THE LITTLE PIANIST Table of Notes Part I ae ‘With an Explanation of Clefs and Staves ce verny Bass Notes Treble Notes may be writen Ermey beveritene, Emay bewiten che Votip gee ate EBS i teeta cot” Bass ef 3 anoetied Fee) [52 bases. ‘Theve bart notre ate of jest the sane ptt ace mies» Contea-Octave | Great Ortave | Small Mctase | One-liand Octave lined Octave |Thecelined Octave |Fouctined Octave ‘The round, black dots af called moter They may be writen either on the lines or inthe spaces between the ies As shown above, each elt is se on group of five Hines Thev five lines ate called thy af. Evamioe the cles areflly, and notice what effect, they have on the signification ofthe notes,The Rudiments of Music ‘The signs weed so show the position (piteh ether high or low) of the tones are oalled ie/es, They are written on what is called the séagf, whith conaiste of fivw paraiel ner ad the spares Between the lines ‘The lowest line (or space) is called the firaé Zine (or space); the next Line or space) bows the sow: ‘hat is, both lines and spaces are counted from below upwards ‘Notes that aro either too high or too low to be written on the slaff must be set on or between short added ince above or below. These lines are called. dager-lines, nett orem For naming the notes, the fist seven letters of the alphabet are usod. Inthe xy af O maian the letters come fn the following order: ©, D, B,F,G, A,Byending on C. These wight notes form what ls called the scale af @ major Every scale is composed of five whole-steps and two hale-steps which Gecur in the following ordor Scale of © major Wholo-stop Whole-step Half-step Wholestep Whole-ttop Whole.step Half-atep = 2 > ——S € D EB P 6 a 8 ¢ 2 5 q 5 é 7 § Tonis Supertonic Mediant Subdominant Dominant Superdominant Leading-tone ‘Tonic A sharp (f) written before a note raises ita half-steps a flat (b) hhalf-step. A nafurel (}) restores a note to the original pited, ee B flat Restored by the natural wen before a note lowers it a ¢rehaes ‘There are two modes, the mayer and the minor mode, The principal scales in the minor mode are the smelodie and the harmonte Melodic Minor Sgteenzaling an descenting Harmonie ior Splescping and desenting pee iiereess| (oper titer Ss FS (SS (Ose important difference between major and minor scales is that in the major there are four half-steps between tonieand mediant, but in the minor there are only t ekjor mode Minor mode 2‘There are twelve minerbegs, “Thee ace hele major dy I sa tonino gentar of witch the tones or keynotes of which are determined by the sgratore Timo-value of Notes are determined by the signa ‘The following are the “one ‘The faitowing are the fonir chords ofall these ery shor ofall theso keys. Crusoe Fatagpmasor | Aino D sharp micor Js equal to 2 halfenotes, Eminor YD minor rt r r r 1 or 8 eighth-notes, | | | A pajor E flat major Met * . Feharp minor C miner Pn HS oot trp e = | G major F major a aT major flat najor oF 16 sixteenth-notes, = OE LEE EL PP | Exngomior “pminoe 3" E major flat major Bee ceann G je B — Beajor “bat major ch F In writing signatures, sharps are added by skipping upwards a ffthf:hen downwards 4 fourth and #0 on, Feharp C sharp Gharp Daharp A sharp E oharp B sharp In writing signatures, tats ate added by skipping upwards a fourth, then downwards a fifth, and s0 on, == ba. Dilst Efiat Aflst Dflat Gilat Cflat F flat Ir a note already sharp ia to be raised another halfstep, this sign (s)jenlted a Zeublectharp, ix uso Ha note weith a fat ia to be Lowered another half-step, the (bh) doubla-flat 4s used. Ga. iy bp bry tba —s Fouharp Fdouble-sharp F sharp 2 fiat Edoubie-fiat © flat ‘Koys having similar signatures stand in clorox relation to each other, and are called relative keys ‘The elpfi chiefly wred are the following: tee for Greief Baas or Frolef Soprano or C-clef Alto Clef Tenor Clef SSS vs F iSDat Segno (ensnas “feom the sig? corresponding to the pave the Dy 5 | d rormata (Ho Pa apo Feymate (Hol8) sigan of cepetition — (means'rom the beginning”) D0. Time-value of Rests Wholes Half Quarters Bighth» Sixteenth- pi a= “When a rest oocuples the time of more than one measure, the member af measures rested may be indica, by an equal munber of whole rests run together, usually with a sumber over it, or by a heavy single o double stroke with a number over i, hos 2 4 3 610 A dot sot after a note or rest adds one-| a second dot further adds half as half tothe time-value of the note or rests! much ae the first ene. Nota} = ete. Rest = : : ‘Timpovalue: $iives quarters ekg sateaiha gute ‘Tue following abbeeviations are used in notation: nies a jazzelgeanlaParatlaetro fal ns Sarr eras a eee A tis, conascting two antes on the wame degree, indicates that they es tne combined value of both. tobe played aso 161m wregotarenytin FBEREESPETEES, one or move note ae played efor thebeats on which expected, thus: FRRSELT they they are called aynorpated notesDetached Notes Stacoate Mezzo-stacesto Martetiato (Detached oF separated notes) (etait detached notes) (ery snortastached notes) pera pee oo be Grace-notes A short appoggiatura is Tor, played very rapidly. tn 2 Ee - = ——_ played == ee] Paseing Toil, or Inverted Mordent wtten io ad poet SESS ‘The Different Species of Time ‘Thore aro two species of timo: common time and triple timo, These aro subdivided into simple and compound. Simple common time has only two beats or divisions a measure Cf, 3, )isimple triple time contains three parts In a meanure (2, 2, y tle). When two or more simple common measures fare drawn into one tis called compound common time. Compoun triple time is that in which two oF tore simple triple measures are drawa into one, Four quarter-nolee in a measure (4 ) are indicated by ©, other divisions by fy ds et Intervals aa = SS = SS SS The following Itatian words are used to point out the degree of slowness or quickness, oF the ex- pression of a movement: ddagto, slow; dméanty, not quite so slow; Allegre, rapis; Allegretto, Le rapids Presto, very rapids (plans), soft; ZP (pianisrima), wery softy J (forte), lowes ff (fortissina), very loud and strong; diminuende, gradually diminishing the tone} crescendo, gradually inereasing the tone; deerescendo, decreasing the tone; ritardanda, becoming slower, sf.Whole, Half-and Quarter-notes.Allegretto, oha pa canEighth- notes, Triplets and Sixteenth notes, in Common and Triple Time. swenw.everynotecom oundVivace. :Moderato, erate, eri, — . qo —T 2a)” pdotce = ees ami scat ——~ — en esAllegro vivace. op bk Ge, a Allegro vivace. 5 BpeAteggto. tir ‘wonveverynotecom 9soneAnegreto ag og dee : so} P s as $F Oras ve * * P 3 x a3 fade: Pat fe 25 ce 2Ete j P f pote vee 5 4 Execises with #5 and § ee e533 agar 33 yikes want gu has Coasay some Hepemee 5. a7, P I Pate Se aes te bots so katy at pale i Metlens 3 4 aga § a sate + = % *f “a as 7 © gis KG ie @ —— ee igaeemeins A £Atiogretto, ‘greta ied‘The Bass Notes,‘The Twelve Major and Twelve Minor Scales cpm ag TE arr C minor. 6 minor. f D minor, le‘very" The Little Pianist, Part IT Weis hes 8, pegs Exercises in Different Keys. aaugretto,Allegro wvaceAllegretto. Ea ptdens 3 Allegretto vivace. , are a 4 jase kpeiete F eh pes sy Sep updet Bay peotee |Andante sostenuto,Allegretto vivace, Bet tk ee gg 24ane = Andantino vwwnseverynote comAtlegro. wih ite dal oes din: i3haeib | i ne |Continuation of the Exercises in Different Keys. B flat major has a b on Band E. Pda! PreeE flat major has a 4 on ByE and A, Allegro non troppo, » Gt $ £_fre 8The Tritt Allegretto.Allegretto. Tempo di Valse. gh ite Hise?2SE major has a # un F, llegro.Tempo di Valse, 1. gE, bee Sent? eet. SaAllegretto Exercise in Thirds, faes Sere ties | ——_} stFAllegretto moderato, oo —— CBee ee 21 tk op, ee, tt Been 4 tat dip aay salt f $I (oasetteesae Fea ata ShakeCrossing the Hands Allegretto vivace, nn 73s") FS” 58