / - ^pass ing note"

/L A.4f(T\ *m A

J

sun and moon, and

* 1. > j6): 4 o

sing a

* J

fl

*

song of

i J— o

1-0-

cheer.

3~i ; v> f > r

? *£H « J> _| -\ m

Just fill your

mp

* _

r * -E7 passing note

bas - ket full of sand - wich - es, and ween - ics. Then lock the

r?"1"1

3S

Am new hand position passing note

I Q J -^ 1

house up,

• 5 — ft V?./ ^-^

— i ST:

pt=^=^==

now you're

ft ** '^^

\

1-0^

set.

i ^P f i". ...... r j- ... r ..

J, -T

J 2|J iJ

And on the

i —i

passing note new hand position

j^_ I i 1f/nfflZ 3- J .J 1* 2^V 1*

beach you'll see the

1 O

-^

1 i* L* jf-J T*:

girls in their bi

-O-

5J IMJ L J 1^ 2\>* &

ki nis,

%

* Jr "•I 4

« 2* r

as cute as

cresc.

ti<"IE

D.S. fw/f/7 Repeat) al FINEG7 new hand position D7 G7

rr~o^ ' «= '(m : — — r — r —"»y i ie ver, but they

1

y rf0-

J ^ "

m

—

r — r —• — i —nev - er get 'em

~Ttt0-

I ^~

Ln ^ ^~-

1 '

wet! Roll

fJ

i '

_

— d s>

out those

-M-- Hp

© Copyright Edition Primus Rolf Budde, Germany. Copyright 1963 Comet Music Corporation, USA.Chelsea Music Publishing Company Limited, 70 Gloucester Place, London W1H 4AJ.All Rights Reserved. International Copyright Secured.

"

SCALE OF F, KEY OF F, KEY SIGNATURE

8 Read lesson 6 again to refresh yourmemory about Scales, Keys, and PassingNotes.

The Key of F (Major) comes from theScale of F (Major), which has one blacknote: B flat.

Scale of F

r±_VM/ M

ImwtJ

F G A

C3V*

(it)

mr

c

m

D E F

Pieces which are written in the Key ofF (major) use the notes from the scale ofthe same name, although the piece mayalso include some passing notes.

When a piece is written in the key ofF (major), it is necessary to indicate theB flats at the beginning of the piece, likethis:

Key of F major

Under The Bridges Of Paris, which youare going to play now, is in the Key ofF major, as you can see from the keysignature.

Remember: you play all B's as B flatswherever they fall on the keyboard.

A REMINDER ABOUT NATURALS

A 'natural' sign: \ cancels a sharp or flat.The natural continues through the bar,but at the next bar everything reverts tonormal.

This is called the 'Key Signature'. It tellsyou that whenever you see the note B,you play it as B flat.

UNDER THE BRIDGES OF PARIS(SOUS LES FONTS DE PARIS)Music: Vincent Scotto. English lyric: Dorcas Cochran.French lyric: J. Rodor.

Db Bb Bb

' -'[DiElFlGlAlBliiDlEiFlGiAl Id< LEFT HAND >^ RIGHT HAND >

Gaily J = 138

F

~$r^ — \ \ *J —ITO 4 zjraEcJ iV

rnf How would you

bF* *»— =^ A

fO "5^

-573 ; (— 2* -

like to

"U •_.

^^^" •

he

a — i

ibo-

—~f 1-?-•) *1 J-down by the

^ U_

74

Gm7C7

f\ h naEJ 3^

"Ke)

Seine with

fy 3 +1

1 A

S3 *L^

o ^» •o ex"•

me?

1/2^~~~•

4 p'—

2 •p- "

--\P*

, O r^ •

0 —*- ™

J JK *

Oh, what I'd

2/5.=t

P i ITI* a?

give for a

5 -2.

_ —

•j ^ ^F

mo - ment or

cross 3rd finger overthumbBf lat

cross 2nd finger over thumb

0 "^ i G7 -

f lv' rv »

two,

r, - f^TV* =; rI* ry '

^^i 'j «

. " • — .. ^ 'iI«

1 9

un - der thecresc.

?^\P'"A !

j jm * 0

bridg - es of

fj *

i iV

I L , J1* 2tiV ''*Pa - ris with

\r- f"i

^r

R/- r

you.

(feU1>

A 1 J»

B natural(A temporary cancellation)

Bf lat(Situation back to normal)

0

^r */5_ r>rM

E

t "— /±-

F -7-X"

I JJ 4 dl9»

*t

)ar - ling, I'df

i*3 *BF

5

he

•^

7 K

)ld you

— - i*•4& •

»•

tight

—&-*

fj •^

•\>O'

1 -»

t

X*^ I'\ :J

2mJ-ar from the

f~i •t^

F?° T^i ii j^j ^^

eyes of

_ L —. %-±&±-

Gm7 C7

f\ bfm /-V p i>

nj

r> 1 f3f\* A In)* r

•fc

^ -

ght

•

~.£*

pn.525f-

•

•

J 3n — C ^

Un - der thecresc.

• m Jr •1|

bridg— es of

n> *

Pa ris with

f\_ V.\f\ " f j '"P*)

you,

^^V* "^ n ^•*/

J «J m *

I 'd make your

1Zz J

dreams come

1st r*r1 i

^J •

true

K» ' 9 'j W

t tr r

^* i ir T f^ ?•

© Copyright 1914 H. Delormel, © Copyright renewed 1948 Vincent Scotto assigned to H. Delormel. © Copyright 1952 Editions Fortin.© Copyright 1953 Hill 8c Range Songs Inc., Liber-Southern Ltd., 8 Denmark Street, London WC2 for the British Commonwealth (exc.Canada) and the Republic of South Africa.All rights reserved. International copyright secured.

NEW NOTES

You start this book by learning thesenew notes:

A, B, C right handE left hand

A B C

G A B C

6V/•J

€9

•^

HOW TO FINGER THE NEW NOTES

The new notes illustrated above are beyondthe range of your original five-fingered handpositions:

new note

5 4 3 2 1original hand position

new notesT T V

MID

D B1 2 3 4 5

original hand position

R.H.(RightHand)

51

When a single new note is required,extend your hand to play it, then returnto your original five finger hand position:

MlE S

Left hand extendsto play note E

When several new notes are to be playedconsecutively take up a new five-fingerposition covering the new notes:

Left hand returnsto original five-finger

position.

MID MID MID

Original right handposition

Right hand extends Right hand takes up newfive finger position

I have indicated examples of both theabove situations in the three pieces whichfollow: Sailing, My Own True Love,and Wooden Heart,

Note: From now on letter names willappear alongside new notes only.

52

LIEBESTRAUMEBy: Franz Liszt

Bt> C# RtGJJBb CJJ

IF G A BMID

•PE F|G|A|BDfflBPii

^emember: This solo is in F major,lay all B's as B flats, unlessistructed otherwise.

Con espressionefwith expression) J = 96

F0 -"""" — i ~~_y f *~i jffr

r\ rt • J ffift^ \J § S i • f^* «VSJJ 4 J

P\>

i.'X* O v O -> • ^ 1 •

!• «-J * r rJ ft ^• *

< LEFT HAND X RIGHT HAND >

A• -

\^

^ f!v " -*" —

^ :

/r** •

change to 4th finger on A

^ JD7 G7 ^^_y i

^^ l» 1 I c 3 1ffK ^ ^ U j j j * n J

Tl •* ^\»

J O _x^ -x-

-*

tD l> Vx / ^ **~i-

i i 1b 1 J

J h 2 «

[> 2([>)p- a-c\' v r)•z

,4 5CT ffi-

1 h^-•? ups-i

A 5I '

~~-<^ s«

ip tc

^ /1 I

1 a 9

' -^ //*.

> F ^—^ i^v-

^~— ,

c ^ -5 ^ —~

/

" iV

.- -^ T/*•

A-5 D7

3 3IF

2

g £ €

3

since this is a new phrase the finger may jump

C7

i-5-rrS § M

£

Fine

zr h™\J rj

1, 3^fV ^ W)• 5 r3? r

•^ . _,

- ^•

• * .

{^ •

[ •*& ir i

i0

1 a ^

cresc.

n

^ ^o

P'I

E£s3*25

" "*"^

change to 3rd fingeron A D.S. al Fine

* In Time i.e. pick up the original speed

Copyright 1984 Dorsey Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.

"

BRIGHT EYESWords & Music: Mike Batt

Remember: All B's are to be played asB flats, unless instructed otherwise.

Bb G#Bb

< LEFT HAND X RIGHT HAND

Gently J = 92

^—V i 1^_ h f* iczar™JiMs p L> 2 »VJLJeT '•"•

Is it a kind-^ fog a - long 1

1,tfV r /r> 5n 5 &

J C

-—~~^ —^^^Gm ^vf

r-fy-^- -j r

tideair

bO. 3 p/-

t Âm ^Dmi • i\y m mr r j22

death down -streamwhen you go

k j-Z*V« *- -x-

!• r- ^^/ L.&-

2 AV 1 1 af\ fy \ t

V^ 1.70)

start.mf

^^V*I* /_j* P

r*i ÊI^F1 1 "] "V*

j" " /v **!• f

of a dreamhe hor - i - zon,

r ' 9 2 * T^Jr 4Pi i r r

P7

--2-J J 4

Fol - low - inno - bo -

/^^f- m 1-0-r — P »° r1 L* ^

1~Gm C7

. I ^ "s

f i ^ ^ ^ S!r i J r r r1 •" 1 £-«L_J ] °- .Oh is it a dream?

And where do you /»illy

\ v i rj

i i

B?x^ ^7 j â ^ ^9! 3 22 * °

'

Oh, Oh, is it aTW

2^/0 "&- 1 •*•" s/^'

r\mum^ ~.-^ x**1rJ Jm * \ *1 • •

Float - ing out on theCold sound in the

jT-..

Y

r-\ r~] J =i, — J — J — * — *g the riv - er of

dy ev - er knows

*

. ^^^^^f I I *JC- j -j J •^ ^ ^^ ^^^-^

There's a

Tr

F^N

^CJ

-^ — _ ^^^ — "

dream

~"^"-~iV -p-^^^L^1^^^

*Repeat Marking. Since there is nomatching Repeat Sign to go back to,repeat from the beginning of the piece.

Am

/L \> P«p J — ** — f —Bright ...

mff\ £>

rn

( 1 (m ^ J 3-J r

Bright

!> 9f

1* B l 1 M-^ 1-^ 1

^ ~°!> 1 P P^T\* f 1

1" -•{ ry1 A l "1

^ 1 n-~~

Gm7

t ^ . —i ^"^

^ J r r r 1

1— — 1 1sud-den-ly burn

^ ' ^ &— f — _ — _

E«I t i i -j r-^fT** ' •) • ' ^ • ^

eyes burn - ing like

i hi* -^ 1 ' =-* :

3^3 J-2-J J — J- 5* J

eyes how can you close and

1 r- ' 3* f 1 1< fil* < -r r ' r

A_^ _£^ C

^-i \*w^-r-::4» » * * iJ

jD cresc.

How can the light that burned so

"* r^1i-'

C7 F""~-— — i ' — "~ i ^*~~*^»^

m " ir T W J fi -^ J • ri & v^ . i ^- :

so pale? Bright eyes.

_^ R'$ — — —: ?

fire

-= 49

Gm7

— & —

fail?

1 p* \^- r

|

F— w ^

^bright — ly

*-~,\~

C_l

3 "

f

- - 5~O=

*Section Lines. End of one Section ofthe piece and the beginning of another.

1 Copyright 1978 April Music Ltd./Watership Productions, 37 Soho Square, London Wl for the world. All rights reserved. International copyright secured.

NEW NOTES

9 Before tackling the next two pieces, hereare some new notes for you to learn.Make sure that you can recognise themas soon as you see them, by practisingthem a few times:

E, F for right handC for left hand

//,/C D E F

t \ i \

PLAISIR D'AMOURWords & Music: Giovanni Paolo Martini

Bb CtfMilF|G|AiB|c|D|EiF|


Con espressione 0 =100>f\ h O |(<n ^VJ LJ <4«) r*

/>b

!• «J r' ^ r*

23

3^f>r

•

*

1

_^- •

2 f^'nC5ta •

fj>

^- — •^ ^) *-^x^~^* "•

j —22 K

\

<? * 1 R

^

^»>•j

- jm 0

1r rr

1 — j —•

T^1

new phrase so tuck thumb under 2nd finger

. Gm7 Qy ^^^r* " C7 Fy t i -—

fj55 3 t "i *

fj

r, r£V

I*./

«Z ^ r! V

iJ-

-~vp

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;2.CJ'

•ih «•"I

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2ibLsII

I

-2» *

cresc.

3 4*

Gm F ~~~^i i

•

™

a3*

"1 «i

p-

I

4 _ |5i"

mf

ig.fA '

Fine

tuck 2nd finger in

:4s III p

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81

TAKE ME HOME,COUNTRY ROADSWords & Music: Bill Danoff;Taffy Nivert and John Denver < LEFT HAND X RIGHT HAND >

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Copyright 1971 by Cherry Lane Music Co., New York, USA. Cherry Lane Music Ltd., 62 Campden Street, London W8. All rights reserved, 'r.ic-mational copyright secured.

• '

DOTTED CROTCHET(DOTTED QUARTER NOTE)

10A dot after a note increases its value byone half When you apply this principleto a crotchet (quarter note) you get:

J crotchet (quarter note) = 1 beat

J. dotted crotchet (dottedquarter note) = 11/2 beats

A dotted crotchet (IVa beats) is almostalways accompanied by a single quaver(V2 beat), making two full crotchetbeats in all:

J. J) 11/2 beats + 1/2 beat Total: 2 beatsor:

h J_ 1/2 beat + 11/2 beats Total: 2 beats

The first of these dotted crotchet/quavercombinations: J. J) appears frequently inthe piece that follows.It is counted like this:

SILENT NIGHT

BAR1 BAR 2 (etc)

count:1 2 and 3 1 3

Pick a suitable speed for your basiccrotchet beat and be sure to maintainthe same speed throughout the piece.

BAR1Play 'G' on beat 1 and let the soundcontinue as you count beat 2.Play A' on the 'and' between beats 2and 3.Hay 'G' on beat 3.

BAR 2Hay 'E' on beat 1 and let the soundcontinue through beats 2 and 3.

Continue similarly through the piece.

LEFT HAND MELODY

Notice that during Bars 9-16 of SilentNight the Left Hand plays the melodyIncrease the volume of the Left Hand atthis point so that the melody can beheard clearly.

84

SILENT NIGHTWords & Music: Joseph Mohr and Franz Gruber

Peacefully J = 84

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Copyright 1984 Dorscv Brothers Mus ic Lid., London W l . Al l r ights rcsen'cd. International copyright secured.

85

DOTTED CROTCHET(DOTTED QUARTER NOTE)-2

The next song features the second of ourdotted crotchet/quaver combinations.

This time the quaver is played first:

j)J. 1/2beat+11/2 beats Total: 2beats

Count this figure like this:

GUANTANAMERABAR 1 BAR 3 (etc)

r Lr v rCount: 1 2 and 3 and 4 1 2 3 and 4 and 1 2 and 3 and 4

Maintain a regular crotchet (quarternote) beat throughout. It helps to tapyour foot on the main beat.

BAR 1Play 'D' and 'F' together on beat 1.Play the same on beat 2.Play the same on the 'and' betweenbeats 2 and 3.Play the same on beat 3.Play the same on the 'and' betweenbeats 3 and 4.Let the sound continue through beat 4.

BAR 3Play 'C on beat 1.Play 'D' on beat 2.Play 'A on the 'and' between beats 2and 3.Play 'C on beat 3.Play 'C' on the 'and' between beats 3and 4.Let the sound continue through beat 4.

Continue like this through the piece.

GUANTANAMERAWords by: Jose Marti.Music adaptation by: Hector Angulo and Pete Seeger.

Bb Bb

With a gentle rhythm J = 92

Bb C7


C7

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Guan - ta - na - me - ra

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£ £TEACHERS: * The flat has been put here for the moment because the pupil has not been taught the lower'B' note. The normal F major key signature appears in Book 3 page 102.

86

cross 3rd finger overthumbOL

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© Copyright 196S and 1965 by Fall River Music Inc., New York, USA. All rights for the British Commonwealth of Nations (exc. Canada and Australasia) and the Republic of Eirecontrolled by Harmony Music Ltd., 19/20 Poland Street, London WIV 3DD. All rights reserved. International copyright secured.

The next piece makes use of both theJ. J)and J) J. dotted crotchet/quavercombinations.

BY THE TIME I GET TOPHOENIXWords & Music: Jim Webb

Eb Eb F# Bb

With expression J = 80Gm7 C7

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Fmaj7

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© Copyright 1966 Johnny Rivers Music. All rights assigned to the Emp Company, New York, USA. Carlin Music Corp., 14 New Burlington St., London Wl for the UK,British Commonwealth (ex.c. Canada and Australasia) and Eire. All rights reserved. International copyright secured.

SAILINGWords & Music: Gavin Sutherland

Remember: watch out for changes ofhand positions in this and the next twopieces.

TTWWl|E|F|G|A|BHD|E|F|G|A|< LEFT HAND X RIGHT HAND >

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© Copyright 1972 by Island Music Ltd., 22 St Peter's Square, London VV6. All rights reserved. International copyright secured.

WRIST STACCATO

Hand in position to strike Down stroke Up stroke

Learning the following piece will give you Keep your wrist flexible and you willpractice in wrist staccato. After each note always feel comfortable when using thislet your hand spring up from your wrist technique.without moving your arm.

WILLIAM TELL OVERTURE(THEME FROM)By: Gioacchino Rossini

Bb

Briskly J = 100

F

LEFT HAND ~~X RIGHT HAND

C7

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' Copyright 1984 Dorsey Brothers Music Ltd., London W l . All rights reser\'ed. International copyright secured.

TWO TUNES WITH ONE HAND

13 Often in a piece of piano music there is asecond tune accompanying the maintune. There may even be more than onesecondary tune. These secondary tunescan be complete 'counter' melodies, orjust short, melodic fragments put in toenhance the main melody. This is similarto choral music, where the singers aresinging different tunes (or 'parts'), thewhole blending together to create the'harmony'.

WHAT KIND OF FOOL AM IWords & Music: Leslie Bricusse & Anthony Newley

Tempo Rubato (rhythm not strict)

Fmaj7 F6

On the piano, these secondary 'parts'tend to occur below, that is lower than,the main melody. Two parts are oftenplayed by one hand.

Look at bars 6 and 7 and bars 22, 23and 24 of the following song. You willsee examples of two different tunes, orparts, played by the right hand. Hold alllower notes for their full value and finger'legato' in order to bring out the lowerparts.

GbDb Eb ft Bb Db D*f Fjt AbBb Db Eb

TC|D|E|F|G|A|BLEFT HAND X RIGHT HAND >

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© Copyright 1961 and 1974 by Tro Essex Music Ltd., 8,5 Go\ver Street, London WC1 . A l l riglus reserved. International copyright secured.

93

LAST WORD

Congratulations on reaching the end ofBook 2 of The Complete Piano Player!

In Book Three you will be:• Learning new notes• Haying in different keys

LET IT BEWords & Music: John Lennon & Paul McCartney

Slowly, with feeling J =60 f

Discovering new left hand styles andrhythmsDeveloping your piano technique

Till then your last song in this book is:


Dm C Bl>

When I find my - self in times of trou - ble, Moth-er Ma - ry comes to me,

speak-ing words of wis - dom, let it let it

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tuck thumb under 3rd finger

1 Copyright 1970 for the world by Northern Songs Ltd., 19 Upper Brook Street, London Wl. All rights reserved. International copyright secured.

94

MY OWN TRUE LOVE(TARA'S THEHE)Words: Mack David. Music: Max Steiner.

< LEFT HAND RIGHT HAND

Always change hand positions smoothly

Slowly

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know you,

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know you

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v ^s^t 2_ . f^>• X/

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1 VI'm yours for -

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rj

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ev - er,7TC/

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! *my own true

dim.^ f~J MB

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love.

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1 — ,»rnew hand position

© Cop\right 194 I l>\ Rcniick Music Corp., USA. © Copyright 1954 l>v Rcinicl Music Corp., USA. Warner Bros Music Ltd., 17 Bcmc-rs Street, London Wl .AH righis roscrvod. liuenuiuina) copvriglit sr< utccl.

WOODEN HEARTWords & Music by Fred Wise, Ben Weisman,Kay Twomey and Berthold Kaempfert.


Change hand positions smoothly

Rhythmicallynew hand position

rJ? ^^i

Can't you

mf£~\«*)• (*

see I loveyou say "Good -

•

1 1 1i — t5"!

you, please don'tbye", Then I

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break my heart inknow that I would

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two.cry.

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play these bars on thefirstt imethrough only

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repeat from the matching sign: ||: Textend th? «and (olginal hand position)

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you from the

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like you real - ly

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© Copyright 1960 by Gladys Music Inc., New York, USA. Carfin Music Corp., 14 New Burlington Street for the territory of United Kingdom of Great Br i ta inand Northern Ireland, Eire, Israel and the British Dominions, Colonies, Overseas Territories and Dependencies (exc. Canada, Australia and New Zealand).All rights reserved, International copyright secured.

"

From now on I leave it to you to watchout for hand extensions and changes ofhand position. Follow the printedfingering carefully and you can't gowrong.

DANNY BOYWords: Fred E. Weatherly. Music: Traditional Irish Melody


With expression

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getting louder(same as crescendo)

getting softer(same as diminuendo)

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*Pause (Fermata). Hold the note(s)longer than written (at the discretion ofthe player).

Copyright 1984 Dorsey Brothers Music Ltd., London Wl. All rights reserved. International copyright secured.

SHARPS AND NATURALS

2 This sign is called a sharp: ft Wheneveryou see a sharp written against a note, itmeans that you must play the nearestavailable key to the right of that note.This key may be black or white.

You continue to play the sharpthroughout the bar, but it is

automatically cancelled at the next bar.

Another way of cancelling a sharp is bywriting a 'natural' sign against the note.The natural sign is written like this:tjFor an example of the use of a naturalsign, see bar 15 of Puff The Magic Dragon.

The most commonly used sharp is:

C / D / E FIG A B

Written:

left hand

EXAMPLES OF OTHER SHARPS

Dtt

right hand

C# E#(F) Atf

Written:

C/D/E/F/G A B

left hand

Notice that E $ and F are exactly thesame note. Sometimes it is more convenienttoeallF'E#'

right hand

60

PUFF (THE MAGIC DRAGON)Words & Music by: Peter Yarrow and Leonard Lipton

Watch out for 'sharp' notes in thispiece. Remember to return to 'natural'notes.

< LEFT HANDX~RIGHT HAND >

I

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(new bar,so sharp is cancelled)

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stuff.

90

TC natural

© Copyright 1962 by Pepaniar Music Corp., Warner Bros Music Ltd., 17 Berners Street, London Wl for British Commonwealth of Nations (exc. Canada and Australasia) and Eire.All rights reserved. International copyright secured.

METRONOME MARKS

3

clockwork metronome electronic metronome

A metronome is an instrument whichindicates the speed of a piece of music.

The metronome mark: J = 176 at thebeginning of the next piece means thatthere are to be 176 Crotchets (quarternotes) a minute (rather fast).Set the pendulum to 176 and theinstrument will "tick" at the correct speed.Don't leave the metronome running during

your piece. Once you have the "feel"of the correct speed, switch off

CHORD SYMBOLS

From now on chord symbols will beincluded in all pieces. These symbols areintended for other instrumentalists, suchas guitarists, who may wish to accompanyyou.

LAUGHING SAMBAWords: Benny Meroff& Anne Spear.Music: Vincent Rizzo & George Johnson.

Brightly J = 176c

E< LEFT HAND X RIGHT HAND >

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Fun - ny lit - tieEv' - ry one can

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"Song .- a",do it,

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some -thing like athere is noth - ing

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Con - ga,to it,

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62

t l 1G7^

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It's the Laugh - ingLaugh your way right

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through it

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© Copyright 1945 Mills Music Inc., USA. Lawrence Wright Music Co. Ltd., 19 Upper Brook Street, London Wl for the British Commonwealth (exc. Canada and AustralasiaAll rights reserved. International copyright secured.

63

The Complete Piano Player Book 2

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Transcript of The Complete Piano Player Book 2