Book Three Alfred’s Basic Piano Library UNIVERSAL EDITION All-in-One Course Lesson - Theory - Solo FOREWORD ‘This Alkin-One Piano Course was writen in response to many roquests by piano teachers for just one all encompassing teaching book, that would include LESSON, THEORY and ‘SOLO material. By combining athe LESSON BOOKS of Lees 1A and 1B of Alrod's Basie Piano Liar into three consecutive books (Books 1.2.3) that also include selected pages from the THEORY, RECITAL and FUN BOOKS, a new course has been developed ‘hat offers several advantages: 1. The student will need fo perform from only one book. Theneed to camry mutiple books teach lesson is eliminated, 2, Teacher assignments wil be simplified, as the Lesson, Theory and Solo material ae al ‘combined in perfect sequence. 8. While ess supplementary materials included than ihe Theory, Rectal and Fun Books ‘Were used individual, the same “overlapping concepts" use inthe regular edltion of ‘Altes Basic Piano Library is continued, 4, Atthe completion of Book 3 of the AlLin-One Course, the student wil have completed all ‘ofthe fundamentals covered in Levels 1A and 18 and wile ready to continue into Level 2 of Alreds Basic Plano Lnrary a into Book 4 o the All-in-One Course. At the ‘completion of Book 5, the student willbe ble to continue into Level 3 of Alred's Basic Prano Library. Here isan outline ofthe basic contents of Book 3, Pos2-4 ‘time. Repeat sign. Pgs 5-13 G Postion wih LH an octave higher. Danper pec. va. Pps 14-19 Reviewing C& G Postions. Quaver est P¢520-31 MidaleD Postion. Measuring whove tones & semitones. Natura in. es32-39 _Terachords. The major scale. C major 8 G majo sales. Pgs 40-87 Pheces wih mo RH & two LH postions Pg 48 Rewow of musical terme Copyright © MCNECYby Alfred Publishing Co Allightsreserved. Print nUSA ae2 ‘ANEW TIME SIGNATURE ‘means 2 beats to each bar a crotchet gets one beat ‘Clap (oF tp) the folowing myth. ‘Clap ONCE for each note, courting alous. Yankee Doodle [A SEMIBREVE REST is used to indicate a whole bar of silence in & time. Allegro moderato } of 2x DUET PART: (Stent pays 1 ocave higher)Kookaburra 1. Ad bar lines. 2, Play and count, 3, Play and say or sing the words Allegro moderato 2 Mf Koo-Ka-bur-ra rocks in the ld | ye. | | ee 4. Inthe three lines below, edd time signaturos at tho beginning of each tne 5, Clap (or tap) the rhythm of each ine, counting aloud. 6, Say the wards of each tine In ehythm, as rift 3 j}fi fi Fi 4 at Ty Fy Ayo ooOD ss |4 Indians G POSITION Moderato fen ecescan|tarecntcel lee [Fin - a-an ra -tons, | neve be- tore The | great Chns-topher Go - | tum- bus came! Ansinerweremamy, | many. mote, See_| Row many ra-tono | you can nama “gf eancee.s r0-p0-he. |Btaw-ee and Nava ‘Now: Souris proneunced"So0" Mehymes wit 60" “The double dots nse the double bars nccate thal everyting between te couble bare must be REPEATED.G Position with LH an Octave Higher In this NEW G POSITION, the LEFT HAND plays (ONE OCTAVE HIGHER than botor. The RIGHT HAND remains in the same poston ‘There is only ONE new LH note to learn ew pore 2 fe New Position G Moderatoa = Won ve pai- te at sit eset |S ep ep ee x oti fe = i= SSS = — = o~ (== os Sm mom | wk pS SS === A speci WESTERN ayvepocicestypeyng =7 hes ee ma long way from | home Wo wot Tet You go. | wrong \g SUGGESTION: Play A COWBOY'S SONG also with LH va lower, inthe old G position8 Writing G Positions for LH (Old Position New Position mn UW ip wees) sagas = The Big Rock Candy Mountain 41, Wie the note names in the boxes ABOVE the notes ‘This will help you learn the NEW G POSITION. 2. Wire the nate names inthe boxes BELOW the notes. ‘This reviews the ald G POSITION, 3, Play and count 4, Play and say or sing tho words. Allegro : af Thos a gum ~ dep too, anda ik = shake aaa, and ron - stous size the Big Rack Can = dy MountAmigos Brightly an (New 6 Position) 5 e nf E-ymere vst you 99 Both hands one octave higher - Ev T yates bat we 960 The Damper Pedal = a _ j | \ y vien yun necanpe pea can. anynceyovsons CY | YX continues ater you release the key. ‘The RIGHT FOOT is used on the damper pedal « ‘Always keep your heel onthe oor, use your ankle ike a binge, “This sign shows when the damper pedal isto be used: This sign means: PEDAL 1 novo peo, ——} PEDAL ve Pedal Play ‘This easy PEDAL STUDY wil show you how the damper pedal causes the tones to continue to sound, EVEN AFTER YOUR HANDS HAVE RELEASED THE KEYS. Press the pedal down as you play each group af notes. Hold itdewntirough the ress Play VERY SLOWLY and LISTEN. Adagio afHarp Song © mfp /stine wf 2nd ine p) > CC VERY IMPORTANT! ‘Also play HARP SONG in te following ways 1. Play the ar¢ and 4th bars of each ine one actave higher than writen 2. Play the 1st and 2rd bars of each line one octave lower than writen, 43. Any combination ofthe above 2 ways.2 ‘The sign 8va placed over the notes mess Va Puy THENOTES ONE OcTAVE (NOTES) HIGHER THAN WRITTEN, Concert Time Allegro moderato port HANDS ava* Fine DC. al Fine ‘axa applies ony tthe STAVE below unless "eth hands is added.Music Box Rock Allegro Play Dom nana ava tous Hews 2 = te fing they cal me Mss Se Sox Fock, mf legato Wed @ = te spemgand fmm ko eek last ime ritardando to|end let pay un kone on, sary tes“ ‘This is @ QUAVER REST. it means REST FOR THE VALUE OF A QUAVEA. inn ave apts. enic 2) D Single quavers are often Do used with quaver rests. g >, p,b,) 4 The Magic Man 1 Wrosen pul a rab bt aut of Mysteriously y iF — - = wvfan y-bed - yo at? fa an your ear? Oh, tte Map ie Man cn Mog le Man cant Wocanvawanandandcarges mouse § Sop, hy marvatoun apt - cl ‘Evventkoan l-e-phartand make t s-ap-pea’? mystical Mayle Man cat16 "Pairs of quavers may be played TT ‘a bt unevenly, mating” style: . long shor. long stort1B Freight Train y Pay At ONE OCTAVE LOWER Fi 4 Ban suowny's sorny. he ya tt Allegro moderato "Brug git an = = Bala = og Chak 3st an =SSS Meth he TEE Rok AS WRUTTEN (REGULAR RH G POSTION) = > ——- = MOVE AH BACK TOOCTAVE LOWER lg van ‘pea! tai (rosj_CosstHowr MDE __2 MIDDLE D POSITION th at ee TTT lent 23 4 a O Bury Me Not on the | Lone Prairie 1. White the names ofthe notes in the boxes. 2. Play, |2 Note Review Notes on LINES: Notesin SPACES: \f | GBDFACEGBOF 1. We the names ofthe notes inthe boxes. 2. Play. Use LH 3 for notes below midale C. Use RH 3 for notes on or above middle C.The Greatest Show on Earth! MIDDLE D POSITION March Tempo AAD 324 Measuring Semitones or Half Steps Discer t,t) NO KEY BETWEEN ORE ‘The SHARP sgn # raises nota semitone The FLAT sign blowers not a semitone Each back key may be named 2 ways, a sown hee ‘The NATURAL sign io used to CANCEL a sharp or ft. ‘Anote after a natural is ALWAYS a WHITE KEY! Fs woo TH “Semitone” Position (iz 5 ta sat PLAY & COUNT:28 The Whirlwind MIDDLE D “SEMITONE” POSITION ‘This piece consists entirely of semitones, excopt forthe last 2 bars. Allegro moderato 1234 P 1T Whist-ing whiting, walling Uning Soar rg. owing, as lag. chum, 2. Whipping, wicking, Caving. eu ing, FA = g, King, Rum -minp, hl lng Sify swaring, che - Ing, sopd-i9g Leaves nthe = ys - ral. spinning. Pts of fl and) down of tet is, How huff ana howe and white Oz- a+ Rw ang chases Ev- iy -thhg Rds and rao - es \ ee EN Vit = ing tit = ng, anit = ing tot26 > - . Night Sounds ge x J i Mysteriously2 Measuring Whole Tones or Whole Steps [A WHOLE TONE is equal io 2 SEMITONES with ONE KEY BETWEEN, a ist Middle D “Whole Tone” Position When a SHARP or FLAT appears before a note it applies to that note each time itis used in the ret ofthe bar, unless itis canceled by a natural |A SHARP ox FLAT continues when @ note i ad othe folowing bar nis not necessary to re-write the sharp or flat bofore the 2nd ofthe two ted notes. PLAY & COUNT:28 The Planets MIDDLE D “WHOLE TONE” POSITION Andante mew ee ONE “TONE TONE “Tone “Tone TONE arathasionoa es OO SS aeons aaron a i SSS SS oT ee on Tone “TONE TONE ‘fone "TONE TONE— 33 The Major Scale ‘The MAJOR SCALE is made of TWO TETRACHORDS joinad by a WHOLE TONE. THE C MAJOR SCALE ‘TONIC OR KEY.NOTE Hour one “tet terrachono~— Cand TeTRACHORD Each scale begins and ends on a note ofthe same name as the sca called the TONIC or KEY.NOTE. € Major Scale Piece P Bath 5's play the TONIC, CI T Cit wr tL 1. Play woe, whole hel. Pie wale, whole, na. Than come down tho vor-y came way! 2. Watonine semicnes!_ Watch the semitones! "et mechorde are nas-y 1 Bay ‘THE G MAJOR SCALE ere “TONE owe ToNc 1 G Major Scale Piece oe Bath 58 play the TONIC GI Moderato Phy yhoo uncle, ha] Then core down he | ver-y same way itor the sone! | Tet=va'chosare | eae-y 10" pay!“4 Writing the Major Scale 1. Write the letter names ofthe notes of the C MAJOR SCALE on ths keyboard below. 2. Play the Set tetrachord with LH S 4 32, and the 2nd tetrachord wih RH 23.45 ‘st TETRACHORD 2nd TETRACHORD HEC MACH ‘OLE WHOLE MOLE Semi SCALE “TORE TORE Sel ERE] RE ERE Se c 3, White the letter names ofthe notes ofthe G MAJOR SCALE onthe keyboard below, 4. Play the 1attetrachord with LH § 432, and the 2nd tetrachord wih RH 2.45. recamon PNTEMACHORD) —_psndTETRACHORD scare | Sr wR te) we G 5, Wit tetrachords beginning on each of the folowing nots. 6. Play as folows: 1st tetrachord with LH 5 4 82, 2nd with RH 2945. 2nd tetrachord with LH 5 4:32, 3rd with RH 294 5. Std tovachord with LH § 4:32, 4h with AH 2 94 5The Key of G Major WM eet = aH I ‘The G MAJOR SCALE has ONE SHARP, F#. {place based on the G MAJOR SCALE is in the KEY OF G MAJOR. Instead of placing a # before every F in the piece, the # is indicated at the beginning, in the KEY SIGNATURE. 1. Draw a oreo arouse ntes hat re mado f by tha key signatures. 2. Play both G major scales = Sea Shanty 1. The key signature applies to all F's, on ANY line or space. Circle the notes affected bythe key signal. 2, Play. Use the G TETRACHORD POSITION shown atthe top ofthe page. Allegro moderato , gjass in hor36 [REMEMBER: Sharps or fats given inthe key signature are @YSGie IrOUghOUT He pec HAND POSITION: RH plays the upper tetachord, LH plays tre Soworterachord brousht ‘The Same Carol in € Major HAND POSITION: AH plays tho upper ttrachord, LH pays the lower tetrachord, Moderato— , Three Wise Monkeys HAND POSITION: LH plays the lower totrachord RH plays the upper tetrachor, Alllegro mod (One wort speak to | you or me, free wisn man - koe 3 3 FOR MORE FUN: Play also in © TETRACHORD POSITION (5's on C's one octave apaThe Mermaid HAND POSITION: LH plays the lower tetrachord, RH plays the upper tetrachord - AS 1 soled ane dey bythe tendatihebay, | saw a rarmeid la, Andate 2 |emf. way come way, Cone a way winme 1 - cy ‘ae cio HG Posmon 2 P a Woke ar eye er | sais “Good-bye Andahe wavedas I anled a - way ‘a tempo means resume orignal speed DUET PART: (Suxent sles 1 cet lower) = Prt wT40 A Piece with 2 RH Positions Lic Posimion RHC POSITION HG PosiTiON TNT TTT TTT ‘The piece begins in the KEY OF C MAJOR, changes to the KEY OF G MAJOR, a then retums to MAJOR, Be sure to make al the F's sharp in the Sh and 6th lines. > TL 4 ‘A SONATINA’s a shor instrumental selection. It may have one, two, tree movements. Ifthe fist or only movement Begins inthe key of C major, the second part ofthe movement is usualy nthe Key ‘f G major. The movement retums tothe orignal Key at the ondre A Piece with 2 LH Positions LHG POSITION LHC PosmTion FH POSITION Lines 1.2 Line Ye From the KEY SIGNATURE you wil sae that ths pioce isin the KEY OF G MAJOR— all F's mus! be SHARPENED. Walch forthe F's in the LH pat ofthe last ine! French Lullaby Moderato (ater eponeg, crosman —= Fine (sa ee eee I 5 SP _ | _ Posmay m2 = z Se Dal Finea ‘This plece isin the KEY OF C MAJOR. Although tnere are no sharps oF flats n the Key signature, When Our Band Goes Marching By! March tempo 1. When our band gone mat gb irs ‘s tend Sou wert toe a se ; ot Mu = se pays and er) he” st pans tor oye anda Peo ple how the nats on igh, Whenur band goose You ‘t_ stand and rout = “Y _chwer, Whencur band goes a Ce) mach = og byt May, atHin ¢ POSITION Lin LOW G PosITION March tempo a \4 | 7H want beat he] tt bal ume on|= team gels the bat 1 wil_[ pimp and_yet and |ie-te and cal ‘at | Sng. "oeat gos! toy, | ive us ome mera” Watching agame ica | lt of fun when | 1 go mee win my | aad ant mum and 5, ‘itardando ~~~ ~~~ want be thre fo | sea thar seare tat | goa46 \ onan ne st | ; 3 ‘ 3 *Pais of quavers may be played abt uneven, nating” eye aa7 —— ‘Give heen & ana BBingon the clowrs, surmblers and bears 2 5 Everysbod-y lowe a circu! | Horbes 92 oe, —— *' Seetow hey prance! hats even mere, t-ephantsaarcet | On witht show! wie show | eva ty Bod -y loves when te | eit. cus comesta town!48 Aecert(>) Accidental cago ‘gro Andante temp Crescendo (=) Ba Cepo al Fine (0. a Fine) Dininuenso | ————) Dynami signs Fine Fest time bar (1) Fiat sign (b) Foe J) Harmonic toa Incomplete bar Intel Key sate Legato Major sale Melos itenal Mezzo foe") Mocerato Natural #905) cave sign (2%) Pause (>) eal mark Piano (#) Repest marks Ss tarda (abbreviated ard ort) ‘secon tme bar (ET Semtone sap sign (4) Staccato Tempo Tevrachors ‘rene signatvos (% 4) Wate tone paced over or under a rote that ges special emphasis. Pay he note louder. 1a sharp or at not given the key signature. only ‘uch, happy. ‘moving along (at walking speed, resume onginl speed. gracualy tudor repeat from the begining nd payo the Fine (end) gr36ualy sor Signs showing how foud o somo pay the ond ‘he bars under he brackat aro playad tho 1st imo only tomers note one semitone. Pay the next Key othe let woud. ‘he interval bebween two notes sounded together. Abarat the begining a piece wi wor count th shown n the ie signatures. The missing cours re four in the last bat the dieroce inch (highness crowness) botween two notes, the numberof sharps or Nats in any kyon atthe beginning ‘ot each ine smootty connected. Usual inceated bya sur over or under he notes ‘series of 8 notes made of wo tetuachords ined by a whole toe, the interval berween two notes sounded separately. moderately oud moderately cance’ Shap rH when laced OVER notes, means pay them one octave higher ‘nan writen, indicates hat a note shouldbe held longer than hs true value tess he damper pedal, halt, and olease it ott repeat rom the begining, repeat the bars between the double bars. adaly sowing the bas under the bracket are payed the 2rd ime ony. the distance fom one key tho very next one, with no Key totween, raises a note one semitone. Pay ne nest key to the Fh ‘separated o detached. Usualy indicated by a dot over or under ‘he note rate o speed, four notes alprabetel ore, having he pattern of WHOLE TONE, WHOLE TONE SEMITONE ‘uber lund athe beginning oa pace o section oa pece "The top number shows the ruber of beats n each br ‘The botiom number shows he ind of rote that gels one bea. 'we semitones. The dstance between to kays wih one key between