Nancy Marano Musicianship for the Jazz Vocalist

Nancy Marano Musicianship for the Jazz Vocalist All songs and exercises written by Nancy Marano unless indicated.

© 2013 advance music, Mainz

International copyright secured

Layout: Harald Wingerter, musiklektorat.de Cover art by Schultz + Schultz Mediengestaltung, Wien, Austria Cover photograph taken by Charles Guo (© Nancy Marano) Photograph (p. 184) taken by Lu Feng (© Nancy Marano)

Order No. 14108 ISBN 978-3-9548100-4-8 ISMN 979-0-2063-0016-5 UPC 805095141085 This book is dedicated to my grandchildren

Noah Alexander and Ella Grace Fasulo

Dear Noah and Ella,

My wish for you is encompassed in the lyric of the beautiful and poignant song “Heart’s Desire” by Dave Frishberg and Alan Broadbent. If you pursue your heart’s “special dream” with passion and commitment, you will realize one day that it has become a metaphor for your life, as it has mine, and the very essence of who you are.

All my love, Grandma TABLE OF CONTENTS

Many Thanks ...... 9 Nancy Marano ...... 11 Preface ...... 12 Why This Book? ...... 14 “How Do I?”...... 15

1 BEGINNING YOUR STUDY PROGRAM ...... 17

Your Course of Study in Five Sections ...... 17 Goals and Methods...... 20 Street Singing ...... 23 Introducing Your New Best Friend ...... 25 Lesson Plan – Your “Specific” Weekly Assignments ...... 26 Remedial Studies – Your Weekly Lesson Assignments ...... 27

2 WEEKLY ASSIGNMENTS ...... 33

Level One and Everything Voice: Double Study ...... 33 Level Two – Your Weekly Lesson Assignments ...... 47 Advanced – Six More Weeks! Specific Lesson Assignments ...... 54 Advanced Street Singing ...... 55

3 REMEDIAL STUDIES ...... 56

Basic Music Terms ...... 56 The Notes on the Staff ...... 61 Intervals Intensive ...... 64 Intervals – Basic Construction ...... 65 Intervals – Sing and Play...... 67 Time Signature Chart ...... 71 Rhythm Exercises ...... 71 Time Signatures ...... 73 Swinging the Eighth Notes ...... 74 Rhythm Exercises – General Discussion ...... 74 Rhythm Exercises – Scale Format ...... 75 Rhythm Exercises ...... 76 Street Singing ...... 80 Getting It Together ...... 81 Pre-Scale Information: Major and Minor Seconds ...... 83 4 LEVEL ONE...... 87

The Major Scales – Emphasis on Piano Technique ...... 87 The Sharp Major Scales...... 89 The Flat Scales ...... 90 Basic Scales and their Syllables ...... 92 Emphasis on the Diatonic, Pentatonic, and Blues scales...... 94

No Blues For Noah ...... 97 Ella Bella’s Blues (Female Key) ...... 98 Ella Bella’s Blues (Male Key) ...... 99

Harmony Study ...... 100 Street Singing ...... 103 Your First Song!...... 104

Twinkle Twinkle Little Star ...... 105

Using Melody Chords in the Right Hand ...... 106 “Twinkle” with Melody Chords in the Right Hand ...... 107

Indiana ...... 108

Six Piano Pieces to Play and Sing ...... 110 First Piece ...... 113 Second Piece...... 115 Third Piece ...... 116 Fourth Piece ...... 117 Fifth Piece...... 118 Sixth Piece ...... 119

5 EVERYTHING VOICE...... 121

Vocal Warm-Ups ...... 122 Thoughts on Songs...... 125 Breathing, Relaxation and Warm-Up Exercises ...... 127 Vocal, Interval and Ear-Training Exercises ...... 128 Vocal Exercises and Musicianship ...... 132 Major and Harmonic Minor Scales ...... 132 Ear-Training and Musicianship Exercises ...... 133 Musicianship Exercises – Perfecting Pitch, Practicing Half-Steps ...... 134 Scale and Interval Practice – Voice and Musicianship...... 136 8

6 LEVEL TWO ...... 138

Intervals Intensive ...... 138 Relative Minor Keys ...... 148 More Scales...... 150 Basic Scales and their Syllables ...... 151 The Harmonic Minor Scale ...... 153 Exploring the Blues Scale ...... 155

Blues For Dindah...... 157

Chord Chart ...... 158 Basic Chords and Inversion Exercises...... 159 Chords and Inversions ...... 161 Building Inversions of Seventh Chords ...... 165 Rhythm Exercises – Advanced ...... 166 Street Singing Advanced – Six More Weeks ...... 173 Advanced Street Singing ...... 173 Sing and Play Carl Czerny ...... 174 Your First Arrangement...... 179

Rose Room...... 180

Nancy Marano ...... 185

CD Index ...... 186 9

MANY THANKS

To all my students There is a great deal of all of you in these pages. You have taught me so much about listening, living, and sharing. Each one of you has helped me enlarge my skills and become a better thinker and a better teacher. I will treasure the memories of our music and friendships. Thank you all, very much.

Veronika Gruber Thank you for giving me the opportunity to share my voice and piano system inter- nationally with aspiring musicians. It has been a pleasure to work with you on this project, which is the realization of a dream for me.

Harald Wingerter Thanks to my lay-out editor for this project. Harald has guided me through every step of the Musicianship for the Jazz Vocalist contents and process and I have so appreciated his ability and open communication.

Julia Baldauf My editor at advance music; a lovely woman to work with. Julia made me feel so welcome at the company, as she co-ordinated everyone’s efforts and took this manuscript to the finish line.

Charles Ball Hearty thanks to a brilliant Boston journalist, who also happens to be a quite char- ming brother-in-law. Charlie’s valuable input was just what I needed to be certain that the telling of my “personal” musical story would be clear – and sound like me!

Beat Kaestli (vocalist) Pete McGinness (vocalist, trombonist, arranger) Steve LaSpina (bassist) CD vocalists, providing the essential male sound and singing so well. And as bassists go, you simply can’t do better than our Steve LaSpina, the solid ‘anchor’ for any group.

Jim Czak and Bill Moss (CD Engineers - Nola Recording, NYC) Nola is a mecca for quality recordings, professionalism and a healthy dose of humor!

Mulgrew Miller, Barry Harris, Annie Ross, and Jon Hendricks Your musical artistry and educational talents have inspired me for years. I am so grateful for your very kind words of endorsement and support of me and this project. 10

Dr. David Demsey Coordinator of Jazz Studies at William Paterson University Joris Teepe Head of Jazz Program at Prins Claus Conservatorium, Groningen, Holland Howie Richmond Founder of The Richmond Organization (TRO) Judy Bell Creative Director, The Richmond Organization Jean McClelland Certified Teacher of the Alexander Technique Roger Schore Lyricist

Remarkable friends all – invaluable sources for advice, comfort, and just plain good ideas. You have always been there whispering in my ear: “You can do it!”

I love you all.

Nancy 11

NANCY MARANO

… was profiled by Whitney Balliet in The New Yorker, the CBS Sunday Morning TV program, The Wall Street Journal and programs on National Public Radio (NPR).

… was featured on both voice and piano on Marian McPartland’s Piano Jazz (NPR).

… was named Top Four Jazz Vocalists of the Year by IAJE Journal for her CD If You Could See Us Now with the Metropole Orchestra (arranged by Manny Albam).

… Nancy’s CD You’re Nearer was voted Best of the Year 2000 by Downbeat Magazine.

… eight CDs to date as a leader; Nancy has recorded as guest artist with Benny Carter and Gerry Mulligan.

… recordings/performances with Benny Carter, Gerry Mulligan, Michel Legrand, Grady Tate, Frank Wess, Roger Kellaway, Dick Hyman, Michael Abene and Claudio Roditi.

… has appeared at numerous festivals including North Sea Jazz Festival, Den Haag, Sea Jazz Helsinki, JVC Jazz Festival, NYC, Charlie Parker Festival, NYC, Women in Jazz at Kennedy Center, Barry Harris at Town Hall, NYC, Alec Wilder Tribute, IAJE Conventions.

… is the vocal editor of the Bill Evans Fake Books, Vol. 1 & 2.

JAZZ EDUCATION

. . . International Clinics Artist in Residency at the Conservatories of Amsterdam and Rotterdam. Master Classes at Prins Claus, Den Haag, ARTEZ Arnhem, Enschede. Clinics in Slovenia, Germany, and Italy.

. . . Jazz Education (USA) Member of faculty at William Paterson University since 1986. Jazzmobile workshops in Harlem, NYC, since 2006. Formerly member of faculty at Manhattan School of Music for 25 years.

. . . Private Lessons and Workshops Workshops in NYC called How Do I? (spring and fall sessions). Private voice lessons as well as voice, piano, and musicianship sessions. Skype Lessons for voice, piano, and musicianship.

12

PREFACE

I come from a long line of musicians. My dad, Nick Marano, was a professional pianist and marvelous musician who played all styles of music. Mom was an excel- lent, natural singer who introduced me to the recordings of her favorites. My sister, June, has been an opera coach at Manhattan School of Music for 25 years. She was probably honoring the genes of my opera-loving grandparents. My grandmother was a mandolin player in Naples, possessing the gift of perfect pitch. Although singing was a major part of my life as a very young child, formal piano lessons began when I was about 6. My father, my first and best teacher, was a charis- matic man who made learning an exciting adventure; in the process, he trained and inspired us to strive for excellence as musicians.

In my teens, my sister and I – along with my father – studied with a wonderful Israeli teacher from Juilliard who came to our house and taught each of us while mom made dinner for all. Those Tuesdays were quite a marathon! One day my jazz record collection grew quite suddenly when my dad’s friend lost his job as a DJ at a radio station that converted to a talk format. The next thing I knew, stacks of records became part of my bedroom furniture. The artists were mostly jazz vocalists, but also big bands and piano trios. These recordings became my after-school musical wonderland adventure. I sang along with the great singers in my bedroom mirror and pretended that their musical lives were mine. As I sang with the best arrangers – both small groups and big bands – it thrilled me, and I knew then and there that music would be my life. I loved Ella and Riddle, Nat Cole’s Trio, Sarah and Lena, especially loving the “live” albums where my fantasies could really fly. I listened to Peggy’s pitch and time and marveled at her understated style. I sang along with Mel and Marty Paich’s wonderful arrangements. I knew every lick and note in all the Sinatra recordings and I longed to be a “Hi-Lo.” Carmen and early Nancy Wilson recordings focused my goal on night clubs, as did the cool stylings of June, Chris and Anita. I loved Dinah and Joe Williams, The Basie Band and Ray Charles.

About the same time, Dad came home with the first editions of the “Illegal” fake books. When I realized that all the songs I was singing in my bedroom could be found in these fabulous books, I knew I could play them myself because my Dad had taught me all the chords and I was a good sight-reader. As this new road opened to my journey in music, I excitedly explored these books for hours on end, learning to transpose the music to my key so I could accompany myself. Dad always encouraged me to use our tape recorder as a learning tool and we taped everything! Even when friends and neighbors came over, we gathered around the piano, singing and recording impromptu shows. Those songs included the wonderful standards that have come to be known as the “Great American Songbook.” We would sing and record them, with my dad directing, conducting, announcing, playing and singing. And always, always smiling!

My sister and I went on with our own professional lives in music; my parents continued to spend hours at the piano together: each song recalling a moment together in their marital and musical lives. They sang and played these same beautiful standards until my mom died at 80. At seven years of age, my music books were the usual Hanon, Czerny, early Bach, Kabalevsky Children’s Pieces and Bartok. But because I loved singing so much, I 13

accompanied whatever melody I was playing. I sang every note, either making up my own lyrics or using scat syllables, before I even knew what they were. I had no idea how beneficial the combination of singing and playing would be to my ear development. Because it was natural and fun for me, I took it all for granted. I was simply “following my bliss,” but in the process I was developing my ear in a major way, always connected to the piano. The seeds for this book were sown way back then. I know now that the harvest is never ending.

Fast forward years of classical and jazz piano studies, vocal performances with bands on gigs with my Dad and, later, singing on my own. Along the way I got wonderful experience in junior high and high school: playing for school shows, accompanying the chorus, singing in concerts and playing piano with the jazz band. At 16, I began teaching piano to children in the neighborhood. At 18, I was accepted to Manhattan School of Music as a classical piano major. The irony was that I would eventually become a member of the jazz faculty. In my late teens I enjoyed a fascinating musical period. I was spending so much time studying classical music, but at the same time I was also beginning to sing regularly as a professional jazz vocalist. I did studio work and gigs with bands on weekends. When I was 21, I was offered a contract with Columbia Records which resulted in three single releases.

You often hear the advice, “Do what you love, and do it with passion.” And so I have, earning my living exclusively through music. During my years as a mom, I did a solo gig at New York’s Waldorf Astoria Hotel for 18 years, as well as some studio work and jingles, once again using the skills I developed growing up, playing the songs I continue to love. My first recording was “The Real Thing,” released in 1989. Since then I have recorded seven more CDs as a leader. I have been a guest on a double CD with Benny Carter, and a guest on “Swing is Here” with Dick Hyman. I have performed internationally at concerts and jazz festivals and given master classes and clinics at major conservatories in the US and abroad. It has been my good fortune to study with many great classical and jazz teachers; I have also learned so much from the marvelously talented colleagues that I work with in New York and internationally. Sharing knowledge and music with artistic giants has fed my soul and been a source of excitement and fulfillment.

Now I enjoy a wonderful balance of performing and teaching music that I have loved all of my life. I sincerely hope that every vocalist who works with this book will be committed to the patience and practice needed to move forward to new goals. This will also guarantee satisfying feelings of empowerment and achievement and the confidence they instill. My wish for every singer is to feel proud and comfortable with her or his band as well as on stage. To feel certain, knowing that you know. No one can ever take away from you – the best feeling in the world! If this book helps get you to that place, I will, in my heart, share your joy.

Nancy Marano 14

WHY THIS BOOK?

Vocalists who study with me, privately or in workshops, share several similar challenges. The major obstacle to their becoming exceptional jazz singers is the lack of any study of an instrument. In addition, they lack understanding about how to practice and the discipline of practicing. The result is little development in what the ear is hearing, and since you can’t sing what you can’t hear, performances tend to become stagnant. Many singers complain of becoming bored with their own gigs, especially in their inability to improvise lyrically, or by scatting with syllables. Some took piano lessons as children, but abandoned them after a few years. In most cases, the piano seems to have been a separate issue, not related to music as a whole or singing in particular. I was fortunate, as I said in the introduction, to have music and piano lessons in my home that were part of the whole: singing, playing, writing, composing. Thus, music was integrated into my being throughout my childhood. I have designed a method called How Do I? because it asks the questions – and seeks the explicit answers – required for successful teaching and learning.

After the release of my first CD in 1990 I joined the faculty of the Manhattan School of Music. In 1994 I was asked to teach at William Paterson University in New Jersey. Since 2007 I have been a vocal instructor with the Harlem-based Jazzmobile Saturday workshops, founded by Dr. Billy Taylor. The seeds for this book were planted the first time I adjudicated at a jazz vocal audition at the Manhattan School of Music. I was shocked at the lack of musical skill and technique of nearly all the vocalists – astonished, in fact, that some were even allowed to audition. The disparity between the jazz vocalists and instrumentalists was undeniable and, in my mind, inexcusable. One day I was asked to teach a special class on the fundamentals of jazz singing. It was a valuable and popular course, and the student vocalists were appreciative as they developed new skills that prepared them for a career in a variety of of musical venues.

Over the years, I developed and refined that original concept. For my private students, this method has evolved into a 90-minute lesson that includes voice, piano, ear trai- ning, rhythm and harmony. The method also works well in group settings, specifi- cally in classes where each student sits at a keyboard. Many people believe that because the feeling of jazz is intimate, relaxed and conversational, disciplined practice is unnecessary. On the contrary, jazz is a complex art form built upon years of cultural and historic influences. In music, as in sports, you must master the fundamentals and then go on to refine your skills. Your goal of excellence must be built on a solid foundation, requiring seemingly endless practice and repetition. The same with music. One million tennis serves. One million golf putts. One million breast strokes. One million musical notes. Mastery is achievable and, oh, so worth it. So now, let the journey begin! 15

“HOW DO I?”

SINGING EVERYTHING YOU PLAY – AND PLAYING EVERYTHING YOU SING

The essential component of my basic recipe for empowering the jazz vocalist – in fact, the absolutely necessary ingredient to developing what I call Critical Listening Skills is: the piano! “That’s it?” you ask. It does seem like a no-brainer. My dad used to say, “The piano is your best friend!” He was so right. This manual shows vocalists how to teach themselves by using the piano. This method works because the mind doesn’t drift and lose focus. The studies demand the simultaneous use of the brain, voice, ear and hands, a total concentration and integration of all skills.

In Musicianship for the Jazz Vocalist, I have assembled the best of what was taught to me, combining it with what was natural to me growing up in a musical home. Add to the mix the input of many fine musicians and teachers. The additional ingredients consist of my 40-plus years of performances as a singer and pianist and as a solo performer who accompanies herself. The icing on the cake is my 40 years of teaching students from 5 to 70, both privately and in the classroom. Each exercise and practice approach in this book has been carefully thought out and tested to guarantee improvement. If consistently and correctly practiced – and daily practice is essential – this method will develop the vocalist’s abilities in the following areas: keyboard skills, jazz conception, rhythm comprehension, interval knowledge, pitch awareness and perfection, ear development, voice technique and harmonic understanding through the singing and playing of chords and scale study. And it is designed to fill in the gaps for those vocalists who have studied somewhat sparingly in the areas of piano lessons and random theory courses.

I always ask vocalists who come to study with me, “How good do you want to get?” Perhaps you want only to sing at your sister’s wedding. Perhaps you would like to sing once a month in that little club down the street. Perhaps you simply love the music and want to know more about it, not caring if you ever perform. If you are serious about building a career as a jazz singer, however, you must do what the players do, i.e. commit to a thorough study of this music that you love. Making this commitment will insure that you earn the respect of your band. They will take you seriously, because they know you care about the music. They will help you, and there will be an honest give and take – which will result in all your perfor- mances rising to a higher level.

Frankly, you will confront some players on the bandstand who think that vocalists lack respect for the music. In too many instances they are correct. And that makes it so much more difficult for all the rest who are serious singers and have to overcome that assumption every time they call a tune. There is no substitute for knowing that you know. In this current world of faking real knowledge and idolizing the mediocre, some things can’t be covered up with a fancy website or Facebook page. Sound, pitch and timing are either there or it will be quickly obvious that they are not. 16

This book is divided into fi ve levels of increasing diffi culty. Each level contains chap- ters with exercises in intervals, chords, rhythm, vocal technique and musicianship, piano facility, and songs. I will be teaching you how to teach yourself. All the exer- cises must be done playing the piano and singing. Every day you will be working on several chapters simultaneously. Do not skip whole chapters, i.e. rhythm, intervals etc. Preparing the various lessons daily is what will develop your ear. Practice a small amount in each chapter, every day for ideal progress. This information cannot be ‘crammed.’ Accomplish something every day.

Note Each vocalist comes from a different musical background, especially in the area of piano study. If you fi nd that rhythms or intervals in any particular level are too easy, or too diffi cult, feel free to move to another level for that particular area of study.

Remember The goal is to even out all your skills.

I love teaching. I love sharing this music through teaching. I love introducing great songs and singing legends to young musicians who will produce the music of tomorrow, building on the foundation put in place by the great musicians of the past. I love helping people to become empowered, no matter what their level – and I love being right there when they get it! I love to see their understanding and relationship to music grow and intensify because of knowledge and practice. And I am moved and thrilled to see the expression on their faces when it all comes together! I hope Musicianship for the Jazz Vocalist helps you achieve your musical goals. I promise you that it will be worth the effort. Here’s to wonderful songs, beautifully sung!

You can only sing what you can hear. 17 1 Beginning Your Study Program

YOUR COURSE OF STUDY IN FIVE SECTIONS

REMEDIAL STUDIES – BEGINS ON PAGE 56

Basic music terms and exercises for the vocalist who has little or no experience with the piano and/or limited reading skills. We will explore the fundamentals: reading notes on the staff, key and time signatures, clefs, note values, chords, rhythm and more terminology to get you started. Do explore more piano music you may have handy. Locate the above terms, so that you quickly become fl uent in the language of music. Don’t worry if all this is brand-new to you. Everything you need to know is within these pages. Dive in and begin learning immediately. Gradually you will feel more and more empowered with knowledge and new skills. And there are assignments for you at every level.

LEVEL ONE – BEGINS ON PAGE 87

Level One is basic, but it is not just for beginners to the piano. You may be able to play the exercise, but singing and playing with syllables might slow you down. Don’t move on until you are certain that you have completely mastered the exercise at hand. I advise you to begin with the Remedial Section. It provides good information if you are beginning a fresh journey. It will also fi ll any gaps in your knowledge that may exist from previous music lessons. My method is an ear-building course, begin- ning with the fundamentals and then moving on to more advanced concentration in the studies of intervals, melody, harmony and rhythm.

Note The piano will be your constant companion and best friend in all the chap- ters and sections. The difference between this book and others is that the piano and voice are reinforcing each other.

Remember the mantra: You can’t sing what you can’t hear. You must sing everything you play and play everything you sing for this method to work! Whether you had some piano study in the past or no piano study in the past, you can begin here and 18 1 – Beginning Your Study Program

now. You will soon master the terms and concepts and begin working immediately on the exercises. Every day you will understand and become proficient in more of what you need to know to improve and even out your skills.

EVERYTHING VOICE – BEGINS ON PAGE 121

. . . is a section unto itself. There are exercises as well, but this is a separate and daily section to practice the described vocal techniques. Included are breathing exercises, suggestions for sound awareness, flexibility and interval exercises that stress accu- rate pitch and the distance from one note to another. In this section, we use the vocal exercises in two ways that will accomplish dif fer ent goals. First, as straight vocal exercises, followed by musicianship and ear-training studies. We use the voice, add the piano, and work on exercises created for vocal sound, interval knowledge, musicianship, harmonic awareness and ear-training. The notes are labeled in letters, numbers and syllables. These exercises are followed by further practice on a standard song on which you are currently working. The techniques described can be applied to any future song you will ever learn and decide to keep in your performance repertoire. If these exercises are seriously practiced, unshaken confidence in what you are doing will develop.

LEVEL TWO – BEGINS ON PAGE 138

. . . expands the Remedial and Level One knowledge and presents more difficult assignments in the the following areas: intervals, minor, chromatic, whole tone, pentatonic, and the blues scales.

Improving Piano Technique Through the playing and singing of the above scales and exploring relative minor keys. More advanced study of harmony and inversions.

Syncopated Rhythmic Study More advanced syncopation and suggestion of challenging songs that work with level two skills.

Syllables Additional use in sight reading melodies, both in diatonic and chromatic scales.

The Blues Scale Playing, singing and improvising. Add left hand chords for “Blues for Dindah!”

Harmony, Chords and Inversions Singing and playing seventh and altered seventh chords.

Street Singing Moving on from nursery rhymes to standard songs.

Piano Emphasis Exercises with both hands in treble clef.

Your First Arrangement Playing, singing, and writing an arrangement for yourself. 1 – Beginning Your Study Program 19

LEVEL ADVANCED: SIX MORE WEEKS – BEGINS ON PAGE 173

There are 18 weeks of lessons in Level Two. If you would like more drills, exercises, etc. turn to this section. Week 19 through week 24 is rhythm, street singing, songs, piano emphasis and writing your first arrangement, which you may find quite chal- lenging, interesting and exciting upon completion!

ADDITIONAL SOURCES OF STUDY

Listen to the great legendary jazz vocalists and instrumentalists. It is very important to sing along with the CDs. Start with the Count Basie Band and sing along with those famous and exciting shout choruses until you feel the internal “swing” and jazz rhythm phrasing in your bones!

Ella Fitzgerald, Lena Horne, Johnny Hartman, Jon Hendricks, Peggy Lee, Mark Murphy, Carmen McRae, Annie Ross, Mel Torme w/ Marty Paich Dek-Tete, Sarah Vaughan, Dinah Washington, Joe Williams, early Nancy Wilson, and The Hi-Los

Note the musicianship of the players who sing and vice versa:

Nat “King” Cole, Louis Armstrong, Chet Baker, Shirley Horn, Ray Charles, Blossom Dearie, and let’s not forget Frank Sinatra (Capital Years)!

CLASSICAL PIANO: BEGINNING TO INTERMEDIATE LEVEL

Charles-Louis Hanon: The Virtuoso Pianist in 60 Exercises (for technique) Suzuki Piano School, Volumes I to IV: published Summy-Birchard Music Dmitri Kabalevsky: 28 Piano Pieces, preface by Maria Kabalevskaya Bela Bartok: Ten Easy Pieces For The Piano Dmitri Shostakovich: Puppet Dances Alexander Scriabin: Children’s Pieces George Gershwin: Porgy and Bess, Vocal Selection

JAZZ PIANO MUSIC FOR EXTRA PRACTICE

Chet Baker: Transcribed Solos – Jazz Interpretation Stan Getz: Transcribed Solos – Jazz Interpretation Bill Evans: Bill Evans Fake Books, Volumes 1 and 2 Bill Evans: Bill Evans Transcribed Solos

VOICE

The Standards Real Book (C Version), published by Sher Music Company I would recommend this version as the first fake book to own. The repertoire and chord changes are excellent, and it is one of the very few fake books that contains verses. 20 1 – Beginning Your Study Program

GOALS AND METHODS

PRACTICE SUGGESTIONS

Following are some thoughts and practice suggestions to maximize improvement.

Daily Goals A clear goal should begin each practice session in the voice, piano and ear-training chapters. After each assignment, ask yourself, “What do I know now that I didn’t know when I began practice today?” You should have a definite answer. Think of your practice sessions as though you are re-constructing the foundation of your musicality. Only when the solid fundamentals are in place can the vocalist embellish, enhance, and use nuance of pitch, rhythm etc.

Integrate your music lessons into your life at home and work. Make “critical listen ing” part of your entire day by carrying with you reminders of our study, i.e. (a) sight-reading drills to be practiced on the train or bus, (b) singing nursery rhymes, and songs etc. with syllables and numbers, (c) listening to other vocalists more intently, (d) asking yourself questions like “What degree of the scale was the last melody note of the song?” (e) Was the song in major or minor? (f) Was the bridge in a different key? (g) What was the time signature of the song he/she just sang? This is what I like to call “street singing” (explained further in Levels One and Two).

Practice Daily practice is essential. Even 30 minutes a day will continue to develop skills. A pitch pipe in your purse or pocket can be taken anywhere to practice scales, arpeggiate chords and work with intervals. A recording device is a wonderful way to learn. Buy one and use it!

The Whole of Music Visualize the keyboard in your mind as you think about the music. Feel yourself touch the keys, and hear the intervals and chords. Inte- grating these connections to internalize your music will insure solid ear-training development.

The Piano The piano is your best friend! Use it to help with pitch, singing arpeggios, working with intervals and rhythm – every single aspect of music. Sing everything you play and play everything you sing. Using the correct fingering is crucial to set up good habits of piano technique.

The Metronome Playing in time is absolutely essential. It is better to play slower, and steadily, than faster with hesitations and stops. Work on smaller sections at a time, three times in a row, until you have mastered the section at hand.

When reading music, always read over the bar line. One bar plus one note – adding another bar plus one note, etc. Every four measures learned is progress. Don’t be shy about being proud of yourself – and please remember to be patient with your- self. Learning the language of music is a process! Feeling the pulse is crucial when swinging. Feel the internal beat and the jazz triplet. Tap your feet, or tap your leg – whatever! Be sure you always know where “one” is. 1 – Beginning Your Study Program 21

HOW MUCH SHOULD I PRACTICE A DAY?

As a teacher, of course I would like to see three hours a day devoted to your musi- cianship development. But, of course, this is not realistic in most of our daily lives. Therefore I would say if you spend

a) a half-hour daily on your vocal warm-ups and exercises in that chapter

b) a half-hour on intervals and rhythm

c) a half hour on scales and chords you will see good improvement. If your life makes that impossible, lower each half hour to 20 minutes.

Remember Your practice time need not be spent entirely at the keyboard. Make copies of some of our pages, i.e. the rhythm exercises, ‘street singing’ songs, memo- rizing interval construction, scales etc. These are all pages that you can work with in your ‘down time’ throughout the day, when you have a few minutes.

BEGINNING YOUR ASSIGNMENTS – HOW TO WORK WITH THIS BOOK

Musicianship for the Jazz Vocalist is set up in the form of weekly lesson assignments, beginning on page 26. These assignments begin at Remedial Level and increase in difficulty through Level One, Two and more advanced. In each lesson, there are assignments in scales, intervals, harmony and rhythm, etc. The basic areas of daily concentration are scales, intervals, harmony and rhythm. Follow the directions and page numbers to locate the other chapters where you will find your specific daily exercise studies in each discipline. I recommend that you spend one, two or even three weeks on each lesson as needed. Spending 30 minutes on the section entitled Everything Voice, and 45 to 60 minutes on the ear-training exercises in each lesson should bring you notable improvement in three or four months. Set a goal of accomplishment for each practice session in the lesson’s specific disciplines: intervals, scales, rhythm, chords etc. Your goal can be a few bars or to simply conquer a persistent problem, such as a certain rhythm. When your practice session is over, ask and answer the following question: “What do I know now that I did not know when I sat down to practice?” Remember that this vocal-piano system is designed to build the ear muscle which means that we work on coordinating your hands, voice, ear and brain. All muscles take time to develop and all new information requires time to digest, so be patient. You will improve. Everything will come together with commitment. Do not skip days of practice at a time. There is no such thing as cramming ear-trai- ning. Follow the directions, and don’t move to another chapter until you feel confi- dent that you thoroughly understand and can perform your current assignments. The general rule is that when you can play a section of difficulty three times in a row perfectly, with the metronome, you can move on to the next section. Record yourself and listen! This can be a challenging experience, but it is one of the most valuable tools for self-improvement. Above all, be truthful to yourself, but also be kind when you are evaluating your progress. You are probably doing better than you think! 22 1 – Beginning Your Study Program

HOW DO I KNOW WHEN I CAN MOVE ON TO THE NEXT LEVEL?

When you can play the current exercises at a good moving tempo, without stopping, proceed to the next exercise, the next chapter, or the next level. Be patient, follow the directions, and don’t move on to another chapter until you feel confi dent that you thoroughly understand the chapter at hand in a specifi c area, i.e. rhythm or scales etc. As you begin working with Musicianship for the Jazz Vocalist, remember that the beauty of this method is that even if you are a vocalist that has no piano skills at all, you can begin here with very elementary assignments. If you studied some piano in the past, those memories are still stored in your memory, but may need refreshing. There are chapters for you as well. I hope you will fi nd the road to the knowledge, expertise and pure musical joy that is sure to become attainable, after mastering the contents of this book – chapter by chapter.

Note: • You can expect to fi nd yourself more challenged in some areas, and less so in others, depending on your previous musical study and listening history. This book offers three levels of profi ciency in all the essential chapters, Remedial Studies, Level One (1) and Level Two (2).

• The fi rst pages of the Remedial Section will either provide you with funda- mentals that you may not know, or have partially learned in the past. I would recommend that everyone go through this chapter, even if it is just to acquire more profi ciency or to fi ll in some gaps that may have been omitted in your past studies.

• The Everything Voice section is for all levels of background.

• No matter what your level, it is the basic theme of this book that you play everything you sing and sing everything you play! Always!

Your piano is your best friend! 1 – Beginning Your Study Program 23

STREET SINGING

THE INTERNALIZATION OF YOUR MUSIC

This text is for all levels: Remedial, Level One, Level Two and Advanced. Specific practice songs and more information is found within the chapters.

One of the most important requirements in the development of your ear and musician- ship is the internalization of all the aspects of music that we are studying. This means that music awareness should become part of your entire day, not just relegated to a daily hour at the piano.

Below are suggestions for integrating your music studies into your daily life. You don’t need perfect pitch to select a key. It is a good thing to purchase a pitch pipe. It is small and has everything you need to help you in your street singing. As you sing these fun songs and exercises, picture the piano keyboard, think scales, intervals, chords, inversions, and rhythms. Use the knowledge that you are gaining. When singing song melodies, physicality can be important. Imagine the toy xylo- phone stepladders we all had as a child. Take your hand and physically measure the interval skips and steps with your hand in the air, raising it higher for the high notes, etc.

Remember Keep the music with you during your day. When you go out at night to hear a vocalist, or instrumentalist, ask yourself: “Is the key of this song major or minor?”, “Are there pick-ups?”, “What is the time signature?”, “On what scale tone (number) does the vocalist or instrumentalist end the song?” (Hear where the tonic is, and ask yourself on what member of the scale the final note sounds.)

1. Make a copy of any of the interval pages from this book. Take it with you and during the day, sing the exercises as directed, only this time without playing it on the keyboard. Keep time! Use your pitch pipe to establish “do” (the first note of the scale).

2. Make a copy of the rhythm sheet in the chapter you are studying. Take it with you and when you get five or ten minutes during the day, choose a tempo, count to four and tap out the rhythm in the exercise. Count out loud to be sure that you are focused.

3. Think about some of your favorite childhood nursery rhymes. Play C on your pitch pipe and sing the C scale up and down with letters, numbers and syllables. Then sing the song, thinking about the intervals. If you get stuck on an interval, always refer back to “do” and check the interval by singing up or down the scale. Ask yourself if the interval is a second, third, etc.

You must establish the key by singing its scale. Not all songs begin on the first note of the key or scale . . . Have patience with yourself. Building your ear is a process! 24 1 – Beginning Your Study Program

Suggested Songs

• Twinkle, Twinkle Little Star • Mary Had a Little Lamb • The Farmer in the Dell • Itsy Bitsy Spider • Happy Birthday • Jingle Bells • Rudolph, the Red-Nosed Reindeer

Then move on to:

• Do, Re, Mi (Doe, a Deer) • Edelweiss • White Christmas • I’d Do Anything • When I Fall in Love • Moon River • My Romance • Where Is Love

It would be wonderful if this ear-training work encourages you to use syllables in learning all your new songs. Becoming skilled in this practice will go a long way toward solidifying your understanding of your own repertoire, and maximizing your confidence under any performance circumstances – whether on stage or in the studio.

4. Remember to sing your vocal exercises using syllables. This will help you develop more flexibility and confidence singing them. Syllables are also much more singable than letters or numbers.

5. Sing the following in tempo:

a) Thirds ascending (do, mi) – (re, fa) – (mi, sol) – (fa, la) – (sol, ti) – (la, do) – (ti, re, do)

descending (do, la) – (ti, sol) – (la, fa) – (sol, mi) – (fa, re) – (mi, do) – (re, ti do)

b) Fourths ascending (do, fa) – (re, sol) – (mi, la) – (fa, ti) – (sol, do) – (la, re) – (ti, mi, do)

descending (do, sol) – (ti, fa) – (la, mi) – (sol, re) – (fa, do) – (mi, ti) – (re, la, do) 1 – Beginning Your Study Program 25

c) Fifths ascending (fill in the syllables, as in the previous examples) (do, sol)

descending d) Sixths ascending (fill in the syllables, as in the previous examples) (do, la)

descending

6. Sing up the triads built on a C major scale. Sing with letters and syllables. (Example: C, E, G – D, F, A – etc.) Do this in all twelve keys, remembering the key signatures.

7. Any time you hear a melody from now on, try to envision it and analyze it for intervals and harmony. Ask yourself: “On what degree of the scale does the song begin and end?”

In summary: Keep your connection to music alive no matter where you are. Everything is music and music is everywhere. Stay connected!

INTRODUCING YOUR NEW BEST FRIEND

Take a close look at the three-octave keyboard below beginning with the letter “C”. Label the notes below the letters with numbers, from #1 to #8 in the C major scale.

Label the same notes – white keys – with syllables do, re, mi, fa, sol, la, ti, do. We will be using letters, numbers, and syllables in all our lessons throughout this book.

C D E F G A B C D E F G A B C D E F G A B C 26 1 – Beginning Your Study Program

LESSON PLAN – YOUR “SPECIFIC” WEEKLY ASSIGNMENTS

GETTING STARTED

It is recommended that everyone begin with the Remedial Section. Note that this title says “weekly assignments.” It is perfectly fine to spend two weeks or longer on each lesson if you need to. The important thing is to learn the material. Please have on hand a packet of 8-stave manuscript paper. This is sold at Sam Ash Music Stores and online. If you have studied at a conservatory, you will find there is a lot in this section that will be review for you. Even though a fact may be review for you, practicing the exercises in the way I outline may be challenging. An example of this may be using solfeggio instead of numbers or letters when singing the various exercises, or using the metronome. When we use syllables, we will be using moveable “do” instead of fixed “do”. The point is to be able to identify and sing the notes. If you are fluent in using fixed “do” then please continue to do so.

Syllables: It is important for accuracy of pitch and for understanding the intervals to give a name to each note that you sing. Syllables are the easiest to articulate in comparison to letters and numbers, and should be mastered as quickly as possible. (See page 92 for syllables in the scale of “C Major”.) If you have never sung with syllables, then please use ‘moveable do’ which means that whatever key is indicated in the key signature, the first note of that scale is do. Example: If the key signature has one sharp, the music is in the key of G. Therefore, G is “do” and going up the scale is re, mi, fa, sol etc.

Since levels will vary with individual singers, especially in piano ability, it is perfectly fine to move between Remedial and Level One in a particular area, such as rhythm, while staying in the Remedial Section for other areas, such as intervals etc. We are filling in the gaps of your skills. You will be the teacher of yourself in How Do I? You will be in charge of constructing your own daily lesson plan, with MJV’s guidance. Don’t gloss over what you don’t know. One day at a time!

Let’s proceed to the lessons. Enjoy the process. You will be building your ear through a thorough understanding of the music that you love, which I have always found to be a vastly exciting process. And it is a process, not a miracle, so please be patient with yourself! Everyone can improve and develop new skills. Your commitment to this method will result in more self-confidence and enjoyment every time you perform, whether in the club, the studio, or on stage. I am confident that I will meet a more confident you on the other side of this book with your new musicianship and musicality firmly in hand! Let’s begin! 1 – Beginning Your Study Program 27

REMEDIAL STUDIES – YOUR WEEKLY LESSON ASSIGNMENTS

Each lesson is estimated to take approximately one week. Of course, this estimation will vary with background of study of each vocalist. Be sure to have your 8-stave manuscript paper handy!

LESSON #1 (Pages 56–60)

1. Learn the basic music terms as illustrated in Part One and Part Two. Look in other music books to find examples of all of them.

2. Practice writing the following: Part One (pp. 56-58) a) Clefs: treble and bass b) Key signatures c) Whole notes on various lines and spaces: d) Sharps, flats, and naturals: These characters are placed to the left of the notes. e) Ledger lines above and below the staff. f ) C major scale g) Triads and four-note chords – root position. h) Inversions

3. Basic Terms – Part Two. (pp. 58-60) a) Learn and practice writing the various note values. b) Time signatures: 4/4, 3/4, 4/2. c) Ties d) Memorize the look of repeat signs, endings, signs and coda.

LESSON #2 (Pages 61–63)

1. Memorize and write the lines and spaces on the treble and bass clef staves.

2. Practice in treble and bass clefs (p. 61). Read and understand the explanation of how to find the notes in the bass clef staff. In the space below, follow the direc- tions for writing the notes in bass clef to the right of the given notes in the treble clef.

3. On your manuscript paper, follow that given example and write the treble clef and notes on various lines and spaces, leaving room for their counterparts in bass clef, which you should also construct.

4. Read the text on how to determine where a note is played on the piano. (p. 62). Write and sing the exercises on the page that follows. 28 1 – Beginning Your Study Program

LESSON #3 (Pages 64–66)

Intervals Intensive – First Day

1. Read thoroughly and understand the text “Intervals Intensive”. 2. Read thoroughly and understand the text “ Intervals – Basic Construction”.

LESSON #4 Intervals Intensive – Second Day – Seconds (p. 67) On your manuscript paper, mark off three bars per line as in the book. Begin with the 2nds, as you see here in the key of C and write the same intervals and their altera- tions in the key of “G.” Play and sing, using letters followed by numbers for every note you write. (Example: Sing major second, raised second and lowered second for the numbers.) Be sure you are ‘pitch perfect’. Each day add one more interval until you have written, played and sung these intervals and their alterations in all twelve keys. Think scales and count your half-steps to be certain that you are writing, playing and singing the correct notes.

Time Signature Chart (p. 71) Study and understand.

LESSON #5 Intervals Intensive – Third Day – Major/Minor 3rds (p. 65) Rhythm Exercises & Time Signatures for Memorization and Practice (p. 71) Study the different note values and their rests, and the rhythm syllables as shown in the examples. Then do the exercises 1 and 2 – following the directions in “Practice Method”. Use the metronome.

LESSON #6 Intervals Intensive – Fourth Day – Perfect 4ths) (p. 65) Rhythm exercises and time signatures for memorization and practice. Continue with exercises 3, 4 and 5. Use the Metronome (p. 72)

LESSON #7 Intervals Intensive – Fifth Day – Perfect 5ths (p. 65)

Time Signatures (p. 73) Memorize the sentence regarding the top and bottom numbers and be able to under- stand and explain it. 1 – Beginning Your Study Program 29

LESSON #8 Intervals Intensive – Sixth Day – Major/Minor 6ths) (p. 66)

Rhythm Exercises Read text “Swinging the Eighth Notes” (p. 74) Read text “General Discussion” (p. 74) Read text “Scale Format” (p. 75) Read and thoroughly understand. Be ready to apply your knowledge to the exercises that follow. Refer back to the text as needed as you proceed with the practice studies.

LESSON #9 Intervals Intensive – Seventh Day – Major/Minor 7ths (p. 66)

Rhythm Exercises – Numbers 1 and 2 (p. 76) Whole, half, quarter notes and rests. Read and follow directions. First clap, or tap the exercises and after you are comfortable, play them in the scale format, singing the notes using solfeggio syllables. This will be more difficult. Just practice two exercises each day. Use the metronome. Slowly at first.

LESSON #10 Intervals Intensive – Eighth Day – Singing the Interval Example I-1 (p. 65) Work on one bar at a time – and two bars for each day’s practice. Do three or four bars if you can. Follow the directions for labeling, singing and playing. Repetition is key for this skill.

Rhythm Exercises – Numbers 3 and 4 (pp. 77) Eighth notes and mixed rhythms and rests. Practice as indicated – with metronome.

LESSON #11 Intervals Intensive – Sing and Play – Ninth Day – Bars 1 thru 6 (p. 67) Use the metronome to keep time. Practice six bars every day. Sing using letters, numbers and syllables as indicated.

Rhythm Exercises – Number 5 (p. 77) Sixteenth notes and rests. Write in the counting and syllables in pencil if you need to – later please erase the markings.

LESSON #12 Intervals Intensive – Sing and Play) Tenth Day – Bars 7–12 (p. 67)

Rhythm Exercises – Number 6 (p. 78) Mixed eighth and sixteenth notes and rests. Write in the counting and syllables in pencil if you need to – later please erase the markings. 30 1 – Beginning Your Study Program

LESSON #13 Intervals Intensive – Sing and Play– Eleventh Day – Bars 13–18 (p. 67)

Rhythm Exercises – Number 7 (p. 78) The triplet. Write in the counting and syllables in pencil if you need to – later erase the markings.

LESSON #14 Intervals Intensive – Sing and Play – Twelfth Day – Bars 19–24 (p. 67)

Rhythm Exercises – Numbers 8 and 9 (pp. 78 –79) Dotted notes and ties

LESSON #15 Intervals Intensive – Sing and Play – Thirteenth Day – Bars 25–30 (p. 68)

Rhythm Exercises – Number 10 (p. 79) If this seems difficult, write in the counting and syllables first and practice the exer- cise in two or four measure segments. Then try to do eight bars at a time, etc. Use metronome and play with no hesitations or stops.

LESSON #16 Intervals Intensive – Sing and Play – Fourteenth Day (p. 68) Adding scale tones of 2, 4, 6, 7 – Bars 31-36. Review two rhythm exercises of your choice.

Street Singing (pp. 80) Read both pages of text and play the example of “Twinkle Twinkle Little Star”.

LESSON #17 Intervals Intensive – Sing and Play – Fifteenth Day – Bars 37–42 (p. 68)

Review two more rhythm exercises of your choice. Sing and play.

Street Singing (pp. 80) Begin singing ‘Twinkle’ away from the piano, following the suggestions on the text page of Street Singing. Remember that there is a lot of repetition in songs, so if you get the first part sung correctly, sooner or later that few measures will always be repeated. 1 – Beginning Your Study Program 31

LESSON #18 Intervals Intensive – Sing and Play – Sixteenth Day – Bars 43– 48 (pp. 68 –69)

Review two more rhythm exercises. Sing and play (pp. 76 –79).You may try to increase the tempo if you feel comfortable.

Street Singing (p. 80) Add “Mary Had a Little Lamb” to your repertoire of street singing songs.

LESSON #19 Intervals Intensive – Sing and Play – Seventeenth Day – Bars 49–54 (pp. 69)

Rhythm exercise of your choice for review and faster tempo (pp. 76 –79)

Street Singing (p. 80) Add “Jingle Bells”, “Farmer in the Dell”. Review all the nursery rhymes.

LESSON #20 Intervals Intensive – Sing and Play – Eighteenth Day – Bars 55–60 (p. 69)

Rhythm Exercises – faster tempo (pp. 76 –79)

Remedial Chapter Review (p. 81) Getting it together – How am I doing? Read the text and practice exercise #1. Work on four bars at a time, or 2 bars if you need to. If you know simple major chords of C, F and G major, play them with your left hand, after you can play the right hand correctly with the fingering indicated and the counting in place. In the left hand, the notes in Dm (D minor) are D, F A. If you don’t know your chords yet, we will be learning them in Level One. Just play the right hand with the metronome for now. Sing everything you play with numbers and syllables. You may clap the rhythm first before you learn the notes if that is helpful to you. Small amounts at a time for the best success.

LESSON #21 Intervals Intensive – Sing and Play – Nineteenth Day – Bars 61–66 (p.69)

Rhythm Exercise Review #10 (p. 79)

Remedial Chapter Review (p. 81) Getting it together – How am I doing?

Review Exercise #1 and add Exercise #2. Practice it in the same manner as you did exercise #1. If you are not yet ready to play the chords with your left hand, just play the right hand. You can go back later and completely master this exercise after you have completed the Harmony section in Level One. 32 1 – Beginning Your Study Program

LESSON #22 Intervals Intensive – Sing and Play – Twentieth Day – Bars 67–78 (pp. 69 –70)

Remedial Chapter Review (pp. 81) Getting it together – How am I doing?

Review Exercise #1 and #2. Add Exercise #3 in 6/8 time in the key of A. If you are not yet ready to play the chords with your left hand, then play the right hand. You can go back later and completely master this exercise after you have completed the harmony section in Level One.

Read and understand Text (p. 83) Pre-scale information: major and minor seconds

LESSON #23 Looking Back over Remedial Studies (pp. 56–83) Look over this entire section. Review those exercises that need perfecting. Take this week to digest all you have learned and to take a moment to note your improvement.

Write out scales (pp. 84 – 85) Practice assignment and the key signature practice (p. 86)

Next week You are ready to proceed to Level One! 33 2 Weekly Assignments

LEVEL ONE AND EVERYTHING VOICE: DOUBLE STUDY

In order to begin working immediately on vocal technique, and vocal exercises, while not losing focus on the specifi c musicianship lessons of Level One, we will be working simultaneously in two sections at this point. They will be designated as Musicianship and Voice within each weekly lesson. Flip to Level One which begins on page 87 and Everything Voice sections to locate the exercises in the weekly lesson assignments. In Everything Voice, please read all the text pages completely before beginning the exercises.

• Practice the two breathing exercises every day. The breathing is very valuable for allowing your body to relax. You may do the breathing exercises at, or away from the piano.

• Practice the specifi c vocal exercises, adding one or two each week. Each lesson is estimated to take one week. Of course, this approximation can vary with the piano/theory background of each singer and on the amount of daily practice time given to this study.

• The same will be true for Level One Musicianship. Use your own common sense to determine what you can accomplish in your practice each day. Always have a goal in mind.

• Your lessons in Level One will focus on intervals, scales, rhythm, harmony and street singing. In addition, you will be playing your fi rst song using major chords in the left hand, followed by a more diffi cult song which contains minor and other chord qualities.

• An ideal amount of daily practice time is about 90 minutes: 30 minutes practicing the exercises for improvement in vocal technique as well as for advancement in musicianship skills. Adding another hour on the remaining lesson assignment will net some excellent results.

• If 90 minutes simply is not possible, try to spend one good hour, or make the goal seven hours per week. Try to go to the piano each day even if you tell yourself that it is only for fi fteen minutes – usually you will practice longer than you might have thought. 34 2 – Weekly Assignments

LESSON #1

Musicianship a) Playing the C Scale (p. 87) Read the text at the top of page 95 first and then begin practicing Exercise #1 below. Stay with this scale until you have completely mastered playing it in tempo and singing the letters.

b) Rhythm Study (p. 95) Read the text entitled Common Syncopated Rhythm Patterns and then you may begin practicing Exercise #1. (p. 95). Clap the rhythm first, then practice the melody 2 to 4 measures at a time. After you master the melody with the correct fingering and rhythm, play it again, this time singing with letters, numbers, and syllables. Always use the metronome.

c) Harmony Study (p. 100) Note the formula for constructing major triads. Study the examples and play them on the piano. Sing up the chord: Sing the bottom note first, then the middle note, followed by the top note. Always refer back to the scale. Follow the directions on the next page and practice building a triad above the notes given in the examples. Practice more on your manuscript paper.

Voice Daily Warm-Ups – Breathing Exercises (p. 127) Read the text on breathing exercises and then practice both the balloon breathing and the counting breath exercise as directed. Read the entire remaining text and also read Thoughts on Songs. Be certain that you understand everything and take your time. 2 – Weekly Assignments 35

LESSON #2

Musicianship a) Scales (p. 88) Play the G scale as you played the C scale last week. Again, sing each note in the scale as you play it, using letters and numbers. If this is easy for you, also play the D scale. Be sure you know the key signature, and what notes are sharp. Use the metronome. b) Rhythm Study (p. 96) Add Exercise #2 and practice it as you did last week. Sing and use the metronome. Practice 2 or 4 bars at a time at first. Keep the tempo over the bar lines. c) Triads, Clusters and Arpeggiation (p. 100) Read and follow directions for major triads.

Voice a) Vocal, Interval and Ear-Training Exercises (p. 128) Sing Exercises #1 and #2. It is very important to follow the directions exactly, and develop your ‘critical listening’ skills. b) Scales (pp. 87– 88) Practice the scales of C, G, D, A, E – one octave, three times in a row. All these scales use the same fingering. Be sure you know the key signatures and what notes are sharp in each scale. Sing everything with letters and numbers. Play on the tips of your fingers. Listen for a good, even tone. c) Rhythm (p. 96) Practice Exercise #3. Play 2 to 4 bars at a time with the metronome and correct finger ing. Pencil in the counting at first if you need to – then erase when you are comfortable. Sing! d) Triads, Clusters and Arpeggiation (p. 101) Continuation of last week’s direction for major triads. Use your manuscript paper to complete this assignment and for extra practice. Slow tempo at first and sing everything you play with numbers. e) Vocal, Interval and Ear-Training Exercises (pp. 128 –130) Add new Exercises #3 and #4, first as a vocal exercise and then as the musicianship exercise as explained in the text at the beginning of the chapter. Review Exercises #1 and #2 daily. 36 2 – Weekly Assignments

LESSON #3

Musicianship a) Scales (pp. 87– 88) Practice the scales of C, G, D, A, E - one octave, three times in a row. All these scales use the same fingering. Be sure you know the key signatures and what notes are sharp in each scale. Sing everything with letters and numbers. Play on the tips of your fingers. Listen for a good, even tone.

b) Rhythm (p. 96) Practice Exercise #3. Play 2 to 4 bars at a time with the metronome and correct finge- ring. Pencil in the counting at first if you need to - then erase when you are comfor- table. Sing!

c) Triads, Clusters and Arpeggiation (p. 101) Continuation of last week’s direction for major triads. Use your manuscript paper to complete this assignment and for extra practice. Slow tempo at first and sing everything you play with numbers.

Voice Vocal, Interval and Ear-Training Exercises (pp. 129 –130) Add new exercises #3 and #4, first as a vocal exercise and then as the musicianship exercise as explained in the text at the beginning of the chapter. Review Exercises #1 and #2 daily.

LESSON #4

Musicianship a) Rhythm Study (p. 96) Practice #4, the pentatonic scale exercise. Clap the rhythm, play in 2-4 bar segments. Be sure you are using the correct fingering. Sing along with any ‘scat’ syllables you choose as you play. Keep time with the metronome – at a slow speed at first. Always review these previous rhythm exercises, #1, #2, #3. Increase the speed as you feel more comfortable.

b) Clusters (p. 102) Read and follow directions for the minor triads. Use your manuscript paper to complete the assignment or for further practice. Sing all the harmony – sing up the triads as directed. Slow tempo with metronome until you become comfortable.

Voice Vocal, Interval and Ear-Training Exercises (pp. 129 –131) Review Exercises #1 through #4, and add Exercises #5 and #6. Critical listening please! 2 – Weekly Assignments 37

LESSON #5

Musicianship a) Scales (p. 88) Add the scale of B, if you are new to scales. Note that from now on, all the scales use different fingerings. Practice carefully, separate hands first. If you are more advanced, you may add F# and possibly C#. Use your judgement. Don’t rush. Sing everything you play. b) Rhythm Study (pp. 95–96) Review Ex. #1 through #4 daily. Same method of practice as before. c) Clusters (p. 102) Work your way around the following keys as before, practicing three keys per day. Proceed around the circle of fifths: C, G, D, A, E, B, F# and C#. d) Street Singing (p. 103) This section begins this week and never really ends! As you become proficient in the nursery rhymes using syllables and numbers, move up to easy standard songs as indicated on page 103. Eventually you will be able to use solfeggio to sing any song you happen to be working on for performance. Begin practice today with “Do, Re, Mi.”

Voice Vocal, Interval and Ear-Training Exercises (p. 131) Sing Exercise #7. Review the previous exercises daily.

LESSON #6

Musicianship a) Scales (pp. 88 –89) Play all the sharp scales – one octave, two hands, three times in a row. b) Rhythm (p. 97) (#5) “No Blues For Noah.” Practice small amounts at a time. c) Clusters (p. 102) Work your way around the flat keys major triads. Do three keys per day. F, Bb, Eb, Ab, Db, Gb, and Cb. d) Street Singing (p. 103) Add one new song each week, singing with syllables and numbers. Always sing the scale first, and then the arpeggio, so you can find the starting note of the song. Practice “Mary Had A Little Lamb”.

Voice Vocal, Interval and Ear-Training Exercises (p. 132) Sing Exercise #8 and #9. Review previous exercises. 38 2 – Weekly Assignments

LESSON #7

Musicianship a) The Sharp Major Scales – Two Octaves (p. 89) Spend significant time on the C scale, two octaves. Begin practicing separate hands. Go around the circle of fifths, three scales per day.

b) Rhythm (pp. 98 –99) If you have mastered “No Blues For Noah,” begin “Ella Bella’s Blues.” It is likely that you will need more than one week for these two blues pieces. Practice at your own pace. Count carefully, writing in the counting if you need to. Sing as you play with the metronome. Use correct fingering and practice 2– 4 bars at a time at first.

c) Clusters (p. 101) Review keys at random – three keys per day.

d) Street Singing (p. 103) One new song each week singing with syllables. Review them all.

e) First Song (pp. 104–105) “Twinkle, Twinkle Little Star.“ Read the text and be certain you completely under- stand it. Begin practicing the right hand of “Twinkle,“ using the fingering indicated. As always, if you need to, practice two or four bars at a time in tempo with the metro- nome.

Voice Vocal, Interval and Ear-Training Exercises (p. 132) Sing Exercise #10. Review #1 through #9. 2 – Weekly Assignments 39

LESSON #8

Musicianship a) Review two-octave sharp major scales (p. 89). b) Rhythm (pp. 95–96) Choose one of the exercises to review each week – increase the metronome speed when you are able. c) Clusters (p. 101) Mix three keys per day. d) Street Singing (p. 103) “Happy Birthday.” What is the starting note? e) First Song (p. 104) Continue with “Twinkle,“ left hand chords. Using the metronome, play the chords, counting four beats each. Be sure when you move from one chord to another, it is in time. If you are able, you may try playing with both hands now. Practice one bar plus one note, to be sure you can get over the bar-line in time. Then practice two bars plus one note etc. Always practice over the bar-line. Don’t forget to sing!

Voice Vocal, Interval and Ear-Training Exercises (p. 133) Sing Exercise #12.

LESSON #9

Musicianship a) Rhythm (pp. 95–96) Choose a previous exercise to review, but increase the tempo. With metronome. b) Street Singing (p. 103) Sing “My Romance” with numbers. c) Song: “Twinkle“ (p. 105) Review “Twinkle“ with both hands and in a faster tempo. d) “Twinkle“ – playing melody chords in the right hand (p. 106 –107) Read the text and be certain that you completely understand the concepts described in the text. Play the first two bars of the song using the melody chords in the right hand as written out for you. Practice these two bars until they are perfect – notes and time.

Voice Vocal, Interval and Ear-Training Exercises (p. 133) Sing Exercise #12. Review #1–#11. 40 2 – Weekly Assignments

LESSON #10

Musicianship a) The Flat Scales (p. 90) Beginners learn the F scale, separate hands first and one octave first. Then play two hands. If you are more advanced, add the Bb scale. Sing and play with metronome.

b) Rhythm Write a 4-bar rhythm exercise in 4/4 time. Refer to the other rhythm exercises as an example. Play back exactly what you have written with the metronome.

c) Street Singing (p. 103) Sing “When I Fall in Love.”

d) Song: “Twinkle“ (p. 107) Melody chords, right hand only: six bars with metronome. Sing with numbers and increase the metronome as you are able. With a pencil, write in the notes in the right hand for measures 3 and 4. Then play those measures with the right hand until they are perfect – notes and time. Review the first line and then play all four measures in time. If you can add the left hand chords to this point, please do so. No stops!

Voice Vocal, Interval and Ear-Training Exercises (pp. 133 –134) Sing Exercises #13 and #14. 2 – Weekly Assignments 41

LESSON #11

Musicianship a) Scales (p. 90) Add Bb and Eb if you can, or stay on F for another week. b) Rhythm (pp. 97–99) Review the two blues songs (“No Blues for Noah” and “Ella Bella’s Blues”) for fluency and comfort. Be sure to swing the eighth notes and feel the internal rhythm. You can also return to these pieces as part of Level Two. Practice the rhythm first, and then sing the melody. c) Clusters (p. 101) Go to the melody chords for “Twinkle” (p. 107). Sing the right hand clusters called inversions that I have written below the melody notes of the song from the bottom-up. Use letters (example: for the first chord you would sing E, G, C). Then sing measures 3 and 4 where you constructed the chord. d) Street Singing “Sing a Song” by Joe Raposo e) Song: “Twinkle“ (Example: p. 105) Write the notes and play and sing in the key of F – the numbers will be the same as for the key of C because F will now be “do” or “1” . . . as in moveable “do” previously discussed. f) “Twinkle“ – writing melody chords in the right hand (p. 107) Re-read the explanation of using melody chords for Twinkle on page 106 and analyze the example on the first two bars of that song on page 107. Now look at measure #3. The first chord there has a melody note of F and the chord above says F major. Ask yourself “What notes are in the F major chord?” The answer is F, A, C. Since the melody note already is an F, below that note you would write a third space C and a second space A, the chord of F major is complete. In doing so, you have rearranged the notes of the chord, you have formed an inversion. (You have inverted the chord or voiced it in a different way.) However, you have kept the melody on the top. That is why this chord is called a ‘melody chord.’ With a pencil, write the melody chords for all the remaining measures. Remember that the notes you write for the inversion must always match the notes that are in the chord above the notes. If there is no chord above a melody note, use the same notes as in the chord before. Now play the melody chords you have written in with the right hand and at a steady pace. Work on two to four bars at a time until you can play them with no stops. Then add the left hand chords and sing the song melody – first with words, and then with numbers and syllables. You may take two or more weeks to complete this assignment.

Voice Vocal, Interval and Ear-Training Exercises (p. 134) Sing Exercise #15 as directed. Review. 42 2 – Weekly Assignments

LESSON #12

Musicianship a) Enharmonic Scales (p. 91) Read and study this page to be sure you understand the text and examples. Play the examples. Observe that you have played them before, with the letter names being different. Be sure you could explain the concept to others if necessary.

b) Rhythm (Example: pp. 95 –96) Write your own 8-bar rhythm drill in 3/4 time and play it with the metronome. Clap the rhythm to begin, and then play it in scale form, singing – as in previous examples.

c) Clusters, Street Singing and “Twinkle“ Melody Chords Review last week’s assignment.

Voice Vocal, Interval and Ear-Training Exercises (p. 134) Review last week’s assignment. 2 – Weekly Assignments 43

LESSON #13

Musicianship a) Basic Scales and their Syllables (p. 92) With this lesson we will begin to incorporate syllables (solfeggio) into the mix of giving a name to each note we sing. Syllables are international and are the easiest to articulate. They are the most musical of the sounds, so this is the preferred method in all sight-reading and for our purposes. It may take a bit of time to become comfor- table with using them, but it is worth the effort. They are good practice for street singing as you will see later in this chapter. This lesson gives you all the information for using the correct syllables for singing all kinds of scales. Practice singing, playing and listening to them carefully. Use the syllables. We are using moveable do in this book. Whatever scale you are singing, the tonic, root, (or first note of that scale) is called “do.” b) Rhythm (pp. 108 –109 – Song: “Indiana“) Turn to the song “Indiana“ near the end of Level One. Clap and play the rhythm in this song and master that with the metronome before you go further. c) Clusters (p. 107) Review singing the melody chords in “Twinkle.“ Sing from the bottom up and then from the top down for more practice. Be sure your pitch is accurate by checking with the piano after you sing the clusters a cappella. d) Song: “Indiana“ (pp. 108 –109) For more advanced or the courageous! This song is a bit more difficult than “Twinkle,“ but has the advantage of allowing one to feel more like a grown-up! Begin as usual, with the right hand alone – two bars, counting and using the indicated fingering to establish good hand position. If you are a beginner to the piano, you can expect to spend several weeks on this song. Be patient and perfect a little at a time.

Voice Vocal, Interval and Ear-Training Exercises (p. 135) Sing Exercise #17 carefully. Work on 2 to 4 bars each day. Correct notes and excellent pitch are the goals here. Then try to establish a slow speed on the metronome where you can sing this exercise without stopping. Choose four other exercises and review them during the week. 44 2 – Weekly Assignments

LESSON #14

Musicianship a) Piano Emphasis: Six Piano Pieces to Play and Sing, in Treble Clef (p. 110) Read the text (pp. 110–112) Method of Practice for each piano piece. Follow the direc- tions carefully as you practice each specific piece.

b) Practice Piano Piece #1 as directed. (pp. 113–114)

c) Song: “Indiana“ (pp. 108–109) Continue learning the right hand notes, using good fingering. Count. Begin the left hand alone, playing the chords. Thus far, our chapters in harmony have not detailed any chords other than major and minor. Some of you may be able to play sixth and seventh chords already. If so, do so. If not, just play the triad portion of the chord that we have learned so far. Later you can add the sevenths. (Example: instead of Fmaj7, you would play F major.)

Voice Vocal, Interval and Ear-Training Exercises (p. 135) Sing Exercise #18.

LESSON #15

Musicianship a) Read the text for Piano Piece #2 – (p. 115) Practice as directed on page 115.

b) Song: “Indiana“ (pp. 108–109) Continue working with the metronome. Sing everything you play with lyrics. Practice over the bar lines several times to avoid stops and hesitations and to keep the tempo steady.

Voice Vocal and Ear-Training Exercises Using Scales and Intervals Choose any song you are currently working on for performance and sing it as an exercise, i.e. long tones, straight tone, no frills. Suck in the breath on the inhalation through the mouth, and hold each note on the vowel. Direct your sound forward by choosing a spot in the room to sing to. Involve your entire being to achieve a ‘body sound.’ Your lips should be in an oval shape for a rounded tone and sending the sound ‘forward.’ 2 – Weekly Assignments 45

LESSON #16

Musicianship a) Practice Piano Piece #3 as directed on page 116. b) Song: “Indiana“ (pp. 108–109) Continue working with metronome. Sing everything you play with lyrics. Swing the eighth notes – both in your playing and your singing.

Voice Vocal, Interval and Ear-Training Exercises (p. 135) Sing Exercise #19 as directed.

LESSON #17

Musicianship a) Practice Piano Piece #4 as directed on page 117. b) General review of scales (p. 151), rhythm (p. 166), and clusters (p. 101). c) Review of Songs: “Twinkle“ (p. 107) d) Review of Songs: “Indiana“ (pp. 108–109)

Voice a) Vocal, Interval and Ear-Training Exercises (p. 136) Sing Exercise #20 as directed. b) Choose another song you are working on for performance and sing it as an exer- cise: long tones, straight tone. Hold each note on the vowel, drop your jaw, and direct your sound forward. Be sure to involve your entire body to achieve a full, deep, organic sound. For a rounded tone, your lips should be oval in shape. 46 2 – Weekly Assignments

LESSON #18

Musicianship a) Practice Piano Piece #5 as directed on page 118.

b) General review (see lesson #17)

c) Review of Songs: “Twinkle“ (p. 105)

d) Review of Songs: “Indiana“ (pp. 108–109)

Voice a) Vocal, Interval and Ear-Training Exercises (p. 137) Sing Exercise #24.

b) Choose another song you are working on for performance and sing it as an exer- cise: long tones, straight tone. Hold each note on the vowel, direct your sound forward and involve your entire being to achieve a full body, deep, organic sound. For a rounded tone, your lips should be oval in shape. 2 – Weekly Assignments 47

LEVEL TWO – YOUR WEEKLY LESSON ASSIGNMENTS

MORE DIFFICULT MUSICIANSHIP EXERCISES

LESSON #1 a) Intervals Intensive (p. 138) Pitch, pitch, pitch ! Read the directions on the first page. Sing and play the exercises as directed. Practice through Section #1. b) More Scales (p. 150-151) Read the two-page text about the diatonic and the harmonic minor scale. Practice as directed. Practice all the sharp scales. c) Chord Chart (p. 158) Study the chord chart, chord symbols, and explanations. Use it for reference in all your assignments, transpositions etc. in the future. Practice chords that might be new to you in several keys.

LESSON #2 a) Intervals Intensive (p. 140) Practice all of Section #2 as directed. b) More Scales: The diatonic (p. 151) and harmonic minor scales (p. 153) Practice these scales ascending and descending as directed. Practice all the flat scales. Sing a cappella first. Then check your pitch. c) Basic Chords and Inversion Exercises (p. 159) Read the directions and practice the C major example and its inversions in all twelve keys. Sing everything.

LESSON #3 a) Intervals Intensive Practice all of Section #3 (p. 141) as directed. b) More Scales (pp. 1151–152) The chromatic scale – practice ascending and descending as directed. Practice the sharp scales. Sing a cappella first. c) Chords and Inversions (p. 159) Read directions and practice the C minor example and its inversions in all twelve keys. 48 2 – Weekly Assignments

LESSON #4

a) Intervals Intensive (p. 143) Practice all of Section #4 as directed.

b) More Scales (p. 152) The chromatic scales. Practice ascending and descending as directed. Practice all flat scales. Sing a cappella first then check your pitch.

c) Chords and Inversions (p. 160) Practice the C augmented chord example and its inversions in all twelve keys.

LESSON #5

a) Intervals Intensive Review (p. 144) Practice the Exercise as directed.

b) More Scales (p. 152) The whole tone scales. Practice ascending and descending, as directed. Work on all the sharp scales. Sing a cappella first, then check your pitch.

c) Chords and Inversions (p. 160) Practice the C diminished chord example and its inversions in all twelve keys.

LESSON #6

a) Intervals Intensive (p. 145) 4-way exercises. Read the directions carefully. Practice bars 1 and 2 as directed. Small amounts at a time will work best for this exercise.

b) More Scales (p. 152) The whole tone scales. Practice ascending and descending as directed. Work on the flat scales. Sing a cappella first, then check your pitch. This is great interval practice!

c) Chords and Inversions (p. 160) 4-note chords. Practice the C major sixth chord example and its inversions in all twelve keys. Follow the exact directions on the first page of this chapter. 2 – Weekly Assignments 49

LESSON #7 a) Intervals Intensive (p. 145) 4-way exercises. Continue practicing bars 3 and 4 as directed. b) More Scales: The Blues Scales (Text: pp. 155-156; Ex.: p. 157) Practice ascending and descending the sharp scales. Sing a cappella first, then check your pitch with the piano. c) Chords and Inversions (p. 160) 4-note chords. Practice the C minor sixth chord example and its inversions in all twelve keys. Read the directions and method on the previous page of this chapter.

LESSON #8 a) Intervals Intensive (p. 145) 4-way exercises. Continue practicing bars 5 and 6 as directed. b) More Scales (pp. 151, 155) The blues scales. Practice ascending and descending the flat scales. Sing a cappella first, then check your pitch with the piano. c) Chords and Inversions (p. 160) Major seventh chords. Practice the C major seventh chord example and its inversions in all twelve keys. Follow the directions on page 160.

LESSON #9 a) Intervals Intensive (p. 145) 4-way exercises. Continue practicing bars #7 and #8 as directed. b) More Scales (p. 152) The pentatonic scale. Practice ascending and descending the sharp scales. Sing! c) Chords and Inversions (p. 161) Dominant seventh chords. Practice the C7 (dominant seventh) chord example and its inversions in all twelve keys. Follow the directions on page 161. 50 2 – Weekly Assignments

LESSON #10

a) Intervals Intensive (p. 146) Getting it together. Read the text and practice exercises #1 and #2.

b) More Scales (p. 152) The pentatonic scale. Practice ascending and descending the flat scales. Sing!

c) Chords and Inversions (pp. 161, 164) Minor seventh chords. Practice the Cm7 (minor seventh) chord example and its inversions in all twelve keys, using the same method as before.

LESSON #11

a) Intervals Intensive (pp. 146–147) Getting it together. Practice #3 and #4. Observe the clef changes.

b) More Scales (p. 153) The bebop scale. Practice ascending and descending the sharp scales. Sing a cappella first, then check your pitch on the piano.

c) Triads, Chords and Inversions (p. 162) Read the text and practice the example of C Major in all twelve keys, singing with numbers and syllables.

LESSON #12

a) Intervals Intensive (p. 147) Getting it together. Practice #5. Note the time signatures and clefs.

b) More Scales (p. 153) The bebop scale. Practice ascending and descending the flat scales. Sing a cappella first, then check your pitch on the piano.

c) Triads, Chords and Inversions (pp. 162–168) Read the text and practice the example of C major sixth and C minor sixth in all the twelve keys, singing with numbers and syllables. Keep time. 2 – Weekly Assignments 51

LESSON #13 a) Intervals Intensive (p. 147) Getting it together. Practice #6. b) The Harmonic Minor Scale (pp. 153-154)) Construct, sing and play harmonic minor scales from the following notes in this book: G, C, Eb and F. Sing with letters, numbers and syllables. Sing as you construct. Sing a cappella first, then check your pitch with the piano. c) Triads, Chords and Inversions (pp. 162-166) Read the text and practice the example of C major seventh in all twelve keys, singing with numbers and syllables. Keep time.

LESSON #14 a) Intervals Intensive (p. 148) Getting it together. Practice #7. Note the relative minor key. b) The Harmonic Minor Scale (pp. 153-154) Complete the construction, singing and playing the harmonic minor scales from the remaining notes in the book. For the empty staff, choose your own key. Sing with letters, numbers and syllables as you construct. Sing a cappella first, then check the pitch on the piano. c) Triads, Chords and Inversions (pp. 162-166) Read the text and practice the example of C7 in all twelve keys, singing with numbers and syllables. Keep time.

LESSON #15 a) Intervals Intensive (pp. 147-148) Getting it together. Review exercises #5, #6, #7. If possible, increase the speed a bit in small increments, using the metronome. b) The Blues Scale (p. 155-156) Read the text and follow the instructions it contains. c) Triads, Chords and Inversions (pp. 162-166) Read the text and practice the example of C minor seventh in all twelve keys, singing with numbers and syllables. Keep time. 52 2 – Weekly Assignments

LESSON #16

a) Relative Minor Keys (p. 148) Read and be sure you understand the text. On the following page, do the practice assignment. Apply the principle and exercise to the sharp scales. On your manuscript paper, write out all the sharp scale major and relative minor keys, the major scale on one staff and the relative minor scale on the staff below.

b) Beginning to Improvise on the Blues Scale (p. 155) Follow the instructions on this page. Spend more than one week on this page if necessary.

c) Triads, Chords and Inversions (pp. 159, 161) Read the text and practice the example of C augmented (p. 164) in all twelve keys, singing with numbers and syllables. Keep time with the metronome.

LESSON #17

a) Relative Minor Keys (p. 149) Apply the practice assignment to the flat scales. Write out all the flat scales and their relative minor scales on the staff below.

b) “Blues For Dindah” (p. 157) Work on two to four bars at a time, with the metronome, being careful to get the coun- ting, fingering, and rhythmic accents correct. Practice the left hand chords alone, foer beats each in time before you put the hands together. Do not move on until you can play the section you are working on without stopping.

c) Triads, Chords and Inversions (pp. 159, 161) Read the text and practice the example of C diminished in all twelve keys (p. 165), singing with numbers and syllables. Keep time with the metronome.

d) Building Inversions of all Three Seventh Chords (p. 165) Write, play, sing. Read the text and follow the directions: Write in the spaces where necessary and then sing and play as directed. Do this in all the sharp keys. 2 – Weekly Assignments 53

LESSON #18 a) “Blues For Dindah” (p. 157) See last week. Keep working on this piece until you master it! b) Triads, Chords and Inversions (p. 159) Read the text and practice the example of C major in all the sharp keys, singing with numbers and syllables. c) Triads, Chords and Inversions (p. 164) Altered chords. Practice the example of C7 (b5) and C7 (#5) in all twelve keys, singing with numbers and syllables. Keep time. d) Building Inversions of all Three Seventh Chords (pp. 163-164) Write, play, sing. Read the text and follow the directions: Write in the spaces where necessary and then sing and play as directed. Do this in all the flat keys. 54 2 – Weekly Assignments

ADVANCED – SIX MORE WEEKS! SPECIFIC LESSON ASSIGNMENTS

LESSONS 19–24

ADVANCED EXERCISES – EXTRA PRACTICE – NEW INFO & ASSIGNMENTS

Practice these lessons after you have completed the 18 weeks of lessons above. Included in this section are: rhythm drills, street singing, piano playing emphasis, and writing your first arrangement. Combine the rhythm exercises daily with street singing and piano emphasis. Take your time – spending twice the time on each week’s lesson is perfectly fine.

ADVANCED – WEEK 19

Rhythm Level 1-A Varied time signatures and syncopation. Read text, p. 166. Work on Exercises #1 to #4 as directed (pp. 167–168).

ADVANCED – WEEK 20

Rhythm Level 1-A Varied time signatures and syncopation (p. 168-169). Practice Exercises #5 through #7 as directed.

ADVANCED – WEEK 21

Rhythm Level 1-A Varied time signatures and syncopation (p. 169). Practice Exercises #8 and #9 as directed.

ADVANCED – WEEK 22

Rhythm Level 1-B Rhythm Exercises (p. 170). Practice Exercises #1 through #3 as directed.

ADVANCED – WEEK 23

Rhythm Level 1-B Rhythm Exercises (pp. 170 –171). Practice Exercises #4 and #5. Play and sing as directed. 2 – Weekly Assignments 55

ADVANCED – WEEK 24

Rhythm Level 1-C Rhythm Exercises (pp. 171–172). Practice Exercises #1 and #4 as directed at your own pace.

ADVANCED STREET SINGING – PAGE 173

Song suggestion: “Over the Rainbow.” Choose others at this level that you are currently working on for performance. Additional song suggestions are offered on page 173. Choose two more songs from the suggested list.

SING & PLAY CARL CZERNY – IN TWO CLEFS – PAGE 174

Piano emphasis: Add singing when the piano is fluent. Read the text page, absorb and follow the directions carefully (three exercises). Use the metronome. Sing the melody a cappella.

ADVANCED PIANO PLAYING EXERCISES IN TWO CLEFS – PP. 174–178

Practice as described in the text directions. Take all you can from the music: inter- vals, melody, harmony, inversions, rhythm and keeping time. Sing what you play and when you see that there is more than one note in the left hand or right hand, try to see what chord those notes are outlining.

YOUR FIRST ARRANGEMENT – PP. 179–183

“Rose Room.” Setting up your score. 8-measure example, follow directions. Work on this song first, and then you may want to write a chart for yourself on a current reper- toire song of yours for a future performance!

Why not?! You are a musician now!

Thank you very much for your commitment to this method. Nancy Marano 56

3 Remedial - REMEDIALStudies STUDIES - - REMEDIAL STUDIES - BASIC MUSIC TERMS - PARTREMEDIAL ONE AND STUDIES PART -TWO BASIC MUSIC TERMS - PARTREMEDIAL ONE AND STUDIES PART -TWO BASIC MUSIC TERMS - PART ONE AND PART TWO BASIC MUSIC TERMS - PART ONE AND PART TWO Basic Terminology - Speaking the Language of Music. Basic Terminology - Speaking the Language of Music. This sectionBasic is Terminology for those singers - Speaking who have the hadLanguage very littl ofe Music. background in piano, Thistheory, section Basicor other is Terminology for musical those study.singers - Speaking As who you have gothe through hadLanguage very this littl of section,e Music. background you may in findpiano, Thisthattheory, you section or are other alreadyis for musical those aware study.singers of some As who you of have thego through information.had very this littl section, Othere background terms you maymay in findpiano,be new. BASIC Thisthat MUSIC you section are TERMS alreadyis for those aware singers of some who of have the information.had very littl Othere background terms may in piano,be new. SPEAKING theory, Be THE patient, orLANGUAGE other keep musical adding OF MUSIC study. to your As knowledge, you go through and continuethis section, on youryou mayjourney! find that theory, Be youpatient, or are other alreadykeep musical adding aware study. to of y oursome As knowledge, you of thego throughinformation. and continuethis section, Other on terms youryou mayjourney!may findbe new. This section that Be is youpatient, for thoseare alreadykeep singers adding whoaware have to of yhad oursome very knowledge, of little the background information. and continue in piano, Other theory,on terms your journey!may be new. or other musicalBe patient, study. keep As you adding go through to your this knowledge, section, you mayand ficontinue nd that you on areyour journey! already aware of some of the information. Other terms may be new. Be patient, keep adding to your knowledge, and continue on your journey!

Musical Staff – Barlines – lines that separate the measures . consists& of 5 lines and 4 spaces & & &

Musical Clef “G” clef, also called treble clef ? “F” clef, also called bass clef & ? & ? & ? & (New key signature Key Signature cancels the previous sharps fl ats one.) # # n n ### nnnbbb & # n bbb & # # n n b & ### nnnbbb & # n b b A Sharp is found by playing the closest note to the right (half-step, or minor second). The resulting note can be a black key or a white key.

& w# w# w# & w# w# w# & w# w# w# & w# w# w# REMEDIAL STUDIES - BASIC MUSICAL TERMS REMEDIAL STUDIES - BASIC MUSICAL TERMS REMEDIAL STUDIES - BASIC MUSICAL TERMS 3 – Remedial Studies 57

Double Sharp – raising two half-steps, or one whole step. w‹ & w‹ w‹ w‹ & w‹ w‹ w‹ & w‹ w‹

A Flat is found by playing the closest note to the left. This is a half-step, and does Natural Sign – cancels a previous not have to be a black key. sharp or flat) & wb wn & wb wn & wb wn

A Double Flat is located by lowering the original pitch by two half-steps, or one whole step.

& w∫ & w∫ & w∫

Notes on the staff: the Spaces the Lines w w w w & w w w w w w w w & wFAw CE EGw w Bw Dw F & wFA CEw w EGw w B Dw F & wFAw CE EGw Bw D F FA CE EGw B D F

Ledger Lines – shown written above the staff w w w w w w w w w w w w w w w w w & wREMEDIAL STUDIES - BASICw MUSICALw TERMSw & GAw w Bw CDw E F G & GA B CD E F G & GA B CDNOTE VALUES E - PART F TWO G

Ledger Lines – shown written below the staff

& w w w w w CB A G F Ew Dw Cw

w & w w w w w CDw w E F G A B C

w &w w w w w w w w w

& w ∑ ˙ Ó œ Œ

œ ‰ œœ œ ≈ œœœœ & J R REMEDIAL STUDIES - BASIC MUSICAL TERMS REMEDIAL STUDIES - BASIC MUSICAL TERMS REMEDIAL STUDIESNOTE - BASIC VALUES MUSICAL - PART TERMS TWO NOTE VALUES - PART TWO NOTE VALUES - PART TWO

& w & w w w w 58 3 – Remedial Studies& w w w w w w CBw w Aw Gw Fw Ew Dw C CB Aw Gw Fw Ew Dw Cw CB A G F Ew Dw Cw “Putting it together” – Introducing the C Major Scale!

w w & w w w w w CDw w E F Gw Aw Bw Cw & w w w w w w w w & CDw w Ew Fw Gw A B C CDw w E F G A B C

Triad: three-note chord Chord: three notes Inversion: Re-arranged notes or more of a chord w &w w w w ww w ww w ww w &w& w w w w w &w w w w w w The notes of aw chord are sounded simultaneously.w

NOTE VALUES Rhythm & counting

Following are various note values, with their accompanyiing rests. You will need to memorize, and know these for our section on rhythm exercises, where there will be many drills and opportunities for practice.

4 Beats 2 Beats 1 Beat & w ∑ ˙ Ó œ Œ & w ∑ ˙ Ó œ Œ & w ∑ ˙ Ó œ Œ Whole Note & Rest Half Note & Rest Quarter Note & Rest

Half of a beat (2 eights = 1 beat) 1/4 of a beat – four 16ths equal one beat œ REMEDIAL‰ œœ STUDIES - BASICœ MUSICAL≈ œœœœ TERMS & Jœ ‰ œœ Rœ ≈ œœœœ & œJ ‰ œœœœ œR ≈ œœœœœœ œ œ & J ‰ R ≈ Eighth Note & Rest two together R Sixteenth Note & Rest four 16th together

Rule: A dot next to a note receives half the value of the note.

Examples

Dotted Half Note – equals 3 beats Dotted Quarter Note – equals 1 and 1/2 2 beats for the half note, and beats. 1 beat for the quarter note and 1/2 1 beat for the dot. for the dot.

& ˙. œ.

&

& Ó ˙˙Ó

& œ œ œ œ REMEDIAL STUDIES - BASIC MUSICAL TERMS - REMEDIAL STUDIES -

BASIC MUSIC TERMS - PART ONE AND PART TWO

3 – Remedial Studies 59

TIME SIGNATURES˙. œ. & ˙. œ. Time signatures at the beginning of the first staff: The top number tells us how many beats are in each measure, the bottom number tells us what kind of note should receive one beat.

Examples

& c 86 C ”C“ stands for six beats per measure; two beats per measure; common time (4/4) one . 8th note gets the half note gets four beats per measure; one beat. one beat. the quarter note gets one beat. & 1. 2. TIE c j . & œ. œ œ œœ ˙ œœ ˙ œ œ˙ . œœœ œ A Tie is curvedœ line that connects two notes of the same pitch. The tone is wheld, as though the notes are one note.

˙ ˙ & Ó ˙˙Ó

SLUR

A Slur is a curved line that connects notes of different pitch. The music is to be played or sung legato (smoothly).

œ œ & œ œ œ œ

REPEAT SIGNSREMEDIAL STUDIES - BASIC MUSICAL TERMS

Two dots placed before a double bar line mean: Go back to the beginning and play again.

œ œ œ œ ˙ œ œ œ œ & œ œ œ œ ˙ .

1. 2.

. & œœœ œ œ œœ ˙ œœ ˙ œ œ˙ œœœ œ w

D.S. al Fine fi % FINE & - REMEDIAL STUDIES -

BASIC MUSIC TERMS - PART ONE AND PART TWO

REMEDIAL STUDIES - BASIC MUSICAL TERMS

œœ œœ ˙ œœœœ & œœ œœ˙ .

60 3 – Remedial Studies & c 861. C2. FIRST & SECOND ENDINGS & œ˙ . The repeatœœœ signœ œtellsœœ us to ˙go backœœ to the ˙ beginningœ . After theœœ repeat,œ œ skipw the fist ending and go directly to the second ending.

1. 2. c j . & œ. œ œ œ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ w

MORE

D.C. al Fine: Da capo (back to beginning) and play to Fine D.C. al Coda: Da capo and play to Coda D.S. al Coda: Dal segno (sign): go back to the sign and play to Coda

D.S. al Fine fi % FINE & Dal segno al Coda Coda Segno (Sign) The end REMEDIAL: THE NOTES ON THE STAFF

REMEDIAL STUDIES: THE NOTES ON THE STAFF REMEDIAL: THE NOTES ON THE STAFF TREBLE CLEF (G Clef) and BASS CLEF (F Clef) REMEDIAL STUDIES: THE NOTESREMEDIAL: ON THE THE STAFF NOTES ON THE STAFF

61 TREBLE CLEF (G Clef) andTREBLE BASS CLEF CLEF (F (Clef) G CLEF ) 3 – Remedial Studies REMEDIAL STUDIES: THE NOTES ON THE STAFF THE NOTES ON THE STAFF TREBLE CLEF (G Clef) and BASS CLEF (F Clef) This section is for those singers who have hadTREBLE very little CLEF background ( G CLEF in piano, ) theory, or other musical study. As you go through this section, you may find that you are already aware of some of the information. Other terms may be new. Be patient,w keep adding to your knowledge, and continue on your wjourney! w & w w TREBLE CLEF ( G CLEF ) wBDw FACE G TREBLE CLEF (G CLEF) w w w The&THE Spaces LINES w w wBDw FACE G w w w w & w w THEwBD LINES FACE wG w w The& Lines w w Middlew C E GBDF THE LINES w w w & w w Middlew C E GBBASS CLEFDF w w w BASS& CLEF w w Middlew C THE LINESE GBDF The Spaces BASS CLEF w w ? THE LINES w w BASS CLEF w w wFACEG DBDw (above Middle C) THE LINES w w The? Lines w w w w wFACEG DBDw w w (above Middleww C) ? w w w w w w ww w FACEGwEGBDFADBDw Middle C (above Middle C)

EXERCISES IN TREBLE & BASS CLEF

Here‘s a (quick way) to identify notes in bass clef: Think the note in treble clef first.

a) An interval of a third higher is the note in bass clef. b) The next line or space higher is the note in bass clef.

Note This method only tells you the name of the note. It does not tell you where the note is played!

IN BASS CLEF, THE NOTE LOOKS LIKE AN "A" - THINK UP A THIRD, OR CO HIGHER TO FIND THE CORRECT ANSWER - THAT NOTE IN BASS CLEF I EXAMPLES:

? & w w C in Treble Clef C in Bass Clef w w ? w w w w wEGBDFAMiddle C

IN BASS CLEF, THE NOTE LOOKS LIKE AN "A" - THINK UP A THIRD, OR CO 62 3 – Remedial Studies HIGHER TO FIND THE CORRECT ANSWER - THAT NOTE IN BASS CLEF I EXAMPLES:

Examples

? & w w C in Treble Clef C in Bass Clef

In bass clef, the note looks like an “A”. Think up a third, or count 2 notes higher to find the correct answer: That note in bass clef is a C.

EXERCISEWRITE IN THE NOTES IN BASS CLEF IN THE FOLLOWING EXERCISES:

Write in the notes in bass clef in the following exercises:

w ? &

? & w

? & WRITEw IN THE NOTES IN BASS CLEF IN THE FOLLOWING EXERCISES: MIDDLE C - COUNTING DOWN TO FIND "F" HOW TO DETERMINE WHERE A NOTE IS PLAYED ON THE PIANO w ? Everything& is referenced by the location of “middle C” on the treble and bass staves. “Middle C”˙ is of course located in only one place˙ on the keyboard. ? œ œ ˙ œ œ œ ˙ In treble clef: Middle C is written on the ledger line below the staff. Middle C BA G Middle C count down In bass clef: Middle C is written? on the line above the staff. F & Thus, if youw see a bass clef, fourth space G – andMIDDLE you are C notCOUNT sure where DOWN to play that note, remember where middle C is written in bass clef – above the staff. Note that the G you are looking for is lower? than that written middle C. Count down from the middle& C tow find the G. EXAMPLEExample MIDDLE C - COUNTING DOWN TO FIND "F" MIDDLE C - COUNTING DOWN TO FIND THE "G: Middle C, counting down to find the G Middle C, counting down to find the F ˙ ˙ ? œ œ ˙ œ œ œ ˙ Middle C BA G Middle C count down F To find a note in treble clef, you do the same thing, except that middle C is written on the ledger line below the staff in treble clefMIDDLE. Always C COUNTask yourself DOWN where notes are played, as you navigate the two clefs.

EXAMPLE MIDDLE C - COUNTING DOWN TO FIND THE "G: :EXERCISES: WRITING, PLAYING, SINGING NOTES IN TREBLE & BASS CLEF

:EXERCISES: 3 – Remedial Studies 63 WRITING, PLAYING, SINGING NOTES IN TREBLE & BASS CLEF

Note In classical music it is important to play the notation exactly where written. In pop/jazz lead sheets one can be more flexible in the choice of where to play the written notes.

EXERCISES: WRITING, PLAYING, SINGING NOTES IN TREBLE & BASS CLEF

Write the notes indicated in each exercise. Note the clef in each exercise. Follow by playing and singing your written notes.

Note There can be two of the same letters. When you see a repeated note, write it in the alternate location.

Example

Middleœ C and C on the third space & œ CBA G Middle C A D F E BGD œ & œ CBA G Middle C A D F E BGD

?

G FE Middle C EC SAY THE B NAMES G FOF THEDA NOTES OUT LOUDB - WORK ONE BAR AT A TIME ? SAY THE TAPNAMES THE OF RHYTHM THE NOTES - NOTICE OUT LOUDTHE TIME - WORK SIGNATURES ONE BAR AT A TIME TAP THE RHYTHM PLAY THE - NOTICE NOTES INTHE TIME TIME SIGNATURES Middle C G FE EC B PLAY G &F SING PLAYDA THE THE NOTE NOTES LETTER INB TIME NAMES IN TIME. • Say the names of the notes out PLAY loud –& work SING one THE bar NOTE at a time. LETTER NAMES IN TIME. • Tap the rhythm – notice the time signatures. Play the notes in time. • Play and sing the note letter names in time.

1 2 5 1. 5 4 5 1 5 4 1 2 2 5 4 5 5 2 4 5 1 . #1 œ œ œ œ ˙. #1 ? 3 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? 43 œ œ œ œ œ œ œ œ œ

2. 1 4 5 2 1 3 5 2 5 5 3 4 5 4 5 4 1 5 4 2 1 5 4 3 5 2 3 4 5 4 #2 #2 c œ œ œ œ œ œ œ œ ˙ & c œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ & œ œ œ œ ˙ œ œ œ 64 3 – Remedial Studies

INTERVALS INTENSIVE

WHY SYLLABLES?

As vocalists, our instrument is internal. It is very important that each note we sing has a name. Giving a name to notes helps control the pitch and makes the note sound more precise. We can label the notes with letter names, numbers, or syllables called solfeggio. I like to use all three in practice. When learning the fundamentals, letter names are helpful to be sure we know the notes we are singing. Eventually, however, as the rhythms move along at a faster pace, letters become cumbersome. Numbers and especially syllables work best. Please become fl uent with syllables as soon as possible, ascending and descending. To learn the syllables for all the scales, see pages 83 and 151–153).

Syllables for the major scale: DO, RE, MI, FA, SOL, LA, TI, DO

This means that whatever key your song is in, the root (also known as “the tonic” or “one”) of the corresponding scale will be called “do” when using syllables.

DIRECTIONS FOR WORKING WITH THE INTERVAL EXERCISES

Play each one-measure exercise twice. Use the metronome to stay in tempo.

The fi rst time: Play and sing the notes, singing with letters. The second time: Sing only – using letters.

Count one beat between each measure to take a breath. Sing and play all the exer- cises in this manner. Repeat the entire process singing with numbers and then a third time with syllables.

HOW CAN I GET THE MOST BENEFIT FROM THESE EXERCISES?

• Always use the metronome. • Notice your posture at the piano. It is important to take a full breath. • Do practice ‘critical listening’ for pitch. • Always fi nd the pitch with your voice alone fi rst! Use the piano only to check the pitch. Then listen to the piano note carefully and match the tone. • Important: Be sure that you hear the pitch before you sing it! Then check the piano to be sure.

Accuracy of the interval and singing precisely in the center of the pitch will guarantee improvement. Take your time – patience pays off.

Remember Accuracy is the goal. Speed comes later! - remedial studies - - remedial studies -

INTERVALS - BASIC CONSTRUCTION

3 – Remedial Studies 65 AN INTERVAL IS THE DISTANCE FROM ONE NOTE TO THE NEXT NOTE. AN INTERVAL IS THE DISTANCE FROM ONE NOTE TO THE NEXT NOTE.

INTERVALS – BASIC CONSTRUCTION Think of a "C" Major Scale. Count the notes from the root of this scale to any other scale degree. Think of a "C" Major Scale. Count the notes from the root of this scale to any other scale degree. Find and name the correct interval. Find and name the correct interval. (Example: from "C" to "F" in the IntervalC Scale would be the interval of a Perfect 4th.) (Example: from "C" to "F" in the C Scale would be the interval of a Perfect 4th.)

An interval is the distance between We can alterone noteany intervaland the bynext addin note.g a Sharp or a Flat, or a Natural We can alter any interval by adding a Sharp or a Flat, or a Natural

Analyze and note the Terms used in the Altered intervals Analyze and note the Terms used in the Altered intervals

- The first bar in each line is the unaltered interval built from the root of the scale. - The first bar in each line is the unaltered interval built from the root of the scale. Columns 2 and 3 demonstrate the altered intervals. Think of a C major scale. Columns Count 2 andthe 3notes demonstrate from the the root alter ofed this intervals. scale to any other scale degree. Find Write,and name Play the and correct Sing all interval. these intervals Example: in From all TwelveC to F inKeys. the C scale Write, Play and Sing all these intervals in all Twelve Keys. would be the interval of a perfect 4th. We can alter any interval by adding a sharp, a fl at or a natural.

Analyze and note the terms used in the altered intervals. The fi rst bar in each line is the unaltered interval built from the root of the scale. Bars 2 and 3 de mon strate the altered intervals. Write,MAJOR play SECOND and sing all these AUGMENTEDintervals in all 2 ndtwelve keys.DIMINISHED 2nd MAJOR SECOND AUGMENTED 2nd DIMINISHED 2nd Major Second Augmented 2nd Diminished 2nd & & w12w w w# w wb w12w w w# w wb

MAJOR THIRD AUGMENTED 3rd MINOR 3rd MAJOR THIRD AUGMENTED 3rd MINOR 3rd Major Third Augmented 3rd Minor 3rd

& & w13w w w# w wb 13w AUGMENTEDw# 4th DIMINISHEDwb th w wAUGMENTED 4th wDIMINISHED 4th PERFECT FOURTH

Perfect Fourth Augmented 4th Diminished 4th & w w# wb & w14w w w# w wb w14 w w

PERFECT FIFTH AUGMNETED th DIMINISHED th PERFECT FIFTH AUGMNETED 5th DIMINISHED 5th Perfect Fifth Augmented 5th Diminished 5th

& w w# wb & w15w w w# w wb w15 w w

MAJOR SIXTH AUGMENTED 6th MINOR 6th MAJOR SIXTH AUGMENTED 6th MINOR 6th

& w w# wb & w16 w w w16 w w

MAJOR SEVENTH AUGMENTED 7th MINOR 7th DIMINISHED 7th MAJOR SEVENTH AUGMENTED 7th MINOR 7th DIMINISHED 7th

& w w# wb w∫ & w17 w w w w17 w w w

. . . LABEL EACH INTERVAL - THEN SING THEM , USING LETTERS ...... LABEL EACH INTERVAL - THEN SING THEM , USING LETTERS . . . CHECK THE PITCH ONLY AFTER YOU HAVE TRIED TO FIND THE NOTE VOCALLY FIRST !! CHECK THE PITCH ONLY AFTER YOU HAVE TRIED TO FIND THE NOTE VOCALLY FIRST !! THEN, GO BACK OVER THE DIFFICULT INTERVAL AGAIN UNTIL YOU CAN HEAR IT THEN, GO BACK OVER THE DIFFICULT INTERVAL AGAIN UNTIL YOU CAN HEAR IT WITHOUT THE PIANO HELPING YOU. WITHOUT THE PIANO HELPING YOU.

WORK ON ONLY ONE BAR AT A TIME. GRADUALLY ADD THE NEXT MEASURE, WORK ON ONLY ONE BAR AT A TIME. GRADUALLY ADD THE NEXT MEASURE, UNTIL YOU CAN SING THE ENTIRE MELODY OF THE EXERCISE PERFECTLY. UNTIL YOU CAN SING THE ENTIRE MELODY OF THE EXERCISE PERFECTLY. AUGMENTED 4th DIMINISHED 4th PERFECT FOURTH AUGMENTED 4th DIMINISHED 4th PERFECT FOURTH

& w w# wb & w14w w w# w wb w14 w w PERFECT FIFTH AUGMNETED 5th DIMINISHED 5th PERFECT FIFTH AUGMNETED 5th DIMINISHED 5th

& w w# wb & w15w w w# w wb w15 w w 66 3 – Remedial Studies MAJOR SIXTH AUGMENTED 6th MINOR 6th MAJOR SIXTH AUGMENTED 6th MINOR 6th

Major Sixth Augmented 6th Minor 6th

& w w# wb & w16w w w# w wb w16 w w

MAJOR SEVENTH AUGMENTED 7th MINOR 7th DIMINISHED 7th MAJOR SEVENTH AUGMENTED 7th MINOR 7th DIMINISHED 7th Major Seventh Augmented 7th Minor 7th Diminished 7th

& w w# wb w∫ & w17 w w w w17 w w w

Label each interval – then sing them, using letters. Check the pitch only after you have tried to find . . . theLABEL note EACH vocally INTERVAL first! -Then THEN go SING back THEM over , USING the difficult LETTERS interval . . . again . . . LABEL EACH INTERVAL - THEN SING THEM , USING LETTERS . . . until you canCHECK hear THE it PITCHwithout ONLY the AFTER piano YOU helping HAVE TRIED you TO. WorkFIND T HEon NOTE only VOCALLY one bar FIRST at a time!! . CHECK THE PITCH ONLY AFTER YOU HAVE TRIED TO FIND THE NOTE VOCALLY FIRST !! Gradually add THEN, the GOnext BACK measure OVER THE until DIFFICU youLT canINTERVAL sing theAGAIN entire UNTIL melody YOU CAN of HEAR the IT exercise THEN, GO BACK OVER THE DIFFICULT INTERVAL AGAIN UNTIL YOU CAN HEAR IT perfectly.EXAMPLE WITHOUT THE PIANO HELPING YOU. WITHOUT THE PIANO HELPING YOU. Example WORK ON ONLY ONE BAR AT A TIME. GRADUALLY ADD THE NEXT MEASURE, mi2 WORK ON ONLYma2 ONE BAR AT A TIME. GRADUALLY ADD THE NEXT MEASURE, UNTIL YOU CAN SING THE ENTIRE MELODY OF THE EXERCISE PERFECTLY. UNTIL YOU CAN SING THE ENTIRE MELODY OF THE EXERCISE PERFECTLY.˙ & c œ œ# œ ˙ œb œ œ œ œ œ ˙ œ p5 mi2

& œ œ ˙ œ œ œ# œ œ# ˙ œ œ œ# œ œ

˙ ˙ œb œ œb œ ˙ & œb œn œb œ ˙

˙ œ & œ œb œ œ œ œ œ# œ œ#

w & œ ˙ œ œ œ œ œ œ Remedial Studies - INTERVALS

3 – Remedial Studies 67 INTERVALS INTENSIVE - SING & PLAY

INTERVALS PLAY & –SING SING THE ANDEXERCISES PLAY BELOW, USING THE METHOD AS DIRECTED ON PAGE 60 Play and sing the ( LETTERS, exercises NUMBERS, below, using SYLLABLES the method ). as C, directed E, G, C on/ 1,page 3, 5, 64 8 (letters, / DO, MI, SOL, DO EXAMnumbers,PLE syllables) . C, AREE, G, USED C / 1, EXCLUSIVELY3, 5, 8 / DO, MI, IN SOL, THE DO FIRST are used 30 MEASURES. exclusively in the first 30 measures. QUARTER NOTE = 80

Track 1

qExample = 80 & w w w w w CEw w G wE wC w w w w w w 1 3 5 3 1 DO MI SOL MI DO

4

& w w w w w w w w w w w w w w w

7

w w w w & w w w w w w w w w w w

10

& w w w w w w w w w w w w w w w

13 w w w w & w w w w w w w w w w w

16

w w w w w & w w w w w www w w

19

w w w ww ww w w & w w w w w w

22

w w w ww w w w w & w w w w w w

25 w w w w w w & w w w w w w w ∑ w w w w

28 w w w w w & w w w w w w w w w w w w w

Adding Scale Tones 2, 4, 6, & 7 You will now be using all the notes in the Major Scale. Use the same Practice Method as Before

31 w & w w w w w w w w w w w w w w w w w

34

w w w w & w w w w w w w w w w w w w w

37

w w w w w w w & w w w w w w w w ww w 19

19 w w ww ww w & w w w w w w w w w w ww ww w & w w w w w w 6822 3 – Remedial Studies w w

22 w w ww w w w & w w w w w w w w w w ww w w w & w w w w w w 25 w w w 25& w w w w w w w w w ∑ w w w w w w w w w w w w w & w w w w w w w ∑ 28 w w w w

28 w w w w w & w w w w w w w w w w w w w w w w w w w w w w & w w w w w Addingw Scale Tonesw 2, 4,w 6, & 7 w You will now be using all the notes in the Major Scale. Adding Scale Adding Tones Scale2, 4, 6, & Tones 7 2, 4, 6, & 7 You will Usenow thebe using same allPractice the notes Method in the majoras Before scale . Use the same practice method Youas before.will now be using all the notes in the Major Scale. Use the same Practice Method as Before 31

31 w & w w w w w w w w w w w w w w w w w & w w w w w w w w w w w w w w w w w 34 w 34 w w w & w w w w w w w w w w w w w w w w & w w w w w w w w w w w w w 37 w w w w

37& w w w w w w w w w w w w w w w w w w w w w & w w w w w w w w w w w 40 w w ww w w w & w w w w www w w www w w w

43 w w w w w w w w w & w w ww w w w w w

46 w w Ó w w w w w w & w w w w w w w w w

49 w & w w w w w w w w www w w w w w w

52 w w w w w w w w www w w w & w w w w

55 w w w w w w & w w w w w w w w w w w w

58 w w w w w & w w w w w w w w w w w w w

61 w w w w w w & w w w w w w w w w w w w 40 w w w & w w w w www w w www w w w

43 w w w w w w & w w w ww w w w w w w w 3 – Remedial Studies 69

46 w w Ó w w w w w w w & w w w w w w w w

49 w w w w w w w w www & w w w w w w w

52 w w w w w w w w w w & w w w w ww w w

55 w w w w w w & w w w w w w w w w w w w

58 w w w & w w w w w w w w w w w w w w w

61 w w w w w w & w w w w w w w w w w w w

64 w w w w w w & w w w w w w w w w w w w

67

& w w w w w w w w w w w w w w w w

70 w w ww w & w w w w w w w w w w w w w

73 w w & w w w w w w w w w w w w w w w w

76 w w w w w w w w w w w w w w & w w w w 64 w w w w w w & w w w w w w w w w w w w

67

& w w w w w w w w w w 70 3 – Remedial Studies w w w w w w

70 w w w ww w & w w w w w w w w w w w w

73 w w w w w w w w w w w w w & w w w w w

76 w w w w w w w w w w w w w w & w w w w

Be aware of each interval Be conscious of the pitch of each interval sung.

Remember to ‘Listen critically.’ 3 – Remedial Studies 71

TIME SIGNATURE CHART

NOTE VALUES IN VARIOUS TIME SIGNATURES

Note 4/4 6/8 4/2 4/1

Whole Note One Beat

Half Note One Beat

Quarter Note One Beat

Eighth Note One Beat

Sixteenth Note

A DOT next to a noter receives half the value of the note it is next to. Example: A dotted half note is counted two beats for the half note, and one beat for the dot, added together – three beats total.

RHYTHM EXERCISES

BRIEF REVIEW OF NOTE VALUES & THEIR RESTS

Whole Note = 4 Beats Whole Note Rest & w ∑

Half Note = 2 Beats Half Note Rest Quarter Note = 1 Beat Quarter Note Rest & ˙ Ó œ Œ

Eighth Note Sixteenth Note Sixteenth Note = 1/2 Beat Eighth Note Rest =1/4 Beat Rest œ ‰ œ ≈ & J R

Practice method a) Set the metronome. b) Count four beats before beginning. c) Clap the rhythm counting out loud. d) Repeat the exercise, this time playing a repeated note on the piano, still counting. e) Observe the time signature. Pencil in the counting at first, if necessary. Remedial Studies - Rhythm Exercises Remedial Studies - Rhythm Exercises Remedial Studies - Rhythm Exercises

72 3 – Remedial Studies Remedial Studies - Rhythm Exercises Remedial Studies - Rhythm Exercises &43 ˙œŒ œœ œ˙ Ó œ 1.&43 1˙œ 2 3 Œ123œœ œ˙ Ó œ 3 1˙œ 2 3 Œ123œœ œ˙ Ó œ &4 1 2 3 123 Track 2 3 &43 ˙˙œœ Œ œœœ œ œ˙œ ˙ Ó œ &44 1˙œ 2 3 œŒ123œœœ œœ˙Ó œ ˙ &4 1 . 2 3 123Œ Œ . 4 1 2 3 4 1234& 2.&4 ˙œ. œ Œ œœœ Œ œœ˙ œ ˙. 4 ˙œ1 . 2 3 4 œ1234&Œ œœœ Œ œœ˙ œ ˙. &4 1 2 3 4 1234& 4 ˙œ. œ Œ œœœ Œ œœ˙ œ ˙. &4 ˙1 . 2 3 œ4 œ1234&Œ œœœ Œ œ œ ˙ œ ˙. &4 1 2 3 4 1234&

3.

4 ‰ œ œ œ œ ŒŒ˙œ. œ œ ‰ œ œ Œ ˙œœ &4 3&4J &44 ‰ œœœœ ŒŒ˙œ. œœ ‰ œœ Œ ˙œœ 4. 4 ‰ œœœœ ŒŒ˙œ. œœ ‰3&4œœJ Œ ˙œœ &4 3&4J 4 œœœœ‰ œœœœ œœŒŒ˙œ.œœœœœ ‰ œœ Œ œœœ˙œœ &4‰ œœœœ ŒŒ˙œ. Œœœ ‰3&4œœJÓ Œ ˙œœ &44 1 ee & a 2 3 ee & a 4 &4œ œ œ œ œœœ œ œ Œ 3&4JÓ œ œ œ 4 œœœœ1 ee & aœœ 2 3 eeœœœ & aŒ 4 Ó œœœ &4 1 ee & a 2 3 ee & a 4 4 œœœœœœ œœœœœœœ ˙Œ Óœœœœœœœœ &&4‰4 œœœœ1 ee & aœœ 2‰ 3 eeœœœ & aŒ 4 Ó œœœ &4 1Jœ ee &œ a 2Jœ 3œ ee & a˙ 4 œœœ œ œ & ‰ J ‰ J & ‰ œœ ‰ œœ ˙ œœœœœ 5. J J ‰2 œ œœœ œ œ œ œ‰ œœœ œœ ˙ œ œ œœœ œ œ œœœœœ œ &&4‰ Jœœ ‰ ŒJœœJ ‰ ˙ œœ≈ œœœ &42 œ Jœ œ œ œ œ ŒJ œ ‰ œœœ œ œ ≈ œ œ œ œ œ 2 œ œ œ œ œ œ Jœ ‰ œœœ œ œ œ œ œ œ œ &4 Œ J ≈ 2 &42 œ œ œ œ œ œ Œ œ ‰ œœœ œ œ ≈ œ œ œ œ œ &4 Œ J ‰ ≈ 3 – Remedial Studies 73

TIME SIGNATURES

Top number: How many beats are in the measure? Bottom number: What kind of note gets one beat?

4/4

4/4 = Four beats in a measure. The quarter note gets one beat.

6/8

6/8 = Six beats in a measure. The eighth note gets one beat.

5/2

5/2 = Five beats in a measure. The half note gets one beat.

8/1

8/1 = Eight beats in a measure. The whole note gets one beat.

Understand and explain: 2/4, 3/8, 4/1, 7/2 74 3 – Remedial Studies

SWINGING THE EIGHTH NOTES

One of the most important aspects of jazz music is the rhythm. Another term is jazz conception. Another is swing feel. All of these terms imply that this style contains syncopation, which means that rather than the rhythm accents being on one and three, they are on two and four. Also, there is more emphasis on the off-beat (the second half of the quarter note). Even though we talk about the second half of the beat, what we are actually hearing in swing is the jazz triplet figure. Seeing it on the page, notice that the first two notes are tied, and the third note is slightly accented. Tap, play and sing the triplet figures in the measure below. Listen to the Count Basie Band for reinforcement and sing along with them to get the full flavor in the art of swing.

4 œ œ œ- œ œ œ- œ œ œ- œ œ œ- &4 3333

Swinging the eighth note – triplet feel

RHYTHM EXERCISES – GENERAL DISCUSSION

These exercises can effectively be practiced at or away from the keyboard. Make a copy and take it with you to practice during the day, during a break.

Suggestions for Practice

1. Always use the metronome to be sure you are keeping time. Keep the pulse steady as you play.

2. Always count out loud, using the rhythm syllables below to help your under- standing.

3. Always feel the internal beat. Tap your foot, get something going in your body, feel time.

Using the Metronome Set the metronome tempo as slowly as is comfortable at first. Speed is not important at this point. As your proficiency improves, so will your speed. Tap your foot and feel the physicality of the various rhythms. Be aware of the subdivision of each beat. Feel the time!

a) If you haven’t worked with these syllables before, use them now. They are very helpful and important for articulating the rhythms.

b) Clap the rhythms and speak the counting in the exercises on page 76 (Example #1). 3 – Remedial Studies 75

Counting The Exercises • Quarter note: Say “one” (or whatever beat the quarter note falls on).

• Eighth note: Say “and” when the eighth note is on the second half of the beat. Often, there will be two eighth notes connected by one line. You will say: “one- and” which will equal one beat in total.

• Sixteenth notes: When you see four sixteenth notes connected by a double line, say “one-ee-and-a.” Four 16th notes receive one beat.

• Triplet: Say “tri-pu-let.” Three notes connected by a single line with the number “3” over the line denotes eighth-note triplets.

RHYTHM EXERCISES – SCALE FORMAT

Varied note values: Sing and play rhythms on a diatonic scale.

Explanation & Practice Method

These exercises have several purposes, the first of which, of course, is to become more proficient with reading rhythms, counting, and keeping time. Feel the ‘internal beat’ deeply in your body in each drill. These drills should challenge both remedial levels through level two, because we will be practicing and developing some extra skills as time goes on. I would advise everyone to begin with the simplest assignment and go as far as you can in a slow tempo. Increase the speed as you become more accomplished.

1. Play each exercise with the metronome at 63 beats per minute (bpm) for a quarter note. Count out loud as you play the repeated note in the indicated rhythms. Do one exercise at a time, unless you find this too easy – in that case you can go directly from #1 to #2 if you wish. The exercises will become incre- asingly more difficult, so you may need to slow down the tempo. No problem if you do. When you are ready, speed will come. Be sure you understand all the different combinations of beats as the exercises progress. If you need to write in the beats of 1, 2, 3 and 4, that is fine at the beginning. Write with pencil, since later you will need to erase these cues.

2. For the second part of the exercise, sing a major scale, ascending and descending on each exercises, using syllables only. Be sure to use correct fingering when playing the scale of your choice.

Look at the first exercise: Play and sing “do” as is written below the counting. Hold “do” for four beats. Go to measure #2 and you will see two half notes. Below them you can see “re” and “mi”, two beats each, saying “re, mi” up the scale. Proceed singing and playing the ascending scale, singing the syllables until you reach the octave from where you started. Then just sing the descending scale until the exercise is ended. You may even need to ascend again. The exercises will not end on a predictable note. Work on #1 until you find it easy – then you may go to the drill #2. Each drill is designed to offer more challenges, since we are exploring all the various note values and combinations. 76 3 – Remedial Studies

Do not move REMEDIALon until you STUDIES know that - RHYTHMyou are ready. EXERCISES Try to choose a scale that is vocally comfortableREMEDIAL for you. Even STUDIES though - RHYTHM you are more EXERCISES concerned with the counting at this point, try to breathe correctly and pay attention to good posture and to your sound as well. Remember that you consistentlyRHYTHM want to EXERCISES utilize a full ‘body sound‘. RHYTHM EXERCISES

THERHYTHM FOLLOWING EXERCISES ( 10 ) EXERCISES FOCUS ON THE FOLLOWING NOTE VALUES: THE FOLLOWING ( 10 ) EXERCISES FOCUS ON THE FOLLOWING NOTE VALUES: Whole Note, Half Note, Quarter Note, Eighth Note, Sixteenth Note - and their equivalent Rests. Whole Note, Half Note, Quarter Note, Eighth Note, Sixteenth Note - and their equivalent Rests. * * ALL EXERCISESThe following ARE ten IN exercises COMMON focus TIME on the (4/4 following) SET THE note TEMPO values: TO Whole A COMFORTABLE note, half SPEED. * * ALL EXERCISES ARE IN COMMON TIME (4/4) SET THE TEMPO TO A COMFORTABLE SPEED. note, THE quarter EXERCISES note, eighth WILL note, REQUIRE sixteenth ADJUSTING note – and THE their SPEED equivalent OF THErests. METRONOME. All exer- cises THE are inEXERCISES common timeWILL 4/4. REQUIRE Set the ADJUSTINGtempo to a comfortable THE SPEED speed. OF THE The METRONOME.exercises will require adjusting the speed of the metronome. WHOLE NOTES & HALF NOTES WholeWHOLE Notes NOTES& Half &Notes HALF NOTES

1. q = 63 q = 63 (1) Track 3 (1) & c w ˙˙˙˙ Ó ˙ ∑ &Countc 1 2 3 4 1 2 3 4 1Ó 2 3 4 1 2 ∑3 4 Count 1 2 3 4 1 2 1 2 3 4 1 2 3 4 Sing DO RE MI3 4 FA Sing DO RE MI FA

& ˙˙˙˙ Ó ˙ w ˙ Ó & 1 2 3 4 Ó1 2 3 4 1 2 3 4 1 2 3 Ó 4 1 2 1 2 3 4 1 2 3 4 1 2 3 4 SOL LA3 4 TI DO TI SOL LA TI DO TI

ADDING : QUARTER NOTES & RESTS ADDINGAdding: Quarter: QUARTER Notes NOTES & RESTS

2.

(2) (2) ˙ œœ œ ŒŒœ Ó œ Œ w Track 4 & ˙ œ œ œ œ œ w & 1 2 34 1 23ŒŒ4 1Ó 2 3 4Œ 1 2 3 4 DO1 2 RE34 MI FA1 23SOL4 1 2 LA3 4 TI1 2 3 4 DO RE MI FA SOL LA TI

& œ Œ œœœ œ ˙ Ó w Œ œœœœ œ œ & 1 2Œ 34 1 2 3Ó 4 1 2 3 4 1Œ 234 1 2 34 1 2 3 4 1 2 3 4 1 234 DO TI LA SOL FA MI RE DO DO TI LA SOL FA MI RE DO

Swing! Swing the eighth notes, remem ber ing the jazz triplet. Remedial Studies - Rhythm Exercises

3 – Remedial Studies 77

Adding Eighth Notes Swing The Eighth Notes ADDING:3. EIGHTH NOTES AND RESTS

Remedial Studies - Rhythm Exercises (3) & œ œ ˙ œ œ œ Œ œ Œ ˙ œ œ œœœ œ Track 5 1 2 3 4 1&2 3 4 1 23 4 1 2 3 & 4 DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE

Swing The Eighth Notes ADDING: EIGHTH NOTES AND RESTS & ˙ Œ œ œ Ó œ œ Œ Œ œœœ œ œ œ Œ œ œ œ 1 2 3&4& (3) DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE & œœ˙ œœœ Œ œ Œ ˙œœ œœœœ 1 2 3 4 1&2 3 4 1 23 4 1 2 3 & 4 MIXED RHYTHMS ( #1, 2 & 3 ) DO RE MI FA SOL LATake TI a pencil DO TI LA SOL FA MI RE Pencil in the counting and syllables if you need to at (4) œœ˙ Œœ ŒœœœœÓ fi rst,Óœœ thenœœ eraseŒ Œand˙œ œœsing œœœœœ Œœ ŒœœœœœœŒ & without that help. DO RE MI FA SOL LA TI 1 DO2 3&4& TI LA SOL FA MI RE DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE Mixed Rhythms MIXED& œœRHYTHMSœ (‰ #1,œ 2 &Œ 3 ) ‰ œœ‰ œœœ œœ‰ œ ‰ œ Œ 4. 1 2&3 &J 4 1 &2& 1&2 & 3 &J 4 DO RE MI FA SOL LA TI DO TI LA SOL FA MI

(4) & œœœ Œ œ œ Ó œ œ ˙œœ œ Œ œ œ œ Œ DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE

Remedial Studies - Rhythm Exercises & œœœ ‰ œ Œ ‰ œ œ ‰ œœœ œ œ ‰ œ ‰ œ Œ 1 2&3 &J 4 1 &2& 1&2 & 3 &J 4 DO RE MI FA SOL LA TI DO TI LA SOL FA MI

Adding Sixteenth Notes

ADDING:5. SIXTEENTH NOTES & RESTS (4 16ths Equal One Beat)

(5) & œ œ œ Œ Œ œ œ ˙ Ó œ œ œ œ œ œ œ œ œœœ œ œ œ œ 1ee& a 2 3ee & a 4 &

œ œ œ œœœœ œ ˙œœ œœœœ œ œ œœœœ œ & Œ‰ ‰ Ó ‰ J ‰ J Œ

MIXED EIGHTH & SIXTEENTH NOTES - AND RESTS

(6) & œœœ ‰ œœ œœœœœ œ œœœœŒ œ œœœ œœœ œ œ œ J 1 &a

& Œ œ œœ‰ œœœœ Ó œœœ œœœ œœœœœŒ œ œœ J 3 ee &

& œœ‰ œ ‰ œœœœœœœ œœœœœ œ œœ Remedial Studies - Rhythm Exercises

ADDING: SIXTEENTH NOTES & RESTS (4 16ths Equal One Beat)

(5) & œœœŒ Œ œœ˙ Ó œ œ œ œ œœœœœœœœœœ œ 1ee& a 2 3ee & a 4 &

78 œ Œ‰œ ‰ œ Ó œœœœ‰ œ ˙œœ œœœœ œ œ œœœœ‰ œ Œ 3 – Remedial &Studies J J Mixed Eighth & Sixteenth Notes

MIXED EIGHTH & SIXTEENTH NOTES - AND RESTS 6.

(6) & œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ J 1 &a

& Œ œ œ œ ‰ œœœ œ Ó œ œ œ œ œ œ œœœ œ œ Œ œ œ œ J 3 ee &

œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ & ‰ Remedial‰ Studies - Rhythm Exercises

Remedial Studies - Rhythm Exercises Triplets Three eighth notes equal one beat. Sing and play evenly. TRIPLETS: 3 EIGHTH NOTES EQUAL ONE BEAT - SING/PLAY EVENLY. 7.

TRIPLETS: 3 3EIGHTH NOTES 3EQUAL ONE BEAT - SING/PLAY3 EVENLY. 3 3 (7) œ œ œ œœœ œ œ ˙œœ œ œ œ. œœœ œ œ œ œ & 3 3 3 ‰ 33 TRI-- PU LET 2 TRI-- PU LET 4 J J (7) œœœœœœœœ ˙œœœ œ œ. œœœœœœœ & 3 3 ‰ 3 3 TRI-- PU LET 2 TRI-- PU LET 4 J J œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ 3 ‰ J ‰ J 3 ‰ 33 ‰ œœœœœœ‰ œ ‰ œœœœœœœœ œ ‰ œœœœœ œœœ œœœ & J J 3 œ œ œ œ œ œ œ œ œ œ œ œ ˙œœ & Œ 3 œ œ œ œ œ œ œ œ œ œ œ œ ˙œœ DOTTED NOTES: A DOTŒ GETS HALF THE VALUE OF THE NOTE IT IS NEXT TO - ADDED TOGETHER Dotted& notes A dot gets half the value of the note it is next to – added together. DOTTED NOTES: A DOT GETS HALF THE VALUE OF THE NOTE IT IS NEXT TO - ADDED TOGETHER 8. (8) & ˙ œ œ ˙. œ Œ ˙. œ. œ œ œ 1 2 3 1 2 &J (8) & ˙ œ œ ˙. œ Œ ˙. œ. œ œ œ 1 2 3 1 2 &J & œ. œ œ. œ œ œ. œ. œ œœœ œ. œ œ œ œ œ œ œ. J J J1 & 2 3 4 &J J J & œ. œ œ. œ œ œ. œ. œ œœœ œ. œ œ œ œ œ œ œ. J J J1 & 2 3 4 &J J J TIE: PLAY/SING THE FIRST NOTE, HOLD THE SECOND NOTE - THE SOUND CONTINUES.

TIE: PLAY/SING THEhold FIRSTnote NOTE, HOLD THE SECOND NOTE - THE SOUND CONTINUES. (9) & c ˙ holdœ noteœ œœœ ˙ ‰ œ œ œ œ œ Œ (9) 34 & c ˙ œœ œœœ˙ ‰ œœœœœŒ 34 & œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ ‰ œ ˙ œ œœœ œœœ œ & œ œ œ œ œ œ œ œ œ œ ‰ œ ˙ œ œœœ œœœ œ Remedial Studies - Rhythm Exercises

TRIPLETS: 3 EIGHTH NOTES EQUAL ONE BEAT - SING/PLAY EVENLY.

3 3 3 33 (7) & œœœœœœœœ ˙œœœ‰ œ œ. œœœœœœœ TRI-- PU LET 2 TRI-- PU LET 4 J J

3 3 33 ‰ œœœœœœ‰ œ œœœœœœœœ œ œœœœœ œœœ œœœ & J ‰ J ‰

3 & œ œ œ œ Œ œ œ œ œ œ œ œ œ ˙œœ

DOTTED NOTES: A DOT GETS HALF THE VALUE OF THE NOTE IT IS NEXT TO - ADDED TOGETHER

(8) & ˙ œ œ ˙. œ Œ ˙. œ. œ œ œ 1 2 3 1 2 &J

œ. œ œ. œ œ œ. œ. œ œœœ œ. œ œ œ œ œ œ 3œ –. Remedial Studies 79 & J J J J J J Tie 1 & 2 3 4 & Play and sing the first note, hold the second note – the sound continues. TIE: PLAY/SING THE FIRST NOTE, HOLD THE SECOND NOTE - THE SOUND CONTINUES. 9. hold note

(9) & c ˙ œ œ œœœ ˙ ‰ œ œ œ œ œ Œ 34

& œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ ‰ œ ˙ œ œœœ œœœ œ

Mixed Rhythms Pencil in the counting at first, if you need to. Then erase. Always practice over the bar line. Work on four bars at a time. Then put it all together as one exercise. Be certain you understand and can account for every beat and the sub-division. Feel the time! Remedial Studies - Rhythm Exercises 10.

(10) œ. œœœ œ œ œ œœ. œ œ œ œ œ œ œ œ œ œ & c J J Œ‰ J ‰

3 œ œ œ œ œ œ œ œ œ œ œ ˙œ. œ œ œ œ œ œ œ œ œ œ & ‰ J Œ

3 3 & œ œ œ œ œ œ œ œ œ œ œ œ œ Ó ‰ œ ‰ œ Œ‰œ œ œ œ œ œ œ

3 3 & œœ. œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ Ó ‰ œ œ œ

3 3 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ. œ & J

3 & œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ 80 3 – Remedial Studies

STREET SINGING

This page is a continuation of the “Street Singing” text which can be found at the beginning of this book.

Specific practice methods and songs for street singing

Firmly establish the key in your ear by singing the scale with letters, numbers and syllables every time!

Example #1 “Twinkle, Twinkle”

œ œ œ œ ˙ œ œ œ œ &44 œ œ œ œ ˙ When you are away from the piano and decide to sing “Twinkle”, play C on your pitch pipe, or choose any key at random and pretend that it is c. Sing the first two C’s then sing up the scale (a p5th) until you come to the G which also repeats. Use your ear to go to the next pitch, which is A and note that the A is one whole step higher than the G and continue through the first four bars.œ˙ 4 œ. œ Noticeœ œdirectionœœ˙ – ascending or descendingœœ˙ and think about theœ counting as well, &4 Jholding notes for the appropriate value.

PITCH MEMORY

Remembering where DO is and MI and SOL as well so that you can find the melody note again, should you get lost. Use your hand in the air to physically help to feel the pitches. Use letters, numbers and syllables in the singing of “Twinkle.” More songs that work well at this level:

Nursery Rhymes

• Mary Had a Little Lamb • The Farmer in the Dell • Itsy Bitsy Spider • Jingle Bells • If You‘re Happy and You Know It

After you become comfortable with the numbers, letters, and syllables in the key of C moveœœ on to theœœ key of G and˙ around the circles of fifths and fourths, if you can. 4 œœ œœœœ œœ˙ &4 Note Some songs don’t begin on the first note of the scale. On what note of the scale does “Mary Had a Little Lamb” begin?

Example #1 “Mary Had a Little Lamb” – Begins on the 3rd degree of the scale.

4 œ. œ œ œ œ ˙ œ œ ˙ œ œ ˙ &4 J œ 3 – Remedial Studies 81

GETTING IT TOGETHER

HOW AM I DOING? MEASURING MY PROGRESS

Sing everything you play! Play everything you sing!

Practice procedure

1. Tap out the rhythmn of this exercise until perfect. Be sure to use the metronome.

2. Play the melody on the piano, using the fi ngering indicated.

3. Add the singing now, as you play the melody again. Use syllables to sing the melody. You can also use scat-type syllables of your choice, but solfeggio is preferred.

4. If you are comfortable playing triads in the left hand, you may now add the chords. Play the chords in root position as you sing and play the right hand. If you are more advanced harmonically, you may play inversions in the left hand.

5. Syllable names for chromatic notes, i.e. sharps or fl ats are found on page 92.

1. REMEDIAL : CHAPTER REVIEW - GETTING IT TOGETHER Track 6

q = 76 C F C G C D G

(1) &44 œ œ œ œ ˙ œ œ œ ˙ œ œ4 œ œ œ œ1 2 œ4 œ œ œ œ œ œ œ# 4 5 4 œ œ œ œ 3 œ 3 œ œ œ 3 œ

C F C GCDm G C œ œ œ œ œ Œ œ4 œ ˙ & œ 4 œ œ œ 1 œ5 œ œ œ œ œ œ œ2 3 œ œ3 2 4œ 1 1 œ œ 5 œ œ 5 4 œ œ œ œ 1

QUARTER NOTE = 76 4/4 - Key of "F"

q = 76 Dm Dm F/C Bb C Gm CA (2) b 4 œ œ Œ & 4 œ3 2 œœ3 2 œ 5 œ œ œ3 1 œ œ œ œ 4 œ œ œ œ 3 2 ˙4 œ# œ œ œ1 4

Dm F/C A7 D Gm C F j j b j j Œ œ j œ j & j j œ# 4 5 5 1 w3 œ5 œ œ1 œ œ œ œ1 œ œ1 œ ˙3 REMEDIAL : CHAPTER REVIEW - GETTING IT TOGETHER

q = 76 C F C G C D G

(1) 4 &4 œ œ œ œ ˙ œ œ œ ˙ œ œ4 œ œ œ œ1 2 œ4 œ œ œœœ œ œ# 4 5 4 œ œ œ œ 3 œ 3 œ œ œ 3 œ

C F C GCDm G C œ œ œ œ œ Œ œ4 œ ˙ & œ 4 œ œ œ 1 œ5 œ œ œ œ œ œ œ2 3 œ œ3 2 4œ 1 1 œ œ 5 œ œ 5 4 œ œ œ œ 1 82 3 – Remedial Studies QUARTER NOTE = 76 4/4 - Key of "F" 2. Track 7

q = 76 Dm Dm F/C Bb C Gm CA (2) b 4 œ œ Œ & 4 œ3 2 œ œ3 2 œ 5 œ œ œ3 1 œ œ œ œ 4 œ œ œ œ 3 2 ˙4 œ# œ œ œ1 4

Dm F/C A7 D Gm C F j j b j j Œ œ j œ j & j j œ# 4 5 5 1 w3 œ5 œ œ1 œ œ œ œ1 œ œ1 œ ˙3

6/8 TIME SIGNATUREQUARTER NOTE = 88

3. Track 8

Em E aug G/D F 7/ 5 Gq = 88 D/F C/E G/D b b # (3) # 6 j œ j œ œ & 8 œ œ4 œ œ œ œ œ œ. œ œ j 3 5 œ2 3 4 œ œ J 1 2 1 œ3 œ2 œ3 4 œ œ œ1 5 œ œ 3 4 œ œ2

Am7 Em B7 Em7 E7 D7 G # œ œ œ œ œ ‰ & 4 ‰ 4 œ 5 œ œ j œ œ œ4 œ 2 œ œ1 1 4 1 œ3 1 5 5 œ3 œ1 œ# 4 5 4 3 œ œ œ œ2 œ1 REMEDIAL STUDIES - PRE-SCALE STUDIES

PRE-SCALE INFORMATION: MAJOR & MINOR SECONDS WITH EXERCISES FOR SINGING & PLAYING

Before beginning to practice your scales, it is important to understand the formula that is used to construct the major scale, i.e. the sequence of the intervals which form each scale. We will analyze the "C" scale, and note the formula. Then we will apply that interval formula for all 12 keys. 3 – Remedial Studies 83 The Major Scales use the intervals of Major & Minor Seconds. Major Seconds are also referred to as "Whole Steps" Minor Seconds are also referred to as "Half-Steps" PRE-SCALE INFORMATION: You must know both terms. MAJOR AND MINOR SECONDS

Before beginning to practice your scales, it is important to understand the formula that is used to construct the major scale, i.e. the sequence of the intervals which form each scale. We will analyze the C scale, and note the formula. Then we will apply that interval formulaA WHOLE for STEP all 12 (Major keys. 2nd) - is the distance between two White Keys, or two Black Keys. The majorA HALF scales STEP use the(Minor intervals 2nd) - of is majorthe distance and minor between seconds a Black. andMajor a White seconds Key, orare between also referred to as “whole steps” . Minor seconds"E" and "F" are or "B"also and referred "C" on the to piano. as “half-steps”. You must know both terms.

A Whole Step (major 2nd) is the distance between two white keys, or two black keys. When you are observing the Major & Minor 2nds in a Major Scale, notice that the Whole Steps A Half Step (minor occur between 2nd) is 1 the and distance 2, 2 and 3,between 4 and 5, a 5 black and 6, and & 6 a and white 7th Degreeskey, or of the Scale. between E and F or B and C on the piano. The Half Steps in a Major Scale occur between 3 and 4, and 7 and 8. When you are observing the major & minor 2nds in a major scale, notice that the whole steps occur between 1 and This 2, 2 is and the 3, formula 4 and 5, for 5 andall 12 6, scalesand 6 and 7th Degrees of the scale. The half steps in a major scale occur between 3 and 4, and 7 and 8. This isEXAMPLE the formula for all 12 scales

Example WHOLE STEP WHOLE STEP HALF-STEPWHOLE STEWPHOLE STEP WHOLE STEP HALF-STEP

whole whole half whole whole whole half w & w w w w w CDw w E F G A B C 1 2 3 4 5 6 7 8 DO RE MI FA SOL LA TI DO

Carefully study this example of the construction of the C major scale. Observe the whole and half-steps. Sing and play the scale on the piano. Listen carefully to the Carefully study this example of the construction of the "C" Major Scale. difference in the sound of the major and minor seconds. Feel the difference in your voice as you sing Observe the intervals the Whole of and the Half-Steps. scale. Sing and Play the Scale on the Piano. Always know where you are in the scale. Sing the scale with letters, numbers and syllables. Listen Carefully to the difference in the sound of the Major and Minor Seconds

PRACTICE ASSIGNMENT

Write the notes of the scale, using the interval formula. Add the curved line to denote the half-steps between 3 and 4, and 7 and 8. Sing with letters, numbers, syllables as you write the notes. Play Sing as you play the scale again – always sing! Pitch Check for pitch – match the tone – pitch perfect!

Remember to include all the sharps and flats as necessary, to establish the correct key. Remedial Studies - Pre-Scale Singing & Playing Information Remedial Studies - Pre-Scale Singing & Playing Information Remedial Studies - Pre-Scale Singing & Playing Information PRACTICE ASSIGNMENT PRACTICE ASSIGNMENT Write- The Notes of the PRACTICE Scale, using ASSIGNMENT the interval formula Write- The Notes of the Scale, using the interval formula Write- The Add Notes the curved of the Scale,line to usingdenote the the interval Half-Steps formula between Add the curved line to denote the Half-Steps between Add 3 theand curved 4 & 7 and line 8 .to denote the Half-Steps between 3 and 4 & 7 and 8. Sing - With 3 Letters,and 4 & 7 Numbers, and 8. Syllables as you write the notes. Sing - With Letters, Numbers, Syllables as you write the notes. SingPlay - WithSing Letters,as you play Numbers, the Scale Syllables again - Aaslw youays write Sing the!!! notes. Play - Sing as you play the Scale again - Always Sing !!! PlayPitch - - SingCheck as for you Pitch play - theMatch Scale the againTone - APitchlway Perfect!s Sing !!! Pitch - Check for Pitch - Match the Tone - Pitch Perfect! Pitch - Check for Pitch - Match the Tone - Pitch Perfect! Remember - Include all the sharps and flats as necessary, Remember - Include all the sharps and flats as necessary, Remember - Include to establish all the the sharps correct and key.flats as necessary, to establish the correct key. to establish the correct key.

SHARP KEYS (Circle of 5ths) SHARP KEYS (Circle of 5ths)

84 3 – Remedial StudiesG Scale G Scale G Scale SHARP KEYS (CIRCLE OF 5THS)

G scale &w &&ww D Scale D Scale D Scale D scale

& & w & w A Scale A Scale A scaleA Scale

& E Scale & w & Ew Scale Ew Scale E scale & w & w wB Scale

B Scale B scaleB Scale & w & w F# Scale F# scale F# Scale F# Scale & w# & & w# C# scaleC# Scale

C# Scale C# Scale & & w# & w# FLAT KEYS (Circle of 4ths) FLAT KEYS (Circle of 4ths) F Scale FLAT KEYS (Circle of 4ths) F Scale F Scale & w & & w E Scale

& w

B Scale

& w

F# Scale

& w#

C# Scale

& w#

3 – Remedial Studies 85 FLAT KEYS (Circle of 4ths) FLAT KEYS (CIRCLE OF 4THS)

F scaleF Scale B Flat Scale B Flat Scale & wB Flat Scale B Flat Scale & B Flat Scale B&b scalewb & wb & Ewb Flat Scale & wb Ewb Flat Scale E Flat Scale E Flat Scale Eb scale & Ewb Flat Scale & wb & wb & Awb Flat Scale & Awb Flat Scale A Flat Scale Ab scaleA Flat Scale & Awb Flat Scale & wb & wb & Dwb Flat Scale & wb Db scaleD Flat Scale D Flat Scale D Flat Scale & Dwb Flat Scale & wb & wb & Gwb Flat Scale G&b scale Gwb Flat Scale G Flat Scale G Flat Scale & Gwb Flat Scale & wb &C wb Flat Scale C&b scale wb C Flat Scale &C wb Flat Scale C Flat Scale & Cwb Flat Scale & wb & wb & wb & wb 86 3 – Remedial Studies

KEY SIGNATURE PRACTICE

Write the tonic note in each bar that is indicated by the key signature. Next to that, write the major triad of the key that the signature represents. Sing the triad from the bottom note up. Be sure that you know the sharps and flats of all the keys in the order that they appear in the key signature!

I.e. sharps: f, c, g, d, a, e, b flats: b, e, a, d, g, c, f

      

            

         

          87 4 Level One

LEVEL ONE The Major Scales - EMPHASIS ON PIANO TECHNIQUE

THE MAJOR SCALESTHE MAJOR SCALES: EMPHASIS ON PIANO TECHNIQUE EMPHASIS ON PIANO TECHNIQUE SHARP KEYS KEY OF C

R.H. fingering 4 3 2 1 1 2 3 1 2 3 4 5 3 2 1 C & œ œ œ œ œ œ œ Track 9 œ œ 1 3 1 œ2 œ3 4 œ5 4œ 3 2 3 2 1 2 œ ˙5 L.H. fingering

SHARP KEYS THE FOLLOWING SCALES OF G, D, A, & E, The following scales of G, D, A, and E all use the same fi ngering as the C scale. ALL USE THE SAME FINGERING AS THE "C" SCALE. a) Practice the C scale with separate hands. Notice thumb crosses. Use the metro- nome three times(A) . . . inPRACTICE a row THE for " C" several SCALE, WITH days, SEPARATE until HANDS. perfect. NOTICE THUMB CROSSES. USE THE METRONOME, 3XS IN A ROW, FOR SEVERAL DAYS, UNTIL PERFECT. (B) . . . PLAY THE C, G, D, A, & E SCALES IN THE SAME MANNER, 3 XS IN A ROW. b) Play the C, G, D, A, and E scales in the same manner, three times in a row. Use USE THE METRONOME, INCREASING THE TEMPO AS YOU CAN. the metronome,(C) .increasing . . BE SURE YOU the KNOW tempo THE KEY as SIGNATURE you can. OF EACH SCALE THAT YOU ARE PLAYING SING THE SCALE AS YOU PLAY, WITH LETTERS, NUMBERS AND SYLLABLES. c) Be sure you know (NO theSTOPS!) key ACHIEVING signature THIS LEVELof each CAN scaleTAKE A FEWthat WEEKS. you BE are PATIENT! playing. Sing the scale as you (D)play . . with. AFTER letters,YOU ARE VERYnumbers COMFORTABLE and PLAYINGsyllables SEPARATE (no stops!).HANDS, Achieving this level can take a BEGINfew weeks.LEARNING Be THE patient! "C" SCALE SLOWLY WITH 2 HANDS TOGETHER, USING THE METRONOME. d) After you are(E) very . . . comfortableSTAY ON THE "C" SCALE playing AS LONG separate AS IT TAKES hands, TO GET begin YOUR CO-ORDINATION learning the C TO A PLACE WHERE YOU CAN PLAY 2 HANDS 3 TIMES IN A ROW PERFECTLY. scale slowly with two hands together, using the metronome.

e) Stay on the C scale as long as it takes to get your co-ordination to a place where you can play two hands three times in a row perfectly.

** Note: THE FOLLOWING SCALES OF G, D, A, and E ALL USE THE SAME FINGERING AS THE "C" SCALE.

G # œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ LEVEL ONE The Major Scales - EMPHASIS ON PIANO TECHNIQUE

THE MAJOR SCALES: EMPHASIS ON PIANO TECHNIQUE

SHARP KEYS

R.H. fingering 4 3 2 1 1 2 3 1 2 3 4 5 3 2 1 C & œ œ œ œ œ œ œ œ œ 1 3 1 œ2 œ3 4 œ5 4œ 3 2 3 2 1 2 œ ˙5 L.H. fingering

THE FOLLOWING SCALES OF G, D, A, & E, ALL USE THE SAME FINGERING AS THE "C" SCALE.

(A) . . . PRACTICE THE " C" SCALE, WITH SEPARATE HANDS. NOTICE THUMB CROSSES. USE THE METRONOME, 3XS IN A ROW, FOR SEVERAL DAYS, UNTIL PERFECT. (B) . . . PLAY THE C, G, D, A, & E SCALES IN THE SAME MANNER, 3 XS IN A ROW. USE THE METRONOME, INCREASING THE TEMPO AS YOU CAN. (C) . . . BE SURE YOU KNOW THE KEY SIGNATURE OF EACH SCALE THAT YOU ARE PLAYING SING THE SCALE AS YOU PLAY, WITH LETTERS, NUMBERS AND SYLLABLES. (NO STOPS!) ACHIEVING THIS LEVEL CAN TAKE A FEW WEEKS. BE PATIENT! (D) . . . AFTER YOU ARE VERY COMFORTABLE PLAYING SEPARATE HANDS, BEGIN LEARNING THE "C" SCALE SLOWLY WITH 2 HANDS TOGETHER, USING THE METRONOME. (E) . . . STAY ON THE "C" SCALE AS LONG AS IT TAKES TO GET YOUR CO-ORDINATION TO A PLACE WHERE YOU CAN PLAY 2 HANDS 3 TIMES IN A ROW PERFECTLY.

88 4 – Level One ** Note: THE FOLLOWING SCALES OF G, D, A, and E ALL USE THE SAME FINGERING AS THE "C" SCALE. Note The following scales of G, D, A, and ELEVEL all useONE: theMAJOR same SCALES- fingering EMPHASIS as ON thePIANO C TECHNIQUE scale.

G

G # œ œ œœ œœ œœ œ D # œ œ œœ œœ œ œ œ œœ œœ œœ œ && #œ œ œ œœ LEVEL ONE: MAJOR SCALES- EMPHASIS ON PIANO TECHNIQUE

LEVEL ONE: MAJOR SCALES- EMPHASIS ON PIANO TECHNIQUE D LEVEL ONE: MAJOR SCALES- EMPHASIS ON PIANO TECHNIQUE # œ œ œ A ## œ œœ œœ œœ œ œ œ œœ œœ œ œ D & ## œœ œœ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ D # œ œ œ œ œ œ œ œ œ œ œ D & ## œ œ œ œ œ œ œ & œ A œ œ œ œ œ œ œ œ E # ## œ œ œ œ œ œ œ A & ### œ œ œ œ œ œ œ œ & ## œ œ œ œ œ œ œ œ œ A ## œ œ œ œ œ œ œ œ œ A & # # œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ THESE 3 REMAININGœ œSHARPœ SCALESœ USEœ DIFFERENT FINGERING. E # œ œ œ œ œ œ E # œ œ œ œ œ # # œ œ œ œ œ œ œ œ & # # œ œ PRACTICE SEPARATEœ HANDSœ FIRST,œ THEN TOGETHER, INœ TIME.œ E ### œ œ œ œ œ œ œ œ œ œ E & ## # œ œ AS A GENERAL RULE, NOTICE THAT THE FINGERS 2 AND 3 ONœ œ & EACH HAND, ARE PLACED ON THE 2-BLACK KEYS, AND THE FINGERS 2, 3 & 4 ARE PLACE ON THE 3-BLACK KEYS. These three remainingTHESE sharp 3 REMAINING scales use SHARP different SCALES fingering USE DIFFERENT. Practice FINGERING. separate hands first, then together, inTHESE time 3 . REMAININGAs a*** general NOTE: SHARP rule, NO THUMBS SCALESnotice ONthat USE BLACK theDIFFERENT fingersKEYS !! FINGERING. 2 and 3 on each hand are placed on the two black keys, and the fingers 2, 3 and 4 are placed on the THESE PRACTICE3 REMAINING SEPARATE SHARP HANDS SCALES FIRST, THENUSE DIFFERENTTOGETHER, IN FINGERING. TIME. three black keys. AS A GENERAL RULE, NOTICE THAT THE FINGERS 2 AND 3 ON PRACTICE SEPARATE HANDS FIRST, THEN TOGETHER, IN TIME. EACH HAND, ARE PLACED ON THE 2-BLACK KEYS, AND THE PRACTICEAS A GENERAL SEPARATE RULE, HANDS NOTICE FI RST,THAT THENTHE FINGERS TOGETHER, 2 AND IN TIME.3 ON Note No thumbs on black keys! FINGERS 2, 3 & 4 ARE PLACE ON THE 3-BLACK KEYS. AS EACH A GENERAL HAND, ARE RULE, PLA NCEDOTICE ON THATTHE 2-BLACK THE FINGERS KEYS, 2 ANDAND THE3 ON B EACH FINGERS HAND, ARE2, 3 PLA& 4 CEDARE ONPLACE THE ON 2-BLACK THE 3-BLAC KEYS,K ANDKEYS. THE FINGERS *** NOTE: 2, 3 & 4NO ARE THUMBS PLACE ONON THEBLACK 3-BLAC KEYSK KEYS. !! R.H. fingering *** NOTE: NO THUMBS ON BLACK KEYS !! 4 5 4 3 3 2 1 2 3 1 2 *** NOTE: NO THUMBS ON BLACK KEYS1 !! 3 2 1 # # œ œ œ œ œ œ œ B # ## œ œ œ œ œ œ œ ˙ & 2 3 4 3 2 1 4 3 1 2 4 1 2 3 4 L.H. fingering

R.H. fingering 5 3 4 4 3 1 2 2 1 3 R.H. fingering1 2 3 2 1 4 5 4 3 œ œ œ 3 2 R.H.# #fingering1 2 3 1 œ2 œ œ œ 1 3 2 1 B # 2 3 œ 4 œ1 4 52 41 œ œ4 3 # œ œ 22 33 1 33 22 11 œ ˙2 & # # 1 2 3 1 œ œ œ œ œ 3 2 1 B # 3 2 1 œ4 3 2 1 2 3 4œ 1 2 3 4 F# #### 4 œ œ œ œ œœ œ œ œ œ L.H.# #fingering### œ œ œœ œ œ œœ œ ˙ B & # # œ œœ 4œ 3 2 1 3 œ œ1œ œ & # # œ4œ œ3œ 2 œ 1 2 4 2œ œ3 ˙4 & 3 2 1 3 2 21 2 1 32 3 1 2 3 4 L.H. fingering44 3 2 1 4 3 1 2 4 1 2 3 4 L.H. fingering

2 4 4 3 1 2 3 1 2 1 3 2 1 3 2 2 4 4 F# # # # 3 1 2 3 œ1 œ2 œ1 3 2 1 3 2 # # 2 4 œ œ œ œ 4 & # œ3 œ œ1 2 3 1 2 1 3 2 1œ œ œ3 2 # # œ 1 œ 1 2 ˙ F# # # 3 2 1 3 œ2 œ 2 œ œ2 3 1 3 4 F# & ### ## 4 œ œ œ œ œ œ œ œ œ œ œ # # œ œ œ 1 2 1 œ2 3œ 1 2 3 ˙ & # 4 œ3 œ2 œ1 3 2 œ œ œ 4 œ 1 2 1 2 3 1 2 3 ˙ 4 3 2 1 3 2 4 LEVEL ONE: MAJOR SCALES- EMPHASIS ON PIANO TECHNIQUE

œ œ œ œ œ œ D # œ œ œ œ œ œ œ œ & # œ

œ A # # œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ E # ## œ œ œ œ œ œ & #

THESE 3 REMAINING SHARP SCALES USE DIFFERENT FINGERING.

PRACTICE SEPARATE HANDS FIRST, THEN TOGETHER, IN TIME. AS A GENERAL RULE, NOTICE THAT THE FINGERS 2 AND 3 ON EACH HAND, ARE PLACED ON THE 2-BLACK KEYS, AND THE FINGERS 2, 3 & 4 ARE PLACE ON THE 3-BLACK KEYS.

*** NOTE: NO THUMBS ON BLACK KEYS !!

R.H. fingering 4 5 4 3 3 2 1 2 3 1 2 œ 1 3 2 1 B # # œ œ œ œ œ œ œ œ # ## œ œ œ œ œ ˙ & 2 3 4 3 2 1 4 3 1 2 4 1 2 3 4 L.H. fingering 4 – Level One 89

F# 2 4 4 3 1 2 3 1 2 1 3 2 1 3 2 F# # ## # œ œ œ œ œ & # # œ œ œ œ LEVEL ONE: MAJOR SCALES-EMPHASISœ œ œ ONœ PIANO TECHNIQUE œ 1 2 1 2 3 1 2 3 ˙ 4 3 2 1 3 2 4

C# 1 2 1 3 4 4 3 2 3 1 2 œ 2 1 3 2 C# # # œ œ œ œ œ œ œ œ # #### œ œ œ œ œ ˙ & 3 1 1 2 3 4 1 3 2 1 4 2 2 2 3

Practice suggestions & metronome speeds ..

Begin playing the scales in quarter notes at a metronome speed of 66. Gradually adjust the tempo to metronome PRACTICE speeds of SUGGESTIONS 80, 100, 120 etc& METRONOME. When you SPEEDS can play at 144 for the quarter note with both hands, begin to practice playing the scales again, this

time in eighth notes at 72 (two notes per tick). BEGIN WITH QUARTER NOTES AT APPROXIMATELY 66 Play each scale three times in a row, singing with letter and later, with syllables. Increase the tempo very GRADUALLY gradually, INCREASE as you TOare Q UARTERable. Don’t NOTES be FROM in 80,a hurry 100, 120, – 132,this 144 study will take time, but it will be well worth the effort. AFTER YOU CAN PLAY 2 HANDS AT 144 FOR THE QUARTER NOTE, PLAY THE SCALES IN EIGHTH NOTES, BEGINNING AGAIN AT 72 FOR THE QUARTER NOTE. AND INCREASING THE SPEED AS YOU ARE ABLE.

THE SHARP MAJOR SCALES PLAY EACH SCALE 3 TIMES IN A ROW. SING EACH SCALE WITH LETTERS AS YOU PLAY, THEN SING W/ SYLLABLES. TWO OCTAVES

After playing all twelve major scales, one octave, hands together, we can begin lear- ning to play each scale, two octaves.

1. Play the two-octave scale withC MAJOR separate SCALE hands - 2 first, OCTAVES using -the ASCENDING metronome &. DESCENDINGPlay the C scale this way three times DO NOT. Be REPEAT aware ofTHE the TOP thumb NOTE crossings,- PLAY AS and THE whereEXAMPLE the INDICATES half-steps fall etc. Spend a significant amount of time on the C scale. The others will fall into place more easily if you are very sure of and comfortable in C.

2. Begin learning the C scale, hands together, slowly, using the metronome, three times in a row. Increase the tempo with the metronome. Play the C scale three times in a row. Do not repeat the top note. Increase the tempo, using the metro- nome, as you achieve the facility to do THE so. SHARP MAJOR SCALES TWO OCTAVES 3. Be patient! Repetition with concentration is the key to mastering this skill. Daily practice is very important.

R.H. 4 5 4. In the example of the two-octave C major scale that1 follows,2 3play the scale 1 3 4 1 2 3 exactly1 2 as the3 example2 indicates. w w w w w w w Note The top note is not repeatedw asw youw go from ascending to descending the scale. & w w 1 4 3 2 3 2 1 w w3 2 1 3 2 1 w5 4 L.H. LEVEL ONE: MAJOR SCALES-EMPHASIS ON PIANO TECHNIQUE

1 2 1 3 4 4 3 2 3 1 2 œ 2 1 3 2 C# # # œ œ œ œ œ œ œ œ # #### œ œ œ œ œ ˙ & 3 1 1 2 3 4 1 3 2 1 4 2 2 2 3

..

PRACTICE SUGGESTIONS & METRONOME SPEEDS

BEGIN WITH QUARTER NOTES AT APPROXIMATELY 66 GRADUALLY INCREASE TO QUARTER NOTES FROM 80, 100, 120, 132, 144

AFTER YOU CAN PLAY 2 HANDS AT 144 FOR THE QUARTER NOTE, PLAY THE SCALES IN EIGHTH NOTES, BEGINNING AGAIN AT 72 FOR THE QUARTER NOTE. AND INCREASING THE SPEED AS YOU ARE ABLE.

PLAY EACH SCALE 3 TIMES IN A ROW. SING EACH SCALE WITH LETTERS AS YOU PLAY, THEN SING W/ SYLLABLES.

C MAJOR SCALE - 2 OCTAVES - ASCENDING & DESCENDING DO NOT REPEAT THE TOP NOTE - PLAY AS THE EXAMPLE INDICATES

THE SHARP MAJOR SCALES 90 4 – Level One TWO OCTAVES C MAJOR SCALE – 2 OCTAVES – ASCENDING & DESCENDING R.H. 4 5 1 2 3 1 3 4 1 2 3 1 2 3 2 w w w LEVEL ONE: MwAJORw SCALwES- EwMPHASIS ON PIANO TECHNIQUE w LEVELw w ONE: MAJOR SCALES- EMPHASIS ON PIANO TECHNIQUE & w w 1 4 3 2 3 2 1 w w3 2 1 3 2 1 w5 4 L.H. LEVEL ONE: MAJOR SCALES- EMPHASIS ON PIANO TECHNIQUE 4 1 3 1 4 3 2 1 3 2 1 4 1 w w 1 1 w w w3 w 4 3 2 1 3 2 w4 w w & 2 w3 w1 21 3 4 1 2 w w1 w w3 1 4 33 2 w1 3w3 2 1 w w w 2 w4 w5 & w2 3 1 2 3 4 1 2 w w1 w w 3 w2 w3 w w w w w w 4 w5 & 2 3 1 2 3 4 1 w w1 2 3 w w3 2 w4 w5 ASSIGNMENT : ASSIGNMENT Practice the two-octave major scales in all keys. Begin with the metronome at 80 for PRACTICE THE 2-OCTAVE : ASSIGNMENT MAJOR SCALES IN ALL KEYS. the quarter note, and increase to 88,The 92 Flatand 100 Scales (three times in a row). BEGINPRACTICE WITH THE THE 2-OCTAVE METRON MAJOROME AT SCALES "80" FOR INTHE ALL QUARTER KEYS. NOTE, The Flat: ASSIGNMENT Scales BEGIN AND WITH INCREASE THE METRON TO "88"OME - "92" AT - "80"& "100". FOR THE( 3 X'S QUARTER IN A ROW NOTE, ) Suggestion for daily practice PRACTICE of THE your 2-OCTAVE scales: MAJOR SCALES IN ALL KEYS. AND INCREASEThe TFlatO "88" - "92"Scales - & "100". ( 3 X'S IN A ROW ) BEGIN WITH THE METRONOME AT "80" FOR THE QUARTER NOTE, Day 1: C, A, F# , B b SUGGESTION FOR DAILY PRACTICE OF YOUR SCALES Practice separate AND INCREASEhands first, TO "88" then - "92" together, - & "100". in ( 3time. X'S IN Practice A ROW ) One Octave first. Day 2: G, E, C# , DAYE b 1: SUGGESTIONC, A, F#, B Flat FOR DAYDAILY 2: PRACTICE G, E, C#, EOF Flat YOUR DAYSCALES 3: D, B, F, A Flat Day 3: D, ThenB, PracticeF, A play b DAY 2 1:separate Octaves, C, A, REVIEWF#, hands as B before.Flat THISfirst, DAY SEQUENCEPlay then 2 :the together, G, Scales E, FOR C#, DAYS Ein 3x'sFlat time. 4, in 5, DAYaPractice &row 6 3: - D,w/ One B, Metronome. F, Octave A Flat first. SUGGESTION FOR DAILY PRACTICE OF YOUR SCALES Then play 2 Octaves, REVIEW as before. THIS SEQUENCEPlay the Scales FOR DAYS 3x's 4, in 5, a &row 6 - w/ Metronome. Practice DAY 1:separate C, A, F#, hands B Flat first, DAY then 2: together, G, E, C#, Ein Flat time. DAYPractice 3: D, One B, F, Octave A Flat first. Review * * this Note: sequence The term for "Enharmonic" days 4, 5, - and looks 6. & sounds the same as another key - ex. C# & D Flat. Then play 2 Octaves, REVIEW as before. THIS SEQUENCEPlay the Scales FOR DAYS 3x's 4, in 5, a &row 6 - w/ Metronome. * * Note: The notesThe term look "Enharmonic" & sound the same,- looks but & aresounds spelled the samedifferently. as another This key happens - ex. C#in 3& keys.D Flat.

The notes look & sound the same, but are spelled differently. This happens in 3 keys. * * Note: The term "Enharmonic" - looks & sounds the same as another key - ex. C# & D Flat. QUESTION: (C#, F#, B - are the same as what other Enharmonic Keys?) THE FLAT The SCALES notes look & sound the same, but are spelled differently. This happens in 3 keys. QUESTION: (C#, F#, B - are the same as what other Enharmonic Keys?)

Practice separate hands first, then together, in time. Practice one octave first. Then QUESTION: (C#, F#, B - are the same as what other Enharmonic Keys?) play two octaves as before. Play the scales three times in a row – with metronome.

Note the term “enharmonic” – looks and sounds the same as another key. Example: C# and Db. The notes look and sound the same, but are spelled differently.

Question:1 C#,2 F#, B3 are4 the same1 as2 what3 other4 enharmonic3 2 1 keys?4 3 2 1

1 2 3 4 1 2 3 4 3 2 1 4 3 2 1 F F œ œ œ œ œ œ œ b œ3 œ œ œ & œ1 œ2 4 1 2 œ3 œ4 œ3 2 1 4 3 œ2 ˙1 F 5 4 3 2 1œ 3œ 2 1 2 œ3 1œ 2 3 4 5 & b œ œ œ œ œ œ œ ˙ F 5 4 3 2 1œ 3œ œ2 œ1 2œ œ3 1œ 2 3 4 5 & b œ œ œ œ œ œ œ ˙ 5 4 3 2 1 3 2 1 2 3 1 2 3 4 5

Bb 2 3 4 3 2 1 2 3 1 2 1 3 2 1 2 2 3 4 3 B 2 1 2 3 1 2 1 3 2 1 2 b bb œ & 2 1 œ2 œ3 4 œ3 œ 2 B b 2 1 œ3 œ 1 22 œ31 œ43 1 2 œ œ 3 2 1 3 œ1 œ b b œ3 2 1 4 œ œ œ 2 ˙3 & œ œ œ œ 4 œ œ 3 2 1 3 1 2 3 œ œ1 B b œ3 œ2 1 4 œ2 ˙ b b œ œ œ 3 & œ œ œ œ 4 œ œ 3 2 1 3 1 2 3 œ œ1 œ3 œ2 1 4 œ2 ˙3 LEVEL ONE: Major Scales - EMPHASIS ON PIANO TECHNIQUE

ENHARMONIC KEYSLEVEL / SCALESONE: Major Scales - EMPHASIS ON PIANO TECHNIQUE

ENHARMONIC KEYSLEVEL / SCALESONE: Major Scales - EMPHASIS ON PIANO TECHNIQUE LEVEL ONE: Major Scales - EMPHASIS ON PIANO TECHNIQUE 2 1 2 3 4 1 2 3 2 1 4 3 2 1 2 4 – Level One 91 E b ENHARMONIC KEYSœ / SCALES 2 1 2 3ENHARMONIC4 œ1 KEYSœ2 3 / SCALESœ2 œ1 4 3 2 1 2 b & b b 2 1 œ2 3œ œ4 1 2 3 2 1 œ4 œ3 œ2 1 2 œ œ 1 œ ˙ E 3 2 4 3 2 1 3 1 2 3 4 1 2 3 Eb Eb bb œ œ œ œ œ œ œ b & b b 2 1 œ2 œ3 œ4 œ1 2 3 2 œ1 œ4 œ3 œ2 1 2 & œ œ œ1 œ œ ˙ œ3 21 12 43 2 1 33 12 21 3 43 1 21 ˙32 E b 32 2 4 34 œ21 œ12 œ3 œ1 œ2 43 4 2 2 3 Eb & bbb œ œ œ œ œ œ œ œ œ œ œ b œ 1 œ œ œ œ 1 ˙ b & b 3 2 œ 4œ 3 2 1 3 1 2 3 œ4 œ 2 3 œ œ 1 œ ˙ 3 2 4 3 2 1 3 1 2 3 4 1 2 3 3 2 1 2 2 Ab 3 1 2 3 1 3 2 1 3 2 œ3 A 2 1œ œ2 3 œ2 œ b b 2 3 1 œ2 œ3 1 2 2 1 œ3 œ2 1 b b b œ œ3 œ1 2 3 1 3 2 œ1 œ3 ˙2 & 2 1 3 1 2 3 1 A 3 2 1 4 3 œ œ œ 4 2 3 A b œ œ œ 3 œ œ œ b b b 2 œ œ œ 1 2 2 œ œ œ b b b œ œ3 œ1 2 3 1 3 2 œ1 œ3 ˙2 & b œ 2 1 33 1 2 3 ˙ & 2 11 4 3 21 21 3 12 21 3 4 1 2 3 A 3 23 1 42 33 œ œ œ œ œ 3 42 1 32 23 b bb b œ œ œ œ œ œ œ œ œ œ œ A & bb œ œ œ 1 œ œ ˙ b œ œ 3 2 1 3 2 3 œ4 œ1 b b b œ3 œ2 1 4 œ2 ˙3 & 2 1 3 1 2 3 1 ENHARMONICEnharmonic3 key2 of KEYS C1 sharp /4 SCALES3 4 2 3

2 3 4 3 2 2 3 1 1 2 1 4 1 3 2 Enharmonic key of C sharp Db 1 2 3 4 1 3 2 b b 2 3 1 2 3 4 1 2œ 1 4 3 2 1 3 2 b b 2 3 œ œ œ œ1 4œ œ 1 3 2 Enharmonic& b key of C œsharpœ4 3 2 1 2 1 2 3 œ4 œ1 œ œ2 1 œ2 ˙3 Enharmonicb 3key of C sharp b b 1 2 3 4 œ1 œ œ 3 2 b b 2 3 œ œ œ 2 œ1 œ4 œ 1 3 2 & b b œ œ42 œ3 2 1 2 1 2 œ3 œ4 œ1 & b œ2 œ1 œ4 3 24 1 22 11 42 33 œ42 œ11 œ2 2 œ32 œ23 1 œ23 ˙3 b 3 bbbb œ œ œ œ œ œ œ & bb œ œ4 3 2 œ1 œ2 œ1 2 3 œ4 œ1 b b œ3 œ2 1 œ œ œ œ œ2 ˙3 & b œ œ4 3 2 1 2 1 2 3 œ4 œ1 œ3 œ2 1 œ2 ˙3 Enharmonic key of F sharp Gb 1 2 1 2 3 4 1 2 3 3 2 1 4 3 2 Enharmonic key of F sharp œ2 b 2 3 4 1 3œ 1œ 2 œ1 3œ b b 2 3 4 œ1 œ2 3 3 œ2 1œ 4 3 2 & b b b œ œ œ 1 4œ œ3 ˙2 Enharmonic key4 of3 F sharp2 1 3 2 1 2 1 2 3 1 2 3 4 Enharmonic key of F sharp œ œ œ b b œ œ œ 2 œ œ œ b b b 2 3 œ4 œ1 œ 3 1 1 3 œ œ œ & b b b œ œ œ 2 1 2 1 œ4 œ3 ˙2 & b œ4 3 2 1 3 2 11 22 1 2 3 1 2 3 4˙ b 42 3 42 11 32 32 œ œ œ 32 32 1 42 3 42 b bb b œ œ œ œ œ œ œ œ œ œ œ œ œ C&b b bb œ œ œ 1 2 1 œ œ ˙ & b b bb œ4 œ3 œ2 œ1 3 2 2 3 œ1 œ2 œ3 4˙ 4 3 2 1 3 2 1 2 1 2 3 1 2 3 4 Enharmonic key of B

3 4 3 1 2 3 1 2 5 4 2 1 3 2 1 Enharmonic key of B 3 3 b b 1 2 3 1 2 3 4 5 4 3 2 1 3 b b 1 2 3 1 2 œ 5œ œ4 2 1 3 2 1 & b b 1 œ œ œ œ Enharmonicb key of 3B œ2 œ 4 3 2 1 2 3 4 œ1 œ œ4 œ 2 œ3 ˙ Enharmonicb b key of B 4 b b b 2 3 4œ œ5 œ4 3 & b b bb 1 2 3 11 œ œ œ œ œ œ œ2 1 3 2 1 & b b b 3 2 œ1 œ4 œ33 2 1 2 œ33 4œ œ1 b 41 œ32 œ2 œ1 42 3 42 51 24 3 42 œ1 œ2 œ3 œ4 œ 3 1 23 œ32 ˙41 After masteringb the flat scales with both hands – one octave – practice them4 as you b bb b œ œ œ œ œ did& theb bsharpb b scales: Two2 œ1octaves,œ4 three3 times1 in a row3. Useœ theœ metronome, begin b b 4 œ3 œ œ2 œ œ2 4 1 œ2 œ & b b œ 1 œ œ œ œ 3 ˙ slowly andb gradually3 increase2 œ the4 tempo3 2as you1 are2 able3 to4 do so.œ1 4 4 œ œ œ2 œ3 œ ˙4 LEVEL ONE: BASIC SCALES WITH SYLLABLES

- BASIC SCALES AND THEIR SYLLABLES - - BASIC SCALEVELLES A ONE:ND T HBASICEIR S YSCALLLABESL EWITHS - SYLLABLES

92 4 – Level One - BAplayingSIC SC &A LsingingES AN Dthese THE scalesIR SY LusingLABL EsyllablesS -

BASICC Majo SCALESr Scale AND THEIR SYLLABLES C Major Scale playing & singing these scales using syllables Play and sing these scales using syllables. C Major Scale C Major Scale w w w w & w w w w w w DOw REw MI FA SOL LA TI DO

Track 10 w w & w w w w DOw REw MI FA SOL LA TI DO HARMONIC MINOR SCALE

THEHarmonic 3rd & 6thMinor DEGREE Scale OF THE SCALE IS LOWERED - THE 7th DEGREE IS RAISED. HARMONICThe 3rd and MINOR 6th degree SCALE of the scale is lowered – the 7th degree is raised.

THE 3rd & 6th DEGREE OF THE SCALE IS LOWERED - THE 7th DEGREE IS RAISED. & w w w# w w w w w w DOw RE ME FA SOL LE TI DO w & w w w w# ChromaticCHROMATIC Scale SCALEw SYLLABUSw - ASCENDING CHROMATICDOw RESCALE SYLLABUS ME - ASCENDING FA SOL LE TI DO Ascending. All intervals are half-steps, also called minor seconds.

CHROMATIC SCALE SYLLABUS - ASCENDING

Track 11 w & wœ# wœ# wœ# w w & w œ# wœ# w wœ# DO DI RE RI MI FA FI SOL SI LA LE TI DO wœ# w w CHROMATIC& SCALE - DESCENDINGwœ# wœ# ChromaticCHROMATICw Scale œ# SCALE wœ - DESCENDING# w DO DI RE RI MI FA FI SOL SI LA LE TI DO Descending.

CHROMATIC SCALE - DESCENDING & w wœb wœb w & w #wœLEVnEL ONEwœ - BAb SIC wœSCALbES WwITH SYLLABLES 2 DO TI TE LA LE SOL FI FA MI ME REwœb RA DOw & w wœb wœb w WHOLE -TONE SCALE - ASCENDING ( ALL INTERVALS#wœ n ARE wœWholeb Steps I.E. MAJOR SECONDS ) Whole-toneDO TIScale TE LA LE SOL FI FA MI ME REwœb RA DOw Ascending. All intervals are whole steps, also called major seconds.

Track w 12 & w w w# w# w# DOw RE MI FI SI LI DO

WHOLE-TONE SCALE - DESCENDING

w wb & wb wb w DO TE LE FI MI REw DOw

BLUES SCALE - ASCENDING ( NOTE THE INTERVALS )

wb w & wb ww# w DOw ME FA FI SOL TE DO

BLUES SCALE - DESCENDING

w & wb w #ww n DO TE SOL FI FA MEwb DOw

PENTATONIC SCALE

& w w w DOw REw MI SOL LA LEVEL ONE - BASIC SCALES WITH SYLLABLES 2

LEVEL ONE - BASIC SCALES WITH SYLLABLES 2 WHOLE -TONE SCALE - ASCENDING ( ALL INTERVALSLEVEL OARENE Whole - BA SStepsIC S I.E.CA MAJORLES W ISECONDSTH SYLL )A BLES 2 WHOLE -TONE SCALE - ASCENDING ( ALL INTERVALS ARE Whole Steps I.E. MAJOR SECONDS ) WHOLE -TONE SCALE - ASCENDING ( ALL INTERVALS ARE Whole Steps I.E. MAJOR SECONDS ) w# w# w & w w w w# DO RE MI FI SI LI DOw & w# w# w# w w w w w# w &WHOLE-TONEDO RESCALEw - DESCENDING MIw FIw# SIw# LIw# DO DOw RE MI FI SI LI DO 4 – Level One 93 WHOLE-TONE SCALE - DESCENDING WHOLE-TONE SCALE - DESCENDING Whole-tonew Scalewb Descending.& wb wb w DO TE LE FI MI REw DOw w wb wb & wb w w DOw TEwb LE FI MI RE DOw & wb wb w BLUESDO SCALE TE- ASCENDING LE ( NOTE FI THE INTERVALS MI ) REw DOw

BLUES SCALE - ASCENDING ( NOTE THE INTERVALS ) Blues Scale BLUES SCALE - ASCENDING ( NOTE THE INTERVALS ) Ascending. Note the intervals. wb w & wb ww# w DOw ME FA FI SOL TE DO wb w Track 13 & wb ww# w wb DOw ME FA FI SOL TEwb DOw BLUES& SCALE -wb DESCENDINGww# w DOw ME FA FI SOL TE DO

BluesBLUES Scale SCALE - DESCENDING Descending.BLUES SCALE - DESCENDING w & wb w #ww n DO TE SOL FI FA MEwb DOw w wb & w #ww n wb DOw TE SOL FI FA ME DOw & wb w #ww n PENTATONICDO TE SCALE SOL FI FA MEwb DOw

PentatonicPENTATONIC Scale SCALE PENTATONIC SCALE w 3 Track 14 & w w 3 DOw REw MI SOL LA & w w & w w w &BE-BOPDO SCALE - REASCENDING MIw SOLw LAw BebopBE-BOPDOw Scale SCALE - REASCENDINGw MI SOL LA Ascending. The bebop scale is based on the dominant seventh chord. w bww n w & w w w w bww n w Track 15 & DOw RE MIw FAw SOLw LAw TE TI DO DOw REw MI FA SOL LA TE TI DO

BebopBE-BOP Scale SCALE - DESCENDING ( NOTE THE FLATTED 7th) Descending.BE-BOP SCALE - DESCENDING ( NOTE THE FLATTED 7th)

w wwb & w w w w w &DO TIwwb TE LAw SOLw FAw MI REw DOw DO TI TE LA SOL FA MIw REw DOw 94 4 – Level One

EMPHASIS ON THE DIATONIC, PENTATONIC, AND BLUES SCALES

MELODY

Syllables are the easiest to sing, especially in complicated rhythms. • Use solfeggio when playing and singing all the diatonic scales. • Use solfeggio when playing and singing the pentatonic scales. • When singing the blues scales, sing any ‘jazz scat’ syllables you wish.

METRONOME

The tempo indicated usually begins with a quarter note = 80. Those who have not played much piano may find this tempo too fast. Adjust the speed to where you can play the exercise comfortably, and gradually increase the tempo as you become more secure. Be sure to feel the beat. The goal is accuracy and to completely understand what you are doing.

FINGERING

Fingering is marked to help you find good piano positions. Please use the fingering that is indicated. Always practice ‘over the bar-line’ to get in the habit of playing without hesitations. Practice one bar plus one note. Be sure you can play the problem section three times in a row perfectly in tempo before moving on.

CHORDS

Those who are relatively new to the piano, play the LH chords in root position for the blues scales. Those who know how to voice on the dominant chords, and how to use inversions, may do so. However, be sure to intersperse the inversions with some root position chords.

EXTRA PRACTICE

In exercises 1, 2 and 3, after mastering the rhythms in the scale of G, try playing several other scales as well in those same rhythm patterns. Sing every note you play. Use syllables, which will be the same in each exercise. We are using moveable “do”. Thus, the first note of any scale will always be called “do”.

PRACTICE TIPS

These exercises can work for Remedial, Level One, or Level Two students. The trick is to select fewer bars to work on at a time. Always practice over the bar-line, even if you are working on only one bar at a time. 4 – Level One 95

If the exercise seems very difficult, pencil in the counting first. Indicate the notes that are ON the beat, and the notes that are on the OFF-BEAT. Write in the counting under the appropriate notes, such as 1 & 2 & (8th notes), Tri-pu-let (triplets), 4-ee-and-a (16th notes), as previously explained in the rhythm chapter in the Remedial Section entitled Rhythm Exercises and Time Signatures etc. If you are new to this type of study, this chapter can challenge you for some time. There is no hurry! Simply work on two or four bars at a time and gradually add addi- tional measures as you become more comfortable.

Note The blues scale exercises (#6 and #7) also have chord changes in the left hand. Learn the right hand first, and then add the chords, after you have mastered the melody and fingering with the metronome.

PRACTICE METHOD

Swing the Eighth Notes ŒÂ = Œ lj 1. Play and sing the counting – feel the internal beat. 2. Play and sing the melody with syllables. 3. Use G scale fingering – use the metronome.

Observe the AccentsLEVEL ONE: COMMON SYNCOPATED RHYTHM PATTERNS 1. Play legato – tap your foot in tempo. 2. If you need to, first pencil in the counting. Erase it when you can and re-do the SWING THE EIGHTH NOTES exercise. 1. PLAY AND SING THE COUNTING - FEEL THE INTERNAL BEAT 2. PLAY AND SING THE MELODY WITH SYLLABLES 3. USESing "G" inSCALE any FINGERINGrange that is- USEcomfortable! THE METRONOME.

* * SINGSyncopation IN ANY RANGE on THAT the Diatonic IS COMFORTABLE Scale * * SING * * IN ANY RANGE THAT IS COMFORTABLE * *

1.

Track 16

= 80 q 3 4 5 1 2 3 1 2 # c ‰j j j Œ‰ j Œ & œ œ œ œ œ œ œ œ j œ œ œ œ œ > > œ. œ œ do re mi> fa so la ti do . . . > > # > j & j j Œ . œ œ œ œ j j œ œ œ ˙ œ > > >œ œ œ œ ˙ œ œ œ œ > > >

OBSERVE THE ACCENTS 1. PLAY LEGATO - TAP YOUR FOOT IN TEMPO 2. PENCIL IN THE COUNTING FIRST, IF YOU NEED TO THEN ERASE IT AND RE-DO THE EXERCISE. LEVEL ONE: COMMON SYNCOPATED RHYTHMS

96 4 – Level One

2. LEVEL ONE: COMMON SYNCOPATED RHYTHMS

Track 17

# > j > j & c j j j j œ œ. ‰ œ j ‰ j j j œ œ œ œ œ > œ œ œ œ œ. œ œ œ œ œ > > >œ œ œ > # j j Œ. j Œ & œ œ œ œ œ œ j œ. œ œ œ œ œ œ > > > œ œ œ ˙ œ > > 3. > > â > > Track 18

3 3 > # c ‰j j ‰ & œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. > œ œ œ œ œ œ œ

3 3 # & œ ‰ œ œ œ œ œ œ œ œ œ œ œ LEVEL ONE:œ COMMONœ œ œ SYNCOPATEDœ œ œ RHYTHMS > œ # > > > > & ‰ ‰ ‰ ‰ ‰ ‰ ‰œœ œ œ œ. œ œ œ œ œ œ œ ˙ SYNCOPATIONSyncopation-Rhythm - RHYTHM PATTERNS Patterns THE PENTATONIC SCALE 1,2,3,5,6 The pentatonic scale: 1, 2, 3, 5, 6 Quarter Note: Begin at 80

Track 19 4.

= Begin at 80 3 q 3 3 # j > j ## c ‰ j ‰ œ & œ j 2 œ œ4 œ œ œ œ œ œ œ2 œ 2 œ1 œ œ 5 5 2 3 1 œ3 1 œ3 œ fl > > œ1 > œ œ >œ. 3 3 # # - j > > # œ œ ‰ ‰ j œ j ‰Œ ‰ j & j 2 5 j 4 2 œ1 3 œ œ3 œ5 œ 3 k k œ œ œ œ2 œ3 œ œ >3 2 > 3 3 3 3 3 # # ˘ & # œ 3 œ œ œ œ œ œ œ œ œ5 5 œ œ1 ˙ >3 > 1 œ2 œ œ2 1 > > >4 > œ 4 – Level One 97

LEVELNO ONE: BLUES COMMON FOR SYNCOPATED NOAH RHYTHMS

Syncopation: Rhythm Patterns

The blues scale: 1, b3, 4, #4, 5, b7, 8 Sing an octave lower. "NO BLUES FOR NOAH"

CD Format: 1st time Beat, 2nd time Student, 3rd time Nancy & Beat SING AN OCTAVE LOWER SYNCOPATION - RHYTHM PATTERNS THE BLUES SCALE - 1,b3,4,#4,5,b7,8 QUARTER NOTE = begin at 100 5. Track 20 Nancy Marano = Begin at 100 q 7 F 3 3 œ- œ- œ- > > œ >œ œ > > > > bc‰ J œ œ œ œ Œ œ œ. œ œ. œ œ œ œb œ œ & 4 1

B 7 5 b 3 > œ > j j b œb ‰ j œb œ j ‰ œ œb ‰ œ œ & œ œ ˙ œœœ œ œ 5 œ1 œ > > 7 7 2 1 7 B F 4 2 1 3 C 3 3 2 3 b 3 1 > œn œb œ œ > œb œ# ˙ œ# œ œ. œb J & b œN œ ‰‰œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ ‰ J J 5 > > 7 F 3 œ œ> > > œ> œ> > œb œ œ œ œ œb œ œ> œ >œ œb > œ œ> œ œb œ œ b œ œ œ œ 3 1 & 4 3 1 3 4 4 2 1 2 2 3 1 2 1 3 98 4 – Level One

LEVEL ONE: COMMONELLA SYNCOPATEDBELLA’S RHYTHMSBLUES (Nancy – Female Version – Key of C)

Syncopation: Rhythm Patterns

The blues scale: 1, b3, 4, #4, 5, b7, 8 "ELLA BELLA'S BLUES" FORMAT: 1X Nancy,CD 2XFormat: STUDENT, 1st time Nancy, 2nd time Student, 3rd time Nancy 3X NANCY (NANCY - FEMALE KEY - C)

Track 21 6. QUARTER NOTE = begin at 100

= Begin at 100 q Nancy Marano C 7 3 3 3 > 3 . > > œ œ# œ. œ > & c œ œ j œ. œ œ œ œ œb œn œ. . œ 2 œ 3 3 4 5 3 œ1 œ# 2 1 3 3 œ1 œ# 1 J3 4 1 2

3 F 7 3 > > > > > > œ œ œ œ œ Œ & 4 œ1 œb œ. œb œ 1 œ2 3 œ œ. œ1 œ4 œ3 œ3 œ2 4 œ 3 4 œ2 œ1 œ1 >

7 C G 7 3 3 > > > j ‰ Œ œb œ œ œ# œ & 3 4 œ4 œ2 3 œ1 2 3 œN 3 œb 3 œb œ3 œ1 4 5 1 œb œ œ œ œ œ œb 2 œ1 œ œb 2 œn 1 œ# 2 œ# 2 œ

7 3 7/ 13 7/ 9 F 7 ˘ C G b C b > > > > . > > Œ œ ‰ œb œ œ & œ œb œ2 1 5 œ1 3 4 œ 4 2 1 œ2 3 œ1 3 œ œ# œn œb œb 4 œ 2 œ1 œ 2 œ4 3 œ œ1 œ œb ˙ 4 – Level One 99

LEVELELLA ONE: COMMON BELLA’S SYNCOPATED BLUES RHYTHMS (Beat – Male Version – Key of F)

Syncopation: Rhythm Patterns

The blues scale: 1, b3, 4, #4, 5, b7, 8

st nd rd CD Format: 1 time Beat, 2 time"ELLA Student, BELLA'S 3 timeBLUES" Beat

(BEAT - MALE KEY - F) 7. Track 22

= Begin at 100 Nancy Marano q 7 F 3 3 3 3 œ œ# œ œ . bcœ œ j œ. œ œ œ œ œb œn œ & 3 œ1 œ# 2 œ1 œ œ# œ J 3 >3 3 4 5 1 2 3 4

B 7 3 b 3 b œ œ œ œ œ œ Œ ‰ & œb œ. œ œ. 1 œ4 œb 3 œ 1 œ2 4 3 4 3 œ œ œ2 1 œ2 œ 2 œ2 œ œ

7 7 F 3 C 3 j œ œ# œ b ‰ œ Œ œ œb œ œ & œ3 œb 4 œb œ œ1 2 œb œ3 œ œ3 œ 3 œ œb œ1 œ œb 2 œn 1 3 2œ# 3 4 5 œn 2 œ 2 2 2 3 1 2

7 7 7/ 13 B F C F 7/ 9 b 3 b b œ œ b Œ œ œ œ œb œ œ ‰ œ œb œ œ œn œb & 1 2 4 3 4 3 œb 2 1 œb 3 œ œ2 œ 4 3 5 1 3 1 œ œ4 œb 3 ˙ 3 2 2 œ1 œ LEVEL ONE: HARMONIC STUDY

Section Six: HARMONIC STUDY major chords / triads

A CHORD is a combination of three or more tones sounded simultaneously A TRIAD is a Three-NoteLEVEL chord. ONE: HARMONIC STUDY

Section Six: HARMONIC STUDY major chords / triads

100 4 – Level One A CHORD is a combination of three or more tones sounded simultaneously HARMONY STUDY w w & A TRIAD isw a Three-Notew chord.w w w1 w2 3 4 5 6 7 8 MAJOR CHORD AND TRIADS LEVEL ONE: Harmonic Study LEVEL ONE: Harmonic Study A chord is a combination of three or more tones sounded simultaneously. A triad isA a MAJOR three-note TRIAD chord. CAN ALSO BE CONSTRUCTED BY THINKING A MAJOR AOF MAJOR INTERVALS. CHORD TRIAD CANCANCONSTRUCT BEALSO CONSTRUCTED BE ACONSTRUCTED MAJOR THIRD BY THINKING FROMBY THINKING THE OF ROOT INTERVALS. OF THE OF CHORD,CONSTRUCT THE 1st, THEN 3rd A MAJORCONSTRUCTand 5th THIRD NOTES A FROM MINOROF A THE THIRD ROOT OF THE MAJOR CHORD, SCALE. THEN CONSTRUCTw wA MINORw THIRD & ON TOPw OF THEw MAJORw LEVEL THIRDw ONE: Harmonic Study w1 ON TOP2 OF THE3 MAJOR4 THIRD5 6 7 8

( EXAMPLES ) A majorA chord MAJOR can be TRIAD constructed CAN by ALSO thinking BE of CONSTRUCTED the 1st, 3rd and 5th BYmajor THINKING scale. Examples OF INTERVALS. CONSTRUCT A MAJOR THIRD FROM THE ROOT OF THE CHORD, THEN CONSTRUCT A MINOR THIRD A MAJOR ON TOP CHORD OF THE CAN MAJOR BE CONSTRUCTED THIRD BY THINKING OF THE 1st,w 3rd and 5th NOTES OF A & w MAJOR SCALE.w C majorw triad (1-3-5) F major triad (1-3-5) & w w C MAJOR wTRIAD ( 1-3-5 ) F MAJORw TRIAD ( 1-3-5 ) w &( EXAMPLESw ) w w A major triad canw also be constructed byw thinking of intervals. Constructw a major MINOR 3rd third from MAJORthe root of3rd the chord, then construct a minor third on top of the major third. MINOR 3rd creates a MAJOR TRIAD MAJOR 3rd creates a MAJOR TRIAD - WRITING, SINGING & PLAYING MAJOR TRIADS - - WRITING, SINGING & PLAYINGw MAJOR TRIADS - &&w w w w w w BUILD A MAJOR TRIADw ABOVE THE FOLLOWINGw NOTES major 3rd BUILD ASING MAJOR WITHminor TRIAD LETTERS, 3rd ABOVE UP THE AND createsFOLLOWING DOWN a major NOTEStriad PLAY SING AND WITH SINGMINOR LETTERS,WITH LETTERS,3rd UP AND UP DOWN AND DOWN. C MAJOR TRIAD ( 1-3-5 ) F MAJOR TRIAD ( 1-3-5 ) MAJOR 3rd PLAY ** ANDREMEMBER SING WITH THE LETTERS,KEY SIGNATURES! UP ANDcreates DOWN. a MAJOR TRIAD Writing, Singing and Playing LISTEN ** REMEMBER MajorTO THE Triads THE 'SOUND' KEY SIGNATURES! OF THESE TRIADS! - WRITING, LISTEN SINGING TO THE & PLAYING 'SOUND' OFMAJOR THESE TRIADS TRIADS! - • Build a major triad above the following notes and sing with letters, up and down. * * IF YOU HAVE DIFFICULTY • Play and sing with BUILD letters, A upMAJOR and down. TRIAD ABOVE THE FOLLOWING NOTES PLEASE * * IF REFER YOU HAVE TO THE DIFFICULTY 'SCALE' SECTION • Remember the key signatures! SING WITH LETTERS, UP AND DOWN PLEASE WHERE REFER THE TO SCALES THE 'SCALE'ARE WRITTEN. SECTION • Listen to the sound of these triads! PLAY ANDWHERE SING THE WITH SCALES LETTERS, ARE WRITTEN. UP AND DOWN. ** REMEMBER THE KEY SIGNATURES! If you have difficulty please LISTEN refer TOto the THE scale 'SOUND' section OFwhere THESE the scales TRIADS! are written.

&w * * IFw YOU HAVE DIFFICULTY w & w PLEASEw REFER TO THE 'SCALE'w SECTION WHERE THE SCALES AREw WRITTEN. w

w w w & ww w &w& w w ww w

& w w w w & wb wb wb wb 4 – Level One 101

NAME THE FOLLOWING CHORDS wb PLAY& & SINGwb THEM AS ABOVEwb wb

Name the following chords. Play andlevel sing themone: as triads: above. clusters & arpeggiation NAME THE FOLLOWING CHORDS PLAY & SING THEM AS ABOVE TRIADS:#w CLUSTERS & ARPEGGIATIONw # #w ## w wb w & # w w

THIS SECTION DEALS WITH MAJOR & MINOR TRIADS. # #w #ww & # #w w # wbw # wwb w Begin# w# wwith Left Hand onlyb w (LH). #w Once you are comfortable with the fingering of the LH, you may play separately with th

FOLLOW THIS PRACTICE METHOD (1) Sing the "C" Scale with letters. #w TRIADS: CLUSwTERS AND ARPEGGIATIONbw # w w & (2) Play#w the C Major Triadb w with the LH as a cluster chord, singing#w C, E, G as you play. This section(3) Playdeals the with C majorMajor and Triad minor as before, triads. Beginthis time with singing left hand the only numbers:. Once you 1 , 3, 5 are comfortable(4) Play with the Cthe Major left hand Triad fingering, as before, play th isthe time same singing exercise the with Syllables: the right DO, MI, SOL hand. Follow(5) Play this thepractice C Major method: Chard again as a cluster.

1. SingGo the around C scale the with Circle letters. of 5ths, in the same manner as before. 2. PlayRemember the C major to counttriad with up 5the notes left handfrom asC ato cluster find the chord, next singing key in C, the E, circleG as ( G) youProceed, play. using the same method as above. 3. PlayRemember the C major to triadSING as everything before, this you time play singing! the numbers: always use 1, 3, the 5. metronome!!! 4. Play the C major triad as before, this time singing the syllables: do, mi, sol. 5. Play the C major chord again as a cluster.

Go around the circle of 5ths, in the same manner as before. Remember to count up five notes from C to find the next key in the circle (G). Proceed, using the same EXAMPLEmethod as above. Remember to sing everything you play. Always use the metronome! SING LETTERS SING NUMBERS SING SYLLABLES Example AS YOU PLAY AS YOU PLAY AS YOU PLAY Sing letters Sing numbers Sing syllables Track 23 as you play as you play as you play

1 3 & w 5 ˙ ˙ ˙ w w CEGœ œ 13œ œ 5 DOœ MIœ SOL w LH cluster LH cluster Fingering: 5, 3, 1 Fingering: 5, 3, 1 LH - CLUSTER LH - CLUSTER Sing: C major! Sing: C major! FINGERING, 5,3,1 FINGERING: 5,3 SING: C MAJOR ! SING: C MAJOR!

AFTER YOU HAVE COMPLETED & YOU UNDERSTAND C MAJOR, PROCEED AR I.E., COUNTING UP 5 NOTES IN EACH SCALE TO FIND THE NEX THIS WILL BE THE ORDER - C, G, D, A, E, B, F#, C#. THE CIRCLE OF FOURTHS ORDER WILL BE - F, B FLAT, E FLAT, A FLAT, D FLAT,

NOTICE THAT THE KEYS OF D FLAT, G FLAT, AND C FLAT YOU HAVE PLAYED level one: triads, clusters & arpeggiation

102 4 – Level One MINOR TRIADS

USE THE SAMEAfter PRACTICEyou have completed PROCEEDURE the clusters FORand arpeggiation MINOR TRIADS of C major, AS workFOR onTHE all MAJO THE MINOR TRIADSsharp keys ARE in the FORMED circle of fifthsBY TAKI. This NGwill beTHE the 1st,order: LOWERED C, G, D, A, E, 3rd, B, F# ,& C 5th#. The NOTE S circle of fourths order will be: F, Bb, Eb, Ab, Db, Gb, Cb. **NOTE: The term "Lowered 3rd" is used, instead of "Flatted 3rd." A FlattedENHARMONIC note is KEYSnot always determined from a white key on the Piano.

Notice that the keys of Db, Gb and Cb flat you have played before, as C#, F#, and B. These keys are called enharmonic keys. They look the same on the piano, they sound the same, but they are spelled differently. WE ARE USING THE "HARMONIC MINOR" FOR THE PLAYING OF THE SCALE IN THIS EXERCISE. oF COURSE, YOU MAY ADD THE NATURAL * MELODIC Minor Triads MINOR SCALES FOR MORE PRACTICE. Use the same practice procedure for minor triads as for the major triads. The minor triads THE are CONSTRUCTION formed by taking the OF1st, THElowered TRIAD 3rd, and REMAINS 5th notes ofTHE the scale.SAME FOR ALL THE MINOR SCALES. Note The term “lowered 3rd” is used instead of “flatted 3rd”. A flatted note is not always determined from a white key on the piano. ALWAYS USE THE METRONOME!!! Set the metronome to a comfortable speed when you begin and increase the speed as you are able.

EXAMPLE Example SING LETTERS SING NUMBERS SING SYLLABLES Track 24 AS YOU PLAY AS YOU PLAY AS YOU PLAY Sing letters Sing numbers Sing syllables as you play as you play as you play

& w ˙ ˙ ˙ w bw CGœ Eœb 15œ low.œb DOœ MEœb SOL bw LH cluster b 3rd LH cluster Fingering: 5, 3, 1 Fingering: 5, 3, 1 Sing: C minor Sing: C minor LH - CLUSTER LH - CLUSTER FINGERING 5,3,1 FINGERING: 5, SING: C MINOROnce you are comfortable with C minor, proceed around the circle of fifths, and fourths, as you practiced in the major mode. SING: C MINO

. . . ONCE YOU ARE COMFORTABLE WITH C MINOR, Note WhenPROCEED you have AROUND become proficient THE CIRCLE in all OF twelve FIFTHS,& keys ofFOURTHS, major and minor, playing and singing AS atYOU a metronome PRACTICED speed IN ofTHE a quarter MAJOR note MODE. equals 80, you should be ready to move on to the section entitled Triads, Chords and Inversions.

*** NOTE***

WHEN YOU BECOME ACCOMPLISHED IN ALL THE KEYS OF THE MAJOR AND MINOR MODES, IN TEMPO, WITH THE THE METRONOME SPEED OF AT LEAST A QUARTER NOTE LEVEL ONE

'STREET SINGING'

This page is a continuation of "Street Singing" text Please re-read that page, found at the beginning of this book. 4 – Level One 103

SPECIFIC PRACTICE METHODS AND SONGS FOR STREET SINGING STREET SINGING CONSISTENT WITH LEVEL ONE.

This page is a continuation of the Street Singing text. Please re-read that page, found at the beginning of this* *book. FIRMLY ESTABLISH THE KEY IN YOUR EAR BY SINGING THELEVE SCALEL ONE: S TWITHREET S LETTERS,INGING NUMBERS & SYLLABLES EVERY TIME! Specific practice methods and songs for street singing

Firmly establish the key in your ear by singing the scale with letters, numbers and syllablesEXAMPLE every #1 :time! "DO, A DEER" THIS SONG BEGINS ON THE FIRST DEGREE OF THE SCALE. Example #1 “Do, Re, Mi” MORE SONGS THAT WORK WELL AT LEVEL ONE This song begins on the first degree of the scale. œ c œ. œ œ. œ œ œ ˙ œ. œ œ œ œ w & J J EDELWEISSJ When you are away from the piano, choose a I'Dsong DO that ANYTHING you are familiar with from the list below. Sing the C scale to establish the key firmly in your ear and voice. Owning a pitch pipe and carrying it with you can beWHEN very Ihelpful FALL inIN these LOVE street singing exer- cises. . . . T O B E P R A MOONCTICED RIVER FROM THE PIANO . . . Be aware of the starting note as you begin singing. IsAW theAY starting note the root, 3rd, or 5th of the key of C? Notice when the intervals MY ROMANCE of the song are scale tones, or skips, ascendingWhen or descending you are away . When from you the encounter pianoSING and A SONGskips, decide decide to sing if the any interval song listedis below, small or large. Always keep in mind where “do” is in your pitch memory. When you are hearing “do” after you can you recover have sung quickly the if"C" you scale get lost.and established the key, use a pitch pipe Keep the countingor choose in mind a note. Imagine at random how and the pretend song is notatedit is in . theUse key your of hand"C." in the air to physically show distance between large and small intervals. Use letters, AFTER YOU BECOME COMFORTABLE WITH THE NUMBERS, numbers, and syllables to sing the song, occasionally referring back to the words if you need to. LETTERS AND SYLLABLES IN THE KEY OF "C" MOVE ON Begin singing,TO THE KEY and OF be"G" awareAND AROUND of the THE starting CIRCLES OFnote. FOURTHS Is the starting note the root, More Songs that3rd, workor 5thAND well of FIFTHS, the at key? IFlevel YOU CAN.Think one about whether the song is using scale tones, up or down.

• Edelweiss **NOTE: SOME SONGS DON'T BEGIN ON THE FIRST NOTE • I’d Do AnythingWhen you encounter OF THE skips,SCALE. decideEXAMPLE if FOLLOWS. the interval is small or large. • When I Fall inAlways Love keep WHAT in SCALE mind MEMBERwhere BE'Do'GINS is THEin your MELODY pitch OF THE memory, so you can recover quickly • Moon River FOLLOWING SONG? • My Romanceif you get lost. • Sing a Song

After you become comfortableKeep the counting with the in numbers, mind as well.letters and Imagine syllables how inthe the song key isof notated. C, move on to the keyUse of your G and hand around in the the air circles to pohysically of fifths and show fourths, the if intervals you can. skips etc

Note EXAMPLESome songs #2 - WHEN don’t I FALLbegin IN on LOVE theBEGINS first note ON THEof the 5th scaleDEGREE. Example OF THE SCALE follows. What scale member begins the melody of the following song?

Example #2 “When I Fall in Love” This song begins on the 5th degree of the scale.

œ. œ. œ œ w Œ œ œ œ œ. ˙ & c œ J œ J J 104 4 – Level One

YOUR FIRST SONG!

TWINKLE TWINKLE LITTLE STAR

Now that you have learned the basics – the notes on the staff, the scales, fundamental rhythms, and major triads – you are ready to play your fi rst song, and put your new skills into practice. Practice as described below. Work on four measures at a time. It is important to play with the metronome at a steady speed, without stopping. When you can play four bars, three times in a row perfectly, you are usually ready to continue to the next four bars. Begin with a metronome speed of approximately 50 to the quarter note.

1. Play the right hand alone fi rst, (four bars) using the fi ngering as marked. Sing the letters as you play.

2. Repeat those four bars again, this time with the right hand. Sing the counting as you play.

3. Practice the chords in the left hand, counting four beats for each chord, making sure that you are not stopping between the chords. Feel the shape of the chord in your fi ngers. When you change from C major to F major, keep that same shape.

4. After you have mastered the hands separately for four measures, it will be time to put the two hands together. Now, practice two bars only at a time. The most chal- lenging aspect of this will be to get to the fi rst beat of measure #2 without stopping.

Be sure to look ahead, so you can get your left hand ready to make the move from the C major chord to the F major chord and arrive on the fi rst beat of the second bar with both hands, in time. You may have to go over this many times, depending on your piano skills. The achievement of playing with no stops is well worth the effort. It is very important to learn how to look ahead and prepare for playing anywhere on the piano.

5. When you can play one bar plus one note three times in a row perfectly in time, it will be safe to move on to playing two bars plus one note as before. Move on when you can play and sing the measures you have practiced three times in a row perfectly.

6. Continue in this manner, 2– 4 bars at a time, until the whole song can be played in a slow tempo, which you will very gradually speed up.

Play everything you sing! Sing everything you play!

Don’t forget to have fun! LEVEL ONE: YOUR FIRST SONG 4 – Level One 105

LEVEL ONE: TWINKLE TWINKLE, LITTLE STAR TWINKLE TWINKLE LITTLE STAR USE YOUR 4th FINGER ON "G" IN THIS FIRST MEASURE Track 25 Use your 4th finger on G in this first measure.

FC q = 88 C 4 5 4 1 œ œ œ œ ˙ & c œ œ

F C G C 4 3 2 1 œ œ œ œ & œ œ ˙

C F C G 5 4 3 2 œ œ œ œ œ œ & ˙

C F C G 5 4 3 2 œ œ œ œ œ œ & ˙

C F C 4 5 4 1 œ œ œ œ ˙ & œ œ

F C G C 4 3 2 1 œ œ œ œ & œ œ ˙ 106 4 – Level One

USING MELODY CHORDS IN THE RIGHT HAND

Sometimes we want to play more than one note in the melody with the right hand. In this case, we use the chord that governs the measure in the right hand to harmonize each melody note. The melody note must always be on top (the highest note of the melody chord). Since the ear tends to hear the highest note, we must use inversions of the triad, or chord so that the melody is the top note of that inversion. The other chord members will be arranged so as to be below the melody – thus, the inversion (see the example on page 107). Be sure you know which inversions of each melody chord you are using – 1st inversion, with the 3rd in the bass, or the second inversion, with the 5th in the bass. Practice one, two, three or four bars at a time with the right hand alone, depending on your current piano skills. The important thing here is to keep a tempo, no matter how slow. Even if you can only play two beats at a time, don’t stop the tempo. You may write the notes underneath the inversions in pencil if you need to. Analyze the example of the first two bars. Later, please erase the markings and play the song with the melody chords at sight.

PRACTICE METHOD FOR TWINKLE

Begin with the melody in the first measure. Look at the first melody note, which is c. Think about the notes in the C major triad (C-E-G). Re-arrange the notes in the triad, so that the melody note, C, is on the top (see the inversion example in the music). The right hand melody chord will now be spelled, from highest to lowest (C-G-E). That same chord repeats for the second beat.

For the third and fourth beats, the G will be the top note, and the chord will be in root position (G-E-C). Play measure #1 with no stops, right hand alone, until you can play it slowly with the metronome. Then move on to the second measure. Notice that the second measure is governed by the F major chord. Be sure to use the notes of F major beneath the melody note in that bar.

After you are able to play the whole song in tempo with the right hand, add the triads with the left hand in root position. Use the metronome to keep the tempo. Gradually increase the speed as you become more comfortable.

You may pencil in the notes of the inversions when you first begin your right hand practice. Once you understand what you are doing, erase the pencil markings and play at sight.

You will love the sound these melody chords produce. Just continue to practice with patience. You will improve a little every day, success will come, along with a wonderful sense of achievement in your being. That’s what happens when you begin to “know that you know.” LEVEL ONE: YOUR FIRST SONG WITH MELODY CHORDS

LEVEL ONE: TWINKLE TWINKLE 4 – Level One 107

“TWINKLE” WITH w MELODY / MELODY CHORDS CHORDS I INN R THE.H. RIGHT HAND Track 26 Observe The melody note is the top of the triad. EXAMPLE - 2 BARS ** observe: the melody note is the top of the triad

Example:QUARTER 2 bars NOTE = 100

FC C 5 5 5 5 3 3 3 q = 100 2 1 1 1 1 œ œ œ œ ˙ c œ œ œ œ œ œ ˙ & œ œ C major C major F major C major 1st inversion root position 2nd inversion root position

F C G C œ œ œ œ & œ œ ˙

C F C G œ œ œ œ œ œ ˙ &

C F C G œ œ œ œ œ œ ˙ &

F C C œ œ œ œ ˙ & œ œ

F C G C œ œ œ œ & œ œ ˙

Keep your eyes looking ahead to avoid slowing down or stopping. Remember, the melody should always be on the top of the chord in the right hand. Listen for it. 108 4 – Level One

INDIANA IN (BACKDIA HOMENA IN INDIANA)

This song is a bit more(Bac kadvanced Home Aga –in for In Ithosendian aof) you who are slightly more experi- enced at the keyboard. After you have mastered “Twinkle”, give this song a try. Practice THIS SONG two ISor A fourBIT MORE bars ADVANCED at a time, -- FOR slowly, THOSE inOF YOUthe WHO manner ARE SLIGHTLY previously described for MORE“Twinkle EXPERIENCED”. AT THE KEYBOARD. AFTER YOU HAVE MASTERED "TWINKLE," GIVE THIS SONG A TRY.

PRACTICENote 2 ORIf 4 the BARS four-note AT A TIME, SLOWLY,chords areIN THE too MANNER difficult PREVIOUS at first,LY DESCRIBEDjust play FORtriads 'TWINKLE'. in the left hand, until you feel more comfortable. Remember to play fluently in tempo, always with *NOTtheE: IF metronome. THE 4-NOTE CHORDS ARE TOO DIFFICULT AT FIRST, JUST PLAY TRIADS IN THE L.H. UNTIL YOU FEEL MORE COMFORTABLE. REMEMBER TO PLAY FLUENTLY IN TEMPO, ALWAYS WITH THE METRONOME. Practice singing with numbers, syllables, and then lyrics, as you play! Take time to practice PRACTICE and SINGING use the WITH indicated NUMBERS, fingering. SYLLABLES, AND THEN LYRICS, AS YOU PLAY! ** TAKE TIME TO PRACTICE AND USE THE INDICATED FINGERING. CD Format: 1st time Beat, 2nd time Student, 3rd time Beat

FORM: 1X - BEAT, 2X PIANO & STUDENT, 3X BEAT Music: JAMES F. HANLEY Track 27 Words: BALLARD MACDONALD

Music: James F. Hanley Medium Swing Words: Ballard Macdonald

A G maj7 E7 A7 Am7 q = 112 2 1 2 3 5 3 2 1 2 1 1 4 2 # c œ . w œ. œ j . & œ œ . ‰ œ œ. œ ˙ Ó œ œ ˙ œ Backœ home a- gain in In-- di an - a and it seems that

D7/ 9 Gmaj7 Dm7 D 7 Cmaj7 5 Fmaj7 6 b 4 b 2 5 3 4 3 2 1 2 1 # . j j œ ˙ ˙ & œ œ œ. œ w Œ œ œ œn œ œ Œ œ I can see the gleam- ing can -- dle light still shinœ -

Em7 A7 1 Am7 11 G/B 2 2 4 3 1 2 3 1 # j œ œŒœ œ œ# œ Ó. œ w & œ. œ œ. J œ ˙ œ --ing bright thru the syc-- a mores for me. INDIANA 4 – Level One 109

B Am7 D7 Gmaj7 E7 A7 1 4 16 2 2 1 2 3 5 3 2 1 2 1 # Œ. j j œ œ w ‰ œ. œ œ œ j Ó œ ˙. & œ œ J . œ ˙ œ œ œ The new mown hay sends all its fra- grance from the fields I

F m7/ 5 B7 Em7 E 7 G/D F m7/ 5 B7 22 # 4 3 b 1 2 4 3 5 b 3 2 3 1 # 5b 4 2 # j j j j & œ. œ œ. œ w Ó œ œ œ. œ# œ œ œn œ œ œ œ œ used to roam. When I dream a-- boutJ the moon light on the wa -

Em7 /D C 7 G/D Am7 27 1 3 2 2 D7 # b 3 5 2 4 1 o 1 3 # j œ œ œ j & ˙œ. œ œ Œ œ œb œ œ J œ J œ œ ---bash, then I long˙ for my In -di -- an a home.

1. 2. Gmaj7 Em7 Am7 D7 C m7/ 5 Cm7 G/B B 7 Am7 A 7 G 31 # b b b b maj7 # o & w œ œ œ . w w w œ ŒÓ Backœ home a 110 4 – Level One

SIX PIANO PIECES TO PLAY AND SING

GENERAL INFORMATION AND SUGGESTIONS

It is time to begin to put to use some of our newly learned remedial skills. As we master these pieces and the other exercises in this book, we will be learning how to depend on the piano. The following piano pieces will give us a wonderful opportu- nity to do that. The book that I still use to this day with my beginning piano students is the exact same one that my dad gave to me in my first piano lessons with him. Carl Czerny, opus 599, for beginners. I like the fact that Czerny notates the early pieces in treble clef for both hands. The book does not present bass clef until later. I have adapted this book to my method, and it works so well when one adds the singing to the piano playing. Intervals, scales, arpeggiation of chords are all so adaptable using this Czerny book. I would suggest you purchase the book, but you can get started with the pieces I have notated here. In Level Two you will find pieces using both treble and bass clefs.

Exercise #1– 4 are five finger exercises. You should be able to keep your eyes on the music after you learn the notes because you will only use the five notes beneath your right hand. Get the feel of these five finger exercises and memorize this feeling. Fingering is crucial in these pieces. You want to set up good piano technique habits right from the very beginning. So take the extra time to be sure you are using the fingering that is marked. (One is the thumb – and five is the pinky.)

PIANO TECHNIQUE SUGGESTIONS

Posture at the piano: Sit up tall and proud, keeping your back straight. Your entire body should be involved when you play. As you get more into scales etc., you will bend from your waist to play very high or very low notes. Be sure to clear the piano bench with your thighs so that you can bend from the waist from side to side. Adjust your piano bench so that you are not sitting too high or too low. Your wrists should be relaxed. Don’t tighten them. Do not sit too far back so that your arms are too outstretched. Do not sit too close so that your elbows are behind your body and you have no room for arm movement. Good hand position: Your hand and knuckles should be rounded (as though you have a ping-pong ball inside your hand). Keep your arms and hands relaxed. Play on the tips of your fingers. Dear Women – I love those long fingernails too, with the fashionable styles, but they don’t lend themselves to good piano technique! Be sure the last knuckle close to the keys does not cave or bend which will give you an even, strong tone when you play. Be aware that this is not achievable with super long nails. 4 – Level One 111

Remember Balance, relaxed position, patience and common sense always works in anything of a physical nature. Consider Yoga, Pilates, Alexander Tech- nique. Very similar messages in all disciplines.

PRACTICE GOALS

• Critical listening! This is so important in everything you practice. Using this method means that you are becoming your own teacher. Listening and critiquing yourself is the key to your improvement.

• Recording yourself as much as possible is another wonderful way to learn and grow and a method of improvement that I highly recommend. It can be painful sometimes, to be sure, but keep your sense of humor in all that you do. Remember that every student of music has been in the place that you are experiencing right now. It is part of the journey!

• Play without stops or hesitations, so that you arrive at the next beat on time. Singing along as you play will help you achieve this and make your playing more musical.

• Legato playing of the notes: The melodic line should be smooth and connected. At the same time that you play the second note of a melody, the fi nger playing the fi rst note should lift.

• If you lift the fi nger playing the fi rst note too soon, there will be a space between the two notes. If you lift the fi rst note fi nger too late, there will be a blurring of those two notes. So listen very carefully as you practice the right hand alone. This will become more natural as you become more aware and as each fi nger gets stronger.

• Looking ahead/preparation: As you begin to improve you will see how important it is to be able to take your eyes off the notes you are playing at the moment and to see what notes or chords are coming in the next few beats. In this way you can prepare for the move to get there without missing a beat.

• It is for this reason that I recommend that you practice in small amounts, but always over the bar-line. For example, practice one bar plus one note, or two bars plus one note etc. Be sure you can play each section that you practice accurately and in tempo before moving on to the next section. 112 4 – Level One

• You must be able to play each section perfectly three times in a row before continuing.

If you achieve this goal one day, and then the next day, you fi nd you are still making that same mistake, go back and do that challenging segment again with the repeti- tions. It will take you less time to get it perfect the second day. It is easier to learn something correctly the fi rst time, than get it in your ear incor- rectly and then have to re-learn it. Take the time the fi rst time! I cannot over-stress the importance of repetition in the perfection of skills.

One more once! • Learn to play smoothly, without hesitations, stops, or being late for the next beat.

• Make the use of the metro- nome a daily habit.

• Sing whatever you are playing.

• You will be less likely to hesitate or miss the next beat if you are singing, mainly because of the breathing involved when one sings. 4 – Level One 113

FIRST PIECE

Look at the piece and determine the time signature and key signature. Notice the clefs, the rhythms, and anything that might be unusual or difficult. After determining the level of the piece, decide if you think you can read through it with two hands, to get an idea of what it sounds like. If that seems too difficult, take the first two or four measures to begin your practicing as described below:

a) Right hand alone, counting out loud, playing the melody in time. Choose a slow speed on the metronome. such as 60 for the quarter note. If four bars are too much, play two bars plus one note. Do this until you master the right hand three times in a row perfectly - in time.

b) Add another two or four measures (plus one note) and work in the same manner.

Play and sing the melody notes in time. Sing the melody three times: a. using letter names of the notes b. using numbers of the scale c. using syllables (do, re, mi, fa, sol, la, ti, do)

Play the left hand chords in time. Label each chord, reading from the bottom up. If there is a chord that you don’t recognize, ask yourself if it could be an inversion, i.e. a chord in which the root, or tonic is not in the bass (the lowest note).

If the chord is an inversion, ask yourself if it is the first, second, or third inversion. (a) In the first inversion, the third of the chord is in the bass (the lowest note) (b) In the second inversion, the fifth of the chord is in the bass. (c) In the third inversion, the seventh or the flatted seventh of the chord is in the bass.

Label the chord as either root position or an inversion. (Ex. CMA, 1st inv.) or (CMA, 2nd inv.)

Sing each note in the chord as you play it – ascending and descending, three times: the first time using letters, the second time using numbers and the third time using syllables (example: do, mi, sol, mi do). This practice is called arpeggiating the chord.

Sing and play each left hand chord in this manner for the entire piece. Sing and play the notes in time, leaving one beat after chord in order to take a breath.

Now you are ready to practice the piece with both hands. This approach is basically the same as before. Two bars (plus one note), or four bars (plus one note) at a time until you can play that amount perfectly three times in a row with the metronome. Begin the counting at a q = 60, but if you need to play it slower at first, it is fine to do that. This is not about speed, it is about keeping time, and getting the notes correct. Speed will come later, once you are secure. Take the repeats as marked, i.e. repeat the first eight bars and the last eight bars. LEVEL ONE: PIANO PIECES - PLAY & SING FIVE FINGER EXERCISES - TWO STAVES IN TREBLE CLEF

#1 CARL CZERNY 114 4 – Level One OBSERVE ALL REPEATS Label Chords and Inversions IN PIECES #1 THRU #5 EX: C Major - Root Position

#1 Carl Czerny Track 28

5 1 3 2 3 Right Hand œ œ œ œ œ œ œ œ œ œ & c œ œ œ œ œ œ

Left Hand & c w w w w w1 w w1 w w3 w w3 w 5 5

5 4 2 œ œ œ œ œ œ œ œ & œ œ œ œ œ œ ˙ .

& w w w w . w w w1 w w w w2 w 5

2 3 3 4 œ œ œ œ œ œ œ œ œ œ & . œ œ œ œ œ œ

& . w w w ˙ ˙ w w w ˙ ˙

5 2 4 2 1 œ œ œ œ œ œ œ œ œ œ & œ œ œ œ ˙ .

& w w ˙ ˙ w . w w ˙ ˙ w 4 – Level One 115

SECOND PIECE

Move on to the second piece and once again, follow the directions above to master this piece. You should notice that the left hand chords are almost the same as in the first piece. Always try to notice similarities in the music notation, whether it is the melody, the rhythm, the harmony, etc. There are a many sections that repeat in music. Pay attention the first time and the second and third times will be easier.

LEVEL ONE: PIANO PIECES - PLAY & SING #2 Carl Czerny Track 29

5 5 1 2 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ ˙ #2

& w w w w w1 w 1 w w3 w w w 5 3 5 5 1 2 1 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ ˙ .

& w w w w . w w w w

2 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & . œ œ œ œ œ

& . w w w w w w w w

5 5 1 2 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ ˙ .

& w w ˙˙ ˙˙ w . w w 1 w ˙2 ˙ 5 116 4 – Level One

THIRD PIECE

Notice the left hand eighth note rhythm pattern. This may look complicated. However, if you put the first three notes together, you will see that the C, E and G form the triad of C major. This can teach you that you need to begin to see notes as clusters. The best readers are those who can ‘take in’ more than one note at a time and realize what chords they form. Practice the left hand for as long as it takes to get it fluent and legato. Sing along as you play, alternating using letters, numbers and syllables. It is acceptable to use letters and numbers one day and syllables the next day. Later, we will be omitting the letters entirely, since they are less singable than numbers and syllables. Notice the rhythm. See that you will have two notes in the left hand for every quarter note in the right hand. After you are comfortable with the left hand alone, begin with the first two or four bars and add the right hand. Sing the melody (top note of the RH) as you play. Continue practicing until the piece is mastered, as above.

Extra Credit After you have mastered #3 in time with the metronome, singing, go back, play again, and this time sing the lower note of the third in the right hand. #3 L EVEL ON E: PIAN O PIECE S - PLA Y & SIN G Track 30 Carl Czerny 3 5 4 3 1 3 2 1 œ œ œ œ ˙ ˙ œ œ œ œ w & œ œ œ œ ˙ w #3

1 1 1 1 & œ 3 œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ 5 œ œ œ œ œ œ œ œ œ œ œ5 œ œ œ œ œ 2 œ œ œ œ ˙ ˙ & œ œ œ œ ˙ œ œ œ œ w .

. & œ œ œ œ œ œ œ œ œ1 2 œ1 œ œ œ œ œ œ . œ œ œ œ 5 œ œ œ œ œ 4 œ œ œ 5 œ œ œ œ 2 3 œ œ œ œ ˙ ˙ œ œ œ œ w & . œ œ œ œ ˙ œ œ œ œ w

& . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ 1 2 œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ w .

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 – Level One 117

FOURTH PIECE

This piece is not in the key of C. Therefore, your starting notes will not be the same as they are in C. Read the notes carefully, and remember that the one sharp (F#) that you see in the key signature, means that every time you come to an F in this piece it must be sharped automatically as it is in the scale of G. Be sure you have the notes correct in the chords, label them, and sing them as in the previous exercises.

LEVEL ONE: PIANO PIECES - PLAY & SING #4 Carl Czerny Track 31

1 3 5 4 1 4 1 1 3 2 3 2 3 # œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #4 # 1 & 3 w 5 w w w w w w1 w w3 3 2 5 4 2 1 1 1 # œ œ œ œ œ œ œ œ œ œ œ œ œ . & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ .

# . & w w w w . w w 1 2 w w 4 3 4 w 2 # œ œ œ œ œ œ ˙ & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

# . & . w w w w w w 5 w w 5 w 3 w4 3 2 1 # œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ . # Ó . & w w ˙ ˙ ˙ . w w ˙ ˙ ˙

Label chords and inversions. 118 4 – Level One

FIFTH PIECE

Note This piece uses all eight notes of the scale.

This will mean that you will have to pay more attention to your fingering, since every note will not be directly under your five fingers, as in the pieces that were in the key of C. Be sure to practice your scales daily and this will not be a problem. Use the fingering marked in the piece, play in tempo. Sing as you play and use letters, numbers and syllables. Exercise within the octave. Remember the fingering for the C major scale.

LEVEL ONE: PIANO PIECES - PLAY & SING REMEMBER THE FINGERING FOR THE C MAJOR SCALE Track 32 #5EXERCISE WITHIN THE OCTAVE Carl Czerny

5 3 1 2 1 1 œ œ œ œ œ 1 3 3 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ #5 C Major Scale C Major Scale ascending descending

& w ˙ ˙ w ˙ ˙˙ l.h.:w same fingering as before˙ ˙ w ˙ ˙ 5 3 2 2 1 5 4 1 œ œ œ œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ ˙ .

& w ˙ ˙ ˙ . w ˙ ˙ ˙ ˙ w 5 ˙ ˙ 5 1 2 3 4 3 1 3 œ 3 2 1 4 3 1 œ 1 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & . œ œ œ œ œ œ œ

& . w w w w w w w w 5 3 2 2 5 1 œ œ œ œ 1 2 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ ˙ .

. & w ˙ ˙ ˙ ˙ w . w ˙ ˙ ˙ ˙ w 4 – Level One 119

SIXTH PIECE

Notice the thirds in the right hand. After you master the playing of the piece, play it again, singing first the top third and then singing the bottom third with letters, numbers and syllables. Label the left hand chords. Note if they are inversions.

LEVEL ONE: PIANO PIECES - PLAY & SING #6 Carl Czerny

5 4 5 4 3 3 3 2 1 ˙ ˙ œ ˙. Track 3 ˙ œ ˙. œ ˙. 33 & 4 œ ˙. #6 3 œ1 œ œ œ & 4 œ1 œ œ œ 5 œ œ œ œ œ5 œ3 œ œ œ œ œ 2 œ

5 2 ˙ œ œ œ œ œ œ œ ˙. & œ œ

& œ œ œ œ œ œ œ œ œ1 œ œ œ œ œ 5 œ3 œ œ œ 5 œ œ 3 ˙ œ ˙ œ ˙. ˙ œ ˙. & œ ˙.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5 3 5 4 2 1 ˙ œ œ œ œ & œ œ œ ˙. .

. & œ œ œ œ œ1 œ œ œ . œ œ œ 1 œ5 œ3 œ œ œ œ œ5 œ3 œ 4 5 5 2 3 5 1 œ 2 ˙ œ œ œ œ ˙ œ œ œ & . ˙ œ œ œ ˙

& . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 120 4 – Level One LEVEL ONE: PIANO PIECES - PLAY & SING

5 5 3 5 1 œ œ œ œ œ œ œ œ ˙ œ œ & œ œ œ œ ˙

& œ œ œ œ œ œ œ œ œ5 œ œ œ 3 5 5 4 3 3 3 ˙ œ œ œ 2 1 ˙ œ œ œ œ ˙ œ œ œ œ & œ œ

& œ1 œ œ œ œ œ œ œ œ5 2 œ œ œ œ œ œ œ

2 4 1 3 œ œ œ & œ œ œ œ œ œ ˙. .

. 1 . . & œ œ œ œ 5 œ œ ˙. 1 œ œ3 œ ˙. œ5 œ3 œ œ œ œ

Remember Always use the metronome – it is your drummer.

Count out loud. 121 5 Everything Voice

BREATHING WARM-UPS SONGS

Using these exercises for three purposes

• as a vocal exercise • for ear-training • for the development of musicianship

Vocal Goals

• ‘body sound’ • rounded tone • straight tone, no vibrato • ‘critical listening’ • range, technique • thoughts on songs • how to learn a new song

Musicianship Goals

• pitch perfection • interval awareness • giving a name to every note sung • knowledge of the scale • co-ordinating the hand, voice, ear, and brain • integration of specifi cs into the whole 122 5 – Everything Voice

VOCAL WARM-UPS

FOR BREATHING, TECHNIQUE, SOUND, PITCH, AND MUSICIANSHIP The exercises below will prove to be invaluable for the improvement of vocal and breathing technique, as well as musicianship skills. Practice them daily, with full concentration. “Critical listening” is essential to be your own best critic. If you do your best daily work here, you will notice vast improvement in your sound, pitch, and interval singing. An informed knowledge of the music you are singing will be the result. Developing the necessary skills to sing these exercises well, will vastly improve your ear and feeling of overall security as you sing your songs. There is no better feeling than “knowing that you know”. The exercises in this chapter have been deve- loped for three specific purposes

As a Vocal Exercise: the breath, technique, flexibility, vocal placement, awareness of your ‘body sound’ – paying strict attention to the intervals and the melodic phrase.

For Ear-Training: Centering the pitch, and becoming aware of intervals and space.

For the Development of Musicianship: Understanding of what is going on in the music in each exercise. Understanding and singing: skips, steps, half-scale, major, minor scales/chords.

Read and follow the directions/comments in this chapter very carefully and diligently.

PRACTICING SUGGESTIONS

The Breath Be conscious of the breath, your unique, organic sound, which comes from being aware that the richest tone is always produced by your entire body. You want to develop an organic sound that has depth and is grounded. The body is your instrument and the breath the vehicle that delivers the sound. Put the breath through the sound. Don’t blow out all your air at the beginning of a phrase. Keep the breath support steady.

The Tone • Feel a ‘buzz’ in your mouth area, and keep the buzz as you sing.

• Bring the lips and the sound forward. Resonate in the nose area.

• Keep the tone coming: Don’t diminuendo at the end of phrases.

• Keep the tone forward. Believe in it.

• Create an open, oval sound – sing on the vowel. Be sure that you are producing a tone that is round, not wide.

• Keep an “AH” thought, even when singing “OO” or “OH” or “EE” sounds, in order to stay open. Drop your jaw as necessary on those vowels that are more closed. 5 – Everything Voice 123

A rounded tone is much more microphone-friendly than a wide, narrow, or pinched sound.

• Aim for an even and legato tone. Your voice should sound like the same singer throughout your entire range, whether the notes are low or high, or whether you are singing in chest, head, or mixed voice.

PRACTICING METHOD

1. Sing as a Vocal Exercise First a) Do the breathing exercises before you begin. Bring the breathing technique to these vocal warm-ups. Full concentration and “critical listening” is necessary to produce a good “body sound.” b) Observe the exercise at hand. Ask yourself if you understand what the intervals consist of (whole/half steps, skips/steps) Is it a scale, or partial scale (ascending/ descending, etc). c) Be sure you are hearing and singing the pitches in tune. Center the pitch. d) Play the notes in the first bar to reinforce them for your ear. Sing the pitches again as you play them. e) Note that these exercises ascend in half steps and then descend in the same half step manner. f) When practicing first as a vocal exercise, begin singing from the lowest note, and end with the highest note in your range. g) At this point in your studies, play the triad indicated with your left hand. h) Begin with Exercise #1, until you are secure, then do #3, 4, and 5.

2. As an Ear-Training Exercise a) Range: Sing and play the exercises as indicated here. Practicing one chromatic octave (all 12 keys) is sufficient for ear-training. b) Do the same exercises that you sang in your daily vocal exercises. c) Sing and play the exercise with the right hand (RH). Sing first with numbers, then with syllables. d) Play major chords with left hand as you sing the melody. Sing first with numbers, then with syllables. 124 5 – Everything Voice

Note If you are not yet well-versed in the major triads in all twelve keys, play the bass note only of that major triad as you sing.

e) Sing and play the exercise with two hands, singing with numbers and syllables.

3. Exercises On A Song

Choose any standard song that you are currently learning. That song may be a ballad, swing, bossa etc. The tempo doesn’t matter for this practice because you will be singing the melody and lyric very, very slowly, note for note, without piano accompaniment.

Suggested songs for Remedial & Level One Practice These titles will work well sung fi rst as a ballad and then in a medium swing feel.

• ”My Romance” (Richard Rodgers / Lorenz Hart) • ”Over the Rainbow” (Harold Arlen / E.Y. Harburg) • ” Let’s Do It (Let’s Fall in Love)” (Harold Arlen / Ted Koehler) • ”I’m Old Fashioned” (Jerome Kern / Johnny Mercer) • ”How Deep Is the Ocean” (Irving Berlin)

Sing your song as a vocal exercise. Here is a wonderful exercise that will help you: Sing every note, exactly as in the written melody, extremely slowly. Breathe where you need to, but practice singing long phrases for technical and breath control. Sing on the vowel of each word, fully concentrating on your sound, pitch, legato, evenness and focus of your tone. After you have sung this way, play and sing the melody to reinforce your knowledge.

No Frills – No Vibrato! – Straight Tone! Solidly learn the melody in your voice, ear, brain and fi ngers. Know how the intervals and melody feel in your voice and body. Reinforce the melody by playing the notes on the piano and singing along. Establish your self-confi dence in “knowing that you know.”

Always use the metronome Keep the beat at a speed that you can master, then increase the tempo. 5 – Everything Voice 125

THOUGHTS ON SONGS

APPLYING YOUR NEW MUSICIANSHIP SKILLS TO SELECTING AND PREPARING NEW SONGS.

I have always felt that my involvement with a song is like a relationship. If I ‘fall in love’ with a song, I usually can’t wait to get the music – can’t wait to work with it – can’t wait to sing it! When I meet a new person, of course we don’t share our most personal details upon first meeting, but after we get to know each other that might happen. After I get to know a song well, I trust my instincts more, and as more time goes by I take more musical risks in terms of improvising, etc. The main thing is to spend the time and the effort to learn all the nuances of the song, just as one would in a long-lasting friendship. Now that you are dedicated to working on your musicianship, select your songs carefully since you will enjoy a long relationship with them. When learning a new song, it is so important to respect the composer’s writing, especially in the first chorus. If the song is worth doing, and if you love the song, I feel that the vocalist owes that to the composer. Observe and execute the exact rhythm, melody, and lyric as written. Learn your songs from the printed music, not from another vocalist’s recording. After you know your song completely, i.e. melody, harmony, lyrics, then by all means, listen to recordings for enjoyment and to incorporate ideas.

HOW SHOULD I LEARN A NEW SONG?

This question has been posed to me so many times over my years of teaching. Ulti- mately, each vocalist finds his/her own method, but there are many singers that don’t know how or where to begin. I hope these thoughts are helpful. Here are some very basic suggestions that I have found work very well in approa- ching a new song:

1. If you need to, clap the rhythm of the song first.

2. Play the melody on the piano in the correct rhythm.

3. Sing the melody a cappella, as if it were an exercise. Sing it smoothly, with all your attention on singing the correct notes, staying in tune and following the rhythm as written. If necessary, help yourself with the piano to be sure that you are learning the melody correctly.

4. If you are able to, add the left hand by playing the chords. As you do so, listen carefully to the note you are singing and hear it in relation to the chord that is sounding simultaneously. Try to figure out what member of that chord you are singing on beats 1 and 3 of each bar, which are usually the strong beats in a measure of 4/4 time.

5. On a separate sheet of paper, write out the complete lyric. Speak that lyric aloud and underline the words that you feel are meaningful to you and important to emphasize in your telling of the story. Of course, as you become more familiar with the song, these words may change, but this exercise can be executed as 126 5 – Everything Voice

many times as you wish. When you actually sing the song, remember to empha- size these words in a natural way that you speak them. The lyric should be phrased so that it sounds like you in order to be believable by your audience.

6. Determine for yourself the attitude/mood that you wish to convey with the song. Sadness can turn to sarcasm, bitterness etc. What is your ‘take’? This can also change with each performance, but you must have a point of view in mind when you begin each rendition. This also goes to credibility in a performance.

7. Since you are more harmonically knowledgeable after working with this book, sing up and down the chord changes to be sure you are hearing the harmonic movement. This will begin your process of embellishing the melody with good note choices, or help you with improvisation if you decide to swing the song or embellish your ballads.

8. After working with a song for a period of time, of course you will sing the rhythm in a more fl exible way, and your phrasing will loosen up. This might be a good time to listen to other vocalists’ versions of the song.

To summarize, jazz vocalists need to develop a complete and deep relationship with the songs they sing. They must understand the melody, harmony, rhythm and lyrics while personalizing the song with emotion and delivery. When all that has been achieved, further embellishments will fl ow naturally, from a deeper place, and they won’t sound like tricks or frivolous frills. When all these elements come together, the result is a truly natural and believable performance of maturity and depth.

Understanding As you sing, be sure you are thoroughly understanding the intervals, melody and harmony in each exercise. 5 – Everything Voice 127

BREATHING, RELAXATION AND WARM-UP EXERCISES Track 34 20–25 minutes of daily practice

1. BALLOON BREATHING (EIGHT TIMES)

a) Inhale slowly (sucking in the breath). Breathe from the abdomen, remembering that it is your source of energy and power.

b) Exhale slowly and lightly on the sound of “S” – think of balloons in the sky, slowly releasing a little air at a time. As you exhale, concentrate on relaxing – beginning with your forehead and all the way down to your toes. Think of rela- xing each body part as you exhale.

2. COUNTING BREATH (TEN TIMES) Track 35 a) Inhale slowly, as before, from the diaphragm, sucking in the breath. Feel all the areas of your total body fill with energizing air.

b) Count to ten fast, on any pitch you wish, and then hold #1. Be sure your sound is focused, open, even, relaxed and on the breath. You are looking for a total ‘body’ sound.

c) Count to ten fast again, this time beginning one half step higher. Sing the exercise again, a half-step higher, this time sing up to scale number ‘2’ and hold that note. Begin each new count in this manner, adding the next scale tone as you go. Listen to your sound and pitch. Focus your tone forward.

3. WARM-UP EXERCISES

a) Sing from your low note to your comfortable high note, sing higher as the voice warms up.

b) Keep your mouth in an oval position. Sing easily. Inhale as in breathing exer- cises #1 and #2.

If you play piano, play the major triads up and down in half steps as you sing the assigned exercises. Listen to yourself and critique your sound and technique

Record your warm-ups and be your own honest critic!

4. CHOOSE ANY SONG THAT YOU ARE CURRENTLY WORKING ON

a) Sing very slowly, rubato, exact notes. Breathe as before, open all the vowels and use a straight tone. 128 5 – Everything Voice

b) “Critical listening” for: 1. Perfect pitch and an even sound. Focus the tone forward and keep an oval-shape mouth. 2. Putting the breath through the sound, producing a smooth, connected, and a legato tone. 3. Bringing the sound and the lips forward, and dropping your jaw. A mirror is often helpful. 4. Producing a warm, beautiful, full tone: a “body sound”. This is YOUR sound!

Warm-up goals Build up to singing fi ve exer- cises each day. Use the vocal syllable indicated on each drill. Then proceed to repeat that exercise in the ear- training format indicated on the drill.

VOCAL TECHNIQUE SECTION

VOCAL, INTERVAL AND EAR-TRAINING EXERCISES VOCAL, INTERVAL AND EAR-TRAINING EXERCISES SPECIFIC PRACTICE METHOD

1. As a vocal exercise: Use breathing techniques previously described. Specific Practice Method 2. For musicianship: Sing and play exercise with right hand: Use numbers and syllables. 1X- As A Vocal Exercise . . . . Use Breathing Techniques previously described. 3. Then, sing2X - & Forplay Musicianshipexercise with left hand...... Sing . Sing the major & Play chords exercise with numberswith RH: and Use Numbers & Syllable syllables. 3X - Then, Sing & Play exercise with LH: Major chords: Sing w/ Numbers & Syllables 4. Finally:4X Sing - Finally, and play Sing exercise & Play with exercise both hands: with Use Both metronome Hands: Use to keep Metronome an even to keep an evenTemp tempo.

Half-Scale Ascending Chromatically

HALF-SCALE ASCENDING CHROMATICALLY 1a. (Loo) (Loo) Etc. F maj7 F#maj7 #1 Track 36 & c œ œb œ œ# œ œ# 5 4 3 œ2 ˙1 5 4 3 œ# 2 ˙# 1 SOL FA MI RE DO SOL FA MI RE DO

HALF-SCALE DESCENDING CHROMATICALLY

A maj7 Abmaj7 Etc. œ œb & œ œ# œ ˙ œb œ œb ˙b 543 2 1 5 4 3 2 1 SOL FA MI RE DO SOL FA MI RE DO

UPPER & LOWER NEIGHBORS - ASCENDING SCALE-WISE

F maj7 G maj7 (NOH) (NOH) (NOH) (NOH) Etc. #2 & œ œ œ œ ˙ 12œ œ1 œ7 ˙1 1 2 1 œ# 7 1 DO RE DO TI DO DO RE DO TI DO VOCAL TECHNIQUE SECTION VOCAL TECHNIQUE SECTION

VOCAL, INTERVAL AND EAR-TRAINING EXERCISES VOCAL, INTERVAL AND EAR-TRAINING EXERCISES

Specific Practice Method Specific Practice Method 1X- As A Vocal Exercise . . . . Use Breathing Techniques previously described. 1X-2X - AsFor A Musicianship Vocal Exercise ...... SingUse Breathing& Play exercise Techniques with RH: previously Use Numbers described. & Syllabl e 2X - For Musicianship ...... Sing & Play exercise with RH: Use Numbers & Syllable 3X - Then, Sing & Play exercise with LH: Major chords: Sing w/ Numbers & Syllables 3X4X - Then,Finally, Sing Sing & & Play Play exercise exercise with with LH: Both Major Hands: chords Use :Metronome Sing w/ Numbers to keep & an Syllables evenTem p 4X - Finally, Sing & Play exercise with Both Hands: Use Metronome to keep an evenTemp

HALF-SCALE ASCENDING CHROMATICALLY HALF-SCALE ASCENDING CHROMATICALLY Etc. F maj7 (Loo) F maj7 (Loo) (Loo) # (Loo) Etc. #1 F maj7 F#maj7 #1 & c & c œ œb œ œ# œ œ# œ5 4 3 œ2 ˙1 œ# 5 4 3 œ# 2 ˙# 1 œb œ œ œ œ# œ# 5 – Everything Voice 129 SOL5 FA4 MI3 RE2 DO˙1 SOL5 FA4 MI3 RE2 DO˙# 1 SOL FA MI RE DO SOL FA MI RE DO Half-Scale Descending Chromatically HALF-SCALE DESCENDING CHROMATICALLY HALF-SCALE1b. DESCENDING CHROMATICALLY A maj7 Abmaj7 Etc. A maj7 A maj7 Etc. œ œb b œ œ# œ ˙ œb œ œb ˙b & œ œ œ# œ œb œb œ œb &543 2 ˙1 5 4 3 2 ˙b 1 SOL54FA MI3 RE2 DO1 SOL5 FA4 MI3 RE2 DO1 SOL FA MI RE DO SOL FA MI RE DO

Upper & Lower Neighbors – Ascending Scale-Wise UPPER & LOWER NEIGHBORS - ASCENDING SCALE-WISE 2a.UPPER & LOWER NEIGHBORS - ASCENDING SCALE-WISE F maj7 G maj7 Etc. (NOH)F maj7 (NOH) (NOH)G maj7 (NOH) (NOH) (NOH) (NOH) (NOH) Etc. #2 Track 37 #2 & & œ œ œ œ ˙ œ œ œ œ# ˙ 12œ œ œ1 7 ˙1 œ1 œ2 œ1 œ# 7 ˙1 DO12RE DO1 TIœ7 DO1 DO1 RE2 DO1 TI7 DO1 DO RE DO TI DO DO RE DO TI DO VOCAL & EAR TRAINING EXERCISES VOCAL & EAR TRAINING EXERCISES

Upper & Lower Neighbors – Descending Scale-WiseMAJOR THIRDS EXERCISE: MAJOR THIRDS EXERCISE: UPPER & LOWER NEIGHBORS - DESCENDING SCALE-WISE 2b. UPPER & LOWER NEIGHBORS - DESCENDING SCALE-WISE E maj7 Ebmaj7 Etc. E maj7 E maj7 Etc. œ œ# œ œ# ˙ œb b œ œ œ ˙ & œ œ# œ œ# ˙ œb œ œ œ ˙ & 1 2 1 7 1 1 2 1 7 1 1DO RE2 DO1 TI7 DO1 DO1 RE2 DO1 7TI DO1 DO RE DO TI DO DO RE DO TI DO

MAJOR THIRDS EXERCISE

Ascending In Half-Steps ASCENDING IN HALF-STEPS ASCENDING IN HALF-STEPS 3a. F maj7 (YAH)(YAH) (YAH) (YAH) (YAH) Gbmaj7 F maj7 (YAH)(YAH) (YAH) (YAH) (YAH) G maj7 #3 b

#3 & Track 38 & œ œ œ œ œb œb ˙ œb œb œb œ ˙ 13œ œ ˙1 œ1 œ2 œ3 œ2 ˙1 œb 1 œb 3 ˙1 œb 1 œb 2 œb 3 œ2 ˙1 13DOœ MI DO˙1 DOœ1 RE2 MI3 RE2 DO˙1 DO1 MI3 DO1 DO1 RE2 MI3 RE2 DO1 DO MI DO DO RE MI RE DO DO MI DO DO RE MI RE DO

DESCENDING IN HALF-STEPS PERFECT FIFTHS AND MAJOR TRIADS DESCENDING IN HALF-STEPS P E R F E C T FIFTHS AND MAJOR TRIADS

Dbmaj7 C maj7 D maj7 C maj7 œb ˙ œ œb œ ˙ œ ˙ œ ˙ & œ œb ˙ œ œb œb œ ˙ œ œ ˙ œ œ œ œ ˙ 3 œb 1 3 3 2 œb 1 2 3 3 œ1 3 3 œ2 œ1 œ2 3 & 3 1 3 3 2 1 2 3 3 1 3 3 2 1 2 3 MI DO MI MI RE DO RE MI MI DO MI MI RE DO RE MI MI DO MI MI RE DO RE MI MI DO MI MI RE DO RE MI VOCAL & EAR TRAINING EXERCISES

MAJOR THIRDS EXERCISE:

UPPER & LOWER NEIGHBORS - DESCENDING SCALE-WISE

E maj7 Ebmaj7 Etc. œ œ# œ ˙ œb œ œ ˙ & œ# œ 1 2 1 7 1 1 2 1 7 1 DO RE DO TI DO DO RE DO TI DO

ASCENDING IN HALF-STEPS

F maj7 (YAH)(YAH) (YAH) (YAH) (YAH) Gbmaj7 #3 & œ œ œb œb œb œ 13œ ˙1 œ1 œ2 3 œ2 ˙1 œb 1 3 ˙1 œb 1 2 3 2 ˙1 DO MI DO DO RE MI RE DO DO MI DO DO RE MI RE DO 130 5 – Everything Voice

Decending In Half-Steps DESCENDING IN HALF-STEPS PERFECT FIFTHS AND MAJOR TRIADS

3b. Dbmaj7 C maj7 œ ˙ œ œb œ ˙ œ ˙ œ ˙ œb VOVCOœb CALAL & &E AERAR T TRRAIANINININGG E XEXERERCCISœISESES œ œ œ & 3 1 3 3 2 1 2 3 3 1 3 3 2 1 2 3

MI DO MI MI RE DO RE MI MI DO MI MI RE DO RE MI MUSICIANSHIPMUSICIANSHIP - -THIRDS THIRDS - -ASCENDING ASCENDING & & DESCENDING DESCENDING

PERFECT FIFTHS AND MAJOR TRIADS ASCENDING IN HALF-STEPS ASCENDINGAscending In Half-StepsIN HALF-STEPS

4a.

FFmaj7maj7 G maj7 (YAH)(YAH)(YAH)(YAH)(YAH)(YAH)(YAH)(YAH) (YAH)(YAH) Gbmaj7b #4#4 Track 39 && œœ œ œœ œ œb œb œb ˙ œb œb œb œb œb œœ ˙ œ1œ1 55 ˙1˙1 œ1œ1 œ33 55 œ33 ˙1˙1 œb 11 55 ˙11 œb 11 33 55 33 ˙11 DODOSOLSOL DODO DODOMIMISOLSOLMIMIDODO DODO MIMI DODO DODOMIMISOLSOLMIMIDODO

Decending In Half-Steps THIRDSTHIRDS - -VOCAL VOCAL EXERCISE EXERCISE DESCENDINGDESCENDING IN IN HALF-STEPS HALF-STEPS 4b.

B maj7 A maj7 Bbmaj7b A maj7 œœ ˙˙ œœ œœ œœ ˙˙ œœ ˙˙ œœ œ# œ ˙˙ && œb œb œb œb œœ œ# œœ œ 55 11 55 55 33 11 33 55 55 11 55 55 33 11 33 55 SOLSOLDODO SOLSOL SOLSOLMIMIDODOMIMISOLSOL SOLSOL DODO SOLSOL SOLSOLMIMIDODOMIMISOLSOL

VOCAL & EAR TRAINING EXERCISES MUSICIANSHIP – THIRDS – ASCENDING & DESCENDING

Sing with syllables.

5a. (Sing w/Syllables)

F maj7 C maj7 F maj7 G maj7 Gbmaj7 Dbmaj7 b #5 Track 40 & Ó Ó œb œ œ œb œb œ œb œ 1œ œ3 œ2 4 œ3 5 4 œ2 ˙1 œb 1 3 œb 2 4 3 5 4 œ2 ˙b 1 DO MIRESOLUTIONRESOLUTIONRE FA MI SOL TONES FATONESRE DO - -- - ASCENDING ASCENDINGDO MI RE& & DESCENDING FADESCENDINGMI SOL FA RE DO

A maj7 Abmaj7 œ œ œb œb & œ# œ œ œ œ œ# ˙ Ó œ œb œ œb œ œ ˙b Ó 5 3 4 2 3 1 2 7 1 5 3 4 2 3 1 2 7 1 SOL MI FA RE MI DO RE TI DO SOL ME FA RE MI SOL RE TI DO Harmonic Minor sing as Vocal Exercise: Syllables, & Letters for each ascending & descending scale.

(Sing w/Syllables)

F maj7 C 7 C 7 F maj7 F maj7 F#maj7 # # #6 & Ó Ó œ œ œb œ œ œ œ œ# œ# œ œ œ œ œ MEœ MI MA MO MOO˙ MEœ# MI MA MO MOO˙ 132435421 132435421

B maj7 A maj7 E 7 A maj7 b F 7 Bbmaj7 œ œb œ œ œ & œ œ œb œ œ bÓ˙ œ# œ œ œ œ œ# ˙ Ó ME MI MA MO MOO ME MI MA MO MOO 5 3 423127 1 534231271

#7 VOCAL & EAR TRAINING EXERCISES VOCAL & EAR TRAINING EXERCISES VOCAL & EAR TRAINING EXERCISES

(Sing w/Syllables) (Sing w/Syllables) (SingF maj7 w/Syllables)C maj7 F maj7 G maj7 Gbmaj7 Dbmaj7 b F maj7 C maj7 F maj7 G maj7 D maj7 G maj7 #5 F maj7 C maj7 F maj7 Gbmaj7 Dbmaj7 Gbmaj7 #5 & Ó b b b Ó #5 & œ œb œ œ œ Ó œb œb œb œ œb œ œ Ó & 1œ 3 œ2 œb 4 3 œ5 œ4 œ2 ˙1 Ó œb 1 œb 3 2 œb 4 œ3 œb 5 œ4 2 ˙b 1 5 Ó– Everything Voice 131 1 œ3 œ2 4 œ3 5 4 œ2 1 œb 1 3 œb 2 4 3 œb 5 4 œ2 ˙b 1 DOœ MIœ RE FAœb MIœ SOLœ FAœ RE DO˙ DO MIœb REœb FAœb MIœ SOL FAœ REœ DO DO1œ MI3 REœ2 FA4 MI3 SOL5 FA4 REœ2 DO˙1 DOœb 1 MI3 RE2 FA4 MI3 SOL5 FA4 RE2 DO˙b 1 DO MI RE FA MI SOL FA RE DO DO MI RE FA MI SOL FA RE DO 5b. A maj7 Abmaj7 A maj7 A maj7 A maj7 b œ œ# œ œ œ œ Ó Aœb bmaj7œ œb œb œ œ Ó & œ œ# œ œ œ œ œ œ# ˙ Ó œb œ œb œb œ œb œ œ ˙b Ó &5œ 3œ# œ4 œ2 œ3 œ1 œ2 œ# 7 ˙1 Ó œb 5 œ3 œb 4 œb 2 œ3 œb 1 œ2 œ7 ˙b 1 Ó &SOL5 3MI FA4 RE2 MI3 DOœ1 RE2 TIœ# 7 DO˙1 SOL5 ME3 FA4 RE2 MI3 SOLœb 1 RE2 TIœ7 DO˙b 1 SOL5 3MI FA4 RE2 MI3 DO1 RE2 TI7 DO1 SOL5 ME3 FA4 RE2 MI3 SOL1 RE2 TI7 DO1 SOL MI FA RE MI DO RE TI DO HarmonicSOL MinorME FA singRE MI asSOL VocalRE TI Exercise:DO Harmonic Minor sing as Vocal Exercise: THIRDS – VOCAL EXERCISE Syllables, Harmonic & Letters Minor for each sing ascending as Vocal Exercise:& descending scale. Syllables, & Letters for each ascending & descending scale. Sing with(Sing syllables.w/Syllables) Syllables, & Letters for each ascending & descending scale. (Sing w/Syllables) F maj7 C 7 C 7 F maj7 6a. (Sing w/Syllables) F maj7 F#maj7 # # F maj7 C 7 F maj7 F maj7 C 7 F maj7 F maj7 C 7 # C#7 F#maj7 #6 F maj7 Ó F#maj7 # # Ó #6 & Ó Ó #6 & œ œ œb œ œ œ œ Ó œ# œ# œ œ œ œ œ Ó & MEœ MI œ MO MOO˙ MEœ# MI MA œ MO MOO˙ œ œ œ œb MAœ œ œ œ ˙ œ# œ# œ# œ œ œ œ œ ˙ 13ME œ MI24œb MAœ35œ42MO MOO1 13ME œ# 24MI œ 35MAœ 42MOœ MOO1 MEœ MIœ MO œ MOO˙ MEœ# MIœ# MA MO œ MOO˙ 1324MA35421 132435421 132435421 132435421

6b. E 7 B maj7 F 7 B maj7 A maj7 A maj7 b b E 7 B maj7 F 7 B maj7 A maj7 A maj7 b b E 7 Bœbmaj7 œb F 7 B maj7 A maj7 A maj7 œ œ œ œ œb œ œ bÓ˙b œ œ# œ œ œ œ œ ˙ Ó & œ œ œb œ œ œb œ œ bÓ˙ œ œ# œ œ œ œ œ œ# ˙ Ó & ME œ œb MI œ œMA œb œMO MOObÓ˙ MEœ œ# œMI œ œMA œMO œ# MOO Ó & 5ME 3 42MI 31MA 27MO œ MOO1 53ME 42MI 31MA œ 27MO œ# MOO˙1 5ME 3 42MI 31MA 27MOVOCALMOO &1 EAR TRAINING EX53MEERCISES42MI 31MA 27MO MOO1 5 3 423127VOCAL &1 EAR TRAINING EX53ERCISES42 31271 Ear-Training & Musicianship Exercises Ear-Training & Musicianship Exercises SINGRESOLUTION EVERYTHING TONES IN MAJOR – ASCENDING AND HARMONIC & DESCENDING MINOR - CHANGING SYLLABLES ACCORDINGLY SING EVERYTHING IN MAJOR AND HARMONIC MINOR - CHANGING SYLLABLES ACCORDINGLY 7a. #7 G maj7 #7 G maj7 #7 œ & œ# ˙ ˙ Track 41 & œ œ ˙ œ ˙ œ# ˙ œ ˙ DOœ RE DO˙ DOœ FAœ MI˙ DOœ LAœ SOL˙ DOœ TI DO DOœ RE DO 1DOœ REœ2 DO˙1 DOœ1 FA4 MI3 DOœ1 LA6 SOL5 DOœ1 TI7 DO8 DOœ1 RE9 DO8 7b. 1 2 1 1 4 3 1 6 5 1 7 8 1 9 8 G maj7 G maj7 & œ œ# ˙ œ œ œ œ &œ œ# ˙ œ œ ˙ œ œ ˙ œ œ œ DO TI DO DO LAœ SOL˙ DO FAœ MI DO RE DO˙ DO TIœ# DO˙ DO TI DO DO LA SOL DO FA MI˙ DO REœ DO DO TI DO 8 7 8 8 6 5 8 4 3 8 2 ˙1 8 œ# 7 ˙1 8 7 8 8 6 5 8 4 3 8 2 1 8 7 1 VOCAL EXERCISES AND MUSICIANSHIP VOCAL EXERCISES AND MUSICIANSHIP MAJOR AND HARMONIC MINOR SCALES MAJOR AND HARMONIC MINOR SCALES

Be Sure you know ALL the key signatures !! Be Sure you know ALL the key signatures !! ARPEGGIATING CHORDS - SING IN MAJOR AND MINOR ARPEGGIATING CHORDS - SING IN MAJOR AND MINOR Major Scale - Sing as a Vocal Exercise, Using Syllables & Letters for each Scale. Major Scale - Sing as a Vocal Exercise, Using Syllables & Letters for each Scale.

#8 œ œ œ œ œ œ œ #8 & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó & b YAHœ œ œ œ YEE œ œ œ YAH.˙ Ó YAH YEE YAH. DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE DO DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE DO

#9 b b œ œ œn œ œn œ œ #9 & bbbb œ œ œ œ œ œ œn œ œn œ œ œ œ œ ˙ Ó & b b EEœ œ œ œ OO œ œ œ EE˙ Ó EE OO EE DO RE ME FA SOL LE TI DO TI LE SOL FA ME RE DO DO RE ME FA SOL LE TI DO TI LE SOL FA ME RE DO VOCAL && EEAR TTRAIINIING EEXERCIISES Ear-Training & Musicianship Exercises

SING EVERYTHING IN MAJOR AND HARMONIC MINOR - CHANGING SYLLABLES ACCORDINGLY

G maj7

& œ# ˙ œ ˙ œ œ ˙ œ ˙ DOœ REœ DO˙ DOœ FA MI DOœ LA SOL DOœ TI DO DOœ RE DO 1 2 1 1 4 3 1 6 5 1 7 8 1 9 8

G maj7

132 5 – Everything&œ Voice œ# ˙ œ œ œ œ œ œ ˙ œ ˙ œ DO TI DO DO LA SOL DO FA MI DO REœ DO˙ DO œ# TI ˙DO 8 7 8 8 6 5 8 4 3 8 2 1 8 7 VO8CAL7 EXERCISES8 8 6 AND5 MUSICIANSHIP8 4 3 8 2 1 8 7 1 MAJOR AND HARMONICVOCAL EXERCISES MINOR AND SCALES MUSICIANSHIP MAJOR AND HARMONIC MINOR SCALES Be sure you know all the keyMAJOR signatures! AND HARMONIC MINOR SCALES

Be Sure you know ALL the key signatures !! MAJOR SCALE Be Sure you know ALL the key signatures !! ARPEGGIATING CHORDS - SING IN MAJOR AND MINOR Sing as a vocal exercise, using syllables and letters for each scale. Major Scale - Sing as a Vocal Exercise, Using Syllables & Letters for each Scale. 8. Major Scale - Sing as a Vocal Exercise, Using Syllables & Letters for each Scale.

#8 œ œ œ Track 42 œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ ˙ Ó YAH YEE YAH.

DO RE MI FA SOL LA TI DO TI LA SOL FA MI RE DO

HARMONIC MINOR SCALE

Sing as vocal exercise with syllables and letters for each ascending and descending scale.

9. œ #9 bb b œ œ œ œn œ œn œ œ œ Ó & b b œ œ œ œ VOCAL & EAR TRAINING EXERCISES œ œ œ ˙ Ó EE OO EE

DO RE ME FA SOL LE TI DO TI LE SOL FA ME RE DO

MAJOR SCALE MajorWITH ADDEDScale with 9TH added 9th. Sing as Written First. Then, Repeat the Scale in the Harmonic Minor Mode, Sing as written first. Then, repeat the scale in the harmonic minor mode, change the syllables accordinglyChange as indicated.the Syllables accordingly - as indicated. Major Scale 10.

#10 œ œ œ ˙œœ œ œ & b œ œ œ œ œ œ œ œ œ ˙ DO RE MI FA SOL LA TI DO RE DO TI LA SOL FA MI RE DO

YAH EE YAH

LETTERS

Harmonic Minor Scale

b œ œn œ ˙œœ œn œ & b bb œ œ œ œ œ œ œ œ DOœ RE ME FA SOL LE TI DO RE DO TI LA SOL FA ME RE DO˙ OO AH OO LETTERS) VOCAL & EAR TRAINING EXERCISES

Major Scale with added 9th. Sing as Written First. Then, Repeat the Scale in the Harmonic Minor Mode, Change the Syllables accordingly - as indicated. Major Scale

#10 œ œ œ œ ˙œœ œ œ œ & b œ œ œ œ œ œ œ ˙ DO RE MI FA SOL LA TI DO RE DO TI LA SOL FA MI RE DO

YAH EE YAH 5 – Everything Voice 133 LETTERS

HARMONIC MINOR SCALE Harmonic Minor Scale 11.

b œ œn œ ˙œœ œn œ & b bb œ œ œ œ œ œ œ œ DOœ RE ME FA SOL LE TI DO RE DO TI LA SOL FA ME RE DO˙ OO AH OO LETTERS)

Reminder Sing in the “straight tone zone”. No vibrato, no pop sound, no tricks: “no-frills Speed? singing!” Your ear-training goals are pitch, sound, and accuracy – not speed.

VOCAL & EAR TRAINING EXERCISES

EAR-TRAINING AND MUSICIANSHIP EXERCISES

Sing everything in major and harmonic minor, – changing syllables accordingly.

12. 3 3 3 3 3 3 3 œ #11 œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ DO RE DO RE MI FA MI FA MI FA SOL LA SOL LA SOL LA TI DO TI DO RE DO

3 3 3 3 3 3 3 3 œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ DO TI DO TI LA SOL LA SOL LA SOL FA MI FA MI FA MI RE DO RE DO TI DO

13.

œ #12 œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ DO RE MI FA SOL FA MI RE DO RE MI FA SOL LA TI DO RE DO TI LA SOL FA MI RE DO EE OH

œ #13 œ œ œ œ & b œ œ œ ˙ Ó DO ME SOL DO ME DO SOL ME DO MI MA MO ME ME MA MO ME MA

. œ #14 œ œ. œ œ œ œ œ œ œ & b œ œ œ œ œ ˙ 1 3 5 8 7 8 9 8 7 6 5 4 3 2 1

DO MI SOL DO TI DO RE DO TI LA SOL FA MI RE DO. YAH EE EE YAH VOCAL & EAR TRAINING EXERCISES VOCAL & EAR TRAINING EXERCISES

3 3 3 3 3 3 3 3 3 3 3 3 3 œ œ3 œ œ #11 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #11 & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & DOœ REœ DOœ REœ MIœ FA MIœ FA MIœ FA SOL LA SOL LA SOL LA TI DO TI DO RE DO DO RE DO RE MI FA MI FA MI FA SOL LA SOL LA SOL LA TI DO TI DO RE DO 3 3 3 3 3 3 3 3 3 œ œ3 œ œ 3 3 3 3 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & DO TI DO TI LA SOL LA SOL LA SOL FA MI FA MI FA MI REœ DOœ REœ DOœ TIœ DOœ DO TI DO TI LA SOL LA SOL LA SOL FA MI FA MI FA MI RE DO RE DO TI DO

œ œ œ #12 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ #12 & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & DOœ REœ MIœ FA SOL FA MIœ REœ DOœ REœ MIœ FA SOL LA TI DO RE DO TI LA SOL FA MIœ REœ DO˙ 134 5 – Everything VoiceEEDO RE MI FA SOL FA MI RE DO RE MI FA SOL LA TI DO OHRE DO TI LA SOL FA MI RE DO EE OH ARPEGGIATING CHORDS

Sing in major and minor.

14. œ œ œ #13 b œ œ œ œ œ Ó #13 & b œ œ œ œ œ ˙ Ó & DOœ MEœ SOL DO ME DO SOL MEœ DO˙ MIDO MAME SOLMO DOME ME MADO SOLMO ME MADO MI MA MO ME ME MA MO ME MA

15a. œ. œ œ œ #14 b œ œ. œ œ œ œ œ œ œ œ #14 & b œ œ œ œ œ œ œ œ œ œ ˙ & 1œ œ3 5 8 7 8 9 8 7 6 5 4 œ3 œ2 ˙1 1 3 5 8 7 8 9 8 7 6 5 4 3 2 1 DO MI SOL DO VOCAL &TI EARDO TRAINREINGDO EXERTICISLAES SOL FA MI RE DO. YAHDO MI SOL DO EETI DO EERE DO TI LA SOL FA MI RE YAHDO. YAH EE EE YAH VOCAL & EAR TRAINING EXERCISES 15b.

b œ œ œ œ œ ˙ & œ œ. œ œ œ œ œ œ œ 8œ 5 3 1 2 1 7 1 2 3 4 5 6 7 8˙ DO SOLœ MI DO RE DO TI DO RE MI FA SOLœ LAœ TIœ DO & b œ œ. œ œ œ œ œ œ YAH8 5 3 1 EE2 1 EE7œ 1 2 3 4 5 6 7 YAH8 DO SOL MI DO RE DO TI DO RE MI FA SOL LA TI DO YAH MUSICIANSHIPEE EXERCISESEE - PERFECTING PITCH,YAH PRACTICING HALF-STEPS

MUSICIANSHIP EXERCISES - PERFECTING PITCH, PRACTICING HALF-STEPS MUSICIANSHIPSing with Syllables EXERCISES Numbers & Letters! Be Aware of What Chord Member you are singing PERFECTING PITCH, PRACTICING HALF-STEPS Sing with SyllablesWrite a nNumbersd Sing in & T Letters!wo Other K eBeys oAwaref your ofCh oWhatice Chord Member you are singing Sing with syllables numbers and letters! Be aware of what chord member you are singing. Write and sing inW tworite otherand S ikeysng in of T wyouro Ot choice.her Keys of your Choice B maj7 B / b Ebm b D 16. #15 b B & b B maj7 E m b/D b œ œb œ œ b œ œb œ ˙ œ #15 b œ œ b E maj7 B maj7 C m7 F 7 B maj 9/ 11 & b œ œb b œ œ œb ˙ b # b œ œ œ œ œ b E maj7 B maj7 C m7 F 7 maj 9/ 11 & œ# b œ œ œn b œ œ# œ œ œ Bœb œn # ˙ b œ œb œ & b œ# œ œ œ ˙ œ œn œ# œ œ œ œ œ œn #13 œb

E maj7 D maj7 D maj7 C maj7 #13 b b #16 b & b b E maj7 D maj7 D maj7 C maj7 Ó œb œ œb œ œ# œn œn b œ œb œ ˙n #16 b œn œ b b C maj7 B maj7 B maj7 A maj7 Ó & œ œb b b œ œ œn œ# œn œn œ œ œb œ ˙n b b C maj7 B maj7 ‰ B maj7 A maj7 & j b b œ œn œb œn œb œ œ œ œ œn œb œ w# & b b j‰ œ œn œb œn œb œ œ œ œ œn œb œ w# VOCAL & EAR TRAINING EXERCISES

œ œ œ œ œ ˙ & b œ œ. œ œ œ œ œ œ 8 5 3 1 2 1 7œ 1 2 3 4 5 6 7 8 DO SOL MI DO RE DO TI DO RE MI FA SOL LA TI DO YAH EE EE YAH

MUSICIANSHIP EXERCISES - PERFECTING PITCH, PRACTICING HALF-STEPS

Sing with Syllables Numbers & Letters! Be Aware of What Chord Member you are singing Write and Sing in Two Other Keys of your Choice

B maj7 B / b Ebm b D #15 bb & œ œb œ œ œb ˙ œ œ œ œ œ E maj7 B maj7 C m7 F 7 b b Bbmaj 9/ #11 bb & œ# œ œ œn œ œ œ œ œn ˙ œ œ# œb œ œ 5 – Everything Voice 135

#1317.

D maj7 C maj7 Ebmaj7 Dbmaj7 #16 b & b b Ó œ œ œb œ œn œ# œn œn œ œ œb œ ˙n VOCAL & EAR TRAINING EXERCISES B maj7 C maj7 Bbmaj7 A maj7 b VOCAL & EAR TRAINING EXERCISES & b b VOCAL & EAR TRAINING EXjER‰CISES œ œn œb œn Upœb per œ& Loœwerœ Neighœborœn s - Mœb ajœor Keyw# Sing w/Up Lettersper & L -o wKnower N whateigh Chordbors -Member Majo ryou Ke arey Singing UWritepper and& L Singower in N Ge iMajorghbor ands - AM Flatajo rMajor Key UPPER & LOWER NEIGHBORSSing w/ Letters – MAJOR - Know KEY what Chord Member you are Singing

Sing w/ Write Letters and Sing- Know in whatG Major Chord and Member A Flat Majoryou are Singing Sing with letters – know what chord member you are singing. Write and sing in G Write and Sing in G Major and A Flat Major major and Ab major. F maj7 E maj7 Ebmaj 7/ 11 D maj7 #17 18. b F maj7 œ E maj7 Ebmaj 7/ 11 D maj7 & œ# œ œ# maj 7/ 11 œ# œ maj7 ˙# Fœn maj7 œ Eœ# maj7œn Eœb œ D œ #17 & b œ# œ œ œ# œ œ# #17 b œn œ œ œn œ œ# ˙# & D maj7 œ# œ# C maj7 œ œ# œ B maj7 œ# œ œ# B œmaj7 ˙# œn b œ œ# œn œ œ œ# bœ D maj7 B maj7 & b œb b C maj7 Bbmaj7 D maj7œ Cœmaj7œ Bœmaj7 œb Bwmaj7 b b œb œn œb œ œ œ# b & b œb œ œ œ œ œb w & œb œ œb œn œ œ œb œ œ œb œ œ# w œb œn œb œ œ œ# UPPER & LOWER NEIGHBORS Uppe r– &MINOR Lower KEY Neighbors - Minor Key Sing w/LettersUpper & L -o wKnower N whateigh Chordbors Member- Mino ryou K earey Singing Sing with letters – know Writewhat Up p chordtheer &Exercise Lmemberower andN youe iSinggh arebo inr singing.s F# - minorMin Writeo andr K e Gandy minor sing in F# minor and G minor. Sing w/Letters - Know what Chord Member you are Singing Sing Write w/Letters the Exercise - Know and what Sing Chord in F# Member minor andyou Gare minor Singing 19. Write the Exercise and Sing in F# minor and G minor Em6/9 Gm6/9 C m6/9 (maj7) Bbm6/9 # Edim # #18 Em6/9 Gm6/9 B m6/9 C m6/9œ# Edim(maj7) b œ œb # wb & Em6/9 œ Gm6/9 œ m6/9 C m6/9 œ# dim(maj7) œ# œ œ Bœb œ œ # œ# E #18 # œ œ œb b œ œ# #18 & # œ œ œb œ# wb œ# œ œb œ œb œ œ œb œ œ# œ# wb & œ œ œ œ# œ œ œb œ œ# œ# œ œ œ œb œ SCALE & INTCriticalERVAL listening PRACTICE - VOCAL & MUSICIANSHIP SCALEListen & INT toER theVAL sound PRAC TyouICE are- V OCAL & MUSICIANSHIP SCALEproducing! & INTERVAL PRACTICE - VOCAL & MUSICIANSHIP MAJOR: Letters

MAJOR: Letters #19 MAJOR: Letters & œ œ# œ œb œ œ œb œ œ# œ# œ #19 œ œ œ œ œb œ œb œb œ œ œ# œ & œ œ œb œ œ# œ #19 œ œ œ œ# œ œb œb œ œ# œ œ œ# & œ œ œ œ œ œ# œ œb œ œ œb œb œb œ œ œ œ# œ# œ œ œ œ œ œb œ œb œb œ œ œ# œ VOCAL & EAR TRAINING EXERCISES

Upper & Lower Neighbors - Major Key Sing w/ Letters - Know what Chord Member you are Singing Write and Sing in G Major and A Flat Major

F maj7 E maj7 Ebmaj 7/ 11 D maj7 #17 & b œ# œ œ œ# œ# œ ˙# œn œ œ# œn œ œ œ# œ

D maj7 B maj7 b C maj7 Bbmaj7 b & œb œ œ œ œ œb w œb œn œb œ œ œ#

Upper & Lower Neighbors - Minor Key Sing w/Letters - Know what Chord Member you are Singing Write the Exercise and Sing in F# minor and G minor

Em6/9 Gm6/9 B m6/9 C m6/9 Edim(maj7) 136 5 – Everything Voice b # # #18 œ œb œ# wb & œ œ œ œb œ œ# œ# SCALEœ ANDœ INTERVALœ# œ œb PRACTICEœ VOICE AND MUSICIANSHIP

MAJOR SCALE & INTERVAL PRACTICE - VOCAL & MUSICIANSHIP

Sing letters.

20. MAJOR: Letters

#19 & œ œ# œ œb œ œ œb œ œ# œ# œ œ œ œ œ œb œ œb œb œ œ œ# œ œ VOCAL & EAR TRAINING EXERCISES

VOCAL & EAR TRAINING EXERCISES & œb œ œ œ# œ# œ œ œ œ œ Ó œ œb œ œ œb œ œ# œ# œ œ# œ œ œ œ ˙ VOCAL & EAR TRAINING EXERCISES & œb œ œ œ œ# œ# œ# œ œ œ œ œ œ Ó MINOR œb œ œ œb œ œ# œ# œ œ œ œ ˙ œb œ œ œ Ó Sing& letters.MIœNOœRœ: Letters œ# œ# œ# œ œ œ œb œ œ œb œ œ# œ# œ œ œ œ ˙ #20 21. MINOR: Letters & œb œ œ œb œN œ∫ œb œ œb œ œ œb œ∫ œb œb #20 œMINOR: Letters & œb œ œ œb œN œ∫ œb œ œ œb œ œ œb œ∫ œb œb #20 & œ# œ œb œ œb & œb œ œœb œb œ œ œb œN œ∫ œb œb œb œb œb œN œ œ œb œ œ œb œ∫ œb œb œb œ œb & œ œ œb œ# œ œ œb œb œb œb œN œ œb œb œb Ó œb & œ œ œ# œ œ œb œb œ œb & œN œ œ œ œ œb œ# œ œ œb œœb œb œb ˙ œN œ œb œ œb œb œb & œ œ# œ œb œ œb œ Ó œN œ œ œ œ œb œb œ œb ˙ WHOLE TONE SCALE: œLetteœb rsœ Ó & œ œ œ œ# œb œ œb œb WHOLEœN TONEœ œ SCALE œ œb ˙ WHOLE TONE SCALE: Letters #21 Sing letters. œb œ œ œb & œ# œ‹ œ œb œb œ œ œ œ œb œb œ œ œ œ# œ# œ œ œb œ œ# œ# œ œ #21 22. WHOLE TONE SCALE: Letters œ & œ# œ‹ œ œb œb œb œ œ œ œ œb œb œb œ œ œ# œ# œ œ œ œb œ œ# œ# œ œ œ #21 BLUES SCALE - Letters œ & œ# œ‹ œ œb œb œb œ œ œ œ œ œb œb œb œ œ œ œ# œ# œ œ œb œ œ# œ# œ œ BLUES SCALE - Letters #22 œb œ &BLUES SCALœE -œ Leœtters œb œ œ œb œ œ œ# œ œ œ œ œ# œb bœ œN œ #22 & œ œ œ œb œb œ œ œb œ œ œ# œ œ œ œ œ œ# œb bœ œN œ #22 œ œb œb œ bœœ œ œ œb Ó & œ œ# œn œ œb œ œ œb œb œb œb œn œ œ œ œ œ˙ œ# œ œ œ œ œ œ# œ œ œb œb bœ œN œ œ & œ œb œ œb œn œb œ bœœ œ œ œb œ Ó œ# œn œb œ œb œb œ œ ˙ & œ œb œ œb œn œb œ bœœ œ œ œb œ Ó œ# œn œb œ œb œb œ œ ˙ VOCAL & EAR TRAINING EXERCISES

& œb œ œ œ œ# œ# œ# œ œ œ œ œ œ Ó œb œ œ œb œ œ# œ# œ œ œ œ ˙

MINOR: Letters

#20 œb & œ œb œ œ œN œ∫ œb œb œ œ œb œ œ∫ œb œb

œb & œ œb œ# œ œ œb œb œb œN œ œb œ œb œb œb

œb & œ œ œ# œ œ œb œ œb Ó œN œ œ œ œb œ œb ˙

WHOLE TONE SCALE: Letters

#21 œb œ œ œb & œ# œ‹ œ œb œb œ œ œ œ œb œb œ5 – Everything Voice 137 œ œ œ# œ# œ œ œb œ œ# œ# œ œ BLUES SCALE

SingBL letters.UES SCALE - Letters 23.

#22 & œ œ œb œb œ œ œ# œ œ œ œ œ œ# œ œ œb œb œb œN œ œ

VOCAL & EAR TRAINING EXERCISES œ œb œ œb œn œb œ bœœ œ œ œb œ Ó & œ# œn œb œ œb œb œ œ ˙ V O C A L & E A R T R A I N IN G E X EPRRCIASCEST ICE:

AUGMENTED CHORDS & AugmentedWHOLE TONE Chords SCALE & Whole Tone Scale PRACTICE: Know what chord member you are singing Know what chord member youAugmented are singing Chords. Write the & Wholeexercise Toneand sing Scale in two other keys! Write the exercise and Sing in two other keys! Know what chord member you are singing 24. Write the exercise and Sing in two other keys! Baug Gaug Aaug Bbaug #23 # j aug jaug aug Baug & ‰ G A j ‰Bb œ œ j œ œ# œ# œ# œ œb œ œ# œn #23 # œ j ‰ j ‰ C maj 7/ 5 & C7/#5 œ# œ# j œ œ #œ œ# j œ œ œ# œ œb œn # w & ‰C7/ 5 œ# œ# C maj 7/ 5 # œ œ œ œ # # œb ‰ Fm(maj7) G m(maj7) w & œ œ œ# b œ# 25. œb œ œ #24 b b (maj7) (maj7) b Fm G m & b œ œb b œ œ œ œ œ œn œ∫ œ œb œ∫ œ #24 b b œ œ œb b b Gm(maj7) A m(maj7) & œ œ œn œ œb œ b œ∫ œ œb œ œ œ œ œ∫ œ œb b b (maj7) b b Gm Aœ m(maj7) & œn œ œ# œ b œ œb œ œN œn œ œ œ œb œ œ b (maj7) b b Am(maj7) B m & b œ œ# œb œ œ œb œ F m9 œN œn œ œ œn œ œb œ œ b (maj7) b b Am(maj7) œB m & b œn œ œ# œn b œn œb œ wF m9 œn œn œ œn œ œ œ œ bb b & b œn œ œ# œn œ œn œb œ œ w œn œn œ œn œ œ œ - LEVEL TWO - Intervals Intensive - Pitch, Pitch, & Pitch 138

INTERVALS INTENSIVE - CHAPTER 1 Level Two 6 PITCH, PITCH and PITCH!!!!

This section will be devoted to the study of intervals. We will begin with the notes of the triad, and proceed to the addition of the scale tones. For each numbered exercise, the method of practice will be to do each exercise twice in a row. The first time, sing and play in tempo, the Second Time, sing only. Correct your Pitch as needed. Good Concentration is a must.

Critical Listening is essential! Good posture and Breathing is important for Pitch. I have put these exercises in the Key of "G" Major, which should INTERVALS INTENSIVE be a more comfortable range for most women. Women with lower voices can also sing these in "F" Major. PITCH , PITCH AND PITCH! Men can adjust their pitch accordingly as well.

This section will be devoted to the study of intervals. We will begin with the notes of the triad, and proceed to the addition of the scale tones. For each numbered exercise, the method of practice will be to do each exercise twice in a row. The fi rst time, sing and play in tempo, the second time, sing only. Correct your pitch as needed. Good concentration is a must. Critical listening is essential! Good posture and breathing is important for pitch. I have put these exercises in the key of G major, which should be a more comfortable range for most women. Women with lower voices can also sing these in F major. Men can adjust their pitch accordingly as well. Play andPlay sing & Singeach Each exercise Exercise twice Twice – sing- Sing each Each section,Section, Alternatingalternating with with Letters, letters, Numbers & Syllables Take a One-Beat Breath between each Numbered Exercise. Metronome. @ Approx. 60 for the Quarter Not numbers and syllables. Take a one-beat breath between each numbered exercise. Note: If you have trouble hearing/singing a pitch, try to find it singing scale tones, or finding "DO" --- MetronomeDo at Notabout play q it= on 60 the for piano the quarter until AFTER note. you sing it correctly - use the piano to check, or correct yourself

Note If you have trouble hearing/singing a pitch, try to fi nd it singing scale tones, or fi nding “do”. Do not play it on the piano until after you sing it correctly – use the pianoSection to check1 - Triads or correct- 1, 3, 5 yourself.

SectionEXAMPLE #1: Triads –1, 3, 5

Example # Track 43 w & w w w w w G B LEVELG TWO -w INTERVALS INTENSIVEw w 1 3 1 w w w DO MI DO

# w w & w w w w w w w w w w w w w # & w w w w w w w w w www w w w

# w & w w w w w www ww w

# w w & w ww www ww w w w w w w

# w & w w w w w w w w w w w w w w w

# w & w w w w w w w w w w w w w w w LEVEL TWO - INTERVALS INTENSIVE

# w w & w w w w w w w w w w w w w # & w w w w w w w w w ww w w w w 6 – Level Two 139

# w & w w w w w w w w w w w

# w w & w ww ww ww w w w w w w w

# w & w w w w w w w w w w w w w w w

# w w & w w w w w w w w w w w w w w

LEVEL TWO - INTERVALS INTENSIVE Section #1: TriadLEVEL & Rhythm TWO -Combination INTERVALS INTENSIVE

Sing with letters, numbers and syllables

# œ œ & c œœœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ & œœ œ œ œ ˙ œ œ œ œ œ œ œ

SECTION #2: Adding Scale Tones 2 and 4 SectionSECTION #2: #2: Adding Adding Scale Scale Tones Tones 2 2and and 4 4

# w w w w & w w w w w w w w w w w w w w w w w Track 44 & w w w w w w w w w

# w w w w w & w w w w w w w w w w w w w w w w w w & w w w w w w w w

# w w w w & w w w w w w w w w w w w w w w w w & w w w w w w w w

# # w w w w w w w w w w w & w w w www w w w w www w w w w ww w w

# w & # w w w w w w w w w w w w w & w w w w w w w w w

# # w w w w w w & w w w w w w w w w w w w w w w w w w w w LEVEL TWO - INTERVALS INTENSIVE

# c œ œ œ œ œ œ œ œ œ œ & œœ œ œ œ ˙ œ œ œ œ œ œ œ

SECTION #2: Adding Scale Tones 2 and 4

# w w w w w w w w w w w w & w w w w w w w w

# w w w w w w w w w w w w & w w w w w w w w

# w w & w w w w w w w w w w w w w w w 140 6 – Level Two w w

# w & w w w www w w w w w w w w w ww w w

# w w w w w w w & w w w w w w w w w

# w w & w w w w w w w w w w w w LEVEL TWO - INTERVALSw INTENSIVE w

# w w w w w & w w w w w w w

# w w w w w & w w w w w w w

LEVEL TWO - INTERVALS INTENSIVE SectionSection #2: Combination #2 - Combination Scale Sca Tonesle Tones 2 & 42 &w/Rhythms 4 w/Rhythms

# c œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ

# œ ˙ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 6 – Level Two 141

LEVEL TWO - INTERVALS INTENSIVE Section #3: Adding Scale Tones 6 and 7 Section #3 - Adding Scale Tones 6 and 7

# w w & w w w w w w w w w w

# & w w w w w w w w w w w w

# & w w w w w w w w w w w w

# & w w w w w w w w w w w w

# & w w w w w w w w w w w w

# & w w w w w w w w w w w w

# w w w & w w w w w w w w w

# w & LEVEL TWO - INTERVALSw w INTENSIVEw w w w w w w w w

# w & w w w w w w w w w w w

# & w w w w w w w w w w w w

# w w w w & w w w w w w w w

# & w w w w w w w w w w w w

# w w w & w w w w w w w w w

# & w w w w w w w w w w w w LEVEL TWO - INTERVALS INTENSIVE

# w w & w w w w w 142 6 – Level Two w w w w w

# & w w w w w w w w w w w w

# w w w & w w w w w w w w w

# w & w w w w w w w w w w w

# w w w & w w w w w w w w w

# & w w w w w w w w LEVEL wTWO - INTERVALSw INTENSIVEw w

SectionSection #3: Exercise #3 - Exercise with Rhythms, with Rhythm Usings, UsingScale ScaleTones Tones 6 and 6 and7 7

# c œ j & œ œ œ œ œ œ œ œ œ œ œ œœœ œ. œ œ œ

# & œ j œ œ œ œ œj. œ œ œ œ. œ œ

# j j & œ œ j œ œœ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ J

At this point, go back to section #1 and play and sing all the exercises in G harmonic minor. Sing with syllables only and use the metronome. Increase the tempo as you can. If you need to, look up the minor syllables in the Remedial section (do, re, me, fa, sol, le, ti, do). Then continue to section #4 below. 6 – Level Two 143 LEVEL TWO - INTERVALS INTENSIVE Section #4 - Drills on Scale Tones 7 and 8

# w w & w w w ww w w w w w

# & w w w w w w w w w w w w

# w & w w w w w w w w w w w

# & w w w w w w w w w w w w

# & w w w w w w w w w w w w w

# & w w w w w w w w w w w w w w 144 6 – Level Two

COMBINING ALL SKILLS

How am I Doing?

Exercises: intervals, mixed rhythms, time signatures and modulations.

When modulating to a new key, sing whatever portion of the present scale that will lead you to the new tonic or “do”. Then sing the new scale, and arpeggiate the new key. Test on the piano to be sure of the accuracy of the pitch. Find the new key vocally before confirming it on the piano.

Measuring my Progress Exercises – Suggestions for Practice

1. First tap the rhythm of the exercises using the metronome.

2. Play the melody on the piano in tempo, using the fingering indicated. Set the metronome to a comfortable setting and play without hesitations or stops.

3. Add the singing now as you play the melody again. Use syllables to sing the melody. (You can also use scat-type syllables, but solfeggio is better.)

4. If you are comfortable playing triads in the left hand you may add the left hand (root position chords) as you sing and play the right hand.

If you are more advanced harmonically, you may play inversions of the triads with the left hand. LEVEL TWO - INTERVALS INTENSIVE

G C G D G

1 5 4 3 1 5 2 4 1 3 # Track 45 c & œ œ œ œ.œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ A D G C G 3 4 1 423 5 4 3 # & œ œ ˙ œ œ œ œ œ œ œ œ œ# œ œ. œ œ œ œ œ œ œ œ ˙ D D G Am G 4 5 3 2 3 2 4 3 4 5 4 # & œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ level two: Int. Int. 4-Way Exercises

level two: Int. Int. 4-Way Exercises LEVEL TWO: INTERVALS INTENSIVE - 4-WAY EXERCISES

LEVEL TWO: INTERVALS INTENSIVE - 4-WAY EXERCISES SING THESE INTERVALS AS INDICATED 6 – Level Two 145

4-WAY EXERCISES SING (a) THESE BOTTOM INTERVALS UP - ACROSS AS & INDICATED DOWN. Sing these intervals (b) as indicatedTOP-DOWN - ACROSS & UP. (c)(a) BOTTOMTOP LINE UP ACROSS - ACROSS & DOWN. a) bottom up – across and down. b) top-down – across (d)(b) and TOP-DOWNBOTTOM up. LINE - ACROSS ACROSS & UP. 44 c) top line across (c) TOP LINE ACROSS d) bottom line across (d) BOTTOM LINE ACROSS 44 . . . JUST FOR FUN . . . Just for fun Play Top Line - Sing the Bottom - In Tempo - then Reverse Play the top line – sing . . the . bottomJUST –FOR in tempo, FUN then. . . reverse.

1. Play Top Line - Sing the Bottom - In Tempo - then Reverse

E Cm7 Fm7 E maj7 G m7/ 5 C 7/ 9 C7 b Bb7 b b b w (1) bw bw w w bww w & wE Cm7wb b Fm7w BwA 7 Ewmaj7 G m7/ 5 C 7/ 9 C7 b b b w b w b w w (1) bw wb bw w w bww w & wF m7/ 5B7 b w E wA G w Fm7w B 7 E b b b bo b w bw bw bww b w bw & b Fw m7/ 5Bw7 Ew bnGww Fm7bw BwA 7 Ew b b b bo b b bw bww b w bw & bD7w G7w C7 w F7bnww B 7 bw E wA A7w Dm 2. b b (2) w & D7 G7w bC7w F7w bBw7 Ew A7w Dm w# wn w wb wb wb b w# w (2) w & Dm A7w D7bw G7 w C7 bwFmaj7 wB 7 wA7 Dm w# wn w wb w wb b w# w w w #ww n w w w w Dm A7 D7 G7 C7wb Fmaj7w Bwb 7 #A7w Dm & w w w# w b w w w w #ww n w w w #w w & w w w# w wb w wb w w LEVEL TWO:MORE INTERVALS INTERVAL INTENSIVE PRACTICES ADVANCED- MODULATIONS, TIME CHANGES & TWO CLEFS Play/sing each exercise 3 times. Suggested fingering is indicated. 146 6 – Level Two sing the exercises before you play, so as not to memorize the line. Then practice playing the exercise. when you are able, play and INTERVALS INTENSIVE sing the exercise, with syllables, using the metronome. Play/Sing slowly at first, then gradually increase the tempo. MODULATIONS, TIME SIGNATURE CHANGES AND TWO CLEFS Swing the Eighth Notes. Getting it together! Play and sing each exercise three times45. Suggested fingering is indicated. Sing the exercises before you play, so as not to memorize the line. Then practice playing the exercise. When you are able, play and sing the exercise, with syllables, using the metronome. Play and sing slowly at first, then gradually increase the tempo. Swing the eighth notes.

1. = 80 q 3 1 1 2 2 3 œ œ 1 2 1 3 2 5 4 (1) # # œ œ œ œ Track 3 œ œ œ œ œ œ 46 & # 4 œ œ œ œ œ œ

3 4 1 1 MORE INTERVAL PRACTICES1 3 œ œ œ œ œ œ 3 # # LEVEL TWO: INTERVALS INTENSIVE (Advanced)œ œ Mod,œ œTimeœ Sigs, Clefs & # œ MORE INTERVAL PRACTICES œ œ ˙. LEVEL TWO: INTERVALS INTENSIVE (Advanced) Mod, Time Sigs, Clefs 3 1 4 3 3 5 4 2. q = 80 (2) b 2 3 1 œ b 4 3 œ œ œ œ3 5 4œ & 4 œ. œ œ œ (2) b œ œ œ œ Track 47 b 2 œ œ œ œ œ 2œ & 4 2 œ 4 1 œ œ.4 œ œ œ4 œ œ 3 2 1 2

2 2 b œ4 œ œ 4 1 b ‰ œ 4 œ œ œ 3 2 1 2 & J œ œ œ œ œ œ b œ œ œ œ œ & b ‰ J œ œ œ œ œ œ œ œ œ œ œ œ

3. q = 100 1 1 3 1 3 5 1 2 1 2 2 œ œ (3) # 1 œ œ 1 3 3 5 Track 48 3 œ1 œ œ œ œ 1 œ œ2 ˙2 & 4 œ œ œ J2 œ œ ‰ œ œ œ 1 (3) # 3 œ œ œ œ œ œ œ ˙ œ & 4 œ œ œ œ œ œ œ ‰ œ œ œ œ J 3 2 3 2 1 3 4 5 1 1 # œ 3 œ œ 1 œ 3 1 2 1 3 œ œ 2 œ3 œ4 5 œ œ œ & 3 œ œ œ œ œ œ œ œ œ œ ˙. # œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

5 5 3 1 2 1 2 œ œ 1 2 3 1 œ. 5 œ œ œ (4) 5 œ œ œ. œ œ ˙ 3 œ œ œ œ ? œ1 œ2 œ1 2 œ1 2 3 1 c J J 3 œ œ œ 3 (4) œ. œ œ œ œ œ œ œ ? œ. œ œ œ œ ˙ œ œ œ5 c 5 J J 3 2 3 1 5 3 1 2 œ œ œ. 5 œ 5 œ 5 œ œ œ ? 2 3 œ1 œ. œ1 œ œ œ. J J J Œ J J œ2 œ œ œ œ œ. œ œ œ ? œ œ. œ œ5 œ œ. J J3 J Œ 4 J 5J œ 1 œ 1 œ. œ œ œ œ 5 3 œ œ 4 5 œ œ ˙ œ1 1 ? œ œ. œ œ œ œ œ œ œ œ ˙ ? œ MORE INTERVAL PRACTICES LEVEL TWO: INTERVALS INTENSIVE (Advanced) Mod, Time Sigs, Clefs

3 1 4 3 3 5 4 (2) b 2 œ & b 4 œ œ œ œ œ œ œ œ. œ œ œ œ œ 2 2 4 1 4 4 3 2 1 2 b œ œ œ & b ‰ J œ œ œ œ œ œ œ œ œ œ œ œ

1 1 3 1 3 5 1 2 1 2 2 (3) # 3 œ œ œ œ œ œ œ œ œ ˙ œ & 4 œ œ œ J œ œ œ ‰ œ œ œ

3 2 3 2 1 3 4 5 1 1 3 # œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. 6 – Level Two 147

4. = 88 q 5 5 3 1 2 1 2 1 2 3 1 œ. œ œ œ œ œ (4) ? œ œ œ. œ œ œ œ ˙ œ œ œ œ Track 49 c J œ 3 œ J 3

5 5 2 3 1 MORE5 INTERVAL PRACTICES 1 2 œ œ LEVELœ TWO:œ œ INTERVALS INTENSIVEœ. œ (Advanced)œ œ Mod, Time Sigs,œ Clefœs œ ? J J Œ J J . œ œ œ . J

MORE INTERVAL PRACTICES 5 3 4 5 LEVEL TWO: INTERVALS INTENSIVE (Advanced) Mod, Time1 Sigs, Clef1s . 5 3 4 œ 3 œ œ 1 œ2 1œ œ œ œ œ œ 4 ˙ 3 ? œ (5) b 6 ‰ œ œ œ œ. œ œ œ ‰ . ‰ 5&. q = 8100 œ œ œ# œ œ œ œ œ œ œ œ œ# 5 3 4 3 1 2 1 4 3

5 1 2 5 4 3 1 (5) b 6 ‰ œ œ œ œ. œ œ œ ‰ ‰ Track 50 & 8 œ œ œ# œ œ œ. œœœ œ œ jœ & b œ# ‰ œœ œ ≈‰ œ œ œ. œ œ# œ œ# œ œ# œ 5 œ œ. 1 2 5 4 3 1 2 5 1 2 2 1 1 1 2 1 3 œ j b ‰ œ œ œ# œ ≈‰ œ œ & œ. œ œ# œ œ# œ œ œ & b‰ œœ œœ. œ œ œ œ. œ œ œ œ œ 2 5 1 œ2 œ. 2 œ# 1 1 1 2 1 3 b ‰ œ œ & œ œ œ œ œ œ# œ œ œ œ œ. œ œ. 6. q = 63 4 4 5 4 3 5 2 4 3 1 1 œ . 4 2 (6) œ œ œ œ œ œ œ œ œ œ œ œ œ j ? œ œ œn Track 51 bbbbc J œ 5 4 4 4 3 5 4 1 2 3 1 4 4 2 5 œ . 5 1 3 œ 2 œ 2 œ œ œœœ (6) ? b œ œ 1 1 2 œ œ œ œ œœœ œœn j b bbcœ œ œ œ œ œ J œ œ œœ ? b b œ ≈ œ œ œn œ œ œ œ ‰ J b b 4 5 5 1 3 2 1 2 1 2 5 4 œ œ œ 2œ œ 2 œ 4 œ 3 œ œ œ ? œ œ œ œ œ œ œ œ J 2 3 2 bb b ≈œ œ œœn œ œœ œ œ œ ‰ ? bb œ œ œ œ œ œ œ œ œn œ œ b bb ≈ J œ J 5 4 2 2 4 4 3 2 3 2 3 2 1 1 2 3 œ œ3 œ 2 œ œ 3 3 ? œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ bb b œ œ œ œ œ. ≈ œ œn œ ? bb œ œ œ œ œ œ œ œ J œ œ œ J b ‰ 4 b b 2 3 1 1 2 3 3 2 œ 3 3 . œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bbbb ‰ LEVEL OTWO - RELATIVE MINOR KEYS - DISCUSSION / PRACTICE

148 6 – Level Two LEVEL TWO: RELATIVE MINOR KEYS - DISCUSSION & PRACTICE 7. q = 60 5 5 4 4 3 1 3 2 2 1 2 4 1 2 2 1 œ œ œ œ œ# œ œ (7) ?## œ. œ œ œ œ œ œ œ œ ≈≈œ œ Track 52 #

5 5 5 2 1 3 1 3 œ œ œ œ œ œ ?## œ œ J œ œ œ œ œ œ œ œ œ # J ‰ J 5 4 3 1 3 2 1 œ œ œ 2 1 œ œ œ œ# œ œ œ œ œ œ œ œ ?### œ. ‰ œ œ œ œ#

1 2 3 5 3 4 3 3 3 3 œ 2 1 2 4 3 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?### œ œ œ œ œ œ œ

RELATIVE MINOR KEYS

INFORMATION, DISCUSSION, EXERCISES

Every major key has its own relative minor key. These related keys share the same key signature.

Thus, when you take a first look at any piece, or song, realize that you must first determine if that piece is in a major, or a minor key. The final, correct answer will always come from looking at the quality of very last chord root in the music. If the last chord is major, the piece is in a major key. If the last chord is a minor chord, the song is in the relative minor key.

How to find a relative minor key

Count up a major sixth from the major key. Example: The relative minor key of C major would be A minor. Of course, the reverse is true as well. Therefore, if asked to answer the question, “What is the relative major key of A minor?”, the correct response would be C major. The quick way to find the relative major is to count up a minor 3rd from the minor key (3 half steps). Read and work on the exercises on the following page for more understanding of relative minor keys. LEVEL TWO: BASIC SCALES WITH SYLLABLES

- BASIC SCALES AND THEIR SYLLABLES - Level Two Review: playing & singing these scales using syllables

PRACTICE ASSIGNMENT

Look at the Key Signature below. Write the tonic note of the MAJOR KEY. Next to that note, write the RELITIVE MINOR KEY tonic note that would be governed by the same Key Signature. . . * * * Notice that the exercise also asks the question in reverse.6 – Level Two 149

PRACTICE ASSIGNMENT

Look at the key signature AFTER WRITING below IN. WriteTHE TONIC the NOTEtonic FOR note THE of MAJOR the major key. Next to that note, write the relative minor AND key RELATIVE tonic MINORnote that SCALES, would be governed by the same key signature. Notice that the exercise also asks the question in reverse. SING BOTH SCALES, FOLLOWING THE KEY SIGNATURE After47 writing in the tonic note for the major and relative minor scales, sing both escales,xampl followinge the key signature. relative minor key Examplemajor key

Major key # # ## bb & w w Relative minor key

b b # ## b & b b b # b bbb

Find the relative major key from the first note given. Sing both scales, following the key signature.

Minor key        Relative major key 

           

150 6 – Level Two

MORE SCALES

Play and sing to achieve the new goal of four octaves. Just about everything in music begins with and returns to the scale. We will sing, play, and write some less familiar scales. As we work with them, the new sounds will integrate in our bodies and further develop our ears. They are all beautiful. Take your time learning each one, listen to and note the intervals. Here again, of course, “critical listening” is essential! We will begin with the diatonic major scale in twelve keys, and proceed with many more, i.e. minor scales, whole tone scales, chromatic, pentatonic scales, and the blues scale. It is important to learn them well, rather than fast. Using correct fingering is very important in the playing of the scales. You will find that all fingering is marked. Methods and suggestions for practice will be suggested so that you will accom- plish your goal of perfection. Playing and singing of the diatonic scales is so funda- mental that it should become second nature. Take the scales with you “on the road,” so to speak. Memorize the keyboard, and sing the scales with letters, numbers, and syllables as you go about your day – on the street, waiting for a bus or train, waiting for a traffic light in your car. Imagine the keyboard, sing scales, melodies, nursery rhymes, intervals, simple songs. Check with the piano when you are at home. It can also be helpful to purchase a pitch pipe to carry with you when you are away from home. We will complete the circle of fifths, exploring the sharp scales, and go on to the circle of fourths, exploring the flat scales. After mastering the scales in one octave, with two hands, we will play two octaves, and then four octaves. Play each scale three times in a row and be sure the tempo is even. Also, covered in this chapter will be the most common of the minor scales, the harmonic minor. We will play and sing this scale in all keys as well. Finally, the chro- matic, whole tone and blues scales will be discussed, as well as sung and played. Following are all the scales previously mentioned and directions for practicing and accomplishing the scale-playing. Daily practice is essential. Remember to sing everything that you play – throughout this exercise – and every chapter to attain maximum results in the development of your ear!!

BASIC SCALES USING SYLLABLES

Because the instrument of the vocalist is his/her own body, sometimes it is difficult to hear and evaluate oneself accurately in the production of accurate pitch. That is why playing piano is so important. It gives a tactile, aural, and visual sense of the distance from one interval to another. I highly recommend that all musicians also use solfeggio (scale syllables) when learning any new interval and melody.

SYLLABLES

Giving a specific name to each note of the scale, or melody, is very important in internalizing accurate intervals and pitch. This is very important in developing your ear. Some find this new “language” a bit difficult to master at first, but the benefits of singing accurate intervals with good pitch are well worth the effort. 6 – Level Two 151

Below is your introduction to additional scales: major, harmonic minor, chromatic, whole tone, blues, and bebop (ascending and descending). When you begin, note that you will be singing with letters, numbers, and syllables. Gradually, you will exclusi- vely sing with the more vocal-friendly syllables.

Note We are using “moveable do” in all future exercises. This means that “do” will be always be the tonic of the key indicated by the key signature.

Metronome Use the metronome in all your practice sessions. Think levelof that TWO: friendly the haronic time-keeper minor scales as -Write, Play, Sing levelyour TWO: drummer! the haronic minor scales -Write, Play, Sing level TWO: the haronic minor scales -Write, Play, Sing 50 BASICC MAJOR SCALESCALES AND THEIR50 SYLLABLES C MAJOR SCALE 50 Level Two review: Play and sing these scales using syllables. C MAJOR1 SCALE 2 3 1 2 3 4 5 C major1 scale 2 3 1 2 3 w4 w5 & 2 w1 w3 2 1 1 42 w33 w1 2 3 4 5 w5 w w w & DO RE MI FA2 SOLw1 LAw3 TI2 DO1 4 w3 w w5 w w DO RE MI FA SOL LAw TIw DO & 3 w2 w1 3 2 1 w5 w4 w DO RE MI FA SOL LA TI DO HARMONIC MINOR SCALE THE 3rd & 6th DEGREE OF THE SCALE IS LOWERED - THE 7th DEGREE IS RAISED. THE 3rd & 6th DEGREE OF THE SCALE IS LOWERED - THE 7th DEGREE IS RAISED. HarmonicHARMONIC minorMINOR SCALEscale THE 3rd & 6th DEGREE OF THE SCALE IS LOWERED - THE 7th DEGREE IS RAISED. TheHARMONIC 3rd1 and MINOR 6th SCALE2 degree of3 the scale1 is lowered2 – the 7th3 degree is4 raised. 5

1 2 3 1 2 3 4 w5 & 1 2 1 w3 w# 2 1 42 3 w1 w2 3 4 5 w5 w w & DO RE ME FA SOL LE3 TIw# 2 DOw1 3 2 w1 w 5 w4 w w DOw RE ME FA SOL LE TI DOw & 2 1 w3 w# 2 1 4 3 w w w5 w w CHROMATICDO SCALE RE- SYLLABLES ME - ASCENDING FA SOL LE TI DO Chromatic scale SyllablesCHROMATIC –SCALE ascending - SYLLABLES - ASCENDING

CHROMATIC SCALE - SYLLABLES - ASCENDING 1 2 1 2 1 2 3 1 2 1 2 3 4

1 2 1 2 1 2 3 1 2 1 2 w œ# w3 w4 & w œ# w œ# 1 2 w1 2œ# w1 œ# 2 w3 1 2 1 2 3 4 DO DI RE RI MI FA FI SOL SI LAw LEœ# TIw DOw & w œ# w œ# w w œ# w œ# DO DI RE RI MI FA FI SOL SI LAw LEœ# TIw DOw & w œ# w œ# w w œ# w œ# DO DI RE RI MI FA FI SOL SI LA LE TI DO

CHROMATIC SCALE - DESCENDING

CHROMATIC SCALE - DESCENDING 1 2 1 4 3 2 1 2 1 3 2 1 2 CHROMATIC SCALE - DESCENDING 1 2 1 w4 w3 œb 2 w1 œb 2 1 3 2 1 2 & w œ# wn 1 2 1 4 3 2 1 2 1 3 2 w1 2œb w œb DOw TIw TEœb LA LE SOL FI FA MI ME RE RA DOw & w œb w œ# wn w œb w œb DOw TI TE LA LE SOL FI FA MI ME RE RA DOw & w œb w œb w œ# wn w œb DO TI TE LA LE SOL FI FA MI ME REw RAœb DOw level TWO: the haronic minor scales -Write, Play, Sing 50 C MAJOR SCALE

1 2 3 1 2 3 4 5 w w w & 3 w2 w1 3 2 1 w5 w4 w DO RE MI FA SOL LA TI DO

HARMONIC MINOR SCALE THE 3rd & 6th DEGREE OF THE SCALE IS LOWERED - THE 7th DEGREE IS RAISED.

1 2 3 1 2 3 4 5

& 3 w# 2 w1 3 2 w1 w 5 w4 w w DOw RE ME FA SOL LE TI DO

CHROMATIC SCALE - SYLLABLES - ASCENDING

1 2 1 2 1 2 3 1 2 1 2 3 4

LEVEL TWO: HARMONIC MINOR SCALE Write, Playw Singœ# w w & w œ# w œ# w w œ# w œ# DO DI RE RI MI FA FI SOL SI LA LE TI DO LEVEL TWO: HARMONIC MINOR SCALE Write, Play Sing 152 6 – Level Two

Chromatic scale DescendingCHROMATIC SCALE - DESCENDING WHOLE -TONELEVEL SCALE TWO: - ASCENDING HARMONIC ( ALL MINOR INTERVALS SCALE ARE Write, Whole PlaySteps SingI.E. MAJOR SECONDS ) LEVEL TWO: HARMONIC MINOR SCALE Write, Play Sing 1 2 1 4 3 2 1 2 1 3 2 1 2 1 1 2 3 4 5 WHOLE -TONE SCALE2 - ASCENDING ( ALL INTERVALS ARE Whole Steps I.E. MAJOR SECONDS ) & w w œb w œb w œ# wn w œb w œb w5 & DO1 TI2 TE LA1 LE SOLw# 2 FI FAw# 3 MI MEw# 4 RE RA DOw DOw REw MIw FI SI LI DO WHOLE -TONE SCALE - ASCENDING ( ALL INTERVALS ARE Whole Steps I.E. MAJOR SECONDSw ) Whole-tone& scale w# w# w# DOwWHOLE -TONE RESCALEw - ASCENDING MIw ( ALL INTERVALS FI ARE SI Whole Steps I.E. LI MAJOR SECONDS DO ) Ascending1 (all intervals2 are whole1 steps2 i.e. major seconds)3 4 5

1 2 1 2 3 4 5 WHOLE-TONE SCALE - DESCENDING w & w w# w# w# DOw REw MI FI SI LI DOw 5 4 3 2 1 w# 2 1 & WHOLE-TONE SCALE - DESCENDING w# w# DOw REw MIw FI SI LI DO

w wb 2 1 & 5 4 wb 3 wb w1 2 DO TE LE FI MI REw DOw Whole-toneWHOLE-TONEw scale SCALEwb - DESCENDINGwb Descending& wb w DOWHOLE-TONE SCALE TE - DESCENDING LE FI MI REw DOw 5 4 3 2 1 2 1

2 1 2 1 w5 wb 4 3 & wb wb w w DOw TEwb LEwb FI MI RE DOw &BLUES SCALE - ASCENDING ( NOTE THE INTERVALSwb ) w DO TE LE FI MI REw DOw

BluesBLUES scale1 SCALE - ASCENDING3 ( NOTE1 THE INTERVALS2 ) 1 3 4 Ascending (note the intervals) wb w & 1 wb 3 w1 w# 2 w1 3 4 DOw ME FA FI SOL TE DO BLUES SCALE - ASCENDING ( NOTE THE INTERVALS ) wb w &BLUES SCALE - ASCENDINGwb ( NOTEw THE INTERVALSw# ) w DOw ME FA FI SOL TE DO 1 3 1 2 1 3 4

1 3 1 2 1 3 4 BluesBLUES scale SCALE - DESCENDING wb w Descending& wb w w# w DOw ME FA FI SOL TEwb DOw & LEVELw TWO: BLUES SCALE SYLLABLES BLUES4 SCALE - DESCENDINGwb w1 w# 4 3 2 1 DOw ME3 FA FI SOL TE DO

w4 wb 4 3 2 & 3 w1 wb w 1 PENTATONICDO SCALE TE SOL FI FA MEwb DOw BLUESw SCALE - wb DESCENDING &BLUES SCALE - DESCENDING w wb w DO TE SOL FI FA MEwb DOw Pentatonic4 scale 3 1 4 3 2 1

4 3 1 4 3 2 1 w 1 2 3 4 5 & wb w wb w wb DOw TE SOL FI FA ME DOw & wb w wb w wb w &DO TE SOLw FI FAw ME DOw DOw REw MI SOL LA

BE-BOP SCALE - ASCENDING

1 2 3 1 2 1 2 3 4 w & w w w w wb wn DOw REw MI FA SOL LA TE TI DO

BE-BOP SCALE - DESCENDING ( NOTE THE FLATTED 7th)

4 3 2 1 2 1 3 2 1 w & w wb w w w w DO TI TE LA SOL FA MI REw DOw LEVEL TWO: BLUES SCALE SYLLABLES

LEVEL TWO: BLUES SCALE SYLLABLES PENTATONIC SCALE

PENTATONIC SCALE

1 2 3 4 5 w & 1 2 w3 w4 5 DOw REw MI SOL LA & w w BE-BOP SCALE - ASCENDING w DOw REw MI SOL LA

BE-BOP SCALE - ASCENDING 6 – Level Two 153

1 2 3 1 2 1 2 3 4 Bebop scale Ascending& w w wb wn w 1 2 w3 w1 2 1 2 3 4 DOw REw MI FA SOL LA TE TI DO w & w w w w wb wn DOw REw MI FA SOL LA TE TI DO

LEVEL TWO: BLUES FOR DINDAH

BebopBE-BOP scale SCALE - DESCENDING ( NOTE THE FLATTED 7th) Descending (note the flattedB L7th)UES FOR DINDLEVELAH TWO:!! BLUES FOR DINDAH BE-BOP4 SCALE3 - DESCENDING2 ( NOTE1 THE FLATTED2 7th) 1 3 2 1 w w wb BLUES FOR DINDAH !! & w w 1 4 3 2 PRACTICE1 THE R.H. 2ALONE FIRSTw - - 4 wBARS3 AT A w2TIME - COUNTING.w1 DO TI There TE are THEN LA three ADD forms SOLYOUR L.H.,of the FAROOT Minor POSITION MI Scale. CHORDS RE AT FIRST DO w w Harmwb onic,w Natural, and Melodic Minor. & PRACTICE THE R.H.w ALONE FIRSTw - - 4 wBARS AT A TIME - COUNTING. DO TI TE SING LA AS YOU PLAY SOL - USING FA SCAT SYLLABLES MI RE wOF YOUR CHOICE DOw We will be working There EMPHASIZE are with THEN three the ADD most THEforms YOUR DYNAMICcommononly L.H.,of the ROOT MARKINGS Minor POSITION used Scale. INMinor CHORDSJAZZ Scale, SYNCOPATION AT FIRST the Harmonic Harm Minor.onic, Its Natural, characteristics and areMelodic the lowered Minor. 3rd, lowered 6th, SINGand the AS raisedYOU PLAY 7th - degrees USING SCAT of the SYLLABLES scale. OF YOUR CHOICE THE HARMONICWe will be working MINOR EMPHASIZEwith the most THESCALE DYNAMICcommononly MARKINGS used INMinor JAZZ Scale, SYNCOPATION the Harmonic Minor. Its Assignment characteristics are the lowered 3rd, Practice playing,Practice lowered singingplaying, 6th, and singing and writing the andraised thewriting 7th harmonic degrees the Harmonic minorof the scale.scaleMinor in Scale all keys. Use the same inmethod all keys, as using before the when same workingmethod as with indicated the major with scales.all the MajorSing each Scales. scale with letters, numbers and syllables, Assignment keeping time with the metronome. Practice Use the playing, metronome, singing and and sing writing with Letters,the Harmonic Numbers Minor and ScaleSyllables . in all keys, using the same method as indicated with all the Major Scales. ASSIGNMENT "Critical Listening" NANCY MARANO Use forthe themetronome, differences and between sing with the Letters, Major & Numbers Minor Scales. and Syllables. Practice playing, singing and writing the harmonic minor scale in all keys, using the and where the half-steps are located in each scale. same51 method as indicated with"Critical all the Listening" major scales . Use the metronome and sing

with letters, numbers and syllables. NANCY MARANO for the differences between the Major & Minor Scales. and where the half-steps are located in each scale. MAJOR51 SCALE “CRITICAL LISTENING”

MAJORBe aware SCALE of the difference in sound when working with the major and minor scales. Note where the half steps are located in each scale that you sing and play. Major scale w w w w & w w w w & w w w w w HARMONICw MINORw SCALEw Harmonic minor scale HARMONIC MINOR SCALE w wb wN w & w w wb w w wb wN w & w w wb w Practice playing & singing the Harmonic Minor Scale in all keys, concentrating on the characteristics of this scale - namely, the lowered 3rd and 6th, and the raised 7th. Practice playing & singing the Harmonic Minor Scale in all keys, It is concentrating a wonderful practice on the characteristics to write out and of singthis scalethese -scales namely, in all the keys, lowered as the 3rd example and 6th, above and the demonstrates. raised 7th.

It is a wonderful practice to write out and sing these scales in all keys, as the example above demonstrates. 154 6 – Level Two

Practice playing and singing the harmonic minor scale in all keys. Concentrate on the characteristics of this scale – namely the lowered 3rd and 6th and the raised 7th. It is a wonderful practice to write out and sing these scales in all keys, as the example above demonstrates.

Using the interval formula previously described for the harmonic minor scale, const- ruct the scales below from the notes given. Include all the accidentals. Sing and play the scales after you have written each one to be sure it is correct and that your vocal pitch is accurate.

& w

& w

& wb

& w

& w

& w

& wb

& w 6 – Level Two 155

EXPLORING THE BLUES SCALE

Play, sing and improvise in all keys.

1. Learn the blues scale in the key of C. a) Note the intervals: 1, b3, 4, #4, 5, b7 and 8. b) Sing the C blues scale as you play it with your right hand. c) Do this three times – with letters, numbers and syllables.

2. Play the chords with your left hand. It is a 12-bar progression. a) Use your voice and arpeggiate each chord in your left hand. b) Sing the first chord from the bottom/up, four notes, and then sing the next chord from the top down. Proceed in this manner until you have completed the 12-bar progression. c) Analyze the progression. How many bars to the next chord change? What is the roman numeral designation for each chord, i.e. the I chord, the IV chord, or the V chord? Example: C7 is the I chord for four bars, F7 is the IV chord for two bars etc. Play the progression from memory when you can.

(d) Analyze the music at first, and then play the progression from memory.

3. Play the above directions (1) and (2) in the key of G. a) Set the metronome to a comfortable speed and keep time. b) Example: Study and play the exercise three times in a row, without stopping, so that you can sing with letters, numbers and syllables.

4. Gradually add the keys of D, A, and E. Sing and play as indicated in Example #1.

BEGINNING TO IMPROVISE ON THE BLUES SCALE

1. After you have mastered the scales with the right hand and the left hand chords, a) return to the key of C again and begin to improvise, using short, melodic and rhythmic phrases called “riffs.” b) keep the chords going in time with the left hand, and try to create a simple melody in the right hand, singing everything you play.

2. Don’t try to be too busy! Don’t forget that rests are just as important as the notes! a) Be patient with yourself, no matter how bad you may think it sounds. Keep moving forward, hearing the changes. Hear the blues scale as you choose your melody notes. b) Listen to good blues recordings, and pay more attention to theory and all the elements of great music we are studying . . . and note the “riffs.” 156 6 – Level Two

3. Continue thisLEVEL improvising TWO- INVERSIONS- in the same ALL five BASIC keys CHORDS for a good period of time before moving on to the other scales. a) As you become more comfortable, try to create longer melodic lines in your right hand.LEVEL TWO- INVERSIONS- ALL BASIC CHORDS b) Always, always sing everything that you play. 53 MAJOR SIXTH CHORDS 4. Keep time! Set the Metronome for a q = 90-120. a) Increase the tempo when you are able. b) Keeping53 a steady tempo is very important!MAJOR Speed SIXTH will come CHORDS later. THE MAJOR SCALE - Using Numbers & Syllables: ( Ascending & Descending ) THE BLUES SCALE

1 THEThe major MAJOR scale SCALE2 - 3Using Numbers4 & Syllables:5 6 ( Ascending7 & Descending8 ) Using numbers and syllables (ascending and descending) ˙ & ˙ ˙ ˙ ˙ ˙ DO˙1 RE˙2 MI3 FA4 SOL5 LA6 TI7 DO8

8 7 6 5 4 3 2 1˙ & ˙ ˙ ˙ ˙ ˙ DO˙ RE˙ MI FA SOL LA TI DO & ˙ ˙ ˙ ˙ ˙ DO8 TI7 LA6 SOL5 FA4 MI˙3 RE˙2 DO˙1 & ˙ ˙ ˙ ˙ ˙ DO TI LA SOL FA MI˙ RE˙ DO˙

TheTHE blues BLUES scale SCALE - Using Numbers and Syllables (Ascending & Descending) Using numbers and syllables (ascending and descending)

1 3 4 4 5 7 8 THE BLUES SCALEb - Using Numbers# and Syllablesb (Ascending & Descending) & ˙ ˙# ˙ ˙b w ˙1 ˙b 3 4 4 5 7 8 DO MEb FA# FI SOLb TE DO 8 7 5 5 4 3˙b 1w & ˙ b˙b ˙ b ˙# ˙ b DO˙ ME˙b FA FI SOL TE DO & ˙ ˙b 5 ˙ DO8 TE7 SOL5 FI FA4 ME˙b 3 DOw1 b b b & ˙ ˙b ˙ ˙b ˙ PRACTICEDO METHOD TE SOL FI FA ME˙b DOw

Look at the key of the song. Sing the blues scale before you begin. Use letters, numbers, and syllables to sing the scale ascending and descending. Play the blues scale on the piano as you sing to be sure you are hearing the intervals and are singing them in tune!

Assignment Write out the blues scale in all twelve keys. Sing and play all the scales in time with the metronome. 6 – Level Two 157

BLUES FOR DINDAH

Practice the right hand alone first – four bars at a time – counting. Then add your left hand, root position chords at first. Sing as you play, using scat syllables of your choice. Emphasize the rhythmic dynamic markings in the jazz syncopation for good jazz interpretation. Note: Alternate last four bars for the female version in smaller notes.

CD Format: Track 54: 1st time Pete, 2nd time Student, 3rd time Pete Track 55: 1st time Nancy, 2nd time Student, 3rd time Pete q = 80 at first: gradually increase to 100 and 120 Nancy Marano

C7 F7 Track 53 >œ j > œb >œ œ# >œn > œ - œ# œ œ c ‰ œb œ œb Œ & 4 1 5 3 4 3 2 1 4 3 Track 54 C7 3 3 3 > > œ> œ > > - > ‰ œ œb œ œ œ œ œ œb œb Œ & œ2 4 œ œ2 œ 1J 3 4 3 1 3 œ1 3 F7 3 3 ˘ œ> j œb J Œ œ ‰ œb 3 œ œ ‰ & 5 œ1 œb 2 œ œ œ# œ1 œ# œ œ 1 2 4 C7 > > > 3 > j œb œ œ œb œ œ# œn >œ œ œ# œ œb Œ œ J J Œ & 3 1 5 3 3 1 2 1 2 3 2

G7 1 5 2 2 3 4 3 F7 3 3 œ œ œ > > > œ# œ# œ œ > œ œb œ œ œ œ œ & œb œn ‰œN 4 2 1 3 G7 F7 3 3 3 œ œ 3 œ œ# œ œ œ œ œ J ‰ œb œn œb œ œb & 5 1 2 3 5 2 1 3 3 œ1

C7 C7 3 1 > > ˘ > ˘œ œ œ# œ œb œ. œn œ Œ œb œ œ œ œb & œ# 2 œ1 2 J3 J 2 1 2 1 3 1 4 5 C7 3 3 > > ˘ ˘ ˘ œ œb œ. œn œ œb œ œ œ ‰ œ œb œ ‰ œ# & œ1 3 2 œ 2 œ# 2 œ 4 J 3 1 2 1 3 1 3 4 158 6 – Level Two

CHORD CHART

Play and sing

Formation Chord quality Symbol Take note Your notes (members of scale)

major third and a Major C or Cma 1, 3, 5 minor third

minor third and a Minor Cm or Cmi 1, b3, 5 major third

Augmented C+ or Caug 1, 3, #5 all major thirds

Diminished Cdim or C°b7 1, b3, b5, bb7 (6) all minor thirds major 3rd on top Half diminished Cm7/b5 1, b3, b5, b7 (also called minor 7th b5)

maj 2nd between Major sixth Cma6 or C6 1, 3, 5, 6 5 & 6th

maj 2nd between Minor sixth Cm6 1, b3, 5, 6 5 & 6th

1/2 step below Major seventh Cmaj7 1, 3, 5, 7 octave

whole step below Dominant seventh C7 1, 3, 5, b7 octave

whole step below Minor seventh Cm7 1, b3, 5, b7 octave

1, 3, #5, b7 Altered chords #5, b5, #11 1, 3, b5, b7

2, 4, 6 an octave Extended chords 9, 11, 13 over a dominant higher

Suspended “sus” C7sus resolves to 1, 4, 5, b7 resolves to “3” chords C7 6 – Level Two 159

BASIC CHORDS AND INVERSION EXERCISES

PRACTICE METHOD : PRACTICE METHOD : LEVEL TWO: TRIADS, CHORDS, & INVERSIONS Root position: Root in the bass. 1st inversion: 3rd in the bass. Root Position - Root in the Bass, !st Inversion - 3rd in the Bass - 2nd Inversion, 5th in the Bass 2nd inversion: 5th in the bass. Ascending: Sing from the Bottom/Up Descending: Sing from the Top/Down Ascending: Sing from the bottom up. Descending: Sing fromSing Allthe Inversionstop down. using Letters, Numbers & Syllables

Sing 1X all - inversionsPlay Only in using Tempo, letters, Saying, numbers "Root Position, and syllables."!st Inversion" "2nd Inversion", etc (R.H.) 2X - Play & Sing in Tempo, Singing with Letters, Numbers, Syllables ...... (L.H.) 1x - 2X Play - Play only & Singin tempo, in Tempo, saying Singing “root with position”, Letters, Numbers, “1st inversion”, Syllables “2nd . . inversion”...... (L.H.) etc. (right hand). Be sure you can identify all the intervals you are singing and playing Keep an even tempo, using the Metronome at a comfortable speed. 2x - Play and sing in tempo, Practice singing in with all 12letters, keys, 4numbers, Keys per day.syllables etc. (left hand). Be sure you can identify all the intervals you are singing and playing. Keep an even tempo, using the metronome at a comfortable speed. A suggested beginning tempo might be a q = 66. Practice in all twelve keys, four keys per day.

Note the abbreviations: R= Root position 1.= 1st inversion 2.= 2nd inversion 56 3.= 3rd inversion

1. CC MAJORmajor triad TRIAD: (C) or ( CMA) - FORMED: 1ST, 3rd, and 5th of the Scale Formed: 1st, 3rd, and 5th of the scale.

C 1 œ œ œ œ œ œ œ œ Œ Track 55 &œ& œ œ œ œ œ ˙ Œ œR 1. 2. R 2. 1. R˙

2. C minor triad C MINOR TRIAD: (Cm) or (Cmi) - FORMED: 1st, Lowered 3rd, and 5th of the Scale Formed: 1st, lowered 3rd, and 5th of the scale.

Cm œ 2 œ bœ bbœœ œ œ Œ &&œbœ œ œ œ œb œ b˙ œR 1. 2. R 2. 1. R˙

Root Pos. 1st Inv. 2nd Inv. Root Pos. 2nd Inv. 1st Inv. Root Pos. LEVEL TWO - TRIADS, CHORDS & INVERSIONS 160 6 – Level Two LEVEL TWO - TRIADS, CHORDS & INVERSIONS C AUGMENTED: (C+) OR (CAUG) - FORMED: 1st, 3rd, and Raised 5th of the Scale. FORMED: 1st, 3rd, and Raised 5th of the Scale. C AUGMENTED: (C+) OR (CAUG) - LEVEL TWO - TRIADS, CHORDS & INVERSIONS 3. LEVEL TWO - TRIADS, CHORDS & INVERSIONS C augmentedC AUGMENTED:C aug (C+) OR (CAUG) - FORMED: 1st, 3rd, and Raised 5th of the Scale. C AUGMENTED:C aug (C+) OR (CAUG) - FORMED: 1st, 3rd, and Raised 5th of the Scale. Formed: 1st, 3rd, and raised 5th #ofœ the scale. 3 œ œ œ œ œ 3 &œ# C aug œ œœ# #œ œœ# #˙œ # Œ Cœ aug œ œ œ œ œ ˙ Œ &œ#œR œ1. etc.œ# œ# #˙œ #˙ 3 œR 1. etc.œ #œ œ ˙ 3 & #Rootœ Pos. œETC œœ# #œ œœ# #œ #˙ Œ Rootœ Pos. œETC œ œ œ œ ˙ Œ C DIMINISHED:&œ#œR œ1. (CDIM) etc.œ# - FORMED 1st, loweredœ# 3rd,#˙ œlowered 5th,#˙ Double Flat 7th (6th) œR 1. etc. ˙ C DIMINISHED:Root Pos. ETC (CDIM) - FORMED 1st, lowered 3rd, lowered 5th, Double Flat 7th (6th) 4. Root Pos. ETC CC DIMINISHED: diminishedCdim (CDIM) - FORMED 1st, lowered 3rd, lowered 5th, Double Flat 7th (6th) 7 CFormed: DIMINISHED:CdimC 1st,b lowered (CDIM) 3rd, - loweredFORMED 5th,1st, lowereddouble 3rd,flat lowe7th red(6th). 5th, Double Flat 7th (6th) 7 Note: 3C inversions.o b Note where the 2ndsœ are in the different inversions. 4 Cdimo b œ bœ bbœœ œ œ CdimC 7 œ œ bœ bœœ œ œ œ Ó 4 & bbœœb œœ bœœ œ b œ œ œb œ œb œœ bb˙˙ CœRœ 7 1.œœ 2.œ 3.œ etc. œ œ œ œœ ˙˙ Ó & bbœo b œ œ œ œb œb œ bb˙ 4 œRo 1. b 2.œ b3.œ etc. bbœœ œ œ ˙ 4 & bœœ œœ œœ bœ bœœ œ œb œ œœ ˙˙ Ó b œ œ b œ œ b œ œ œ œb œ bb˙ Ó & bbœRœ 1.œœ œ2.œ 3.œ etc. œ œb œ œb œœ bb˙˙ œR 1. 2. 3. etc. ˙ C MAJOR SIXTH (C6) OR (CMA6) - FORMED 1st, 3rd, 5th, and 6th of the Scale (whole step betw.5th & 6th) 5. C MAJOR SIXTH (C6) OR (CMA6) - FORMED 1st, 3rd, 5th, and 6th of the Scale (whole step betw.5th & 6th) C major sixth Formed:C MAJOR 1st, SIXTH3rd, 5th, (C6) and OR 6th (CMA6) of the scale - FORMED (whole 1st, step 3rd, between 5th, and 5th 6th & of 6th) the Scale (whole step betw.5th & 6th) C MAJOR SIXTH (C6) OR (CMA6) - FORMED 1st, 3rd, 5th, and 6th of the Scale (whole step betw.5th & 6th) C6 C6 5 œ œ œœ œ œ C6 œ œ œ œœ œ œ œ Ó 5 & œœ œœ œœ œ œ œ œœ œœ ˙˙ & œC6œ œœ œœ œ œ œœ œœ ˙˙ Ó 5 œ œ œ œ œœ œ œ œ ˙ 6.C MINOR SIXTHœ œ(CMI6)œ - FORMEDœ 1st,œ loweredœ 3rd, 5œth, and 6th of the ScaleÓ (whole step betw. 5th & 6th) 5 C& minorœœ sixthœœ œœ œ œœ œ œœ œœ ˙˙ &C MINORœœ SIXTHœœ œ œ(CMI6)œ - FORMEDœ 1st,œ loweredœœ 3rd, 5œth,œ and 6˙th˙ of the ScaleÓ (whole step betw. 5th & 6th) Formed:œ 1st,œ lowered 3rd, 5th, andSEVENTH 6th ofLEVEL the TWO: scale CHORDS BASIC (whole CHORDœ & step (3INVERSIONS )˙ between 5th & 6th) C MINORCm6 SIXTH (CMI6) - FORMED 1st, lowered 3rd, 5th, and 6th of the Scale (whole step betw. 5th & 6th) C MINORCm6 SIXTH (CMI6) - FORMED 1st, lowered 3rd, 5th, and 6th of the Scale (whole step betw. 5th & 6th) 6 b œ œ bœœ œ œ 6 & Cm6œœ œœ bœœ œ bœœ œ œœ œœ ˙˙ Ó bCm6œ œ œ œ œ œ œ œb œ b˙ Ó & bœœ œœ œœ œ œ œ œœ œb œœ b˙˙ 6 C MAJORœ SEVENTHb œ (CMA7)œ ORbœ œ (CMAJ7)œ - œFORMED 1ST, 3RD˙, 5TH, AND 7TH OF THE SCALE 6 œ œœ œ œ œœ œ œ œœ ˙ Ó & b(HALF-STEPœ œ DOWNb œFROMœ OCTAVE)œ b œ œ œœ œœb b˙ 7.& œœ œœ œœ œ œ œœ œœ ˙˙ Ó C majorbœ seventhœ œb b˙ Formed: 1st, 3rd, 5th, and 7th of the scale (half step down from octave)

Cmaj7 œ 7 œ œ œ œ œ & œ œœ œœ œœ œ œœ œœ œœ ˙ Ó œ œ œ œ œ ˙

C DOMINANT SEVENTH (C7) FORMED: 1ST, 3RD, 5TH, and lowered 7TH OF THE SCALE (whole step down from octave)

C7 bœ 8 œ œ œ œ œ & bœ œœ œœ œœ œ œb œ œœ œœ bÓ˙ œ œ œ ˙

C MINOR SEVENTH (CMI7) or (Cm7) formed: 1st, lowered 3rd, 5th, & lowered 7th (whole step down from octave)

Cm7 bœ 9 b œ œ b œ œ œ & bœ œœ œœ œb œ œ œb œ œœ œœ b˙ Ó b œ œ œ œb b ˙ LEVEL TWO: BASIC CHORD & INVERSIONS SEVENTHLEVEL TWO: CHORDS BASIC CHORD & (3INVERSIONS )

C MAJOR SEVENTH (CMA7) OR (CMAJ7) - FORMED 1ST, 3RD, 5TH, AND 7TH OF THE SCALE (HALF-STEP DOWN FROM OCTAVE) (HALF-STEP DOWN FROM OCTAVE)

Cmaj7 7 œ œ œ 7 œ œœ œœ œœ œ œœ œœ œœ ˙ Ó & œ œ œœ œ œ œœ œ ˙ Ó 6 – Level Two 161 œ œ œ ˙

8.C DOMINANT SEVENTH (C7) FORMED: 1ST, 3RD, 5TH, and lowered 7TH OF THE SCALE CC dominantDOMINANT seventh SEVENTH (C7) FORMED: 1ST, 3RD, 5TH, and lowered 7TH OF THE SCALE (whole step down from octave) Formed: (whole step1st, down3rd, from5th, octave)and lowered 7th of the scale (whole step down from octave)

C7 bœ 8 œ œ bœ œ œ 8 & bœ œœ œœ œœ œ œb œ œœ œœ bÓ˙ & œ œ œ œ œ ˙

9.C MINOR SEVENTH (CMI7) or (Cm7) formed: 1st, lowered 3rd, 5th, & lowered 7th C Cminor MINOR seventh SEVENTH (CMI7) or (Cm7) formed: 1st, lowered 3rd, 5th, & lowered 7th Formed: (whole 1st, step lowered down from 3rd, octave) 5th, and lowered 7th

Cm7 œ bœ œ 9 œ b œ œ b œ œ œ œ & bœ œœ œœ œb œ œ œb œ œœ œœ b˙ Ó b œ œ œb b ˙

Remember Speed is not the most impor- tant goal. However, the value of playing and singing in time with the metronome cannot be over-emphasized!

CHORDS AND INVERSIONS

PRACTICE METHOD

Practice with major triads fi rst, in all twelve keys, then add the minor triads.

1. Play the major triads below in clusters, fi rst with the right hand, then with the left hand.

2. As you play the clusters ascending, sing the following words on any note: “root position”, “fi rst inversion”, “second inverstion”, “root position”. Do not repeat the top triad as you descend. Play smoothly, ascending and descending at a slow tempo and without hesitations.

3. Be sure you are using the correct fi ngering as indicated. Using correct fi ngering is very important in developing good technique.

4. Note the change of fi ngering in the fi rst inversion in the right hand. In the left hand, the change of fi ngering is on the second inversion. LEVEL TWO ( continued ) BASIC CHORD & INVERSION EXERCISES

( 2 ) ARPEGGIATE EACH CHORD, SINGING EACH NOTE WITH LETTERS,

162 6 – Level Two ( ASCENDING, SING FROM THE BOTTOM/UP, 57 Approximate Tempo: quarter note DESCENDING, = 112 SING FROM THE TOP/DOWN)

Approximate tempo = 112 R.H. FINGERING q SING THE EXERCISES BELOW IN THE RHYTHM INDICATED . Right hand fingering JUMP THE OCTAVE IF NECESSARY FOR YOUR VOCAL RANGE.

5 5 (a) 5 FIRST TIME:5 PLAY ALONG5 ON THE5 PIANO. USE5 CORRECT 3 2 3 3 3 2 3 1 1 1 1 FINGERING.1 1 1 3 (b)œ THE SECONDœ TIME: œSING WITHOUT PLAYING. &4 œ œ œ œ œ CHECK YOURœ PITCH OFTEN.˙. œ œ1 œ1 ˙. œ1 1 1 1 ˙1. 3 3 2 3 2 3 3 5 5 ( 3 ) 5REPEAT ALL5 OF THE ABOVE5 DIRECTIONS5 --5 Left hand fingering W/ NUMBERS & SYLLABLES

L.H. FINGERING PROCEED AROUND THE CIRCLES OF FIFTHS AND FOURTHS. Arpeggiate each chord, singing each note with letters, numbers, and syllables. Ascen- BEGIN SLOWLY, AND USE THE METRONOME, INCREASING ding, sing from the bottom up. Descending, sing from the top down. Sing the exercises below in the THE rhythm SPEED AS indicatedYOU FEEL MORE. Jump COMFORTA the octaveBLE. if necessary for your vocal range. a) First time: Play along on the piano. Use correct fingering. b) Second time: Sing without playing.

Check your pitch often.

Repeat all of the above directions with numbers and syllables. Proceed around the circles of fifths and fourths. Begin slowly and use the metronome, increasing the speedR. Has. Fyouinge rfeeling more comfortable. LEVEL TWO: BUILDING INV. OF ALL SEVENTH CHORDS 1 3 5 1 2 5 1 3 5 1 3 5 ˙ œ ˙ Track 56 & c ˙ œ ˙ œ œ œ building1œ œ3 5 inversionsœ3 5 1 of all5 3 1seventh3 chords1 3 5 C E G E G C G C E C E G DO MI SOL MI SOL DO SOL DO MI DO MI SOL

5 3 1 5 3 1 5 2 1 5 3 1 œ œ ˙ œ œ œ & 5 3 1 ˙5 œ œ5 3 1 1 5 ˙3 œ3 ˙1 G E C E C G C G E G E C SOL MI DO MI DO SOL DO SOL MI SOL MI DO

Each week, add another chord quality and play the inversions in all twelve keys. Follow the directions as you did for the major and minor triads. Write out each chord and inversion, following . . . theEACH previous WEEK, ADDexamples. ANOTHER CHORD QUALITY Note Chords with four AND notes PLAY will THE have INVERSIONS a third inversion. IN ALL 12 KEYS . . .

All chord formations and their symbols below are in the key of C. Flatted notes (3rds, FOLLOW THE DIRECTIONS AS YOU DID FOR THE MAJOR AND MINOR TRIADS 7ths) are referred to as “lowered”, because they are not always black keys. WRITE OUT EACH CHORD AND INVERSION, FOLLOWING THE PREVIOUS EXAMPLES.

** Note: CHORDS WITH 4 NOTES, WILL HAVE A THIRD INVERSION!!!

ALL CHORD FORMATIONS, AND THEIR SYMBOLS BELOW ARE IN THE KEY OF "C" Flatted Notes ( 3rds, 7ths ) are referred to as "Lowered", because they are not always black keys

EXERCISES IN TRIADS / CHORDS

MAJOR TRIAD (1st, 3rd, 5th Notes of the Scale) Symbol: (C) (CMA) (CMAJ)

C 5 5 5 3 2 3 1 1 1 œ œ œ &œ œ œ œ œ œ ˙. œ œ œ ˙. LEVEL TWO: BUILDING INV. OF ALL SEVENTH CHORDS

building inversions of all 3 seventh chords

5 3 1 5 3 1 5 2 1 5 3 1 œ œ ˙ œ œ œ & 5 3 1 ˙5 œ œ5 3 1 1 5 ˙3 œ3 ˙1 G E C E C G C G E G E C SOL MI DO MI DO SOL DO SOL MI SOL MI DO

. . . EACH WEEK, ADD ANOTHER CHORD QUALITY AND PLAY THE INVERSIONS IN ALL 12 KEYS . . .

FOLLOW THE DIRECTIONS AS YOU DID FOR THE MAJOR AND MINOR TRIADS WRITE OUT EACH CHORD AND INVERSION, FOLLOWING THE PREVIOUS EXAMPLES.

** Note: CHORDS WITH 4 NOTES, WILL HAVE A THIRD INVERSION!!!

ALL CHORD FORMATIONS, AND THEIR SYMBOLS BELOW ARE IN THE KEY OF "C" Flatted Notes ( 3rds, 7ths ) are referred to as "Lowered", because they are not always black keys

EXERCISES IN TRIADS / CHORDS 6 – Level Two 163

EXERCISESMAJOR TRIAD IN VARIOUS (1st, 3rd, CHORD 5th Notes QUALITIES of the Scale) Symbol: (C) (CMA) (CMAJ)

Major triad (1st, 3rd, 5th notes of the scale) C 5 5 5 3 2 3 1 1 1 œ LEVEL TWO- RHYTHM EXERCISES,- ADVANCED - 1A AND 1B œ œ œ LEVEL TWO-œ RHYTHMœ EXERCISES,- ADVANCED - 1A AND 1B & œ œ œ LEVEL TWO-œ RHYTHMœ EXERCISES,-˙ ADVANCED. - 1A AND 1B MINORœ TRIADœ (1st, "lowered" 3rd, 5th Notes of theœ Scale) ˙ Symbol:. (Cm) (Cmi) (Cmin) MINOR TRIAD (1st, "lowered" 3rd, 5th Notes of the Scale) Symbol: (Cm) (Cmi) (Cmin) MINOR TRIAD (1st, "lowered" 3rd, 5th Notes of the Scale) Symbol: (Cm) (Cmi) (Cmin) MinorCm triad (1st, lowered 3rd, 5th notes of the scale) Cm Cm œ œ bœ bœœ œ œ &œ œ bœ bœœ œ œ ˙. bœ œ bœ bœ œ œb b˙. Track 57 &œbœ œ œ œ œ œb œ b˙. & bœ œ œ œ œb b˙. MAJOR SIXTH (1st, 3rd, 5th, 6th) Symbol: (C6) (CMA6) (CMAJ6) MAJOR SIXTH (1st, 3rd, 5th, 6th) Symbol: (C6) (CMA6) (CMAJ6) MAJORMajor SIXTH sixth (1st, 3rd, (1st, 5th, 3rd,6th) 5th, 6th) Symbol: (C6) (CMA6) (CMAJ6) C6 C6 C6 5 5 5 53 5 3 53 532 œ 4 5 2 œ 1 œ œ 5 32 œ 53 œ 32 œ œ œ 42 œ 5 œ 1 œ œœ œ œ œ œ 5 œ 13 LœEVE32L TWOœ- 12Rhythm Exœercises - œADVANCEœD - Level 1œA & - 1B w & œ 142 œ 2 œ 1 œ œ œ œ œ w Track 58 œ œ 1 œ 2 œ 1 œ œ œ œ w & œœ 12 œœ 2 œœ 1 œ œ œ œœ œœ ww & œœ 1 œœ 1 œœ œ œ œœ œœ ww œ œ œ w MinorMINOR sixth SIXTH (1st, lowered (1st, 3rd, Lowered 5th, 6th) 3rd, 5th, 6th) Symbol: (Cm6) (CMI6) MINOR SIXTH (1st, Lowered 3rd, 5th, 6th) Symbol: (Cm6) (CMI6) MINORCm6 SIXTH (1st, Lowered 3rd, 5th, 6th) Symbol: (Cm6) (CMI6) Cm6 Cm6 b œ SEVENTHœ CHORDSbœœ œ œ œ œ œ œœ œ œ œ Track 59 & bœœ œœ bœœ œ bœœ œ œœ œb œœ bww & bœœ œœ œœ œ œ œ œœ œb œœ bww & bœ œ œ œ œb œ bw SEVENTH CHORDS

There are three types of seventh chords.

1. Major seventh: Is formed by taking the 1, 3, 5, and 7th notes of the scale. 2. Dominant seventh: Is formed by taking the 1, 3, 5, and flatted 7th notes of the scale. MAJOR3. Minor SEVENTHseventh: Is formed by taking the 1st, minor 3rd, triad, 5th, and 7th adding the flatted S 7thym.bol: ( CMA7 )

Major seventh (1st, 3rd, 5th, 7th) Right hand fingering of inversions for all sevenths is the same.

Cmaj7 5 5 5 5 3 3 œ 3 4 œ 2 œ œ œ 2 œ œ œ œ œ 2 œœ 2 œœ œœ 1 œ œœ œœ œœ w & œ œ 1 œ 1 œ œ w œ 1 œ œ w

RH Fingering of Inversions for all Sevenths is the same

DOMINANT SEVENTH 1st, 3rd, 5th, Lowered 7th Symbol: ( C7 )

C7 œ œ œ bœ œ œ & bœ œœ œœ œœ œ œb œ œœ œœ bw œ œ œ w LEVEL TWO- Rhythm Exercises - ADVANCED - Level 1A & - 1B

SEVENTH CHORDS

MAJOR SEVENTH 1st, 3rd, 5th, 7th Symbol: ( CMA7 )

Cmaj7 5 5 5 5 3 3 œ 3 4 œ 2 œ œ œ 2 œ œ œ œ œ 2 œœ 2 œœ œœ 1 œ œœ œœ œœ w & œ œ 1 LEœVEL1 TWO- Rhythm Exercises - ADVANCEœD - Levelœ 1A & - 1B w œ 1 œ œ w

RH Fingering of Inversions for all Sevenths is the same LEVEL TWO- Rhythm Exercises - ADVANCED - Level 1A & - 1B MINOR SEVENTH 1st, Lowered 3rd, 5th, Lowered 7th Symbol: ( Cm7 ) ( CMI7 ) 164 6 – Level Two DOMINANT SEVENTH 1st, 3rd, 5th, Lowered 7th Symbol: ( C7 ) MINOR SEVENTH 1st, Lowered 3rd, 5th, Lowered 7th Symbol: ( Cm7 ) ( CMI7 ) LEVEL TWO- Rhythm Exercises - ADVANCED - Level 1A & - 1B Dominant seventh (1st, 3rd, 5th, lowered 7th) Cm7 C7 œ bœ œ MINOR SEVENTHœ b œ œ 1st, bLoweredbœ œ œ3rd, 5th,œ Loweredœ 7th Symbol: ( Cm7 ) ( CMI7 ) & bœCm7 œ œœœ œœ œ œœb œœœ œ bw bœœ œœ œœ œœ œ œb œ œœ œœb œ bww & œ œ œ œ œ w b œ œ bbœ œ œ Minor& bseventhœ œ 1st,œ loweredœœ œ œ3rd, 5th, loweredœ œb œ 7th œœ œœ bw b œ œ ALTERED SEVENTH CHORDS œb b w Cm7 œ bœ œ b œ œ œ ALTEREDbœœ œ œSEVENTHb œ CHORDSœb œ œœ œœ bw DOMINANT& b œ 7THœ CHORDSœ AND MAJOR SEVENTHœ CHORDSœb œ MAYb w BE ALTERED

DOMINANT 7TH CHORDS AND MAJOR SEVENTH CHORDS MAY BE ALTERED SEVENTH CHORDS: ALTERED EXTENDED SEVENTH AND/OR CHORDS ALTERED C 7/ 5 C 7/ 5 C ma j 7/ 11 Dominant 7thb chords and major seventh# chords may be extended# by adding a 9th, 11th or 13. The 5ths or extended notes can also be altered, as in the examples below. DOMINANT 7TH CHORDS AND MAJOR SEVENTH CHORDS MAY BE ALTERED & bb˙C 7/ 5 #Cb 7/˙ 5 CN ma˙ j 7/ 11 ˙ b ˙ # # ˙˙ # Examples& bb˙ #b˙ #N˙˙ ˙ ˙ LEVEL TWO: RHYTHM EXERCISES˙ -ADVANCED- (1-B) C 7/ 5 C 7/ 5 C ma j 7/ 11 Cmaj9 b C9 C 7/ 9 C 7/ 9 # C9/11 C7/ 11 C 9/13# C m a j 9/ 11 Examples # b # # ˙ ˙ & bœb˙ œ #œ bœ#b˙ ˙ #˙ N˙ ˙ ˙ &Cmaj9œ ˙ bC9œ A Cœ 7/ 9 A Cœ 7/ 9˙ bC9/11˙ A C7/˙ 11 # ˙C˙b˙ 9/13 Cn m˙ a j 9/ 11 œ ˙ œ œ # œ b ˙ ˙ ˙# ˙ ˙ # ˙˙ # ˙ (C A˙ug.) (C+) Examplesœ œ #œ œ ˙ #˙ ˙ ˙ & œ bœ A œ Abœ b˙ A ˙ b˙ n ˙ AUGMENTEDœ œ TRIADSœ œ ˙ ˙ ˙ # ˙˙ Cmaj9AUGMENTEDC9 C TRIAD 7/ 9 C 7/ 9 C9/11 C7/ 11 C 9/13 C m a j 9/ 11 Augmented triad (1st, 3rd,# raisedb ( 5th1st ,notes 3rd, Rofa ithesed scale)5#th ) ( Notes of the Scale# ) ˙ #˙ ˙ ˙ œC aug bœ A#œ Abœ b˙ A ˙ b˙ n ˙ & œ œ œ 5 œ ˙ ˙ ˙ ˙ œ5 œ 5 œ AUGMENTEDœ ˙ TRIADS˙ ˙ # ˙˙ œ3 œ 2 œ 3 œ ˙ ˙ ˙ ˙ 1 1 1 œ #œ œ & #œ œ œ AUGMENTEDœ TRIADSœ œ #˙. œ œ œ œ# œ ˙.

Augmented chords consist of all major thirds. No matter how you invert them, they are always major thirds. Listen to the sound, as you play them. Be sure to sing all these inversions. AUGMENTED TRIADS

Note There are only four augmented chords: Caug, C#aug, Daug, and Ebaug. Notice that any other Remember augmented: chord Augmented is basically Chordsan inversion cons ofist one of of Allthese Major basic four Thirds. augmented triads. . . . No matter how you invert them, they are always Major Thirds . . . Listen to the sound, as you play them. be sure to sing all these inversions,

: NOTE : There are only 4 Aug. Chords - C Aug, C# Aug, D Aug, & E Flat Augmented. After that they are just inversions of the original 4. RHYTHM EXERCISES - ADVANCED -LEVEL 1-B ADDING HARMONIC MINOR & BLUES SCALES

DIMINISHED CHORDS

* * REMEMBER . . . . DIMINISHED CHORDS CONSIST OF ALL MINOR 3RDS. NO MATTER HOW YOU INVERT THE CHORD, ALL THE INTERVALS WILL BE MINOR THIRDS.

* * NOTE: 6 – Level Two 165 THERE ARE ONLY THREE DIMINISHED CHORDS: (C Dim, C# Dim, & D Dim) DIMINISHED All Diminished CHORDS Inversions are repetition ofLEVEL the TWOfour - basic RHYTHM diminished EXERCISES chords - AD VANCED Above. ( 1-C )

Diminished chords consist of all minor 3rds. Although the more common term for diminished LEVEL is “DIM” TWO both - areRHYTHM listed EXERCISEShere. No matter - ADVANCED how you invert the chord, all the intervals will be minor thirds. DIMINISHED CHORDS ( 1st, Lowered 3rd, Lowered 5th, twice lowered 7th ) LEVEL ( 1-C ) Mixed Time Signatures & Syncopatonio Note There are only three diminished chords: C, C# and D diminished. All( diminiC Dim -) shed inversions are those of the four basic diminished chords above. 7 C b Cdimo 5 ∫˙ 3 b ˙ b ˙ bb ˙ b ˙ b ˙ ∫˙ 2 ˙˙ ∫ ˙˙ ˙˙ ˙ ∫ ˙˙ ∫ ˙˙ ˙˙ ∫w & bb ˙ 1 ˙ b ˙ b ˙ ˙b ˙ bb w Note Above is the “classical” way of spelling the diminished 7th chord. For further understanding one can think of the spelling as follows: 1st, lowered 3rd, lowered 5th, and 6th notes of the scale. Below is an example of the diminished chord spelled this way.

LEVEL TWO - ADVANCED - STREET SINGING

Cdim * * NOTE: ABOVE, IS THE "CLASSICAL" WAY OF SPELLING THE DIMINISHED 7th CHORD. 5 ˙ 3 b ˙ ˙ bb˙˙ b˙ b ˙ ˙ 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ w & bb˙ 1 ˙ b ˙ b ˙ ˙b ˙ bbw ˙ for further understanding, one can think of the spelling as follows:w 1st, Lowered 3rd, Lowered 5th, and 6th Notes of the Scale. BELOW IS AN EXAMPLE OF THE DIMINISHED CHORD SPELLED THIS WAY BUILDING INVERSIONS OF SEVENTH58 CHORDS

Exercise Build first inversions of major sevenths, dominant and minor sevenths up from the following notes. Write the notes and sing with letters and numbers, bottom up and top down. Notice where the major or minor seconds are located in each chord.

MAJOR SEVENTHS

The note below is the bass note in the first inversion of what major seventh chord? Follow the example. Write in the - MAJOR notes of SEVENTHS the second -inversions. Label the chords underneath. Then play and sing all the inversions, up and down. THE NOTE BELOW, IS THE BASS NOTE IN THE FIRST INVERSION OF WHAT MAJOR SEVENTH CHORD? Example FOLLOW THE EXAMPLE. WRITE IN THE NOTES OF THE SECOND INVERSIONS . . . LABEL THE CHORDS UNDERNEATH. THEN, PLAY & SING ALL THE INVERSIONS, UP & DOWN.

Cmaj7 ww w & w w w w w# example

- DOMINANT SEVENTHS -

THE NOTE BELOW IS THE SECOND INVERSION OF WHAT DOMINANT SEVENTH CHORD? AS YOU BUILD THE CHORD, SING THE NOTES WITH LETTERS & NUMBERS. THEN, PLAY AND SING ALL THE INVERSIONS, UP & DOWN.

A7 #w w wb & ww wb w# wb example

- MINOR SEVENTHS - LEVEL TWO - ADVANCED - STREET SINGING

58

- MAJOR SEVENTHS -

THE NOTE BELOW, IS THE BASS NOTE IN THE FIRST INVERSION OF WHAT MAJOR SEVENTH CHORD? FOLLOW THE EXAMPLE. WRITE IN THE NOTES OF THE SECOND INVERSIONS . . . LABEL THE CHORDS UNDERNEATH. THEN, PLAY & SING ALL THE INVERSIONS, UP & DOWN.

Cmaj7 ww w & w w w w w# 166 6 – Level Two example

DOMINANT SEVENTHS - DOMINANT SEVENTHS - The note below is the second inversion of what dominant seventh chord? As you build the chord,THE NOTE sing BELOW the notes IS THE with SECOND letters INVERSION and numbers. OF WHAT Then,DOMINANT play SEVENTH and sing CHORD? all the inversions, up andAS YOU down. BUILD THE CHORD, SING THE NOTES WITH LETTERS & NUMBERS. THEN, PLAY AND SING ALL THE INVERSIONS, UP & DOWN. Example

A7 #w w & ww wb wb w# wb example MINOR SEVENTHS - MINOR SEVENTHS - The note below is the third inversion of what dominant seventh chord? As you build the chord, singTHE the NOTE notes BELOW with IS THEletters THIRD and INVE numbers.RSION OF Then, WHAT playDOMINANT and singSEVENT allH the CHORD? inver- sions, up and down. AS YOULabel BUILD each THE chord CHORD, as SING before. THE NOTES WITH LETTERS & NUMBERS. THEN, PLAY & SING ALL THE INVERSIONS, UP & DOWN. Example

Cm7 w b w wb wb w# & b w wb w

RHYTHMexample EXERCISES – ADVANCED

VARIED TIME SIGNATURES AND SYNCOPATION

Suggestions for practicing syncopated rhythms:

1. Always use the metronome and good fi ngering. 2. When the time signature changes, be sure to “feel” the new meter before you begin the new exercise. 3. Gradually increase the tempo as you become more confi dent. 4. Isolate four or eight bars at a time when you fi rst begin learning the music. Always practice over the bar line (one bar, plus one note). 5. As the music becomes easier, add measures in four-bar phrases. 6. Clap the rhythms fi rst, counting out loud as you do so. Tap your foot on the beat. 7. Sing, using jazz “scat” syllables as you play the rhythm exercises. Feel the beat.

When playing scales in the various rhythms, use the correct scale fi ngering. 6 – Level Two 167 LEVEL TWO: Piano Emphasis RHYTHM EXERCISES – PRACTICE SUGGESTIONS

1. Clap the rhythm. Count out loud as you do so. Then play the right hand melody on the piano. 2. Sing jazz “scat” syllables of your choice as you play the rhythms.

LEVEL 1-A - ADVANCED Adding Scale Singing to the Rhythm Exercises

When singing scales in the rhythm exercises below, you may pencil in either the counting or the syllables as needed. When you are more skillful, erase your notations and sing again. The exercises below can be practiced at the piano, but also away from the keyboard. Always use the metronome, gradually increasing speed as your skills improve.

Specifi c Practice Method for Exercises 1. Clap the rhythms, counting out loud.60 Example #1: 1-2-3-4, 1 & 2 & 3, 4 etc. 2. Play and sing the C major scale: one octave with your right hand, ascending and descending. Sing with syllables: do, re, mi, fa, sol, la, ti, do in the exact rhythms notated 1X:in each Clap exercise. the Rhythms Keep time - Speakwith the the metronome Counting and(Ex. your #1) foot, and feel the internal 1, 2:beat. - 1 Maintain& 2: Tri-Pu-Let: a slow tempo 1, ee,while and learning -a, etc. each exercise. 3. After mastering the C scale for all the exercises, go back and proceed in the same manner using the G major scale. Choose the vocal range that is the most comfortable for your2X: voice. Play For and extra Sing practice, the "C" sing Major in other Scale: keys One as you Octave, wish, with before you gradually increase your Right the metronome Hand - Ascending speed. & Descending. Sing w/ syllables: Do, Re, Mi, Fa, Sol, La, Ti, Do.

When singing and playing 3X: these Play rhythm & Sing exercises, the "G" Major Scale in the same manner. always Choose remember, the vocal range that is the most comfortable “you are making music!” for your voice. Proceed with all the exercises in your most comfortable key.

1.

(1) & c œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙. Track 60 DO RE MI FA SO LA TI DO TI LA SO FA MI RE DO RE MI FA SOL. 1 2 3 4 1 & 2 & 3 4 1 & 2&3 & 4 1 & 2 3 4 LEVEL TWO: Piano Emphasis LEVEL TWO: Piano Emphasis

LEVEL TWO: Piano Emphasis

168 6 – Level Two

(2) 2. (2) & c œ ŒÓ ‰ œœœŒ œ Ó œ ‰ œ œœ‰ œ Œ œ & c DOœ ŒÓ ‰ REœœœMI FA Œ SOLœ Ó LAœ ‰ TIJœ DOœœTI ‰ LAœ Œ SOLœ & DO RE MI FA SOL LA TIJ DO TI LA SOL 1DO 234 1&RE MI2 FA& 34SOL 132 LA 4&TIJ DO1 TI& 2&LA 34SOL (2) 1œ 234 1&œ œ2 &œ 34œ 132 œ 4&œ œ1 &œ 2&œ 34œ Track 61 & c ŒÓ ‰ Œ Ó ‰ ‰ Œ DO RE MI FA SOL LA TIJ DO TI LA SOL 1 234 1& 2 & 34 132 4& 1 & 2&34

TRIPLET PRACTICE - SING "TRI - PU - LET" TRIPLET PRACTICE - SING "TRI - PU - LET" 3. Triplet Sing “tri-pu-let”. 33 3 3 3 33 3 3 3 TRIPLET PRACTICE - SING3 "TRI - PU3 - LET" 3 3 3 (3) (3) c œ˙ Œ œ œ œœœœ‰ œ Œ œœœœ‰ œœœœ ˙œœœŒ Track 62 & c œ ˙ Œ œ œ œ œ œ œ ‰ œ Œ œœœ œ ‰ œœœ œ ˙œœœŒ & c Œ 33‰ J Œ 3 ‰ J 3 3 Œ TRI PU LET J J (3) c œ˙ Œ TRIœ PU œ LETœœœœ œ Œ œœœœ œœœœ ˙œœœ & ‰ J ‰ J Œ DOTTED HALF NOTES &TRI DOTTED PU QUARTER LET NOTES 4. DottedDOTTED half HALF notes NOTES and& DOTTED dotted QUARTER quarter NOTES notes

(4) DOTTED˙œ. HALF NOTES & DOTTEDœ. QUARTERœ œ œ NOTES. œ. œ œ. œ œœœœœ. œ Track 63 (4) & c ˙. œ œ. œ œ œ. œ. œ œ. œ œ œ œ œ œ. œ & c ˙œ. œ. Jœ Jœ œ. œ. Jœ œ. Jœ œœœœœ. Jœ J J 124 &3J &J J (4) 124 &3 & ˙œ. œ. œ œ œ. œ1. 24 &3œ œ. &œ œœœœœ. œ & c J J J J J TIE - THE FIRST NOTE IS PLAYED / SUNG - SECOND1 NOTE24 &3 IS HELD & 5. Tie TTheIE - firstTHE FIRSTnote NOTEis played IS PLAYED / sung, / SUNG the - SECOND second NOTE note IS HELDis held. SIXTEENTHTIE - THE FIRSTNOTES NOTE: 4 =IS ONE PLAYED BEAT / SUNG - SECOND NOTE IS HELD Four sixteenthSIXTEENTH NOTESnotes: = 4 one = ONE beat. BEAT Sing 1 E & A. TIE - THE FIRST NOTE IS PLAYED / SUNG - SECOND NOTE IS HELD SIXTEENTH NOTES: 4 = ONE BEAT (5) Track 64 (5) œ œ œ œ œ œ œ œ œ œ œœ. œ œ œ œ œ œ œ (5) & c œœœœœ œ œœœœŒ œœ. œœ œœœœœ & c 1E&A 2 & 3&EA4Œ & 1E&A 2 & 3&EA4 (5) 1E&Aœœœœœ 2 &œ 3&EA4œœœœ œœ. œœ œœœœœ c 3 Œ & 3 1E&A3 2 & 3&EA4LEVEL TWO: Piano Emphasis & Œ œ œ œ œ œ. œ œ ‰ œ œ œ œ Œ œ œ3 œ Jœ œ. œ œ ‰ œJ œJ œ œJ & J J J J MOREŒ PRACTICE.œ .œ . œ œ œ. œ œ ‰ œ œ œ œ 6.& J J J J 3 (6) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. & c J ‰Œ ‰ J

3 ˙œ. œ œ œ œ. œ œ œ Œ & J ‰

MIXED RHYTHMS W/ TIES

(7) c œ œ œ œ. œ œ œ œ œ œ œ œ ‰ œ œ œ œ & J

3 3 œ œ œœœ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ Œ & J J

LONGER EXERCISE - MIXED RHYTHMS * * *

3 3 3 (8) c œ Œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ Œ œ œ œ œ. œ & J

œ ˙œœ œ Œ‰œœœ œ œ. œ œ œ œ œ œ & J J ≈

3 3 œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ. œ & J LEVEL TWO: Piano Emphasis

LEVEL TWO: Piano Emphasis MORE PRACTICE. . .

3 (6) MOREœœœœ PRACTICE. . . œ œœ œœœœœœœœœ œ. & c J ‰Œ ‰ J 3 (6) œœœœœ œœ œœœœœœœœ3 œ œ. & c J ‰Œ ‰ J ˙œ. œ œ œ œ. œ œ œ Œ & J ‰ 3

˙œ. œ œ œ œ. œ ‰ œ œ Œ 6 – Level Two 169 & MIXED RHYTHMS W/ TIES J

7. Mixed Rhythms with ties. If the ties are difficult for you, play the exercise without MIXED RHYTHMS W/ TIES (7) the tiesc first,œ œ thenœ go backœ. and includeœ œ theœ ties.œ œ œ œ œ ‰ œ œ œ œ & J (7) c œ œ œ œ. œ 3 œ œ œ œ œ œ 3 œ œ œ œ œ & J ‰ œ œ œœœ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ Œ & J J 3 3 œ œ œœœ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ Œ & J J

LONGER EXERCISE - MIXED RHYTHMS * * * 8. Mixed Rhythms Pencil in the counting if you need to – then erase.

3 3 3 LONGER EXERCISE - MIXED RHYTHMS * * * (8) c œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ Œ œ œ œ œ. œ & Œ J 3 3 3 (8) c œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ Œ œ œ œ œ. œ & Œ J œ ˙œœ œ Œ‰œœœ œ œ. œ ≈ œ œ œ œ œ & J J

œ 3 ˙œœ œ Œ‰œœ3 œ œ œ. œ ≈ œ œ œ œ œ & J J œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ. œ & J 3 3

LONGER - MIXED RHYTHMS Mixedœ œRhythmsœ œ –œ Longerœ ‰ Exerciseœ œ ‰ œ œ œ œ œ œ œ œ. œ 9.& J

(9) c œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ & Œ‰J J Ó Œ‰

3 ˙ œ œ œœœ œ œ ≈ œ œ œ œ œ œ œ. œœœ œ œ œ œ & Œ‰ J

3 & œ œ œ ‰ œ œ œ ˙œ. œ ˙ Œ œ œ

3 3 ˙ œœœ œ œ ˙ œ ‰ œ ‰ œ œ ≈ œ œ œ œ œ œ œ œ & ‰ J ‰

61

170 6 – Level Two PLAY & SING THE FOLLOWING EXERCISES. IT IS HELPFUL, AT FIRST, LEVEL I-B TO WRITE OUT THE SCALES & SYLLABLES ON ANOTHER SHEET OF PAPER. Adding harmonic minor and the blues scale – Advanced

Play and sing the following PRACTICE THESEexercises EXERCISES. It is helpful, IN THE HARMONIC at first, to & writeBLUES out SCALES. the scales and

syllables on another sheet of manuscript WORK IN paper.2 OR 3 KEYS A DAY, Practice these( CORRESPOND exercises inTHESE the TO harmonic THE MAJOR and SCALES blues YOU scales HAVE .PRACTICED Work in THATtwo DAY)or three keys a day. Correspond these keys to the major scales you are practicing on any particular day.

1.

(1) Track 65 c œ. œœœœœœ œ œ ‰ œœœ œ ‰ œœ. œ ‰‰œ & J J

3 Œ‰œ œœ. œ œ œ œ œœœœœœœœ œ œ œ œ œ œ ‰ œ & Œ‰J J

2.

3 3 (2) Track 66 c ≈ œœœœ œ œ ‰ œœœ œ œ. œ ‰ œœœœ œ œ œ œ œœœœœœ œ œ œ œ œ œ & c≈ ‰ J ‰

3 œœ œœœœœœ œ œ œ œ œœœœœœ œ œ œ œ œ œœœœœ œ œ œ œ ‰ œ œ. & J ‰ J (3) c œœ œœœœ œ œ œœœœœœœ & J J ‰ 3. 3 Œ. œ œ œ œ œ œ œ œ œ Ó œ œ œ œ œ (3) & c œ œ œœœ œ œ œ ‰ œ œ œ œ œ œ œ & J J

3 & Œ. œ œ œ œ œ œ œ œ œ Ó œ œ œ œ œ

4.

3 3 (4) c ˙œ. œ œ œ œ œ œœœ œ & ‰ J Œ

3 3 3 œ œ œ œ œ œ œ œ œ œ Œ‰œ œ œ œ œ œ œ (4) & c ˙œ. J œ œ Jœ œ œ œœœ œ & ‰ J Œ

3 œ œ œ œ œ œ œ œ œ œ Œ‰œ œ œ œ œ œ œ & J J 6 – Level Two 171

5.

3 3 (5) c œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ & J J

& ‰ œ ‰ œ ‰ œ ‰≈œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ

3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ ‰ J ‰ ‰ ‰

œ œ. œœ. œ œ œ œ & Œ‰J ‰ ‰ J ‰

3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ & ‰ J ‰ 62‰ J

LEVEL I-C Sing & Play, using Major, Harmonic Minor & Blues Scales Mixed time signatures and ascending syncopation and descending – Advanced - always use the metronome. An excellent exercise is to write out the scales and Sing and play, using major, harmonic minor and blues scales ascending and descen- syllables on another sheet of paper to begin. ding. Always use the metronome. An excellent exercise is to write out the scales and syllables on another sheet of paper to begin. Key: A Harmonic Minor - Quarter Note = 66 - The Harmonic Minor Scale 1. Key: A harmonic minor – The harmonic minor scale – q = 66

3 (1) 3 œ. œ œ ‰ œ œ. œ œ œ œ Track 67 &4 J J ‰ ‰ J

œ œ œ œ. œœœ œ œ œ œ œ œ œ & J

3 & œ œ œ œ œ œ Œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ Œ 172 6 – Level Two

Key: "A"2. - Quarter Note = 88 (The Blues Scale) Key: A – The blues scale – q = 88

3 (2) Key: "A" - Quarter Note =j 88j (The Bluesj Scale)j j j Track 68 & c œ. œ œ œ œ œ œ œ œ. œœœ œ œ œ. œ œ œ œ œ

3 3 (2) j j j jj j j j j & cœ œ.œ œ œœœ ‰ œœœœœœ œœ œ.‰ œœœœœœœ œ. œ œ œœœœ œ 3 j j j j j j j j j & œ œ œœ œ œ œœ œ‰ œ œœŒ‰œ œœ œ‰ œ œ œ œœ œ œœ ˙ œ

(3) 3. 5 j j j j j j Key:& Dbœ harmonic4œ œ œ œœ minorœœœœ œœ œ œŒ‰œœœœ œœ œœœ œœ œœ. œœœœ œ˙ ˙

3 (3) 5 j & b œ4 œ˙œœ œœœ œ œœ œœœœœœœœœœœœœ˙œœ œ œ œ œœ.œ œœœœ œ œœ ˙œ œ

3 3 j & b œ ˙œœ œ œœ œœœœ œœ œœœ.œœœœœ ˙œœ œ œœœ œœœ œ œ œ œœ Œœ œ 3 j & b œ œ œ œ œ œ œ œ. œ œ œ œ œœœ Œ

4. Key: G blues scale

(4) 6 j &4œ ˙œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ

3 & œ œ œœœ œ œ œ œ œ œ Œ Œ‰œ œ œ œ ˙.

3 3 3 j & œ œ œ œ œ œ œ œ œœœ œ Œ œ. œ œ Œ œ œ œ

3 j & œ œ œ ˙ œœœ œ œ ˙ ‰ œ Ó œ 63

bb c ˙ œ œ œ œ ˙ & b ˙ œ ˙ w (4) j &46 œ ˙œœœœœœ œ œœ œœœ œ œ œ œ œ. œ

3 & œ œ œœœ œ œ œ œ œ œ Œ Œ‰œ œ œ œ ˙.

3 3 3 j & œ œ œ œ œ œ œ œ œœœ œ Œ œ. œ œ Œ œ œ œ

3 6 – Level Two 173 ‰ j Ó ST&REETœ œ œ SINGING˙ œœœ œ œ ˙ œ œ

This page is a continuation of the Street Singing text. Please re-read that page, found at the beginning of this book which describes specific practice methods and songs for street singing consistent with Level Two. Before you begin each song, firmly establish the key in your ear by singing the scale with letters, numbers and syllables63 every time! Example #1 – Over the Rainbow This song begins on the first degree of the scale.

bb c ˙ œ œ œ œ ˙ w & b ˙ œ ˙

This song begins on the tonic, and jumps up the octave for the opening measure. Before you begin to sing, try to imagine the melody after singing the scale. Take these exercises to the streets and practice them away from the piano. Check back with the piano when you can.

Pitch Memory

Memorize where “do” is. Memorize “3” and “5” as well. These are the anchor tones that get you back on track, should you stray from the correct melody. Memorize the sound of 1, 3, and 5 anchor tones.

STREET SINGING ADVANCED – SIX MORE WEEKS

MORE SONGS THAT WORK WELL FOR STREET SINGING

Note Some of the songs below will introduce you to a few chromatics and/or major and minor keys. If you need to, go back and review the chromatic solfeggio syllables For a more gradual challenge, begin with the songs nearer the top of this list.

Moon River Summertime (minor key) Getting to Know You Fly Me to the Moon (begins in minor) Young and Foolish I Can’t Get Started Don’t Get Around Much Anymore I Don’t Know Why There Will Never Be Another You Over the Rainbow What a Wonderful World Let’s Fall in Love When I Fall In Love Hello Young Lovers My Romance Somebody Loves Me Crazy Rhythm The Sound of Music Where or When I Could Write a Book I Love Paris (minor key) You’ll Never Know 174 6 – Level Two

SING AND PLAY CARL CZERNY

EXERCISES IN TREBLE CLEF AND BASS CLEF

Practice Method

Following this text are three exercises that emphasize piano technique, reading and coordination. Practice the exercises as you did in Level One, fi rst reading the entire piece through, if you can, to get an idea of the sound, etc. and to practice your sight- reading skills.

• Use the metronome – slow tempo. Play with separate hands in small sections -- four bars plus one note segments.

• Be sure to use the fi ngering indicated and be careful to play the rhythms correctly. Set the metronome at a slow speed to begin, perhaps the quarter note between 50 and 60. Increase the tempo as you are able.

• Sing as you play the hands separately, using syllables only. Remember what key you are in and know where “do” is.

Note In the left hand, it is not necessary to sing every note in the moving pattern. You may just go from chord change to chord change.

• Label all the chords in the left hand. When you practice #2 and #3, label the chords in the right hand. Sing the notes in those labeled chords from the bottom up.

• Sing the melodies a cappella – only using the piano to test after you have sung the pitches.

To continue with your piano technique work, there are some recommended books for piano listed in the fi rst pages of this book. I heartily encourage you to keep on with your piano technique studies, and continue to sing everything you play, and vice versa. This is only the beginning – the very thing I love about music!

Begin each new exercise slowly. “Hum” the melody, then sing with syllables. Exercises make beautiful music too! 6 – Level Two 175

1.

5 3 5 1 1 2 1 2 3 4 2 œ œ 1 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Track & c 69 #1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # c œ œ œ œ œ œ œ œ œ 5 4 5

3 5 1 1 œ 2 œ 2 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ ˙ . 4 5 5 . 5 1 2

5 4 5 3 3 3 2 2 ˙ œ# œ œ œ w # œ œœœ œ œ œ œ œ œ & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # . œ# œ œ œ œ œ œ œ œ œ œ œ œ œ 4 1 5 2

4 2 2 4 4 1 1 4 œ œ œ 1 2 3 2 1 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ ˙ . 5 5 œ . 5 176 6 – Level Two

2. 5 5 4 3 3 2 2 1 œ œ œ # 3 œ œ œ œ J œ œ Track 70 & 8 J J #2 5 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ ? 83

4 1 2 œ œ. # œ œ œ. & œ J J 5 œ œ œ œ œ œ œ œ œ 5 œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ

5 2 3 œ œ # œ œ œ œ œ œ œ & J J J 5 5 œ œ# œ œ œ œ œ# œ œ œ 5 œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ

5 4 3 2 1 # œ œ œ œ œ . & J œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ. ? # .

4 5 2 1 œ # œ œ œ œ œ. œ & . œ œ œ œ œ. œ J J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # . œ œ œ œ 6 – Level Two 177

5 4 5 4 œ œ œ œ œ. # œ œ œ œ œ. œ œ œ & J J œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ

5 3 4 2 1 œ œ 3 2 # œ œ œ œ œ œ œ & œ J J œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ œ œ œ œ œ œ œ œ œ œ

5 3 3 1 # œ œ œ œ œ œ œ. & œ J J . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # œ œ . . 178 6 – Level Two

3. 5 3 5 5 5 5 5 1 1 1 1 1 1 3 œ œ 3 œ œ œ ˙ œ œ ˙ œ Track 71 & b 4 œ œ œ ˙ œ œ œ ˙ œ #3 1 ˙ ? 3 œ œ œ œ b 4 2œ 1 œ œ5 œ3 ˙5

5 3 2 5 5 5 5 2 1 1 1 1 1 1 œ œ œ œ œ œ œ œ ˙. . & b œ œ œ œ œ œ œ œ œ ˙. . œ œ œ œ œ œ œ nœ œ œ ? b œ œ .

4 3 4 4 3 4 3 3 1 2 1 2 1 1 2 1 œ œ œ œ œ œ œ œ œ œ œ ˙ œ & b . œ œ œ œ œœ œœ œœ œ œ œ œ œ œ ˙ ? b . œ œ œ œ œ

4 5 5 2 3 4 4 3 2 5 3 1 1 1 5 5 2 2 1 1 1 œ 2 1 œ œ œ œ œ bœ œ œ œ ˙. & b œ œ œ ˙. . œ œ œb œ œ œn œ œ œ œ œ ? b œ . 6 – Level Two 179

YOUR FIRST ARRANGEMENT

Example: “Rose Room”

This exercise is a wonderful one to practice using the many skills you have developed by now in your musicianship studies. I have given you an eight-bar head start. The top line is the melody of the song – exactly as it was written. The second line is altered rhythmically as one would sing it with a jazz conception. When you write that line, sing the melody to yourself in a swing feel and write the notes exactly as you are singing them. The lyric should sound conversational even with the altered rhythms swinging. The third line is your written improvisation on the chord changes above. Again, be sure to notate the rhythms exactly as you are singing them.

Directions: Setting up your Score

Bracket Three staves in treble clef and align the measures.

Staff #1 Transpose the entire song to your key, i.e. melody, lyric and chord symbols. Write the melody and rhythm of the entire song, exactly as it appears in the original sheet. This key of G should work for most alto voices.

Staff #2 Re-write the rhythm of the melody line as you would sing it in a swing feel. Be sure the lyric does not sound awkward in your re-written rhythm. It should sound natural.

Staff #3 Compose a new melody line, i.e. a “vocalese” or “scat” line. Be sure that the notes you write work with the chord symbols in the bar. Use the example below for some ideas. Short riffs, phrases and rests work well. Extend the phrases as you become more comfortable. The improvisation must fl ow and be singable!

Sing every note that you write as you notate. ROSE ROOM (In Sunny Roseland)

180 6 – Level Two "YOUR FIRST ARRANGEMENT"

BEGINNING TEMPO: Note: 8ROSE-bar exam pRleOOM below Track 72 QUARTER NOTE = 108 ART HICKMAN / HARRY WILLIAMS

Track 73 Beginning tempo: q = 108 Art Hickman & Harry Williams A G6 A 7 D7 G7 b 1 1 Original ˙ œ & c Œ œ œ œ# ˙ ‰ œ œ œ# œ œ In sun-- ny rose land where sum-- mer breezJ es areJ

3 3 Swing Phrasing >œ œ >œ >œ & c Ó œ œ œ# œ. J Œ œ œ œ# œ œ In sun-- ny rose land where sum--- mer breez es are play

Scat Syllables 3 Written 3 Scat Line c & Œ‰œ œ j œ œ œ# œ# œ œ Œ œ œ# œ œ œ œ œ œ œ# > > >œ# . > > > >

4 Cmaj7 C6 Gm7 C7 œ œ œ & w w w ‰ œ œ œ# J J play ----ing. Where the hon- ey bees are “a

3 3 . > > œ œ œ & ˙œœ ˙ Ó ‰ œ. ˙ Œ œ œ œ# ----ing. Where the hon-- ey bees are a

3 ˘ & œ œ œ œ œ# œ Ó œ ‰ j J œ. œ œ# ˙ - -œ -œ œ œb œ œ >œ œ >œ > > >

8 Fmaj7 F6 Fm Fm6 w w w œ œ œ œ œ & J œ J may ----ing”. There all the ros- es are

˙. œ >œ ˙. >œ & ‰ J sway ---ing. There

j & œ œ# œ ˙ Œ‰œb ˙œ> > > fl 4 Cmaj7 C6 Gm7 C7 œ œ œ & w w w ‰ œ œ œ# J J play ----ing. Where the hon- ey bees are “a

3 3 . > > œ œ œ & ˙œœ ˙ Ó ‰ œ. ˙ Œ œ œ œ# ----ing. Where the hon-- ey bees are a

3 ˘ œ j & œ œ œ œ# œ œ œ ˙ Ó œ œ ‰ œ J . œ# - - -œ œ œ œb œ >œ > œ > > > 6 – Level Two 181

8 Fmaj7 F6 Fm Fm6 w w w œ œ œ œ œ & J œ J may ----ing”. There all the ros- es are

˙. œ >œ ˙. >œ & ‰ J sway ---ing. There

j & œ œ# œ ˙ Œ‰œb ˙œ> > > fl

Cmaj7 12 A7 D7 w & w ˙# ˙ sway ----ing, danc ---ing

&

&

15 Dm D m7/ b5 G7 œ œ w œ & œ œ œ œ œ œ œ# while the mead- ow brook flows. The moon when

&

& 182 6 – Level Two

B D7 G7 Cmaj7 C6 ˙ œ w & ˙ ‰ œ œ œ# œ œ w shin- ing is more than evJ - er deJ -sign ---ing.

&

&

22 Gm7 C7 Fmaj7 F6 œ œ# œ œ œ w w & w ‰ œ J J For ’tis ev- er then I am pin ---ing.

&

&

Fm 26 Fm6 Cmaj7 A 7/b9 ˙ ˙ œ œ œ œ œ w œ & J œ J œ œ œ# Pin- ing to be sweet- ly re --clin ing, some - where in

&

&

30 D7 G7 Cmaj7 ˙ œ œ & ˙ ‰ œ œ œ# œ J w œ ŒÓ rose land, be- side a beauJ -- ti ful rose

&

& Fm 26 Fm6 Cmaj7 A 7/b9 ˙ ˙ œ œ œ œ œ w œ & J œ J œ œ œ# Pin- ing to be sweet- ly re --clin ing, some - where in

&

& 6 – Level Two 183

30 D7 G7 Cmaj7 ˙ œ œ & ˙ ‰ œ œ œ# œ J w œ ŒÓ rose land, be- side a beauJ -- ti ful rose

&

& 184

NANCY MARANO

Nancy Marano lives in the New York area and offers private instruction in voice, piano and musicianship. She also conducts weekly jazz vocal workshops in New York City. For international vocalists, Nancy offers “Skype Sessions” for singers who would like private lessons online, or to reinforce their study of the method presented here in Musicianship for the Jazz Vocalist.

Nancy welcomes contact through her website:

www.NancyMarano.com

Nancy Marano 185

CD INDEX

1 Intervals – Sing & Play ...... p. 67 2 Rhythm Exercises ...... p. 72 3 Rhythm Exercises – Ex.1 ...... p. 76 4 Rhythm Exercises – Ex. 2...... p. 76 5 Rhythm Exercises – Ex. 3...... p. 77 6 Getting it Together – Ex. 1 ...... p. 81 7 Getting it Together – Ex. 2 ...... p. 82 8 Getting it Together – Ex. 3 ...... p. 82 9 The Scales – C Major Scale...... p. 87 10 The Scales – A Minor Harmonic Scale ...... p. 92 11 The Scales – Chromatic Scale...... p. 92 12 The Scales – Whole-tone Scale ...... p. 92 13 The Scales – Blues Scale ...... p. 93 14 The Scales – Pentatonic Scale...... p. 93 15 The Scales – Bebop Scale ...... p. 93 16 Syncopation on the Diatonic Scale – Ex. 1...... p. 95 17 Syncopation on the Diatonic Scale – Ex. 2...... p. 96 18 Syncopation on the Diatonic Scale – Ex. 3...... p. 96 19 Syncopation on the Diatonic Scale – Ex. 4...... p. 96 20 No Blues For Noah...... p. 97 21 Ella Bella’s Blues –Female Version ...... p. 98 22 Ella Bella’s Blues – Male Version ...... p. 99 23 Triads: Clusters and Arpeggiation – Major ...... p. 101 24 Triads: Clusters and Arpeggiation – Minor...... p. 102 25 Twinkle Twinkle Little Star...... p. 105 26 Twinkle Twinkle Little Star...... p. 107 27 Indiana...... p. 108 28 Carl Czerny: First Piece ...... p. 114 29 Carl Czerny: Second Piece ...... p. 115 30 Carl Czerny: Third Piece ...... p. 116 31 Carl Czerny: Fourth Piece ...... p. 117 32 Carl Czerny: Fifth Piece ...... p. 118 33 Carl Czerny: Sixth Piece ...... p. 119 34 Breathing, Relaxation and Warm-Up Exercises ...... p. 127 35 Counting Breath ...... p. 127 36 Vocal, Interval and Ear-Training Exercises – Ex. 1 ...... p. 128 37 Vocal, Interval and Ear-Training Exercises – Ex. 2 ...... p. 129 38 Vocal, Interval and Ear-Training Exercises – Ex. 3 ...... p. 129 186

39 Vocal, Interval and Ear-Training Exercises – Ex. 4 ...... p. 130 40 Vocal, Interval and Ear-Training Exercises – Ex. 5 ...... p. 130 41 Vocal, Interval and Ear-Training Exercises – Ex. 7 ...... p. 131 42 Vocal, Interval and Ear-Training Exercises – Ex. 8 ...... p. 132 43 Intervals Intensive – Section #1 ...... p. 138 44 Intervals Intensive – Section #2 ...... p. 139 45 Combining all Skills...... p. 144 46 Intervals Intensive – Ex. 1 ...... p. 146 47 Intervals Intensive – Ex. 2 ...... p. 146 48 Intervals Intensive – Ex. 3 ...... p. 146 49 Intervals Intensive – Ex. 4 ...... p. 147 50 Intervals Intensive – Ex. 5 ...... p. 147 51 Intervals Intensive – Ex. 6 ...... p. 147 52 Intervals Intensive – Ex. 7 ...... p. 148 53 Blues for Dindah (Male Version) ...... p. 157 54 Blues for Dindah (Female Version)...... p. 157 55 Basic chords and Inversion – Major ...... p. 159 56 Basic chords and Inversion – Arpeggiated ...... p. 162 57 Basic chords and Inversion – Minor...... p. 163 58 Basic chords and Inversion – Major6 ...... p. 163 59 Basic chords and Inversion – Minor6...... p. 163 60 Rhythm Exercises, Level Ia – Ex. 1...... p. 167 61 Rhythm Exercises, Level Ia – Ex. 2...... p. 168 62 Rhythm Exercises, Level Ia – Ex. 3...... p. 168 63 Rhythm Exercises, Level Ia – Ex. 4...... p. 168 64 Rhythm Exercises, Level Ia – Ex. 5...... p. 168 65 Rhythm Exercises, Level Ib – Ex. 1...... p. 170 66 Rhythm Exercises, Level Ib – Ex. 2...... p. 170 67 Rhythm Exercises, Level Ic – Ex. 1 ...... p. 171 68 Rhythm Exercises, Level Ic – Ex. 2 ...... p. 172 69 Sing and Play Carl Czerny – #1 ...... p. 175 70 Sing and Play Carl Czerny – #2 ...... p. 176 71 Sing and Play Carl Czerny – #3 ...... p. 178 72 Rose Room – Nancy...... p. 180 73 Rose Room – Playback...... p. 180

Vocalists: Nancy Marano, Pete McGinnis and Beat Kaestli Piano: Nancy Marano Bass: Steve LaSpina