Metodo Banjo 4l6l6e

M893236

I

B N

$7.9s MEL BAY PUBLICAIIONS. PACIFIC,MO 63069

= -

MEL BAY GOMPLETE TENORBANJO METHOD

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v

AUÍHOR'5

NOTE

¡, A s o y o u t h d u r i n g t h e r o o r i n g t w e n t i e sI e n j o y e d p l o y i n g t h e T e n o rB o n i oi n o r c h e s t r o s

J J

i n m y o r e o . T h eT e n o rB o n i og o v e t h e s p o r k l i n g l i f t s o e s s e n t i o lt o t h e d o n c e m u s i c o f fhot ero.

t :a J

T h e i m m o r t o l H o r r y R e s e rw q s p l o y i n g o v e r the oir woves leoding fhe Cliquot Eskimos w i t h h i s s u p e r b T e n o r B o n i o s o l o so n d o r r o n g e m e n f sT. h e r ew e r e m o n y s t o r so n t h o f i n s t r u m e n td u r i n g t h o t p e r i o d .

t t t J I

L o t e r I w o s i n s p i r e db y m y t e o c h e r B u n n y Longo, o top ortist ond greoi leocher into b e c o m i n go p r o f e s s i o n ool n t h o t i n s f r u m e n t .

.t a a

a a a t t t t t

//Á'

:F tt

T h e T e n o r B o n j o w o s e v e n t u o l l ys h e l v e di n fovor of the Guitor to remoin in the bockg r o u n d f o r m o n y y e o r s .T o d o y i t h o s m o d e o tremendous comebock enfoying greof populority. For mony yeors I hove wonted to creote o good text book for the Tenor Bonjo ond feel thot now is the time for o modern o p p r o o c h t o f u n d o m e n f o l m u s i c o n s h i pf o r i h o s e d e s í r i n gt o p l o y t h i s i n s t r u m e n t .

)

t a a a a a a t ,

I s i n c e r e l yf e e l f h o t t h i s b o o k w i l l b e t h e onswer to lhof opprooch to good Tenor Bonioploying.

IAuLBaa

t t t !

a D a

j

t

_ Copy'right1968,1969,1987by MEL BAy PUBLICATIONS,INC. Internationalcopyright Secured.All RightsReserved. printed in u.s.A.

THE CORRECTWAY TO HOLD THE TENOR BANJO

THIS IS THE PICK

HOID IT IN THÍS AAANNER FIRMTYBETWEEN THE THUMB AND FIRSTFINGER.USE A MEDIUMSOFTPICK.

2

THE IEFT HAND

PRACTICE HOTDINGTHE TENORBANJO IN THIS MANNER. KEEPTHEPALMOF THEHAND FROMTHE NECKOF THE INSTRUMENT.

THE FINGER,BOARD

s T R I N G

The verticol lines ore the STRINGS. The horizontollines ore the FRETS. T h e e n c i r c l e dn u m b e r s o r e the numberof the STRINGS.

STRIKING THE STRINGS

ñ :

DOWN STROKE OF T H EP IC K .

Tuning rhe Tenor Banio I 2 3

I

-

I

4

I ) ) ) ) ) ,

l

t ,

t t

BANJO NOTATION

)

PIANO NOTAIION

)

'!t

t t t t t t t t

@@@o ANOIHER METHOD OF TUNING P l o c et h e f i n g e r b e h i n d t h e s e v e n f hf r e t o f t h e f o u r t h s t r i n g t o o b t o i n t h e p i t c h o f t h e t h i r d s t r i n g( G ) .

) P l o c et h e f i n g e r b e h i n d t h e s e v e n t hf r e t o f t h e t h i r d s t r i n gt o o b t o i n t h e p i t c h o f t h e s e c o n ds t r i n g ( D ) .

t

a t

P l o c et h e f i n g e r b e h i n d t h e s e v e n t hf r e t o f t h e s e c o n ds t r i n g

a a a

t o o b t q i n t h e p i t c h o f t h e f i r s t s t r i n g{ A ) .

t t t t

Pitch Pipes

-D ; a

- r =

o ' c e s f o r t h e T e n o r B o n i o ( C e l l o )m o y b e p u r c h o s e do t o n y m u s i c s t o r e . E o c h p i p e ' - e c o r r e c l p i t c h o f e o c h T e n o r B o n i o s l r i n g .T h e s eo r e o n e x c e l l e n ti n v e s i m e n t .

will

THE RUDIMENTS OF MUSIC

THE STAFF l . M u s i c i s w r i t t e n o n q S T A F Fo f f i v e l i n e so n d f o u r s p o c e s . T h e fi n e o n d s p o c e so r e n u m b e r e du p w o r d q s s h o w n t

5TH IINE 4TH IINE 3RD LINE 2ND IINE I ST UNE

4TH SPACE 3RD SPACE 2ND SPACE I 5T SPACE

2 . T h e l i n e so n d s p o c e o s l s oh o v e L E T T E nRo m e s . T h e L I N E So r e : I - E ,2 - G , 3 - 8 , 4 - D , 5 - F .

The letterscon eosily be edby the sentence: Every Good Boy Does Fine.

3 . T h e l e t t e r n o m e so f t h e S P A C E S ore: I -F,2-A,3-C, 4-E.

T h e L e t f e rn o m e so f t h e s p o c e ss p e f lF - A - C - E .

4 . T h e m u s i c o lo l p h o b e t v s e s7 l e t t e r s-

A, B, C, D, E, F, G. A l t e r n o t i n gl e t l e r so f t h e L I N E So n d S P A C E S o n d s t o r t i n go t t h e fi rst g o l i n e , o s c e n d i n gw ,e forword in the olphobet:

THE CIEF /\

=z-

5 . T h i ssi g n ¡@'a)

istheTREBLE or G CLEF.

A l l b o n i o m u s i cw i l l b e w r i t t e n i n t h i s c l e f .

6 . T h eS T A F iFs d i v i d e di n t oM E A S U R EbSy v e r t i c o ll i n e sc o l l e d B A R S . BAR

MEASURE

MEASURE

MEASURE

7 . D o u b l e b q r s m o r k t h e e n d o f o s e c t i o no r s t r o i no f m u s i c .

REVIEW F i l l i n t h e m i s s i n gw o r d s i n t h e f o l l o w i n g s e n t e n c e s .

I.

Music is written on o

consisting of -

L I N E So n d

2 . T h e L I N E So n d S P A C E S ore numbered

3. They olso hove

nomes.

4 . T h e L I N E So r e n o m e d o s f o l l o w s :

5 . T h e S P A C E So r e n o m e d

6 . T h e m u s i c o lo l o h o b e t h o s

LETTERS;

They ore

7 . A t l T e n o rB o n i om u s i ci s w r i t t e ni n f h e 8 . T h e STAFFis divided into

C l e f.

b y v e r t i c o l L I N E Sc o l l e d

SPACES.

NOTES: T H I S 15A

o

?

NOTE: V

The HEAD The STEM

A NOTE HAS THREEPARTs. THEYARE

The FLAG

IJ

ABOVETHESTAFF,

IN THEsTAFF, NOTESMAY BE PLACED

AND BELOWTHESTAFF. A n o t e w i f l b e o r l h e n o m e o f t h e l i n e o r s p o c e i t o c c u p i e so n t h e s t o f f . T h e l o c o t i o n o f o n o t e i n , o b o v e o r b e l o w t h e s f o f f w í l l i n d i c o t et h e P i t c h . P I T C H :t h e h e i g h t o r d e p t h o f o t o n e . TONE: o musicol sound.

TYPES OF NOTES O |

O |

) L

THErYPEoF NorE wrLL THELENGTH oF tNDtcATE

I

I

l/

rTssouND.

tt7

O rxrs rs A wHotE NoTE. THE HEAD fS HOLIOW. IT DOESNOT HAVEA sTEM.

THIS 15 A

=4BEATS O A WHOLE-NOTE WILLRECEIVE FOURBEATS OR COUNTS.

HATF NOTE

THE HEAD IS HOII.OW.

= 2 BEATs

¿

IT HAS A sTEM.

A HALF-NOTEWILI RECEIVE TWO BEATSOR COUNTS.

NOTE la) THls ls A QUARTER

I

I

rne HEAD rs soLrD.

a

IT HAsA sTEM.

= r BEAT

A QUARTERNOTE WIIL RECEIVEONE BEATOR COUNT.

¡-

rxrs rs AN ETcHTH NoTE

2'rrE

HEAD lS SOtlD.

a

f.

= tizBEAT

IT HAs A STEMAND A FLAG. AN EIGHTH.NOTE WITL RECEIVE ONEHATFBEATOR COUNT.(2 FOR I BEAT) ó

RESTS: A RESTis o sign used to designoteo period of silence. T h i sp e r i o do f s i l e n c ew í l l b e o f t h e s o m ed u r o t i o no f t i m e o s t h e n o t e t o w h i c h i t c o r r e s p o n d s .

7

THrsrs AN ErcHTr{ REsr

THrsrs A .,ARTERRE'T

) (

_____I

TH|StS A HALFREST.NOTETHATtT rAyS ON THEL|NE.

'-.r-

THrsrs A wHorE REsr.NoTETHATrr HANGsDowN FRoMTHEuNE.

) ) ) ) )

NOTES It

-

-

I

.J

, ,

WHOIE

HAI.F

OUARIER

EIGHIH

t t t t t t t t t t

4 COUNTS

2 COUNTS

I COUNT

2 FOR I COUNT

a

RE5T5

THE TIME SIGNATURE

) )

a a a a a a

TO BE THE ABOVEEXAMPTES ARE THECOf rt'tONTYPESOF Tli E SIGNATURES USEDIN TH¡SBOOK.

IHE TOP NUIIIBERINDICATESIHE NU|I'IBEROF EEATS PER frtEASURE.

THE BOTTO'IA NUMBERINDICATES THE TYPE OF NOTE RECEIVING ONE BEAT.

4

BEATS PER *EAsuRE A QUARTER.NOTE RECEIVES ONE EEAT

) t t t

SIGNIFIES SO CAttED "COrrtfütON TltvlE"AND lS SlliPtY ANOTHER WAY

t

oF oESTGNAT|NG TmE. *

:

; a

THE NOTES ON THE FOURTH STRING (C)

IIEF

ñ

IU' -

_/

á FRETs O

--F

_-l

-{C-=--u+>

FINGERS O

WHOTE NOTES

couNTt

2

3

4

{>

HALF NOTES

QUARTERNOTES

(G) THE NOTES ON THE THIRD STRING

A

U irE

-

I

B lr-

) I ) ) ) ) ) ) )

FRETS O 'l

(r

I ,

.'=-4

t - F I N G E R S0

t )

t

WHOTE NOTES

) ) ) )

t t t t t t t t

HAIF NOTES a

A€ a:

COUNTI

t

a t

a t t t t É -= :

-

a

A ¿

GTUARTERNOTES

trr

c

SOTOS ON THE THIRD AND FOURTH STRING THE C SCATE

O['R FIRST SOTO

Long, long Ago

THE NOTES ON THE SECOND STRING (D)

E

v -r

F

G

WHOLE NOTES - - - _ " = ! . ,

u

- _

couNTr

2

3

4

HALF NOTES

QUARTER NOTES

THE NOTESON THE FIRST STRING (AI

-

FRETS

\y

U

tl 1rf

lr-

l[

O

<>

árLn:

Fl

ffil urQ-l2

WHOLE NOTES ()

e

HAIF NOTES

QUARTER NOTES

THE C SCATE (Two Octqves)

Yonkee Doodle

ttThird Avenuet'

THREE-FOUR TIME THIS SIGN

3 4 _

INDICATESTHREE-FOUR TI'TiE

BEATSPERi,IEASURE TYPEOF NOTERECEIVING ONE BEAT (Quqrter-Nole).

ln fhree-four time, we will hove three beots per meosure. A quorter note will receiveone beof.

DOTTED HALF NOTES A dot ( . ) ploced behind o nofe increosesits volue by one-holf. A dotted hqlf-note tJ.l -tt, receivethree beots.

Coloniql Woltz

THE REPEAT SIGN THEDOTSPTACED ABOVEAND BETOWTHETHIRDLINE OF THE STAFFAT THE DOUBI.E-BAR INDICATE T H A T T H E P I E C EI S T O B E R E P E A T E D . THE DOTS PLACEDBEFOREAND AFTERA DOUBTE-BAR EETWEEN. MEAN REPEAITHEAAEASURES

t6

)

t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t a a a a a J .'

A WORD ABOUT DUETS

One of the first requisitesof o good Tenor Bonioist is the obifity to ploy well with others. li is with f h i s p o i n t í n m i n d t h o t I o m s t r e s s i n gt h e v o l u e o f d u e t f r o i n i n g . Duet troining will teoch the student to perform his own pori independently without the bewildermenf or confusion coused by the rhythm or counterpointoppeoring in the secondport. The second port (ll) should be ployed by the teocher.The studentshould be oble to ploy both ports.

OMMON

Our Firsf Duef

_i

",/tS O,1

.a

| :ára= a

¡

:1

-t

f:t

J

:;/

I

-t_ -1'

-¿.-t

, ó ¿ , / .-?-

,4 a-,

-t J .J a

-' j

A? t t7

IAEI BAY

PICK.UP NOTES ore referred to os pick-up One or more notes ot the beginning of o stroin before the first meosure notes. t h e b e o f so r e c o u n t T h e r h y f h m f o r p i c k - u p n o t e si s i o k e n f r o m t h e l o s t m e o s u r eo f t h e s e l e c t i o no n d ed os such. Note the three beots in the lqsf meqsureof the following duet.

? f-

-

It

F--

c

,1e e

:-$ ¡ t-f l tl tl

? || rr 1r té |

t

J JI

.

r.+t

r¡ f J r 1 f'f a't:f ]f tl JJ JJ+J.l j'rll j ?

?

f T

t

?

p

lal

? t

ñ'I )

¡

?,?"f I ll

I

r r {-l'f

I

I

fI ,? ? T: I ll

] r,:r:f .l

I

f t

I

t

r

I

1

I

l

--r

l-t l 'l

'-l

?l t-

ll

? t F f -ll - ? | fI f' ,f If t--+ IJ l- i I t 1

lr

tl '{ i 'i l.'i'' r=J-fa-i f r

l-l

e

1

-l I

I ,

t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t J

t

THE

KEY

OF

C Att music srudied sofor in

this book hos been in the key of C. Thot meons thot the notes hove been token from the C S c o l e( s h o w nb e l o w ) o n d m o d e i n t o m e l o d i e s .

ASCENDING lYzl

I t i s c o l l e d t h e C S c o l eb e c o u s et h e f i r s t n o t e i s C o n d w e p r o c e e df h r o u g h t h e m u s i c o lo l p h o b e f u n t i l C r e o p p e o r s .

c - D - E - F - G - A -B -C .

DESCENDING

W e w i l l c o v e r t h e s u b i e c to f k e y s o n d s c o l e sm o r e t h o r o u g h l y í n t h e T h e o r y o n d H o r m o n y C h o p f e r so p p e o r i n g loter on in ihis course. A t p r e s e n iw e w i l l d e o l o n l y w i f h b o s i cf u n d o m e n t o l s .

STEPS A H o l f - S t e pi s t h e d i s f o n c ef r o m o g i v e n t o n e t o t h e n e x t h i g h e ro r l o w e r t o n e . O n t h e T e n o rB o n j ot h e d i s t o n c eo f o H o l f - S t e pi s O N E F R E T . A Whole-Stepconsistsof TWO Holf-Sreps. f h e d i s t o n c eo f o W h o l e - S t e po n i h e G u í t o r í s T W O F R E T S . f h e C S c o l e h o s t w o h o l f - s t e p s .T h e y o r e b e t w e e n E - F o n d B - C . N o f e l h e d i s t o n c eo f o n e f r e t b e i w e e n t h o s e n o t e s . f h e d i s t o n c e sb e l w e e n C - D , D - E , F - G , G - A , o n d A-B ore Whole-Steps. W h o l e - S t e p so n d H o l f - S t e p so r e o l s o r e f e r r e dt o o s W h o l e - T o n e so n d H o l f - T o n e s .W e w i l l r e f e r t o t h e m o s W h o l e - S t e p so n d H o l f - S t e p s .

THE TREMOTO A t t h i s t i m e w e s h o u l d s t o r t t h e d e v e l o p m e n to f t h e t r e m o l o . T h e t r e m o l o i s o v e r y r o p i d d o w n o n d u p s t r o k i n go f t h e p i c k g i v i n g o s u s t o i n e dt o n e . T h e t r e m o l o w i l l b e e m p l o y e d o n o l l n o t e s r e c e i v i n gm o r e i h o n t w o b e o t s .T h e s i g n f o r t r e m o l o i s ? *

THE TIE The TIE is o curved line between fwo notes of the some pifch. The first nole is ployed ond held for the time durotion of both. The second note is not ployed but held. EXAMPIE

3

s .'

It \----

J .J -J

THE C SCALE

TIE COUNT

r23

n 231

't

_-' i9

WHENTwooR|^oRENoTEsAREWR|TTENoNTHEsA|,lEsTE,t,tPIAYTHEMAsoNE. fingersunlil necessory' (x- - - - - -): Hold fingersdown' Neverro¡se

MEt BAY

Follow The Lec¡der

-^

---T

^---t

IA

I I

a

-¡

L

[Tt

20

a

---a

) , ,

t t t t t t t

THE E NOTE ON THE FIRSTSTRING,7Ih FRFT

in

)

t t ,

t ,

Sporkling Srellq

, , ,

t t t t t t t t t t t t t t t t a t I

t t t t t t --

Double Trouble

, ,

t t t t t t t t t t t t t t t t t t

CHROMATICS The olterotionof the pitchesof tonesis broughiobout by the use of symbolscolled CHROMATICS. (olso referredto os ACCIDENTALS)

THE SHARP

# The SHARPploced before o noie roisesits pitch t/z -step or one fret.

s r R t N G@ . . . - . . - - -.- . F I N G E R S( )

1

Z

3

4_.-*

4 i

0

r_-_I

z

a

L-L

FRETS

J

t t t )

t t t t t t

THE FLAI

b The FLAT ploced before o note lowers its pitch t/t -stepor one fret.

A

J t

á ¿1

a a a a t 3 -t 3 '3

THE NATURAI.

h

The NATURALrestoreso n o t e t o i t s n o r m o l p o s i t i o n .l f c o n c e l so l l o c c i d e n f o l sp r e v i o u s l yu s e d .

-3 -{t -_a

?..\

i

THE CHORDS IN THE KEY OF C T h eC h o r d sI n T h eK e yo f C A r e ' C , F ,& G 7 MUSICAI NOTAT¡ON

iE, MUSICAT NOTATION

Gr I | | /

TIT

| | |

: srnoKEs oF TUEPtcKovERTHE

'

FOURSTRINGS.

:

srRUMTHEc cHoRDTHREE TrMEs.

24

, ,

CHORD STUDY IN THE KEY OF C

t t t t t

./ :

REPEAT THEPREVIoUS MEASURE Gz a

)

t t t t t t t t t t t t t t t t t t t t t t t t

OUR FIRSTSONG (Usingthe C ond G7 Chords)

[ong, Long Ago (-) Tell -

me the

Gr

C //// t a l t ' s-

that

to

G;

I

Iong

C t// w e r e *sc)

Gr

/// T .,.I.urr5 -

C /// me -

dear

(l /////

a-g()

Iong -

/

long a-go

ra $-¿

)

(\

C

o a a

'(n

)

¿-

-me

I

the

song -

(-)

c ///

de

light

ed

to

hear

)

t

lr?

///

) )

I

l-ong -

long

Gz /lttttl ¿r go

Gr

(,) tl

long

Iong

)

1 z. (e .---l-

)

Be sure to ploy the chordsdirectly on eoch word or sylloble os indicoted.

)

Q-l

(} -'--

I

;

25

go.

The Blue Toil Fly (' I C C O M P A N I M E N T7.

(i;

¡ ///

/// \\.1: \'tlUIl$ ánd

used to wait

///// on my

ole Mas'and

(' //// hold his plate -

SOLO,

j T' AJ

(' /// I'a:s the

l' jug

/// he was dry

vi'hen

and

Gz ////// brush a - wíty

(l the

blue tail

flv -t

F--

J

T--

I

Gz //// I don't

Jirn crack corn and

Gr /// J i * c r a r : kc o r n ¿uld

care

(1.

lt// I don't care

?

T (,' tltt Jirn crat'k corn and

F

Gr0 lttl/ \l¿rs-sas gone a - \\'ay.

It? tta

I

don't care

The Bonio Morch

Gr

26

MEL BAY

THE KEY OF A MINOR (Relotiveto C Moior) EochMoior key will hove o RelotiveMinor key. The RelotiveMinor Scoleis built upon the sixthtone of the Moior Scole. TheKeySígnoiureof both will be lhe some. The Minor Scolewill hove the somenumberof tones(71os the Moior. The differencebefweenlhe two scolesis the orrongementof the whole-steps ond holf-steps. qre There three forms of the minor scole:l. PUREor NATURAI,2. HARMONIC.3. MELODIC.

; I ) ) ) )

NATURAL

The A Minor Scqles

) ) ) )

HARMONIC

) ,

t t t t t t

f ELODtC

¿

¿J

f H E M I X E D M I N O R S C A T E( A s c e n d M e l o d i c o n d D e s c e n dH o r m o n i c )

) ) )

t t t t t t ) ) ) )

6 QJ

T H E G Y P S YM I N O R S C A L E( T h e 4 t h o n d 7 t h T o n e so r e R o i s e dt h r o u g h o u t l

ó

a_

T h e M e l o d i c o n d H o r m o n i cM i n o r S c o l e sw i l l b e u s e d i n t h i s t e x t .

e

Minkq

¿

)

t ,

t t t t t 2 .t

c {4 t a

6 o

27

THE EIGHTH NOTE A n e i g h t h n o t e r e c e i v e so n e - h q l f b e o t . ( O n e q u o r t e r n o t e e q u o l s t w o e i g h t h n o t e s ) . An eighth nofe will hove o heod, slem. ond ffog. lf two or more ore in successive order they moy be connected by o bor. (See Exomple).

Eighth Nofe And Eighrh Resfs ET.HTH NorEs ) JJI

J1:) IJ-J-J-JJI= )

EIGHTHNorEsT 7 7'l

aaoo-2

f-j-r-]

I I a rr]--] aaaaooo-_

The Scqle in Eighth Notes -

counl:l

¡|¡-..t]l¡

&

2&

3

&

4&

Hqrmonic Mode

Melodic Mode

2E

o

THECHORDSIN THE KEY OF A MINOR T H E C H O R D SI N T H E K E YO F A M I N O R A R E :A m , D m & E Z . MUSICAT NOTATION

Ar

MUSICAT NOTATION

llr

t uslcAt

Er

29 !

-

NOTATION

THE UP STROKE l/

V

-

of the some pitch. This strokewill be usedon repeotedeighth-notes UP STROKE.

A Visir to the Relqfives

A MINOR (Hormonicl

(q -f-f

ru ; 'oa'o'o

a

---.

--

n J J ¿ .g4 - -

-

c+-2

LJ --r-i -

t.--.-L.r-H? +

-? i lffi

L-l''-

A ,tllNOR (Melodicl

The Volgc Boqtmqn 24

30 foshion. G l i d es l o w l yo v e rl h e s i r i n g si n o H o r p - l i k e

j

I

t t t t t t t t t t t t t t t

Two New Nofes

TEMPO Tempo is the rote of speed of o musicol composition. Three types of tempo used in this book will be: ANDANTE: A slow eosy poce. MODERATO:Moderote. ALLEGRO:Lively.

Ploytime

a

:T ,r,á -?.- + +

r' l /¡

t

'o-.

oj

o'

Ct2 -:l' Á a

1n ;'

::L

THE KEY OF G The key of G will hoveone shorp.(Ffi) It w¡ll be identifiedby this signoture: The F-noteswill be ployed os shown,

4TH FINGER 6TH FRET

3RD FINGER 4TH FRET

9TH FRET

The G Scqle

t/z STEP

Note thot in order lo hove the hqlf-stepsfolling between the seventhond eighth degrees of the scole the F must be shorped. O u r m o i o r s c o l e p o t l e r n i s t h e n c o r r e c f . 1 1, 1 , 1 / 2 , 1 ,l , I , % . ) ( s t e p s )

TWO.FOUR TIME THIS SIGN

INDICATESTWO.FOUR TIIAE

2 _ BEATSPERTiAEASURE 4 - A QUARTER NOTERECEIVES ONE BEAT

Two-FOURtime will hove two beots per meosurewith the quorternole receivingone beot. T E N O RB A N J O D U F T

" D . C . o l F I N E ":

The Old House

G O B A C KT O T H EB E G I N N I N GA N D E N D A T " F ¡ N E " . '19

AAETBAY

The G Scqle (Two Ocfovesl 3

n.lrñnnnn NVñV-VNV

A Scqle Sfudy

Drink To Me Only Wirh Thine Eyes Moderoio

HRsr AND SECOM Sometirnestwo endings ore required in certoin selecfions. . . one to leod bock into o repeoted chorus ond one to cfose it. They will be shown like this:

( 1 s tT j n r e )

(2¡d Tinre)

The first time ptoy the brocketed ending l. Repeotthe chorus. The secondtime skip the first ending ond p l o y e n d i n gN o . 2 .

n.|.1n.n. .n!,.v¡v

A Doify Drifl

A Duer in G

,!^AZAS

NorEs

ffiRTER

its Vqlue by ONE-HALF' A DOT AFTERA NOTEincreoses

/a

Eighrhs

- Note

ffit_;l h*-f-EeuAr

ro+[ffi1

quorler-note is os f o l l o w s : The count for the doited

n

ñ

ñn

A O"tted Gluorter-Note Etude I

A

I

)

L.

) ) l¿

)

/n'

)

,--

)

N N Vñ Vñ V

t

a

t,

,

t t t t t t

)

A Scqle StudY

c

;:

J

/n ,' ¡31,

L\-, ,

I

tal

o4

, \ Li'eiL;,:

l. ti

, f^

I I I

a'

a

,tAEtBAY

,trA

,

t t t t t t -

a: 2.

t

f/ --\'

:-

,+

f-.-:- . ¿' .1: a I

r

A Rhyfhm Review |.r V-V

.V.Vrr11

.v.v-

n

Austrion Hymn I

ll

nYni

I

THE CHORDS IN THE KEY OF

t t t t t t t t t t t t t t t t t t

' ' C & DZ' l N T H EK E YO F G A R E G T H EC H O R D S

?F, MUSICAT NOTATION

)

t t t t t t t t t t t t t t

ilr'

th

t t t t 't -t -t

Ploy fhe following Chord Srudy G

_t

..,

-.t t

lq e

,.t 'e

Dz

0

E f 21

G

THE KEY OF E M¡NOR ( R e l o t i v et o G M o i o r ) T HEE M INORSCALE H A R M O N I CM O D E

Melodic Mode

o_g

ttDqrk EYes"

,

t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t ,

t t ,

t t t t t t ) ) ) t

Horik Voh ( T h e H o p e)

I

a

, = A Horp Like Stroke a

a

The Woyforin'

Sfronger

THE CHORDS IN THE KEY OF E MINOR : m ,A m & B Z T H EC H O R D lSN T H EK E YO F E M I N O RA R E E a\ MUSICAT NOTATlON

Er

Ar

Br

40

I )

HOW TO COUNT TRIPLETS o. Whot ore TRIpLETS?

) )

A. A group of three notes,ptoyed in the time of two notes of the some kind. . TRIPI.ET.EIGHTSI rEtcHTs-l

) )

equol ro

) rJr

)

-|

|

) ) )

trip-let

2 trip-ler

) ) )

Torontelle

.n. r-71

, )

All ñ

33

stroke

,

t

Counl: I

trip-let

,

2 t r i p - l e t I i r i p -l e t .f

2 .)

t

t t I ¡

/1. ttl

I r-pii fo proctíce both ports.

)

Triplef Duef

I ¡f ) )

)rt I

¡

./

l--

¿ -ra .)

'j

ol FfNE

41

THE KEY OF F T h e K e yo f F w i l l h q v eo n e f l o t . A l l B - N o t e sw i l l b e p l o y e d o n e H o l f - S t e pl o w e r o s s h o w n :

3RD FRET I ST FRET

The F Moior Scole ( T w o O c t o v e s)

A Triplef Etude in F Moior q

o

Melody in F

, ,e gÉÉFrii#f l¡prot? -r k+ \f + IiV'rt F l: IFi-+3 #+ rffiI#f 42

"Aunt Rhody"

t tCqreless

Lovet t

t'Auro Lee"

MUSICAL D O L C E "' S w e e i l y ' AN|MATO...Lively M A E S T O S 'O" M o i e s f i c ' C A N T A B I I E... I n o s i n g i n gs t y l e ' ' 'Quicker' I U' M O S S O ud S F O R Z A N D O . (. s. f . .) . . F o r c i n g t h e t o n e s u d d e n l y l o P MoRENDo...Dyingorfodingowoy.SosTENUTo...Sustoined. A D L I B I T U M ( A p i o c e.r. e. A) t t h e l i b e r f y o f t h e p e r f o r m e r . A T E M P O . . . B o c k t o t h e r e g u l o r t e m p o ' cresc.) Groduolly C R E S C E N D(O (d¡m.)-Groduolly DIMINUENDO grow louder. grow softer.

Romqnce

MAZAS

ANDANTE

trl ú ,1_._1

I

l

rr

l

r Jt Jl

ll

a ?

? / {

l-, ral ,l

I d

F i' I? 'I

f ¿

I

2 f -l.''

'- r

t

, ?l

Jtl

l'¡l1 l14 H

[, r \-,I

44

THE CHORDSIN THE KEY OF lN THEKEYOFFARE:F,Bb& C7. THECHORDS

THls IS A MODIFIEDFORMOF THEF CHORD USEDIN THEKEYOF C. IT I5 RECOMTAENDED FORUSEIN THEKEYOF F.

Bt

Gr Chord Srudy

+.)

THE KEY OF D MINOR The D Minor Scqles

Two Studies in D Minor

,;ALLLL?

-¿ii^

Blqck ls The Color Of MY True Love's ]|c¡ir

Duet in D Minor

I ) ) )

t ) ) ) ,

I ,

I , ) )

'4,

)

a

)

o,

) )

t

)

á' oj

) ) ) ) ) ) ) )

t

47

THE CHORDS IN THE KEY OF D MINOR : m ,G m & A Z T H EC H O R D lSN T H EK E YO F D M I N O RA R E D

Dr

G' Az CHORD STUDY A7

Gm

48

ACTUATPITCH(s,-,,¡ w h e n th e p i tch p l o ceso noie so high obove the stoff thot r eo d i n g b e co me s d i ffi cult the nototion m oy be lower ed one o c to ve .T h i s i s " A ctu o l Pitch" in Tenor Bonio m usic.The ter m Soais used for fhis.

"L o co " me o n s re tu rn b o ck to the or ginol nototion. The notes on the first string in Actuol pitch.

49

THE KEY OF D MAJOR The Key of D Mojor will hove two shorps-

F# ond C#.

A Study In D

p. - Tremolo Lively

She Wore A Yellow Ribbon

50

SIXTEENTH.NOTES l n c o m m o n t i m e f o u r s i x t e e n t h - n o t ee sguol one quorter-note.

They moy be countedin this monner: | -six-teenth-nofes,2-six-teenlh-notes,3-six-teenth-notes,4-six-teenfh-notes.

Exomple sln ieo xe? ne ls h

25 I

x

ln eo et ne ts h

sln i eo t xe ne is h

4s I

x

tn eo e? ne ls h

TABTEOF NOTES AND RESTS Whole Note Hqlf Notes

d

I a

Quorler Notes Eighrh Nofes

¿¿

Sixleenth Notes J a a a

I

A Whole Meosure Rest A Holf Rest

I

I a aa FFFI ¿¿¿¿

¿

I a

..f

A Quorter Rest el An Eighth Resr 7

¿

f-1

l-l

¿ ¿ trt-Ff aa.a

taa

aaaa

.1

A S i x l e e n t hR e s t '1

In lhe fifth ond ninlh meosuresof the following siudy on eighth note is followed by rwo sixteenth n o t e s .ltut 2 f l) a

aa

They moy be countedin this rrronn€r:L-u 7

&a

a

aa

L-lJ 2

&a

A Speed Study ln D Allegro

t'lvnynvny

nvnvnynv

COUNT:TfJI ¿ ,: f-'- ! i ii ;ñ ér- ii éÁ t? ne ts h

ts h

o

&a

9i

s

tl e

X

t.'

et n{) ts h

r1

a

aa

a

i--tl

t-ll

3

4

&a

)a &a

Minuet ln D TENORBANJO DUET Allegretto

ñ

^

tIc""", ñtt

nññn

7 &2&

?v

Arr. by Mel Boy

nnñ

D

j'f]

n

DAz

D

-l -

-l

D ,I 4 7 -l

t)

D

J-fl

?A7

D

)ta

II

( K E Yo F D rl l l i o h )

ol FINE

Dr

D. C. ol FINE

Cieliro lindo Iively

V. .

t3

Drink To Me Only Wirh Thine Eyes Moderoto

53

I?

ü

2

+r

THE CHORDSIN THE KEY OF D T h e C h o r d sI n T h e K e Yo f D A r e : D , G , & A Z

D

G

At

THEKEY OF B MINOR (Relotive to D füoior)

THE B tvllNORSCATES

Etude In B lvlinor a

n

n v ñ

rt-V n--¡---L.

ó

a,

l.

1.:

ñ ¡,n

n \'.

'-'f

I

Chqnson Triste

THE CHORDSIN THE KEY OF B MINOR T H EC H O R D S l N T H EK E YO F A M I N O R A R E :B m ,E m & F : 7 .

m,

r

CHORD STUDY E }I

F#?

TNilE THREE.EIGHT -4-

time. three-eight indicotes

Thissign ffi

a

3 --beots per meosure. 8 - - type of note receivingone beot. (eighf note)

: two beots ond o dotted quorter-note An eighth-note y' : one beot, o quorfer-note f ': three beots. A sixteenth-note =tbeat. g f

Creole Memories Moderoto

n.n

.

n vn

nñ

n !'l

n

n n n

nrln

i n ñ

57

THE DOTTEDEIGHTH NOTE A Dotted Eighih-noteis equol to EXAMPLE:

|\ .

¿t

I

JJ 11

,6

I

equol to

|\N

¿,._.'

rTi",

lJ

1l

6,

,6

G,

33

1616

Country Gordens

I I

Ihe fteyof g_FtAf will hove,_.

,

;::,,%Afl g ond rñ

I I

@

9--';r:nd

:---É

,

&

F nores E ,^r^wilf ,r\

9c

b, e fowered t/2 step.

t tl

I

ll ,

t t f.

t t:

rl

a

t t-r

rá rü t ¡r

-A

'

-r-

;á

I )-

*-.................-

=_=+-f=.= rñ.n-

_=r-

U-

9-

t

-

Í,t41:-

-I

c¡_---

'-'.':=-_====-

I

_l

Al,l,A-BEEm

whencommon rin ne

is to be pfoyed in o r.rrr^^ .^_ r

r h - ^ best L_-, then to counr onty r*o b-";;:":^;:"J:r"..too Eochholf meosure wiff receiveone beof. Ihis is referredto os ..cuf,, lime.

Therime "i:ffi3; ñ

1if;;t*""

fost ro convenienrry counr four beofs, ir is

fimewillbeo verricof finedrownrhroush rheferfer c osshown: d

THE QUARTER-NOT¡ TNIPIET p

Thisgroup of notes.? ? ,Ll_l)

is used exrensively in modern music. T h r e eq u o r r e r - n o t e s wirf be ployed in the some rime required by two. f n p l o y i n g t h í st y p e o f t r i p l e re m p f o y t h e A f f o - B r e v et y p e of count.

r-;*r

r-J -r

r-?-r

ETUDETWO

,' ¿

SIX-EIGHTTIME Thissign

indicotes six-eight time.

;

ó8-

I

I I )

I I )

beofs per meosure type of note receivingone beot

AnEighth-notej:on:beot,cquorter-noteJ:twobeotsondodottedquorternoteJ.-three beots, o sixleenth-note - y2 f,¿sl. .f, six-eighttime consists of two unitscontoiningthreebeorseoch. ft w¡ff be counted' ,l

FFT

r! ¿ wirh rhe occentson beotsone ond four. t - 2l - E - 1|- t - O I

) )

TRIPIETETUDEIN B.FLATMAJOR

) )

t ) )

I I I I ) ) ) ) ) ) I Andonte

On Wings of Song

FETIXITIENDELSSoHN Arr. by Mef Boy

THE CHORDSIN THE KEY OF B.FLAT T H EC H OR D S tN T HEKEYOF B- FLAT ,ARE: B[, E$ & r z

il,, IAUSICALNOTATION

Bb

ffi,

Eb

Fz

CHORD STUDY

t I

THEKEY OF G MINOR

tt-

(Relotiveto B-flot Mcior)

3 I

ThekeyofGMinorwillhovethesomekeysignotureosB-f|otMoior.

THE G MINOR SCALES

a {¡ -

t t t t t t t t t t t É

t t J

t t t

úoltr

FromThe Poet qnd Peqsqnf Overlure

Allegretto

.< --<¡

-{ : = : -,

-t

-a -t

-a ,r-Q_'

-{

Y tqrc ----z "l

=--I¡-'

E I E I É

t-I

i-t it

ttSuhqnqtt Arr. by Mel Boy

" l3i ri

[empo ¡ l l -

F!'¡ n

64

,

THECHORDSIN THEKEY OF G MINOR

)

& D7' T H EC H O R D Sl N T H E K E YO F G M I N O RA R E :G m ' C m '

) )

t

MUSICAL NOTAIION

)

t t t t t t t t t t t t t t t t t t t t t t t t t t t t

GM

CM ?

rr

Ct

D7

a a a a {

Chord Study

{ Gll

J

-t -.

c,

(qt l.*

{

-t -

f

EÉ -..

THEKEY OF A The key of A will hove three shorps.(F#, C#, ond G#.)

THEA SCATE

*Optionol fingering

SCATESTUDY

¡ v ñ I Ii

g

4 St'o------'-'----------------;

Mqriq

KEY OF A 'IIINOR

D.C.ol FINE

66

t : :

THE NOTESON THESEVENTHFRET

: j'

j'

t !

t t t t t t t t t t t t t t t t t

ANOTHERSCATESTUDYIN A MAJOR NV-V

34

|rv|-lt

r-)

24

Hqppy Frefs Allegretto

a t t t t t t t !,

a

a a a a

a t t t t t )

Á,# a

--__I

.- _1_a

nitard 67

rr

The SpeedwoY

R,omqnce Moderoto DUET

KEY OF A MINOR

12--e

THE CHORDSIN THE KEY OF A T H E C H O R D SI N T H E KEYOF A ARE:A, D & EZ.

A

D

E7

CHORDSTUDY JI

-t-¿ ü -

Gte

E;

MORE CHROMATICSIGNS Up to fhis point we hove studiedond used ihe Shorp(f), the Flor{b),ond the Noturol (h).Thestudent is fqmilior by now with iheir function.We now introducethe Double-Shorp ond the DoubleFlot. x :

Double-Shorp. A Double-Shorp will roisethe soundof o tone two frets.

bb : DoubleFlot. A Double-Flotwill lower the soundof o lone two frets. A notursl will cqnceloll shorps,flots, double-shorpsond double-flots.lf o nole hos been doubleshorpedor double floited, the reiurn to one shorp or flot will requireo noturol sign followed by t h e d e s i r e ds h o r po r f l o t .

THEKEY OF F# M¡NOR Relotiveto A Moior

Two FI Minor Scoles

Fr I{INOR HAR^ ONIC

A TABTEOF NOTESON THE FIRST.SECOND,THIRDAND FOURTHSTRINGS

I t ) ¡) It

!

t t t t

Folk Song

)

t 3

t t t t t t t t t

cri

a a

=----

a

a a t t

'.¿7 /^'i

a t t

71

THE CHORDSIN THE KEY OF F-SHARPMINOR N T H EK E YO FF - S H A RMPI N O RA R EF, fm , B m& c f 7 T H EC H O R DlS MUSICALNOTATION

rF' Ff'n

B,n

Ctz

CHORD STUDY cli

THE E.FLATSCALE

THEKEY OF E-FLAT

will be lowered o Holf-SteP' All B' E ond A notes flots' three hove The key of E-FLATwill

Bequtiful Dreqmer

; I

t )

I ) ) ) ) ) ) ) ) I

SIGNS APPERTAININGTO EXPRESSIONAND PHRASING ;; T h e S t o c c o t o :( f ' l |

. o n e s d e s i g n e di n i h i s m o n n e r w i l l b e p l o y e d i n o | | | I i n d i c o t eS t o c c o t o T ", disconneciedstyle with emphosis.

);a)

f f f f ::: ))a I f | )

.,

: S h o r t l i n e s o v e r n o t e s i n d i c o t ee m p h o s i so n d i n d i v i d u o l i t y . , E v e r yt o n e m o r k e d t h i s w o y s h o u l db e e m p h o s i z e dí n d i v i d u o l l yo n d s l i g h t l y s e p o r o t e d .

, Accent with sudden force.

Legoto(-_).Al|toneswillbeconnectedondp|oyedinof|owingsty|e'

-----The Swell (

-H

#ÉJ

Slow

, Groduol diminishing of intensity. ==-

nJni -i

) : l n c r e o s eo n d d i m i n i s hv o l u m e .

. i--r-,ffi-

' a -=^- ¡''-:-- -É--,

Elirj trfri tffi?r#ll

a I I t

t t I

GRACE NOTES Groce notes ore smoll-sized noles, which subfroci their vofue from the note they The Technicolterm for the grqce note is Appoggioturo. The groce note wirf be crossedqt the end ond wi, be proyed the some os sturs.

t t t t t t t t t

EXAMPTE

SCATESTUDY

I

t I

t t t t t I I t t t

t )

Tenuto( A l : Hold the tone its fulf volue. Rubolo:Siolenfrom one tone ond odded io o tone preceding. tuft Pouset// I ' An exoggerotedpouse. usuoltyfollowso notethot is held by o hold sign.(fermoto) Exomple: ? ll |" TheCommo{ , } is usedsomelimes to indicoteon interruptionÍn the ffow of tone.

) ) )

Shenondooh

) )

Slow

) I I

--

THECHORDSIN THEKEY OF E-FLAT T R E :E f' A b & B b 7' T H EC H O R D Sl N T H EK E YO F E - F L A A

IAUSICALNOTATION

115

+-

^

<1Y

\

Bbt

v ó

CHORDSTUDY Bni

) )

THEKEY OF C MINOR

) )

lRelotive to E| Moior)

)

The C Minor scoleswill be ployed in the third positionwith the exceptionof the highernoteswhich will be ployed os shown.

) )

THEC MINOR SCATES

) ) ) ) ) ) ) ) )

T h e f o l l o w i n g e t u d e w i l l b e i n o l l o - b r e v eo r c u t i i m e . f n g r o d e f o u r f h i s t y p e o f t i m e h o s b e e n e x p l o i n e d .W h e n p l o y i n g t h e q u o r t e r - n o t et r i p l e t s ,d i v i d e t h e m e o s u r e si n t o t w o b e o t s g i v i n g e q c h s e t o f i r i p l e t s ,o n e b e o t e o c h .

) )

t

ETUDEIN C MINOR

) )

'/

.l.1|.1.

t

) t',uttt: 1

) :/

) ) o-

) ) ) )

A a-

) ) )

Melodic

) ) ) ) ) ) ) ) )

#

3

) ) ) I I

77

--J

THE CHORDSIN THE KEY OF C.MINOR I N T H EK E YO F C M I N O RA R E :C m , F m & G Z ' T H EC H O R D S

a, NOTATION MUSICAT CM

CHORDSTUDY

7B

_

----i Il

Il

:

I

t t t t t t t t t t t t t

THE SLUR To execute oscending slurs of two noles, the lower note ¡s to be ployed ond the finger of the left h o n d d e s c e n d sh o m m e r l í k e u p o n t h e h i g h e r n o t e c r e o t i n g i h e t o n e d e s i r e d . Descendingslurs ore execuled by first fingering the notesto be ployed with the left hond. Strikethe higher nole ond by drowing the finger sidewoys off the string, the lower note will ouiomoticolly sound. Slurred notes will be connected by o curved line. ( ^ )

ASCENDINGSTURS +l fi

DESCENDINGSIURS

I

t t t t t t t 3 t t I t t

THE SIIDE The SIide is performed by one finger of the left hond sliding over the frets from the first fo the second note. The first note is struckond the second note is sounded by the slide. T h e S l i d ei s i n d i c o t e db y f h e f o l l o w i n g s i g n :

FI t'rz-

3

t )

FFI ,¡t¿,^

THE SNAP T h e S N A P i s s i m i l i o rt o t h e s l u r i n e x e c u t i o n T . h e s e c o n dn o t e o f t h e S N A P w i l f u s u o l l y b e o n o p e n stríng.

)

t t tl

t

The first note is ployed ond immediotely the left hond finger pulls the string sidewoysos it slidesoff the fingerboord. When snopping o nole to o closed nole, both notes should be held before executingthe snop effect.

a a a !)

t t t t t t

79

THE KEY OF A-FLAT be rowered FtATs.A, B, E' A ond D wi* The key of A-FLATwi, hove FOUR b-e-o-d' ore eosyto by spelling

THE A.FLAT gCALE

Wqltz ln A'Flqt

1/zsrep-Thefro*ed notes

THE TRILT When o note olternotesoccording to ifs volue, very ropidly wiih o tone or holf-tone obove it the effect produced is termed ihe trill. The best produced by picking the first or principol note ond slurring the upper ouxiliory note.

writ¡en I

4,'

t^

t,

a Av l.

-o

Ptayed I TRIPLETETUDEIN A.FLAT ',

n

V

f'l '^

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ll

\l

'

-

-t),13

Corry Me Bqck To Old Virginio

n

v fl

11l:

THE CHORDSIN THE KEY OF A.FLAT T H EC H O R D S l N T H EK E YO F A - F L A TA R E :A f , D [ o n d E f Z .

ffi

IAUSICALNOTATION

Ab

l) L, 2 l_

, o -_________11

Db

CHORDSTUDY

A"r-=

THE KEY OF F 'I,IINOR (Relotive to A-Flor Moiorl

HAR'IIONIC

THE F MINOR SCATES

Greensleeves

SYNCOPATION S y n c o p o t i o nm e o n s i r r e g u l o r i t yo f r h y f h m . T h e o c c e n t w i l l f o l l o n f h e b e o f s n o t n o t u r o l l y o c c e n t e d . T h e s c o l es t u d i e sb e l o w w i l l i n t r o d u c et h r e e t y p e s o f s y n c o p o f i o n .

r h e m o i o rs c o l ew i l l b e c o u n f e, dl 7 I f a t 824 S4+E

SYNCOPATIONETUDE

THECHORDSIN THEKEY OF F M¡NOR THECHORDSlN THEKEYOF F MINORARE:Fm,Bf m & CZ

'$USICALNOIATION

Ft

Ct

CHOR,DSTUDY Bill

C1

THE GRUPPETTO

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I I I I

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of srocenotescomposed of rheprincipof nore,ihe noreimmediorely obove

It is ployed three woys: l . B e g i n n i nw g i t h t h e note obove ond designofedos ( ca )

I

Wri¡ten

I I I

PIayed

I I I

2 . B e g i n n i n gw i t h t h e n o t e b e l o w o n d d e s i g n o t e d os ( S

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Written

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I I I l )

PIayed 3 . B e g i n n i nw g i t h t h e p r i n c i p o fn o t e o n d d e s i g n o t e do s ( . h g ¡ )

h ca. ¡2 I

Wri¡ten

a!

) I

PIoyed lf o littfe note of the Gruppeito is to be oltered by o s h o r p o r f l o t , i t i s t h u s i n d i c o t e df o r t h e n o t e oboveot ( á ) ond thusfor f he note befow.( ) f

Wri¡ten

PIayed W h e nt h e G r uppetto sfonds between two p r i n c i p o l n o l e s , i f i s o l w o y s c o m m e n c e d with the upper nole.

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Played

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THE KEY OF E MAJOR, T h e k e y o f E M o i o r w i l l h o v e f o u r s h o r p s .A l l F , C , G , o n d D n o t e sw i l l b e s h o r p e d .

THE E MAJOR SCALE

IN E MAJOR EXERCISE

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t t t I t t t I

t

HAR,MONICS Hormonics ore produced by plocing the finger of the left hond dírecfly over certoin frets pressing very lightly stopping the open string vibrotions. T h e y o r e p r o d u c e do t t h e 1 Z t h , 7 t h , 4 t h o n d 3 r d f r e t s . Borely touch the strings ot ony of the obove frets quickly removing the finger os soon os the string hos been struck. (Teochershould demonstrote) H o r m o n i c sw i l l b e d e s i g n o t e db y t h e o b b r e v i o i i o n s :H o r . 1 2 , H o r . 7 , H o r . 5 , o n d H o r . 4 p l o c e d over or under the noie to be treoted in this monnner. Due io the foci thol hormonicsore seldom used in Tenor Bonjo Music no exomples will be shown,

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t t t t t t t

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THE MORDENTE The Mordenteis o frogmentof o Trill. lt is indicotedby the sign: ,*

Wrillen

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THECHORDSIN THEKEY OF E MAJOR T H EC H O R DISN T H EK E YO FEM A J O RA R EE : , A &B 7

IAUSICATNOTATION

E

E

A

Chord Study

THEKEY OF C SHARPMINOR (Refotive to E Moior)

ETUDEIN C-SHARPMINOR

T r e m o l oq u o r t e r n o t e s 2 I Lorgo

PRETUDE Opus 28 No. 20

F R E D E R IC CH O P I N

THE CHORDSIN THE KEY OF C.SHARPMINOR T H EC H O R DlS N T H EK E YO FC - S H A RMPI N O RA R EC ' f m , F fr n& G # 7

iF

NOTATION AAUSICAT

Br?n' Cf'

F#.

Gfrt

CHORDSTUDY ¡'rlt

ct¡

I )

THE KEY OF D.FLAT

) )

The key of D! hqs five flots. They ore B[, Eb,A[, D[ ond G[.

) ) ) ) )

t t

THESCATE

I I t I t

t

STUDY IN D.FIAT

I l I I t ¡

I I

t I ) )

Sweet Befsy From Pike

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I

5

a-r '?

91

THECHORDSrN THEKEY OF Db MAJOR T H EC H O R DrSNT H EK E YO FD bM A J O RA R ED , f , G b& A b 7

MUSICALNOTATION

Db

Gb

Abt

CHORDSTUDY

THEKEY OF B.FIAT MINOR {Relqtive to D-Flqt Moior) 8ta

l,tELODlC

tb)ir;13: ETUDE HARMONIC 'ITODE

"Lozy Evening"

I r-) llf\

IiEt BAY

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f

THECHORDSIN THEKEY OF B.FLATMINOR : b t , E fm & F Z T I N O RA R E B T H EC H O R DlS N T H EK E YO FB ' F L AM MUSICATNOTATION

Ft

Chord Study

THE KEY OF B The key of B hos five shorps.They ore F, C#, G#, Df ond A.

THESCATE

ETUDEIN B

-B

t- 1^ío

3,t 1--7

How Cqn | leove Thee

4

2r

g

i

1- r

T E N O RB A N J O DUET

Duet In B Moior

96

THE CHORDSIN THE KEY OF B MAJOR T H EC H O R DIS N T H EK E YO FB M A J O RA R E , : B & , EF i l 7

MUSICATNOTATION

B

E

r#t

CHORDSTUDY

THE KEY OF G-SHARPMINOR (Relotive to B-Moior)

l"rT I ' I

ttRhumbqtt

I

r

--1

THE KEYS OF F.SHARPAND G-FLAT MAJOR Thekeyof F-shorphossixshorps. Theyore Ff, cf, G# D#,A# ond Ef. Thekeyof G-Flothossixflors.Theyore B!, Eb,Ab Db,Gb ond C[. THEYAREENHARAAONIC KEYSAND WILLBE DEVEIOPED TOGETHER.

THE F.SHARPAND G.FLAT scArEs 4)

ETUDE

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2!)

MAJOR qNd G'FLAT MAJOR CHORDSIN THE KEY OF F-SHARPMoior ore Ff ' B & CI7 TheChordsin the Keyof F-Shorp TheChordsin the Keyof G-FlotMoiorore G[

' Cb A Dh7 ¡AUSICAtNOTATION

tf

F# or

Gb

B,n

or

cb'

ctt € 1_

c#z or Dbt

CHORD STUDY c$t

THE KEYS OF D.SHARP MINOR AND E-FLATMINOR (Relqtive to F-Shorp ond G-Flqt Moior)

THE HARMONIC MODE Df MINOR

J'

Eh t tNoR

THEMETODICMODE

Wirchcrqft

THE CHORDSIN THE KEYSOF D.SHARPMINOR AND E-FIAT MINOR T h e C h o r d si n t h e K e y o f D - S h o r pM i n o ro r e : D f i m ,G f m & A f 7 t i n o ro r e :E fm , A f m & B $ 7 T h eC h o r d si n f h e K e yo f E - F l oM M U S I C A TN O T A T I O N l)Í]l

D#. or Eb'

(itU 24 4

Gft" or

Ab'

) ( )

e-*3

A#z or Bbt

CHORDSTUDY GfM

A Toble of Moior Key Signorures D

No sharps or I lats

One sharp F*

Key of F

One flat

Tv'o sharps Three sharps

Four sharps

Five sharps

S i x s h a r ppss

Key of Bb

Df-At-El F#-cf-Gfl Ff-c#-G#-D# Ff-c$-c*-Dg-Al Ff -c$-G#ey of Db lley of Gb K:y o f A b Key of E b

Tr.r.o flats

Three flats

F$-cf,

Bb-Eb

Bb

Key of

E

ofA

Fivc flats

Four l'lats

Bb-Eb-Ab

Six flats

b b- E b-A b- D b-c b-Cb Bb-Eb-Ab-Db Bb-Eb-Ab-Db-cB

The Circle of Keys

S U B D

D

o

o

M I N A N T

M I N A N T

K E Y

K E Y

s

s

rEnharmonic G o i n g o r o u n d f h e c i r c l ec l o c k w i s ew i l l t o k e u s t h r o u g h t h e D o m i n o n tk e y s . s ei l l t o k e u s t h r o u g ht h e S u b D o m i n o n lk e y s . G o i n g o r o u n d i h e c i r c l ec o u n t e r - c l o c k w i w * E n h o r m o n i cW : r i t t e n d i f f e r e n t l yo s l o n o t o t i o nb u t s o u n d i n gt h e s o m e .

The Moior qnd Relqtive Minor Keys r. Am

F I) ru

B',

E'

Ab

Db

(irn

(l rrr

Ful

Bbln

GbFflB Ebnr DHm

E A Gflnr C F r u l'fl nr

TO BE MEMORIZED

r03

D Brrr

G Etu

Eaerybody'sMusic Tbacher

lü

SavroFFlqql

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