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THE COMPLETE PIANO PLAYER - Kenneth Baker
CONTENTS About this book.5
SONGS
LESSONS
Annie'sSong,42 BanksOf The Ohio, 13
2 The piano keyboard,T How to learn the white keys
Can't Bty Me [,ove,27 Chitty Chitty Bang Bang,39 Choral Symphony (Theme from), 38
3 An important note: Middle C, 9
Help, 28
4 Finger numbers,10
I'd Like To TeachThe World To Sing,36 I Know Where I'm Going, 17
1 How to sit correctly,6
5 How to play legato,12 6 How notes are written, 14 7 How notesare written-2, 18
Largo (From The New World Symphony),30
8 Musicaltiming and the beat,2I
[,ove Me Tender,34
9 Developingyour senseof rhythm, 24
Mary's Boy Child, 35 Old MacdonaldHad A Farm,40
10 More aboutrhyhm,26 11 Exceqptfrom a famousclassic,30 12 Ties,31 13 TWo more populartuneswith ties,32 14 Playingfrom two staves,34
One Of Those Songs,33 RiversOf Babylon, 19 ScarletRibbons,41 She l,oves You,27
16 Phrasemarks,36
Singin' In The Rain, 46 StrangersIn The Night, 44
17 Quavers,38 18 Staccatoand accent,40
StreetsOf [,ondon, 37 SuperTi'oupeL48
19 Restsand silence.42
This Ole House,23 What Now My tove,32
15 TWo stavesagain,35
Last word. 48
When The SaintsGo Marching In, 11 White RoseOf Athens,26
HOW TO SIT CORRECTLY It is important to sit correctly at the piano. The more comfortableyou are, the easierit is to play. Sit as shown here and you will always feel comfortableand relaxed. Sit facing the middle of the instrument, your feet oppositethe pedals.Sit upright. Adiust your seatso that your arms are lev'el*itn the keyboard-br sloping down slightly towards it. POSITIONOF THE HANDS Supportyour hands from the wrists. Curve your fingers slightly as if you were graspinglightly an imaginary ball.
With the tips of your fingerscover five adjacentnoles in'each hand.This is the ndrmal Five-FingerPlaying Position.It is also the hand's most relaxedstate.After all fingering and hand changesduring a piece,you should return to this position.
THE PIANO KEYBOARD
There are only sevenletter namesused inmusic:ABCDEFG. These sevenletter namesrepeat over and over again on the keyboard.
The black keys are arrangedin groups of twos and threes.
HOW TO LEARN THE WHITE KEYS3C, D & E Use the black keys to locate the white keys. For example,'D' lies betweentwo black keys. two black
To the left of D lies C. To the right of D lies E:
two blackkeys
HOW TO LEARN THE WHITE KEYS: F,G, A & B [Jse the groups of three black keys to locate R G, A and B (the remaining four lettersof the musicalalphabet):
three blackkeys
Find all the Fs, G's, A's and B's on your piano. Play each note in turn and name it.
HOW TO LEARN THE WHITE KEYS: C to B Play every 'set' of white notes,beginning with C and ending on B. Play in all positionson the piano.Do this several times,naming the notes as you play them.
You now know all the white notes and their names.
three blackkeys
AN IMPORTANTNOTE: MIDDLEC One of the most important notes on the piano is Middle C. This is the C nearest the middle of the instrument,directly oppositethe manufacturer'sname, as you sit at the piano.
The C below M i d d l eC
C MIDDLE The mostcentralC
[,ook at the illustrationabove. From it, you will seethat: The C to the left of Middle C is called llhe C below middle C.' The C to the right of middle C is called The C above middle Cl You should,at this stage,be able to find thesethree C's right away.lrarn to find them this easy way: O Play Middle C with the right hand (uty finger will do). o Play Middle C with the left hand. o Play The C below Middle C with the left hand. o Play The C above Middle C with the rrght hand. o Finally: play Middle C again with one of the fingersof each hand.
You now know where to find Middle C and the C's immediatelv above and below it.
The C above M i d d l eC
FINGERNUMBERS To make learning easy,the fingers of both handsare given numbers:
/t: gl,,:
,W
:!i
left hand You will seethat the thumb counts as finger Number 1. To familiariseyou with the finger numbersof the right hand, we are going to play the greatjazz number: tr4henThe Saints Go Marcltng In.
righthand Before you start to play,cover the five notes from Middle C to G above it with the five fingers of your right hand, like this:
I Ill MID
oD E FG
R.H. (Right Hand)
Notice that every so often the tune 'stays stilli while you go on tapping your foot. Rememberto hold the note down during this time.
Now play each note with the fingers shown below. To help you play in time, tap your foot to the music.The little diagramsbelow the finger numbersI show you when to tap.
WHEN THE SAINTSGO MARCHINGIN Tiaditional finger n u m b e r :1
oh
s* a
34s when the
Saints
t
Itttt rstuSt
1 345 G o march- ing *
in
rt* ?ffT
134 5313 Oh when the Saints
**t
!!ttBttf
2
3
in
I'm
*
355
2
going to
?
*
1 be_
tl*e il#*G
4
in-
that
n u m - ber
t
? 4
5 w h e n t h e Saints
t*
3
*
g
c
3
ing-
8o -march
t It
s*
*s
2
31 go
**
march -
t
*n *a
in8 U
1 in
t* O C o p v r i g h t 1 9 8 4 D o r s e v B r o r h er s N { u s i cL t d . . L o n d o n W l
All rights rt'st'nt'cl. Irttt'rttatiotral copvright setr-trt'tl
You now know the finger numbers of the right hand. 11
HOW TO PLAY LEGATO Legato meansjoined uP'.When You play legato,yoqr playing soundssmooth and connected. To get this smooth and connectedeffect, as each new note is played you release the precedingnote. In other words: one finger exactly replacesanother.The r"*lt is a continuous,unbroken flow of sound.This is true legato playing. Always play legato unless the music is marked otherwise. In your effortsto play legato,never let one sound overlap the next. If you do, you may get an ugly sound mixture. Your ear will tell you when you are playing legato.Remember:
LEFTHAND FINGERNUMBERS You are now going to learn the left hand finger numbe^ U/playing the traditional tune: BanhsOf Tlte Ohio. Before you start to play,-coverthe five notes from C below Middle C to G with the five fingers of vour left hand:
O No gaps. O No overlaps. Now play I,trhenTheSaintsGo Marchng In agiin-fue you playing smoothly?Do all the notesjoin up? If so, You are playing legato.
-l[*11*ll-
L .H . (Left Hand) Now play each note accordingto the finger numbersgiven. Thp your foot to keep time, as before" '
Remember: play legato
BANKSOFTHEOHIO Tiaditional finger num b e r :5 I
33 5 my asked
t
*s
It
to
rts *u
take
t!
a
!
*
$
*
*s
7
4
43
to
take
t*
t!
2
4
a
1 lit
I
t
f
a
utu
r$
tle
3 walk *e0
il
1 Right down be
33
*t
g
4 walk
4
55
love
1 side *
*
{t
t
fi
*
*
? t
*t
*
*
*
u
3712 where wa - ters
flow
t?93 554 down by
3 the banks
stB
3
{?tI
34
45
of the O
hi
*t
**
Gri
S!t
o
ft k
s
*
t
? t*
c o p v r i g i r ts c c u r e t l @ C o p v r i g h t l 9 g 4 D o r s c v B r o t h c r s M u s i c L t t l . , L O n c l O nW l . A l l r i g h t s r e s e r l ' e d .I n t c r n a t i o r r a l
You now know the finger numbers of the left hand.
HOW NOTES ARE WRITTEN Musical notes are written on groups of five lines called 'staves':
A stave
The notes may be written on any 'line':
in any 'space'betweenlines:
this counts as a
this countsasa
The piano needstwo staves:one for the top half of the instrument:
This signis calledthe 'TrebleClef'
and one for the bottom half;
Thissignis calledthe 'BassClef'
'space'
'space'
The two stavesarejoined togetherby n brace':
Brace
The notes on the upper stave (indicated by the Tieble Clef) are usuallyplayedby the right hand. The notes on the lower stave (indicated by the BassClef) are usuallyplayedby the left hand. Middle C falls on a line exactly between the two staves.
C MIDDLE
Actuallywritten:
G>
M i d d l eC p l a y e d by right hand
€>
M i d d l eC p l a y e d by left hand
The Middle C line is never drawn in its entiretysincethat would causeconfusion with the other lines.A partial line is all that is needed: MIDDLEC
Cover the five notes Middle C to G with the fingersof your right hand:
ll II Irlll MID
oD E FG ledger
Such partiallines are called
'ledgerlines.'
Now let's seehow your first five notesfor right hand are written:
R .H . tRight Ha n d )
<,1 C MIDDLE l-earn these notes now. Cover the five notes with the correct fingersof your right hand and play the next tune: I Knoz.uWhereI'm Going:
R.H. (Right Hand) You used thesenotes n WhenTheSamts Go Marc/ttng In, on page 11.
I KNOW WHEREI'M GOING \\ords & Music:Herbert Hughes
RH rrght rand)
I
&
know
*w
S he
& @
w&
*
ff
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but
love,
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and
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shoes
bright green leath - er
& ffi&w
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for
&
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C r r p r r i g l r t t 9 0 9 b r B o o s e r ' & C o . T h i s e d i t i o n a t r t h o r i s e df o r s a l c i n t h e L J n i t e dK i r r g c l o r na r r d t l r c ' R e p r r t r l i o t f lreland p c n l i : : i o r t o f B o o s e r ' & H a l v k e sM u s i c P u b l i s h e r sL t d . A l l r i g h t s r e s e n ' c d .I n t e r n a t i o n a lc o p v r i g h t s c c r : r c d .
17
HOW NOTES ARE WRITTEN.2 You now know your first five right hand notes and how they are written. frt's learn the first five left hand notes. Start at Middle C and work down the keyboard (i.e.to the left). These are the five notes:
ItltlI MID
F G A Bo
L.H. (Left Hand) They are written:
F 5
G 4
L .H . (Left Hand) l,earn these notes now. Cover the noteswith the correct fingersof your left hand and play your next tune: RtbersOf Bahylwt.
MIDDLE C 1
{>
RIVERS OF BABYLON \\brds & Music: Farian,Reyam, Dowe and McMaughton
Hold note down here L .H . (left h an d )
By the rivers
of
ru
*&** wsws
g
$ U
Ba
Yeah-
& w
s
**
s&
ffi
By the rivers
of
Ba
by -
& w
w
@
ffiffi
& w
wq@
w
*
re -
&
#
lor the ['K
ancl F,ire. All riehts rcserved. International toovrisht
mem-bered
set'urcd.
w
%
we
w ^t
&
lon
Yeah
down *
w€
&
@
& w
sat
w
w
Zi-on
we
SAI
wept
we
w
&*& trw#
There
There
lon
&
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- mem - bered
-
w
down
& *
by
You now know nine important notes and how thev are written: MIDDLEC 1
<>
I
I
/
ItlllI I Ill MID
F G A Bo D E F G /
5 F
I
4 G
l €> 3 A
2 B
These nine notes are all that are needed to play all the songsin this book. After this, new notes will be added gradually.Keyboard charts will be given to illustratenew notes as they occur. The cardboardchart included with this book fits over the piano keyboard and may be used for reference.In addition,in this book, 'letter names'have been written againstthe notes.But, 1zou should memorise all new notes as soon as possible.
Itr
1 MIDDLEC
MUSICAL TIMING AND THE BEAT The 'Beat'is the name given to the rhyhmic pulsefelt behind most music. When you were tapping your foot to Ir[4rn Tlte SatntsGo MarchingIn, BanfrsOf The Ohn, and RtbersOf Babylon,/ou were tapping out the beat. In most tunes there is a seriesof natural 'accents', which recur regularlyevery few beats. A line called a'bar line' is drawn in front of every one of thesenatural accents. These lines divide the music into 'bars' or 'measures'. Accents(not usuallymarked)
I
snnt
\
+
BAR4
BAR2
Barlines
Double Bar lines(the end of the piece, or a section of the piece)
In the above examplethe beat is written in 'crotchets'(sometimescalled 'quarter notes'):
. tltl .
-
.or|? ltll ?
?
?
(Note that the 'tails'or 'stems'may be written up or down). Look at the aboveexampleagain, and you will seethat there are four crotchets(quarternotes)to the bar, This is indicatedat the beginningof the piecelike this:
The above pair of numbersis calledthe 'time signature'.In every time signature there is: An 'upper figure':this showshow many beatsthere are in the bar (four in our example).
'lower figure': this shows how the A beats are written. In our example the lower figure 4 means that the beats are notes). wntten as crotchets ("c1urrrter"
l1
DEVELOPINGYOUR SENSEOF RHYTHM The melody notes of This OleHouse correspondedwith the crotchet beat exactly.But usually a melody includesa number of notes of longer duration. This is how some of theselonger time notes are written: Name of note Minim (half note)
Dotted minim (dotted half note)
Semibreve (whole note)
How written
Duration
)
)
Lastsfor two (crotchet)beats
)
)
Lastsfor three (crotchet)beats
)
Lastsfor four (crotchet)beats.
)
o
)
)
)
)
)
To get you usedto thesedifferenttime notes,I want you to play now some They are written rhyhm exercises. entirely on Middle C. The frst rhyhm exerciseis for the right 'minims', hand. It features'crotchets', 'semibreves'. 'dotted minims' and In each bar, there are four crotchets (or their equivalent). Choosea suitablespeed(not too fast), and maintainthe samespeedthroughout. Thp your foot once on every crotchet beat.
RHYTHM EXERCISE1 BAR4
Count: 1
2
BAR5
BAR8
Bar 1 Play Middle C on beats l, 2, 3 and 4. Bar 2 Play C on beat 1 and let the sound continue while you count and tap beat2.PlayC on beat3 and let the sound continuewhile you count and tap beat 4. Bar 3 Play C on beat 1. Play C on beat 2 and let the sound continuewhile you count and tap beat 3. Play C on beat 4. Bar 4 Play C on beat 1 and let the sound continuewhile you count and tap beats2, 3 and 4. Continue similarly to bar 8. Did you keep your speed constant? Now another rhythm exercise,this time for the left hand. Again you will be using Middle C only. This exerciseis in fl time, in other words there are three crotchets(or their equivalent)to the ban RHYTHM EXERCISE2
L,H.
Count:1
23123123123
123123123123
Did you keep your speedconstant? You now know about: 1 beatnotes .J Crotchets(quarter notes) 2 beatnotes J Minims(halfnotes)
3 beat notesJ. Dotted minims (dottedhalfnotes) (wholenotes) 4 beat notes o Semibreves
25
MORE ABOUT RHYTHM
t0
From now on you will be calledupon to put your knowiedge of rhyhm to work. The popular tunes you are going to learn will use all four kinds of notes:crotchets, minims,dotted minims and semibreves. Check that you know them thoroughly. You are first going to play tr[/hite RoseOf ,,4t/terufor the right hand. As usual before you start to play,cover the notes Middle C to G with the five fingersof your right hand.
The tune startson Middle C played with the thumb. There are four crotchets(or their equivalent)to the bar.
Remember to play legato
WHITEROSEOFATHENS
NOTES REQUIRED
\ Itrsic:Manos Hadjidakis.Words:Norman Newell. \clditionalWords: fuchie Bleyer.
| 23 @
FINGERING
4 5
note down for four beats
white roseblooms a 123 4
the 4
E You 1
D
must
leave
4
1
good 34
Till
the
1
4
12
12
3
bye my 123
white
leave
Det
love
till 4
rose blooms a
34
the 1
galn. 1
N l u s i k v e r l a g(,i , n r r a n r ' . O C o p v r i g h t 1 9 6 I a n r l I 9 6 2 S c h a t ' f l c r s - K a s s n c r N I L r s i c L t c l P a r r t o nS t r t e t . I - o n t l o n S \ \ ' 1 .A l l r i g h t s r e s e n e d I r t t c r r r a t i o n a l
me
lone
4
1
ly. 3
Now two famousBeatlesthemes,both for left hand. Before you start to play, cover the notes Middle C to F with the fingersof your left hand. The first theme startson F with the fifth finger and you start playing on the secondbeat of the bar. Remember to play legato.
NOTES REQUIRED
CAN'TBUYMELOVE/ YOU SHELOVES
I YID
F GA Be
Words & Music:John Lrnnon & Paul McCartney
F I N G E R I N G 45 3 7 I
@
Count: 1 Start playing he
Can't 2
buy 3
me 4
love 1
Iove 1
',at I
Can't buy 123
me 4
yeh! 3
She
love 1
She
loves 1
4
YOU, 2
loves you, yeh! 23
yeh! 34
yeh! 34
She
Hold the note down here
+
loves you, 123
yeh!
yeh! 1
yeh! 3
yeh! 1
Q C o p v r i g h t 1 9 6 4 N o r t h c r n S o n g sL t d . , l 9 U p p e r B r o o k S t r e c t ,L o n c l o n W l A l l r i g h t s r c s c n ' c d . I n t c l n a t i o n a l c o p v l i g h t s c c u r e d O C o p v r i g h t 1 9 6 3 N o r t h e r r t S o n g sL t c 1 . ,1 9 U p p e r B l o o k S t r c e t ,L o n < l o nW l A l l r i g h t s r e s e n e c l . I n t e r n a t i o t r a l c o p r l i g h t s t ' t ' t t r c r l
27
Now a Beatlestune for right hand: Help. There are four crotchetsto the bar. You will be using crotchets,minims, and semibreves.
The tune startson the secondbeat of the bar with the note E (3rd finger).
Before you start to play, cover the notes Middle C to G with the five fingersof your right hand. NOTES REQUIRED
HELP \\irrds & Music:John Lrnnon and Paul McCartney
I YID
eD E F G FINGERING
| 23
4 5
@
$7hen I 1 Count: 2 S t a r t p l a y i n ghereI
Nev - er 12
Oh but 1234
was 3
need 3
4
ed 4
now those
young- ef, 12
an 1
v 2
So much 412 3
bod - y's 4 3
days are gone I'm 123 41
*This curved line concernsthe singer only and is calleda 'Melisma Mark' or 'Singer's Slur'.Here the singercontinues
young - er
than
to
34
help 1
lnany 234
not
so self 23
AS 4
sured 1
'-sured' through the three the syllable notesE, D and C. Look on the next page 'Singer'sSlurs'. for five more
Now 1
find 34
I've
changedmy mind, I' ve 4 123
E Help 12
me
if 3
you 4
do
ap 2
pre 3
cl 4
1
can, I'm 12
ate 12
you
get 34
my
feet 1
pened up 234
the
feel - lng 4 3
be * ittg 34
back on 2 3
doors. 12
E
D
F Help me 12
o1
And 3
down 1
'round 1
D the 4
I
ground 12
Won't vou 234
H o l dt h e n o t e down here
-y please, 12
help -
me? 1
*This curvedline is a 'tie' (seepage31) not a 'Singer'sSlur'. O C o p v r i g h t 1 9 6 5 N o r t h e r n S o n g sL t d . , l 9 U p p e r B r o o k S t r e c t ,L o n d o n W l . A l l r i g h t s r e s e n ' e d .I n t e r n a t i o r r a cl o p v r i g l i t s c c u l e d
29
TWO MORE POPULARTUNES WITH TIES
t3
The next tune ,lrl4tatl{mts NIy Loae, also featuresties and is for the right hand. Before you start to play, cover the usualnotes,Middle C to G, with the right hand fingers.
The tune startson the secondbeat of the bar.
WHAT NOW MY LOVE
I
NOTES REQUIRED
EnglishWords: Carl Sigman.French Lynic: P Delanoe. \ Iusic:(l Becaud.
M[-
DEF 1234
FINGERING
@
Tie (holddown the note) RH
E
c
c What 2 A p l a y i n g h e r e Start I Count: 1
now that you've 4 3 2
now my 34
c
c can 3
1
How 2
1
watch - ing 234
me?_-
Ieft
34
1
D
an - oth - e r
I 4
4
c
1 I
turn 2
my
And my 34
hopes 12
to bits 234
lng 3
of
B , l i i ' . h C r , r ' , r r j r o n u ' e a lltcl rx c . C a r r a d aa i i c lA . , s t r a l a r i aal n d ' t i r e . e l l r i g l i t s r e s e n c c l .I r t t e r r t a t i < i r rcaol p v r i g h t s e c u r e d .
to 4
ash 1
clay. 1
2
Here is anothertune which featuresties. It is for the left hand. Before you start to play, cover Middle C to F with the five fingers of the left hand: This tune startson G with the 4th finger. There are four crotchets (or their equivalent)per bar, and the tune starts on beat 2:
ONEOF THOSESONGS
I
NOTES REQUIRED
(LE BAL DE MADAMEDE MORTEMOUTLLE) English lyric: Will Holt. Music: Gerard Calvi
l.'1tD
GA Bo F I N G E R I N G4 3 2 I
@
Count: 1
Well this 2 3
one of those 12341
IS
4
songs
that 2
you
and
you
4
hear now 1234
and
then-
start playing h'"r" t
You 1
4
don't know just 123
where412 Tie
1
one
;23t;'
34
don't know just 1 234
of
those
Tie
songs-
12341
that
are
2
4
o
ver
12
1234
one
of
those
t hen-
Tie
songs__
1234
and 34
Tie
It's
when-
123
that
play - ing srart 412341
a
gain.-
O C o p v r i g h t t 9 5 8 b v E d i t i o n s M u s i c a l e sd u C a r r o u s e l ,F r a n c c .O C o p v r i g h t 1 9 5 9b v P a r n c sM u s i c L t d . , 3 7 l 4 1 M o r t i r r r t ' r S t r t ' e t . L o r t d o n W l l b r t h c U K a n d E i r t ' . All righis iesened. Iirrernational copvright secured.
Now you know about ties and how they make the notes last longer. 33
PLAYINGFROMTWO STAVES
t4
and get usedto reading two staves.
This is the first time that you have had to read music written on two staves.[n your next piece both hands sharethe tune. This is why two stavesare necessary.Play the piece severaltimes
The left hand plays first. It startson G with the 4th finger.
NOTES REQUIRED
LOVEMETENDER
\\ords and Music: Elvis kesley & VeraMatson YID
GA Bv D E F ,|5.
F I N G E R I N G4 3 7 1 2 3 4 (GFrHAr.lD
D 7 r-D U
aJ Love me 1
ten - der,
love
me
Nev - er 1
sweet.
3
^---C? go C+
-c
A+
let
go.
me
sgA;--B?-
ce
Count: 1
DZI--
D
life com - plete. 3
hlve made my
c
1
love You
I
And
Bt-n
ttl
_u__E_7____ Love
1-ol-ctoJ
a me
ten - der,
love
me
true.
All
my dreams ful
T-
r---tr2! U For
mY
fil.
I
Dt-Dzr--
dar - lin'
I
love you, 3
lA)
C+ And
I
al-ways
1
Ct
no
-__----l
r r r g h t 1 9 5 { ib v E h i s P r c s l e vN { u s i cI n < . , N c r r ' Y o r k , U S A . C a r l i r rM r r s i c C o r P . , 1 { t ' - r ' r rB' t r r l i r r g t t , rSr t r e c t ,L o r r d o n W I X 2 l . R l i n g d o r n o f G r e a t B r i t a i r ra r t c lN o r t h c r n I r e l a n d , E i r c , I r r a e l . a r r c lt h e B r i t i s h D o n r i t t i o r t s ,C o l o r l i e s . : t , r ' r i r o no f L ' i r i t t ' c K
will.
TWO STAVESAGAIN
r5
You will use both hands again in the next piece NIary'sBoy Child. The right hand plays first. It startson E with the 3rd finger. NOTES REQUIRED
BOYCHILD MARY'S Wbrds & Music: TesterHairston
F I N G E R I N G4 53 7 1 2 3 4
@@
o#e an - gels sing,
Hark. now hear the
And
new King born to
a
Count:
-Dt-
_V-E'-Dt-s*f^t
Man will
live
for
ev3
er - more, Be
12
123
3
2
Day.
Christ-mas cause of 1
^;
1 : Y l
;N-G
ce
go
c?
I
I
--rt
T=--7-D.re7r-
DfrEC
T-E+_-*r------Trum-pets sound and
an - gels sing.
Listen
to
what
say. 2 -'
they
-B - l
1234
1234
2
3
-D--
t-Er-ozrgjMan will
live
4
E\-i-G 12341234
for
ev 3
Afrf
er - more, be
cause of Christ - mas ;
o
.
A?-
-l=----
1
(--C
1--1
1234
OCtior.rieht195tiaIrdl957Sc|rurrraIrrrMttsicCorp.,LiSA.BclrtrIleMusicLtd.,34/36MaddclxStreer,L
trt t
C€Day.
That
Ao-
PHRASEMARKS Curved lines over or under the notes are
L
IO rl','*' J*::Xt*.?h::H,ll?,:",,, Tie (hold down the note)
Phrasemark (pl.y legato)
Unlessdirectedotherwise,play all notes within phrasemarks legato fioined .,p).
I
NOTES REQUIRED
I'D LIKETO TEACHTHE WORLDTO SING(Jreenarvay,
r"llD
\\irrcls & Music: Roger Cook, Roger Uillv Backer& Billv Davis
oD E
GA
3
I2 F I N G E R I N G4 3 CCFTHAND@
G 5
I RH
_tl
aJ
,/ I'd
like to build the
world a homeand
fur- nish it
with
love,
EeGrow
1
3
c)Alct
Tr-_zI--
Dd.
D/EJDJEl-
Ae-
LH
^rAr-CFa T--]_--
\rT-
?-
-T-
Count:1234 S t a r tp l a y i n gt r e r e f
-U-D--
tr{t--Ee-
D;FE7*'---E7-
ap - ple trees and
h o n - e y - bees
cTDr-c7and
snow-white tur - tle 3
doves.
I 'd _ A+-
2 Y tl
DJ-EJ-D/-Er-
aJ like
to
teach
-z\;- ^--4 1 At-C?_
the
Al-
world to
sing
in
per - fect
har - mo
t=----A;--C?At-
: i : . i l , 7 1 l r l l l r t ' C . o r a C o l a ( , o . C o p v l i g l r t a s s i g , r r t ' tr ol S l r a t l a N l t r s i t I n c . . I - ' S A . R i g l r r s a s s i g r . r c tll! l 7 l f i r r t l l c L I K a r t < lE i I t ' r r . i r \ l r r s i c I - r r l . . 5 J h t , o b a l c l s R o a r l . L , , ' i i l , r t , l r , t , t . . c , l l r i g l r t r r c s t ' r v t ' r l . l r r t c r r r a r i < > r r acl o P v t ' i g h t s t ' t t t t ' c r 1 .
a,J c./ .
ny.
I'd
5
1
like
to
-cf
DFE7"-ET
ffD+ET\J-ET it
hold
my arms and
in
Dzl-gzcom - pa 3
it
keep
ny.
_c?'
23
OF LONDON STREETS
NOTES REQUIRED
Words & Music: Ralph McTell
F I N G E R I N G4 3 2 1 2 3 4 @ CTEFTHAND 5
3
1
_d--=
::l
Lv_
old man
Have you seen the
5
l)u-
in
the
C++ closed
mar - ket,
down
Count: 1
1
2
AJ
uo--7
ll
Kick - ing 31
up
the
pa - pers with
his
R
IJ
shoes?
out -
worn
C++C
-cf
5
3
3
t1-7--
-T-' In
(J
his
E
eyes you
see
ter - day's
pa - per
hand held loose - lY 1 e? ? a - v 1-- C t
no pride,
F
by
ol Yes 31
. C1+
tell - ing
4
t++t-
1234123 O C o p v r i g l r t 1 9 6 8 a n d 1 9 7 2 W e s t r n i n s t e rM u s i c L t d . , l 9 1 2 0 P o l a n d S t r e e t ,L o n d o n W l
yes
G-r:
-
news.
ter-daY's
A?
B?-
ce_
41234 All rights resen'ed. lr-rtcrtrationalcopvright securccl
his
side,
QUAVERS
t7
The next three piecesfeaturea new time note: the quaver. Quavers(or eighthnotes)
,l,tnlJ
'and'between beat If you say the word numbers, it will give you the time of the ouaver.You will come acrossquaversin bars 10 and 11of the famoustheme from the ChoralSymphonyby Beethoven. In this and the-followingtwo piecesI have marked the placesat which you should 'and' when counting. say
Quaversmove twice as fast as the basic crotchet beat:
Themefrom CHORALSYMPHONY NOTES REQUIRED I
I
I
T
Bv: Ludwig van Beethoven
I
YID
G
eD E F G
5 1234 F I N G E R I N G4 (LEFTH-,AND^.GlcHrrtAtlD) 5
3
-T-'
----DU-
E e-DC-
Count: I
234
q
eZ--TQU-cv--
1234
12341234
3
1
E,V-DU-
dE
u)-- Cl
e7_==-DTc
4
1234123412341234 Baarr 1 0
2
d
ue
e
Baril 1
Dr-E ) t s t zsffi
ETcJ
- D rfElr
?et-Dt-
CJ
t)r
l l
ri ll l l
4
il
1
2
3
4
1
2and3
4
1
\ rghr I sE4 Dors.r Brothcrs Music Ltd.. London wl. All dghs rrsened. lnr€rnatioDal copvrighr securcd.
2and3
4
1
2
3
4
3
1
5
-!--tr
JU
E =-DU-
uo
eTJ
CHITTYCHITTYBANGBANG
E
ve
+
c+
NOTES REQUIRED
Words & Music: Richard M. Shermanand Robert B. Sherman
F I N G E R I N G4 3 2 1 7 3 4
@@ CO M M O NT I ME .A n o th e rw a y o f w ri ti n S:ft
+
1
-/
1
1
il-cry
\ pret ry Chit ty BangBang 1 Ce????^4
you
Oh
Q7t-
-aF
Juo
J
\
C+
Chit - ty Chit - ty BangBang
\ love you
we 1
I
I
C?go
I
r
I
Count. 1
and
and
;
and
2
-d-D-ctAnd
\ pret - ty Chit- ty Bang Bang
our
oA
-
)
a
-
ta ^4
Chit- ty Chit - ty BangBang 2 P,oaaata^LLi'
loves
^^
us
too I
Ba-9?
I I
and
3
and
3
1
-U-=nc4High,
2
and
and
An - y -where we go
low,
1
Cc+?
??-4
\ on
pend.
cg-
lll
t-17
I
l l l
1and2
.TlDr C=---r C1. Chit- ty Chit - ty we de
and
4
3
and
and
3
3
1
-u-cZE----zrDTcTr
-
Bang Bang Chit - ty Chit - ty
,
,
, P,Z ^^ T-AF-
2
;
and4and1234
Bang Bang,
our
fine
l)four
fen - dered
B3 -r
friend! 1
(i-
Ce
irr
STACCATOAND ACCENT
t8
A dot over or under a note means that the note is to be played 'Staccatoj which means 'cut shortl Keep the wrist loose and 'peck' at the note with the finger. Stac&o (cut short) is the opposite-of legato (smooth and connectld). I
i I
1
A dash over or under a note means hold the note for its full value, or even a faction more. | a
Accent(renuto.mark)-hold the note(s)for its full value
? I
In the next piece make the contrast between staccatoand accentednotes.
- cut the note(s)short Staccato
OLD MACDONALDHAD A FARM
NOTES REQUIRED
Traditional
I YID
eD E
GA F I N G E R I N G4 3 @@
dcr++
uy
Mac - don - ald 4
Old
count: 1
had
farm
a
n-l
i
ce'
U
-UT
Ee
-ee
-
i
And 4
234123412341234 3
E---Tu)U
1+
ce'
o
q ]
this
farm
-\.
he 4 L;L
1
2
3
had
),
1
2
chick chick here
2
3
and a 4
4 and
i
-ee
i
-
o!
With 4
a -
Lt-
4
3
2
1
3
4
1
2
3
4 and
2
2
1
crlt
Ee
some chicks,
^r -l
4
1
1
o!
)
1
on
3
3
1
dcl
I2
c++T
c
+
chick chickthere,
here a chick, there a chick,
ev' - ry.where a chickchick,
2
3
4
1
and 2
: rlL( l9E4 Dorsev Broiheri Music Lrd., London wl. All righ$ resened. Inrerradonal copwighr secured.
e
J
JJ
cl) 'l
J
3 and 4
1 and 2
and 3
4
3
1
ottt
L7
7
c€'
J
UJ
i
i
Mac - don
Old
ald
a
had
;
o!
Ee-ieei-
farm
I
4 A),)^
NOTES REQUIRED
RIBBONS SCARLET \\brds by Jack Segal.Music by Evelyn Danzig.
5
F I N G E R I N G 45 3 2 t 7 3 4 (TEFTHAND@
-i:
-Dzr--
---T---=Cpeeked for
I "And
-D'_to some 3 Ar
ln
me
CL
Fr|,
cel
good- night
say scar -
let
Ba
\r I'
I let
then scar
and rib - bons, 4
on
!-l-
m!' heard rib bons 2
-B(
ct
-+-
I
p lsoftl
child for 3
night
ach
my
mf
crescendo or cresc. ( g e t t i n gl o u d e r )
-
itg,
moaer at elyloudr
t \
t,,
c+
a
-Ar*
Just 3
be
fore
the
Elrt
)
dawn Ce
was
rv
I
Ul J
break
ittg
came
those
love
cb
ly
^1
t
p Ritenuto or Rit. Slowinq down
-il-Dtt-
c;-l-scar
--Z\.
let
ce'
rib - bons, 4
ffi
1
Grs--
let
scar A7---
C*
rib Q,r>
- bons 5
for A;
AT
her
hair.
A a vl
*RepeatMarking.Go backto the matchingsign: and playthroughthe first 8 Barsagain. l|: O Cop\ nshr 1949 b1 Mrlls Musrr IDL., l6l9 Broadwaa, Ne$ York, NY. trSA. For the Brnish Empire 1exc. Canada and Ausrralasial eelw,; MiTls Muric t rd., 2so Purl.rwav, cruvdon c{9 4qD. f,rgland. All rishrs rescncd- Inre;nadonalcoprrisht seered.
-+l
RESTSAND SILENCE
t9
Silencein music is important. Silences can be dramatic,romantic,or add an atr of expectancy.To indicate silencein music, srgnscalled 'Rests'are used.Each Time Note has its own rest.
Crotchet (quarter)rest. A silencelasting 1 Crotchet beat.
Crotchet (quarternote)
-
Minim (halfnote)
Semibreve (whole note)
Quaver (eighth note)
-
Minim(halflrest. A silencelasting2 (crotchet)beats.
I
Semibreve(whole)rest. A silencelasting4 (crotchet)beats-Or: one whole bartsrest, regardless of Time Signature.
I
Quaver (eighth)rest. A silencelasting1/z (crotchet)beat.
a'l I
You will come acrossvariousrests in Annie'sSongwhich you are going to play now. Make sure you respectthese silences.The first few rests are 'arrowed' to make it easierfor you.
ANNIE'SSONG
NOTES REQUIRED
\\brds & Music by TohnDenver
T
I YID
A 3
FINGERING
;5.
\y
DEFG 5
1234
@@ 4 2
These two notesare playedtogether
4
2 t-L'J
a You
p o
het rest
filI
up
my
s e m i b r e v er e s t (whole bar)
Uor' sen
.e
L'T
like
-
a
s e m i b r e v er e s t ( w h o l e b a r )
crotchet rests I
I
dt
v+J
\ night
for
a
ln
ci
Like the
est
I
z4
I
cF.\.-.t
tT
UU
;AL
Like a
time
spring
i:
These two notes (E and C) are played together 3
2 L
moun- t ains
^2
4 2
FI; -o-uu'
ts e__
JJJ
+
_ v
L"\.#
-
\--t--
walk
in
the
rain 1-
c?'
2
2 FZ-
da'
-ts
R
LlO.
VJ
.
.e
L'eL' --.-t
Like a f i",ual
e
storm in
des
the
t-
vu
Like a
ert _
F
r_t_
J
sleep- y
blue
3 4 2
1
)t\ o r4
Ct
CT
\ cean
- "^'-
You
+UJ-fill
up
JJ(/.
my
sen
1
cEL!_S C S-
--^{
tl -V-
WU-come
fill 1
ee'
me
a
9'-1r].
3
OCtlpr'riglrtl97{Clrcrrr'[-arlc]\{trsitC()..L:SA.Chcrrr'LaIrt,MrrsicCtl..USA.Clrcrrr'LalrcNlusic.Ltcl.'62Carrtpderl A l l I i g ' l r r st t . t ' t t t ' , 1 I r r t t t r r . r t i , , t r a l , , , 1t ,i rg l r l : t t t t t t t l .
+:
I have 'arrowed' the first few restsin this piece.After that I leave it to you to watch for and respectthe resls.
NOTES
STRANGERSIN THE NIGHT
I
REQUIRED
\lusic: Bert Kaempfert.words: CharlesSingleton& Eddie Snyder.
Ir4lD
A BoD E F G 5
FINGERING 321234 CLEFTHANp^@ 1
d
c+uc
:tc4DU-c-uT---c7
" c 1the u ? =night _ Stran-gers in frp (moderately soft)
ex-chang-ing glan - ces,
won-d'ring in ?
olcr
+ Y,
I
_-l
I
+
-Y
U
night
f Race>-'
T--T
r/
the
C+L'
r C+
what were the chanc - es 2
we'd be shar-ing love-v
Be
.--]-B?
a A!BT'
-niBa
I
be - fore the night
was
iro ?B?c?Bf
n?-
2
-\
)-r
d
-z
DO\
--z
D+EHD*et:
\)
Some-thing in your
through
-DJEJTtE-ED--was so
eyes-
in - vi
ting,
, r tTt
a
7 CJU 5_.--some-thingin your smile_
c?L,7
.r
llalf.drll
E-
CJUC was
so
UJ
ex - cit
CT -
inB ,
some-thing in
my
heart
ai c+ i n ) c-s-
1
c told
?Be
3
me
.
E
.J
I
must
have 2
B.
you
.
.-
Strang-ers cresc.
E_:\--.__-,
in
the
night
=\----l
lone
two
peo - ple
ly
stran - gers
were
night
4 -O-
ts
r-E
up
to
the
mo- ment when we
.Ly
=D?
?
-F lit - tle
said our first hel - lo,
did
we o;*,
f
1
3_T_r
--E?---7D love was just
'rrw
c-v11 a glance a - way, a
\ warm em-brac-ingdance a - way and
o 3c*
C +u"
?CJU ?',--z
ev - er si ncet hat night -
p
e -iP F -T-Frv-lrn -P,o
1
d._tgJuJEvuu
C+ in love for - ev CJUr
cJ
we'vebeen to - ge
ther
lov - ers )
o3c;
at
first sight-
z,.:c7-
PR-
R3
3
r\-t
-------TZD7C7-
a) It turned out so right 3 rr), oL a ^.i. -Z'/
ry
for stran- gers in
er
the
\ night.
c{
cresc.
E=
>e
f
O C o p v r i g h r l 9 t i 6 C h a m p i o n M u s i c C o r p . a n d S c r e e nG e r n s - C o l u n r b i aM u s i c I n c . , U S A . M C A M u s i c L t d . , 1 3 8 P i c c a d i l l v ,L o n d o n W l for the nriiish Commonwealth 1exc.Canada, Australasiaand British Territories in South Anrerica), South Africa, Eire and Continetrt of Europc All rights resen'ed. International copvright secured.
- 1L '
I
NOTES REQUIRED
SINGIN'IN THE RAIN \\brds: Arthur Freed.Music: Nacio Herb Brown
Mrc
GA Bo D E F G 43212345
FINGERING
@@
4 -V
\I
AJ
*f r,^
'-------------
sing
4
-r
F-=-
-2
---r----r--
ing in
A
Rn
A.
,-Li-
\J
a)
C z ----Z rain,
What
py
hap
ri - ous
A€--G-
-J
\/ gain.
laugh
I'm
ing
at
I
=
-
-
aJe
2 Ra
a\ -A
L -
-___/
2 Ro
clouds,
I'm
ing
feel
Ue
a
l7
'-
uJ
Be
p-
E-
\---l
glo 2
j-n
-rr;-Afi---c
a
e
in
2
'
lln
AA
d
ittg
sing
Just
b-
aLue
Ca'-rl
rain,
the
P, rs
1;-J-
I EZ-
c1
UJCl
SO
E
UO
up
dark2 Bo
\( bove,
a n
The A-
the
r E-
c in
sun's
my 3
heart
E"
and
rea 1 Cg
I'm
P,rs
A r
It
for
dy
Cl
Ar
Let
love. I
a
-A-n
the
4 tt
1
-
-rr-
G
G4
W7t)irE-
WD-E''storm
; $n
y clouds
ry
Ev'
chase
the
from
one2
Br
Aat-Gz-Ap
Come
place,
Ae-e-t----p--
5 --
E.v-
L-Lre
--
WDTEv-with the
on-
BZ
f 've
rain,
2 Br'
A^
I'll
face.
on my
smile-
a
A-a--'.-..-
5
ut
E-vD-
il walk-
\ lane,
down the
B3
A
with
hap
a
A-
-
py
2 Br'
\( frain,
re
L,-rt
And A-
1 Y
-tc}-Gtt a) sing
in'
I 4
Just
sing - in' 2
P^r
in
rain.
the
cresc.
-
G4 E=
trrezrDT
Et--
A rc|.
A7-T
a'
e
"f @ C o o v r i e h r l q 2 q b v M G V l n L . . I 5 A . C o D v r i s h e n s a l 1 9 5 7 R D L b r n sM u i n C o r D . . U S A . R ' s h r s r h ' o u e h o u r r h . w o r l d . , ' r ( r o l l e d b y R o b b , n s M u . k C o t p . U s A A d m , ; h r e r e d h v B i a T h ' . . M u r n L r d . , 3 7 / 4 i M o n r m e r s r r e e r ,L o l d o n w l . r o r r h r U K a n d E n e : .{ l l r i q h r ; r e . e t u e d .l n r e r n r l o n a l . o p \ n g h r s c c u R d
+;
LAST WORD In the meantime Your last song in this book is SuPerTrouPer
Congratulationson comqteting Book. 'The Complete Piano PlayerJ One-of Lr Book TWo You will be: O Inatning new notes 'fingering' o FindingLut more about o Using sharPsand flats 'keys' o Und&standing somethingabout O Discoveringnew piano techniques'
NOTES REQUIRED
TROUPER SUPER by Benny Anderssonand Bjorn Ljlvaeus
\\brds & Music
ll I
MID
,=.,
IG
\7
4 5
| 73
4
FINGERING
DE FG
@@
Dl-Ee-rzEc-P
f
ti
perTrou - Per
lights are gon - na find
lrl€,
Shin - ing like
Feel-ing like a
Smi - ling, hav - ing
num- ber
the
one.
To-night the
-ll
ffirW
ffiF+=--JU
Su - Per Trou - Per 1
c??
l-
beams are gon - na blind
?
e
trl€,
but
I
Ewon't feel
DCr blue, 4 Gffi
e€-
l l
I
a
like
I
al-waYS
do.
'Cause some-where in
the crowd there's
S u ' e d e nf i r r t h c r v o r l d B o c u M t r s i c L t c l . , l W v t r d l r a r n Y a r d , W r ' n d h a n r P l a c e ' l , o n c l o r r W l f b r G r e a t B r i t a i r r a n d E i r e . I ( . , r p rr i g h t 1 9 8 0 L T r t i o rSl o n g sA B ' S t o c k h o l r n ' r., rights resen'ed. International copyright secured'
q OC,T 2007
10/05(56325)
