FOREWORD

By creating accompaniment for two or three new melodies routinely, the

ability to quickly sense a change of harmony is strengthened. By repeatedly
choosing chords, progressions, rhythmic styles and bass patterns, both the
decision-making and the hearing skills are targeted and stimulated - to a
point where creating an appropriate accompaniment becomes intuitive. To
help reach this goal, the Keyboard Accompaniment Series provide a wide
variety of melodies for practice and enjoyment.

Developing your own expression, exploring chords and experiencing the joy
of creating, can be fascinating and exciting! Listen carefully and have fun!

Musically yours,

Gayle Dunsmoor

Keyboard Accompaniment
PREPARATORY
 Copyright © 2003 QuenMar Incorporated

All rights reserved

No part of this publication may be copied, reproduced, translated or converted to any photographic or electronic medium or
machine readable form or transmitted by any means, photographic, electronic or mechanical, including photocopy, recording
or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher.
Original music, arrangements, images and original music notation symbols are the property of QuenMar Music Incorporated.

QuenMar Music Incorporated

website: www.quenmar.com

Second printing, March 2021

---------------------------------------------------------------------------------------------------------------------

National Library of Canada Cataloguing in Publication

Dunsmoor, Gayle MacAulay
Keyboard accompaniment [music]: Preparatory / Gayle MacAulay Dunsmoor

ISBN 0-978-0-9782758-6-0

1. Keyboard instrument Method–Self-instruction.

2. Musical Accompaniment – Instruction and study.
3. Keyboard instrument – Music – Teaching pieces.
4. Improvisation (Music) – Instruction and study.
5. Keyboard harmony. I. Title.
MT239.M1132003 786’.147’076 C2003-902047-9

-----------------------------------------------------------------------------------------------------------------------

“The Keyboard Accompaniment Course”

is a registered trademark of QuenMar Music Incorporated

ii © QuenMar Music
 KEYBOARD ACCOMPANIMENT OBJECTIVES
1. Give the knowledge and technical skills necessary to hear and/or look at a melody, in any key, and create a great accompaniment.

2. Teach students to recognize and anticipate the need for a harmonic change.

3. Provide many melodies to give students ample practice choosing appropriate chords.

4. Provide a wide variety of styles and rhythms so students will be flexible and adapt easily to new styles and rhythms.

5. Give confidence to explore chords and rhythms other than those suggested by arranged music.

6. Generally improve students’ sense of timing and rhythm by providing their own accompaniment.

7. Present previously unpublished original works - carefully graduated in the areas of sight-reading and technical requirements.

8. Train students not only to anticipate harmonic changes but to hear and reproduce intervals.

9. Facilitate the understanding of keys and their relationships.

10. Progressively familiarize students with chord progressions.

11. Provide effective tools for modulation and key changing.

12. Facilitate transposition.

13. Stimulate hearing skills to a point where sensing chord changes and creating accompaniments becomes intuitive.

14. Give the encouragement and confidence for students to find their own individual accompaniment style.

15. Teach how to read from a lead sheet.

16. Increase opportunities for playing with other musicians.

17. Give freedom, when desired, to play the piano without notation.

18. Develop an approach to learning music that will complement any other teaching method.

19. Help students achieve a well-rounded musical education.

© QuenMar Music iii

 Contents
Pages
2&3 The Grand Staff; Time Signatures; Notes; Rests .. Bar lines; Measures; Notes and Rest Values
4&5 C Major and Connecting Smoothly …………….. C Major Scale; Connecting Smoothly
6 Stepping Up and Stepping Down ……………….. RH C1 Hand Position; Ritardando or Ritard (rit.); DUET
7 Hands Together with Octaves …………………... LH C5 Hand Position; Phrase and Sentence; Repeat Sign; DUET
8 Sharing Middle C ……………………………….. LH C1 Hand Position; DUET
9 Heading Out …………………………………….. Eighth notes; Accent; DUET
10 Sailing ………………………………………….. Dynamics; DUET
11 Skipping Song …………………………………... Tie; Breath Mark; DUET
12 & 13 The Train ……………………………………….. Chromatic Step; Sharp; Flat; Natural; Slur; Coda; Rallentando (rall.) DUET
14 Measures with Two, A Jolly Tune ……………… 2/4 Time; Rhythmic Accents; Bass Clef Removed;
15 From a Symphony ………………………………. Auxiliary Notes
16 Moving Together ………………………………... Steps, Skips and Jumps; DUET
17 Mary Had a Little Lamb ………………………… 3rds Between Hands (3rds b/w Hands)
18 Sixth or Tenth …………………………………… 4/4 Time; Rhythmic Accents; Writing in 6ths & 10ths
19 Crossing to Sixths and Tenths ………………….. Harmony Crossing (Har x)
20 Left Hand for Harmony …………………………. Staccato; Fermata or Pause; Writing in 6ths & 10ths
21 Right Hand for Harmony ………………………... Triad I & V (C & G); Roman Numeral Names; Triads; DUET
22 Marching On ……………………………………. RH C Scale 2 Octaves; Triad Sequential (Seq.) & Split; March Defined
23 Measures with Three ……………………………. 3/4 Time; Rhythmic Accents; Lower Auxiliary (aux.)
24 Back and Forth ………………………………….. LH C2; LH C Scale; Upper & Lower Aux.; 8va; 8vb; Bass Notes (BN)
25 Bouncing the Ball ……………………………….. a tempo; BN From Lower Octave Range; DUET
26 Up and Away! …………………………………… Passing Notes (PN)
27 Cleaning Day ……………………………………. LH Bass Notes (3rd, 5th, 7th); Aux. on the 3rd
28 & 29 More with Four (Primo & Secondo) ..………………. D.C. al Fine; 5th of I Before V - I Endings.
30 & 31 Row, Row, Row Your Boat …………………….. LH Over RH; 3rds b/w Hands; DUET
32 Chords and Inversions …………………………… I, V, V7 with Inversions; Definition for Chord & Triad
33 Stretching and Holding ………………………….. Joining I to V(7)
34 Sur le Pont D’Avignon …………………………. Aux. on the 7th ; Indicating LH BN; Coda; DUET
36 Two-Two Encore ……………………………….. 2/2 Time; DUET
37 Cutting Time ……………………………………. Passing Note (PN) Symbols
38 A Wish for Cats and Dogs ……………………… Introduction; Joining Chords; Solo Break; Indicating LH BN
39 The Long Jump ………………………………….. Introduction; Chords Solid & Split; Indicating LH BN

iv © QuenMar Music
Contents Cont’d
Pages
40 The Can-Can ………………………….. Split Chord Ascending; Can-Can Defined
41 Pretty Flowers ………………………… Split Chord Descending
42 & 43 Something New ……………………..... RH D1; KC /V7 (Key Change); DUET
44 & 45 A Walk in the Park …………………… Chromatic Step (CS); The Upbeat; Triad notes 1 CS
46 & 47 The Woodpeckers ……………………. RH D1; KC; DUET
48 London Bridge; LH Scaling Up ……… LH C Major Scale; RH Solid Chords; Dotted Quarter Note; DUET
49 London Bridge with Variation ……….. LH Melody & RH Solid Chords; Variation with Triad Notes 1 CS
50 RH Scaling up ………………………… LH Solid, Split, Alternating Bass (AB)
51 Tuba Time ……………………………. LH AB; Tuba Defined
52 & 53 Soldier’s Joy ………………………….. Triad IV; LH Solid & Split
54 Twinkle, Twinkle, Little Star ………… Triad IV; DUET

55 - 67 TAKING THE CHALLENGE

Create Your Own Accompaniment for Folksongs
This Old Man; Humpty Dumpty;
Pop! Goes the Weasel;
Go Tell Aunt Rhody; Hot Cross Buns;
Boys and Girls Come Out to Play;
The Old Gray Mare; I’m a Little Teapot;
Are You Sleeping?; Merrily We Roll Along;
Skip to My Lou; White Coral Bells; Fais Dodo
Lavender’s Blue; Baa, Baa, Black Sheep;
Old Folks at Home
ADDING IT UP
68 C Scale; Triad I & Inversions; Triad V & Inversions; Chord V7 & Inversions
69 Note Helpers
70 Notes in Spaces
71 Notes on Lines
72 Test Yourself
73 Signs, Symbols & Abbreviations
74 Song Index
75 From the Author

© QuenMar Music v
 RECOMMENDED BOOKS

For VERY BEGINNERS

MELODY ADVENTURES PRIMER A & B

along with this book.

For KEYBOARD ACCOMPANIMENT BEGINNERS

MELODY ADVENTURES BASICS A & B

along with this book.

Not only will you recognize many of the melodies from this book,

but the interesting arrangements will provide additional support

for creating your own accompaniment.

vi © QuenMar Music
 ABOUT THE KEYBOARD ACCOMPANIMENT BOOKS

These books have been written to provide an effective hands-on method that encourages exploration of your

‘own’ creative piano keyboard skills. By routinely providing accompaniment for two or three new melodies,

a feel for the harmonic changes, chord arrangements, progressions, styles and rhythms, gradually develops.

An advantage of the QuenMar Keyboard Accompaniment Books is that sight reading and technical skills

progress equally with chord recognition and creative abilities; all areas benefit.

TEACHERS: Since there is seldom time at the end of a lesson, checking accompaniments
and assigning new melodies might be best at the beginning of the lesson.
As for chord notation, the Letter names prepare students for reading popular music.
Roman numeral names prepare students to play songs/melodies in other keys -
without changing the chord names.

ADULT KA BEGINNERS: Keyboard Accompaniment can be a self-study.

© QuenMar Music vii

 In a world of peace and love -

music would be the universal language.

Henry David Thoreau

viii
 Music Fundamentals
with

Melodies and Songs

DUETS: designed to be instructional and remain within the basic chord structure

1
 The Grand Staff
TREBLE CLEF SIGN BAR BAR BAR FINAL

&
LINE LINE LINE BAR LINE
5 4
}
}
3 4 3 Treble
2 1 2 Staff
1
Brace Staves have 5 lines Staves have 4 spaces

?
} Bass
Staff
f MEASURE g MEASURE MEASURE MEASURE
BASS CLEF SIGN

Time Signature
Two numbers after the Treble and Bass Clefs are called the TIME SIGNATURE or TIME SIGN.
The UPPER number indicates how many beats and therefore, how many counts per measure,
The LOWER number indicates what kind of note receives one beat.
Example: ‘4’ as the lower number, indicates that a quarter note ( Q ) or quarter rest ( Î ) will be 1 count, or 1 beat.
Therefore, a half note ( ú ) receives 2 beats; a half note with a dot ( ú .) 3 beats; a whole note ( w ) 4 beats.
Time Time Time

24i 3 44i
Signature Signature Signature

& &4 ú. &

i

Ï Ï ú Ï Ï Ï Ï Ï Ï Ï w
COUNT 1 2 1 2 COUNT 1 2 3 1 2 3 COUNT 1 2 3 4 1 2 3 4

Beats and Pulse

BEATS: Time units with alterable duration. (Composers expect the performer to establish and maintain
a series of equal time durations or beats.)
PULSE: When time is measured with a series of steady beats, we sense a regular Pulse.

2 © QuenMar Music
 Time Values in 2/4, 3/4 & 4/4 Time
˚
© Eighth Note = 1/2 beat ===
‰ Eighth Rest = 1/2 beat

q Quarter Note = 1 beat Œ

=== Quarter Rest = 1 beat

h Half Note = 2 beats Ó

=== Half Rest (sits) = 2 beats

h. Œ Œ Œ
Dotted Half Note = 3 beats === Ó
or === Whole Rest (hangs) = 3 beats

w Whole Note = 4 beats ===

Ó
Whole Rest = 4 beats in
4
4 time, or
= 1 measure in any time signature

Clap and count the following:

Clapping and Counting
& 42 œ œ ˙ œ œ œ œ Œ œ œ ˙ œ œ œ œ œ Œ
1 2 1 2 1 2 half 1 2 1 2 1 2 1 half 2 half 1 2

& 43 œ Œ Œ ˙. œ œ œ œ œ ˙ Œ œ œ œ ˙. œ œ œ œ ˙ Œ
1 2 3 1 2 3 1 half 2 half 3 1 2 3 1 2 3 1 2 3 1 2 half 3 1 2 3

& 44 œ œ œ œ w œ œ œ œ œ œ ˙.
Œ
1 2 3 4 1 2 3 4 1 2 3 half 4 half 1 2 3 4
© QuenMar Music 3
 C Major
The Scale
The Scale is the foundation upon which music is written. All melodies are composed
of tones* of a scale in various patterns. Most of the melodies in this book are in the
key of C Major. This means the notes are generally from the C Major scale (see
below) and for finality, end on the keynote or the home tone which is letter named ‘C’.
* Tone: sound that can be sung, hummed or whistled.
Note: Graphic Symbol representing a tone.

M
I
D
D
L
E

& Ï Ï Ï Ï Ï Ï
Ï Ï
?Ï Ï Ï Ï Ï Ï Ï
Ï
RH C D E F G A B C

LH C D E F G A B C
The above C Major scale continues for two octaves. An octave is an interval spanning eight letter names.
For example: C to the following C is one octave.
4 © QuenMar Music
 ? Ï Ï ÏÏÏ
5 4 3 2 1 1 2 3 4 5

LH RH & Ï Ï Ï Ï Ï
C D E F G C D E F G

Finger Numbers

4 3 2 2 3 4
Playing, Holding & Releasing Keys
5 5
1. Press key 1 1
2. Hold key down
3. Press next key while holding
first key down
4. See both keys down
5. Release first key
Left Hand (LH) Right Hand (RH)

Connecting Tones Smoothly*

Left Hand Right Hand

• Press C down with LH 5th finger • Press C down with RH thumb

• While holding C down, press D with 4th finger • While holding C down press D with 2nd finger
• Once both keys are down, release C • Once both keys are down, release C
• While holding D down, press E with 3rd finger • While holding D down, press E with 3rd finger
• Once both keys are down, release D • Once keys are down, release D
continue same to G continue same to G
*Connecting tones is generally referred to as playing ‘legato’.
© QuenMar Music 5
 Note & rest values (p 3)

rit. Ritardando or Ritard

Holding back the tempo

RH C1 q = 100-116
Stepping Up and Stepping Down
4 Œ Œ
LH C5

& 4 1œ 2œ 3 œ 4 œ ˙. 1œ œ
2 œ œ ˙.
?4 œ œ œ œ ˙.
C D E F G F E D. Climb - ing up to G

4 ∑ w Œ
1 2 3 4 5 1

&1 œ œ ˙. Œ œ œ œ Œ
œ 2œ œ ˙.
? œ œ œ œ œ œ
One, two, three, four, one, two, three, four. Gon - na do this more!

∑ œ œ ˙. Œ
1 2 1 rit. 4 5
DUET/ACCOMPANIMENT
?4 œ œ œ œ Œ Œ 1œ œ Œ .. Œ
1. 2.

4 Œ
œ œ œ 5œ
#œ œ œœœœ
œ œ 5œ œ œ œ œ œ
6 © QuenMar Music
 .. Repeat Sign
PHRASE AND SENTENCE
Repeat from the beginning
Generally, a phrase is 4 measures long.
LH C5: C hand position A musical sentence is 8 measures long.
5th finger on the 1st C below Two phrases form a sentence.
Middle C.
When a melody has words, punctuation
Octave: 8 letter names from the lowest
to highest note (p 4) often indicates the musical phrasing.

  = 100-116
 LH C 
  1 2      
5

3  4 5 4
  1  2 
 
1. C D E F G F E D Note names are the same,

             
2. C D E F G F E D This phrase * ends on 'G'.

5 4 3 2 1 2 5 4

   ..
5

 1 
2   5
  4 5
   
 
Step - ping


up and step - ping down and watch - ing fin - gers train.

           ..
Up the keys and down the keys; then head on home to 'C'.

5 4 1 2 2 1 4 5
* Phrase: see above

                      5                   
DUET/ACCOMPANIMENT

           
© QuenMar Music
 The journey of a thousand miles
begins with a single step.
LH C1: Thumb plays Middle C Lao Tzu
Fingers descend in order.

q = 112-120 Sharing Middle C

4
&4
LH C 1
∑ ∑ Œ
œ œ 3 œ œ ˙.
œ œ œ œ œ Fing
˙ - ers ˙
Count - ing all the way.
œ œ œ ˙
C B A G 1 2 3 4

? 44 œ Œ
o'er each key.

1 2 3 4 1 2 1 4

& ∑ ∑ œ Œ
œ œ œ ˙.
..
3

?œ œ ˙ C..
˙
Prac - tice ev - 'ry day.
œ œ œ œ ˙
Play - ing live - ly, 1 2 3 4

œ œ
Shar - ing mid - dle

Π..

DUET/ACCOMPANIMENT œœ œœœœ œ œ œ œ 5 œ œ œœœœœœ œ œ œ œ

œœ œ œœ œ œ œ œ œ œœ .
4
&4 œ œ ˙ Œ œœœœœœœœ œ œ œ Œ Œ.

8 © QuenMar Music
 q q = One Beat
These notes share
the beat equally. Perseverance is not a long race; it is
e e = q q = q many short races one after another.

>
half half (h)
Walter Elliott
Accent
Note played louder

q = 112-120
Heading Out
4 LH C1
Œ
& 4 1œ œ œ œ 2
5œ œ
4
œ œ œ œ œ œ 2
˙.
?4 œ œ
Head - ing
œ œ
out to meet
œ œ
my
œ
friend
œ
and
œ œ œ forœ
have this day
˙
play.
œ Œ
4
1 2 5 4 2

Œ œ> Ó
5

&
œ œ œ œ 5œ œ œ œ 2œ
3 œ œ œ œ
5

>œ
?w
Base - ball, back - pack,
˙.
skate - board and my cap.
w
No way I'll be
œ
bored, No Way!

Œ Œ Œ

œ œ œ œ œ œœœœ˙ œ . œJ œ œ œ œ œ œ œ œ œ
DUET/ACCOMPANIMENT

4 œ . œ œ . œ œ œ œ œ œ . œ œ œ œ œ . œ œ . œ
&4 J J œ œŒ
5

J J J Œ
© QuenMar Music 9
 
Reminder
Always put in dynamics
 very soft  soft
 moderately loud The difference between try and

 loud  very loud triumph is just a little umph!

Gradually louder
Marvin Phillips 
Gradually softer


  1  
= 108-120

     
LH C1

  2
5
3   
    
Sail - ing on the
   
waves;
  o - cean
feel that
    
breeze.


1 2

     
5 (p 6)

 2     
LH C5

   3


Tack - ing, jib - ing;
 ex - cit - ing.
so
2
4
learn - ing this with ease,

a - ah!

 1
3
5
 
2 1 rit.

                
DUET/ACCOMPANIMENT
      
   
  
5

   
© QuenMar Music
Tie A curved line between two (or more)
 Breath Marks indicate the beginning of
a phrase. The key before the Breath Mark
notes with the same name and in the
is released and a new phrase begins with
same position on the staff.
a slight accent.
The 1st note, with the tie, is held for
the time value of any linked note. When the previous phrase ends with a rest,
a Breath Mark is unnecessary.



= 108-120 America

  3
(Skip to My Lou )

    
LH C5 (p 7) Lyrics, Gayle Dunsmoor

     2
1
 *   1    2

      
Skip o - ver notes and head for G. Sing as you skip so mer - ri - ly.

5 Not repeated.
tie
Hold

 3     
5

     2 *      
     
ling.

 
Skip o'er the notes; and back to G. Just skip to the tune my dar -

* RH thumb plays 'B' (1 step lower than Middle C)


DUET/ACCOMPANIMENT
     5            
           
       
© QuenMar Music
  Sharp: Raises the pitch 1 CS *

(key to the immediate right )
Flat: Lowers the pitch 1 CS   Slur : Release previous note(s).

(key to the immediate left ) Drop with the wrist and a slight accent.
Natural: Cancels a Sharp or Flat Release 2nd note softly while lifting the wrist.
*CS Chromatic Step: Closest distance
between two keys on the keyboard


 LH
= 112-124

  53          
C 1

 3 
     
the See
   
train
 
rush - ing

down

the
   
track.

1 2 3 4
5

 3             


Gets
  
there
 -
fast
 
er;

turns and

then comes
  
back,


comes back...to page 13

DUET/ACCOMPANIMENT

                               

    
Introduction 1. 2.

  
       
1

                    
5

 
© QuenMar Music to page 13
rall. Rallentando: gradually getting slower
Coda Passage added at the end of a composition or
at the end of a section of a composition
 Even if you are on the right track,
you'll get run over if you just
sit there.
Will Rogers

Cont'd
   
9

 53        
               
Run - ning late; some - thing on the track.

1 2

        
13

  
Coda

   3
   2

3

               
HOLD - ON!


Get - ting slow - er; screech-ing on the track.


rall. 4 2 1 2 4 1 2 1
sway - ing

     
Duet (cont'd from page 12) Coda

   
9
    
1.
    
             

2.

       
13

   
  

rall.
© QuenMar Music
 
Time Signature 

Indicates a time value of
2 quarter notes (    )
within every measure.

 = 100-116

  5           
LH C5

      
..
2

        
Strong, weak, strong, weak; two beats in each bar. One, two, one, two; do - ing fine so far.

         ..
Accents  
5 1
w w Repeat with RH melody 1 octave higher
(an octave is a distance of 8 scale notes, p 4)

 = 104-116
_ _

  3
LH C_5 _ _ _ _
C G Notes named under the line

   
C G C C G

 
are the LH Bass Notes (BN).

      
This is such a jol - ly tune.

5 continue LH same

_ _


_ _ _


E E

 
_

  
C G C G C

  
E LH plays E and C together.
C
C is the lowest.

Why does it have to end so soon?

© QuenMar Music
 Auxiliary (aux.) Reference
Between two notes with the same name. Remember Melodies from this book completely
aux. descends 1 or 2 CS*& returns Always put in arranged in the 'Melody Adventures'
dynamics (p 10 ) (MA) Series, have the book indicated
aux. ascends 1 or 2 CS & returns
under the final measure.
* Chromatic Step: Closest distance
between 2 keys on the keyboard
Joseph Haydn

 5 D_
1732-1809
 = 116-128 Lyrics, Gayle Dunsmoor


_


_ _ _ _ _ _ _

 
E

  1     
C LH C 5 F D D

 
G E E G

  
4
2 1

  35             
E - ven though he's dead and gone, Hay - dn's mus - ic car - ries on.
3

continue LH
as indicated


Notes
_ indicated under a line are the LH BN _
9 _ _ _ 13 _ _ _ _

 
E E

      
G E G E G C

 
C D F

  
So much to be heard and sung, Start - ing with this joy - ful one.
MA BASICS A

       5       
DUET/ACCOMPANIMENT
    
 
         13        
  
9


© QuenMar Music
  The reward of a thing well-done
is to have done it.
Ralph Waldo Emerson

 = 100-116

          
LH C5 (Hands in unison) 5 (p 15)

           
  5                     
Here's a jump fol-lowed by a skip step- ping down to C and back to G

_
Play indicated keys in
LH C5 hand position (p 19) _


9 _ _ _ _ _ _ 13 _ _ _ _

        
E
E hold F hold

   
D E G F G E F E G C

    
Hands to - ge - ther in per - fect time step - ping, skip - ping just for me, for me.
MA BASICS A

   
    5     
DUET/ACCOMPANIMENT

    
  
     
 
  

   
      

   
        
 
   13       
  
 
 
 
9

   
© QuenMar Music
  
3rds Between (b/w) the Hands (3rds b/w Hands)

E  G  3rd
 E (E F G)


6 letter names
 
6th 3 letter names
(G A B C D E)
G

RH & LH notes that can be reduced to a 3rd (3rds b/w Hands)

generally gives a pleasant harmony.

Exercise
See/hear 6ths/10ths reduced to '3rds':
Cross LH over RH & play LH note
1 octave higher than written.

  3 2        
LH C5 3rds b/w Hands; LH Aux. (an option) ( ) Traditional

    
( ) ( )

  
                  
Ma - ry had a lit - tle lamb, lit - tle lamb, lit - tle lamb. Ma - ry had a


6th 10 th

1 2 continue LH 6ths
Write in LH accompaniment
 Coda *
    
LH C5

          

lit - tle lamb; its fleece was white as snow. Its fleece was white as snow.

* Coda can be played an octave higher than written. rit.

© QuenMar Music
 
Time Signature 

Indicates a time value of 4 quarters
within every measure   

Often written '  ' meaning
Common Time

  = 108-120
3rds b/w Hands (p 17)

 
6ths 10ths 10th

 
6th & 10th


6ths

  1      
LH C5

2  3 4 5 4 2  1
 
2

  3            
Up 6ths 10 ths and

  
with Down with end this phrase on G.
3

Accents  w w  w w

 1   
10ths

   
6ths 6ths

2  5
 4 5
  
              
Notes scale then

up. Notes scale down, head on home to C.


(to C)

3 2 3 5 1 2 1 5

                
Write in LH accompaniment to form a 6th or 10th. Auxiliary notes an option

          

6th or 10 th? Hard to choose when both will blend with E. Make a choice; Write it in for ev'-ry-one to see!

© QuenMar Music
 Harmony Crossing (Har )
 1   F 

2 (D )  5
( ) 

 

 D  F

octave

  
6th octave 10th 10th th
6
 
( )
( )
3 4 5 3
Crossing by step from opposite directions, the RH & LH play keys with the same letter name.
Notes on each side of a Har are a 6th or 10th apart and can be reduced to 3rds between the hands (3rds b/w Hands).
Harmony Crossings (Har ) are generally on a weak beat.
NOTICE
  = 108-120
6ths/10ths generally give
a pleasant harmony.
3rds b/w Hands; Har

  1         
octave octave octave
LH C5

2     
              
6 th or 10 th be - tween the hands ex - cept when name's the same.


3 4 5 3 3


Indicate any Harmony Crossings with an

 1 
2           
            
See if you can find the cross - ings in this joy - ful line.

  
3 3
EXERCISE: repeat pages 6, 7 & 18 and include 'Harmony Crossings' - as well as the 6ths & 10ths
© QuenMar Music
 Staccato
  Dot indicates key played detached Remember
 Fermata or Pause: hold back
(key hot; OFF!)
Always put in
dynamics (p 10)
rhythm for an appropriate time

 = 100-116

   
(octave)

 
3rds b/w Hands _ _ _ _ _ _ _


LH C5 unless otherwise indicated

     
E F G F E G F

         
1 2
      3      
Right hand leads grace - ful ly. Left hand joins bring - ing love - ly har - mon - y.

 
Write in LH notes to form 6ths or 10ths with the RH melody.

             
 it

Write in so we'll see 6ths and 10 ths placed per - fect - ly.


Accompaniment, as indicated
LH plays notes with downward stems

   
_5
LH C _ _ _ _

 5          2 
LH C1 (V7 p 32)

 
E D C E F

1 2 2
4
5 4 3
1
LH 4


It's not hard to turn 3rds a - round. Love that sound when they're up - side - down!

 
Apply Accompaniment. Auxiliaries an option.

  
LH C5

        
  

With our hands we make notes blend. But
rit.
hold on; It's the end.
MA BASICS A
© QuenMar Music
 Triads I and V(C & G)
 I(C)   
     
V(G) I(C)
Roman Numeral Names Triads
1st scale note is I
 lower Group of 3 notes/tones *
G aux.  
  C         
5th scale note is V (root, 3rd & 5th )
Advantage of Roman Numerals:
names stay the same in another key.
 5th often omitted _
full triad is implied.
root root
C triad sequential (seq.) Routine practice, p 68
5 scale notes


 = 100-116 RH Solid

           
LH C5 LH Melody 5 I(C) V(G)
G


D
G B
D

             
B

  5 3    
Left hand leaves, vent-uring on its own, In a search for match-ing tones,* match-ing tones.

    
I(C) _(G)
V _ _ (G) _I(C)
13 EI(C) V

      
9

  
D D E

    1
 Thumb held

               
pleas - ing ___ har - m o n - y!
 
I and V join the mel - o - dy. What a
3

rit.


* TONE: Sound that can be sung, hummed or whistled. NOTE: Graphic Symbol representing a tone (sound).

              




 
DUET/ACCOMPANIMENT

  
5

  
           13        2
 
  
9

rit.
© QuenMar Music
 Triads I and V (C & G)
       
C Major Scale ascending 2 octaves
 1 
I C Triad

5I V

  1    
I V I 2V 4

 
2

 
3

 D
4 1
3 1 2

      *      
E F G A B C G C G RH Sequential (Seq.)
C D E F A B


1
2  *
        
C triad G triad LH triad Split
Root of Triad I(C) is the 1st scale note
Root of Triad V(G) is the 5th scale note
March
Walking in a military * 5th of I & V is often omitted
way with knees lifting
high before each step.

 = 104-120

  3 
RH Melody

          
I(C) LH Solid V(G) I(C) V(G) I(C) V(G) I(C) V(G)

2     
  3              
  
1
2 3
5 5

  I   V( I   
Apply LH accompaniment

    
I V ) V


3 3 2

 2 I 2  
        3    
Coda


V 5


3I 2
V I
1
1

© QuenMar Music
 
Time Signature 

Indicates a time value of
3 quarter notes (         )
within every measure.

  = 48-60


LH C5

  53       
I(C) Repeating Root V(G) I(C)

3    2
1
 5
3

  5   1  
Strong, weak, weak, one, two, three with a nice loud voice. Strong, weak, weak,

          
Accents > w w > w w lower

  
aux.

    
(p 19) V I 5

  1 
3

2 3

1
   3 
one, sing - ing is my choice. Strong, weak, weak, one,


two, three

       
two, three
3
5
continue LH

          1 
PN* V

   
I _________ I


V
3 3 E F G
2 2
1

rit.
with a nice loud voice. Strong, weak, weak, one, two, three sing - ing is my choice,
* PN Passing Note(s): Inserted for transition by step from one harmony unit to another. MA BASICS A

© QuenMar Music
 C Major Scale with Auxiliaries (aux.)
Play RH triad I or V where indicated
  I V V
 
I
  
       

2

1 1 3 2
Begins 2nd C 4 3
5 G G G C upper
below Middle C  E F lower A B aux.


C D


aux.

 5  2    1I
  5

I V V 3 2 2
  
4 3
Begins 1st C 1
below Middle C  C D E F G G lower G A B C G C


aux.

Note(s) below are played LH C2 Position


1 octave higher than written 2nd finger plays 1st C below Middle C
Note(s) above are played
1 octave lower than written Thumb plays 1st E or G below Middle C
5th finger plays 2nd G below Middle C
__LH Bass Note (BN)
G  2nd G below middle C
__
C  2nd C below middle C
I(C)  = 52-60

  3      
V
__(G) I(C) V(G)

 
G

     
LH C2

 
1
  2    

Watching the pen - du - lum on the clock, swing - ing back and forth

      
2
5


Continue accompaniment with the indicated LH BN

       
I V
__ I
_ _ __

              
(C2) G 
C E 
C


Won-d'ring if e - ver a bird will ap - pear "cuc - koo, cuc - koo, cuc - koo."
© QuenMar Music
 a tempo Return to the
original tempo
To be prepared is
half the victory.
Miguel Cervantes

h. = 56-64
Bouncing the Ball
3
I(C) V(G) 5 I(C) V(G)

Œ œ œ œ œ œ œ Œ
* *
& 4 3œ œ œ œ œ œ ˙.
LH C2

˙. ˙˙ ˙˙ .. ˙˙
? 43 œ Œ Œ œ Œ Œ œ Œ
Bounc-ing and catch-ing the ball Hope that I don't let it fall

Œ œ Œ Œ œ Œ Œ Œ bœ Œ
#œ ˙ œ ˙
2 1 2 5 ◊
,
(p 24)
Write in LH BN (LH C5 or C2) a tempo
9 __ __

œ œ œœ œ œ œœ œ œ œ Œ œ œ Œ Œ
I V 13 I V I

&œ œ œ ˙ œ ˙
G C

˙ œœ ˙˙ > >
4

?
Bounce it real hard a - round the yard, but it bounc -es the best off the wall. (Oh, oh)!

rit.
* Auxiliary: between two notes with the same name (p 15). Generally, on a weak beat or between beats. VARIATION: partially in another octave range.

œ
34 œ Œ Œ œ Œ Œ œ œ œ œ
DUET/ACCOMPANIMENT
˙ Œ Œ Œ Œ Œ Œ Œ Œ
5

& œ ˙
œ œ œ œ œj# œ j
œ Œ Œ œ Œ Œ œ #œ
&œ Œ Œ Œ Œ œ Œ Œ
13
Œ Œ Œ Œ
9
r
œ

© QuenMar Music 25
 NOTICE Reminder
LH Bass Note (BN) generally is
not mentioned if it is the root Always put in
of the chord dynamics (p 10)
 = 56-64

  3  
I(C) With a __
lilt __ V(G) I(C) __ I __

      
LH C2 G G G 
G

2   
3

       
     

2 5 1 2


__ __

 2    
V I V

  
G G

     2 
 1  1
 
1 

   
2 2
5 5 5
V Seq. V root to I root


Coda V
   
 
Write in LH acc. V7 (p 32) I _ _ V7

 
3


E C

   

Apply accompaniment

    
_ _ __ __


I V V7 I

  
E C G C

3
   rit.
 MA BASICS A
© QuenMar Music
_LH Bass Note (BN)
3 3rd of chord is LH BN
_
5 th
_ 5 of chord is LH BN
 The biggest room in the world
7 7th of V7 is LH BN
is the room for improvement.
Triads/Chords (p 32) Unknown
 = 56-64
 
I(C) _ ( G7
V7 _ ) p 32 _I (C

 
_)

          2   
LH C5


7 F 3 E

      
  35                
Push -ing the mop a - long; sing-ing a hap - py song, This is the day that I
2 1 2     
clean

Aux. on 3rd
Write in LH accompaniment. Indicate embellishments. of chord

           
I V(7) I

          
   
Cor - ners and ev' - ry - where; un - der the bed and chair, This floor's the clean-est it e - ver has been.

    3 1               
LH C2 an octave higher
_ _ _I ( C


_)
I (C
_


I _ _
_ ( G7
V7
G)


5 5 (G) B ) 3 E
5 3
2

1     1  1 2 1
2 5  3 
          
E F
C B

            V7      I   
continue LH
C5 or C2
I Choose accompaniment

 
© QuenMar Music MA BASICS A
 D.C. al Fine: Return to beginning; continue to Fine
_I 5th of the triad (G) is the LH Bass Note (BN).
5 5th is often the LH BN before V(7) - I closings
 Why is an ordinary head cold like 4/4 time?
Both are referred to as 'common'! (p 18 )
Notice: Measures 2, 6, 11 & 15 have a whole note
under the melody. The thumb holds the
key down for the measure (4 counts).

5
 = 144-156

  1  3  2 
LH C5
Repeating Root V(G)

 5  
I(C) I(C) V(G) I(C) V(G)

          
1 1
2

  5                      
Quar- ter notes and half notes; whole notes must be held 2 - 3 - 4. Some-times there are ma-ny eigh-th notes.

Accents >
Strong
w
medium
w 1 5
weak weak
LH C2


_
I (C
_) _ ( G7
V7 _) _I C
_ _ _

 3  2  
( ) E Fine 9 V* I*

  
5 G 7 F 3 E 5 (G) C

   2
1
 
         
This is how a song un - folds. Hold on; short and

       
MA BASICS A
5 2 continue LH BN

D.C. al Fine

 
V*

 2           rit.
13 V7  I CE E
C
E
C

  
long. Choose notes; mix-em up and make a song.
* Without a BN indication, the root of the chord can generally be applied
© QuenMar Music
  Overcoming challenges
gives life meaning.
Joshua J. Marine

5
The following can be a DUO or DUET. For an Advanced Student

  1       3   
As a DUET, it needs to be a higher octave range.

  
   1 2     
4 

5

        3 
  4   
  

5 Fine 9
 4       5   
1. 2.

 2  3       
2            

 3      2                      

2 1


MA BASICS A

    1 2       3 1 2    
 
13


D.C. al Fine

1      
4 5
2

 14  2     2  3
    
rit.
© QuenMar Music
 h . = 60-72 Row, Row, Row Your Boat America

3LH C 3rds b/w Hands (pp 17-20) 5

& 4 ˙.
5

˙. ˙ œ ˙. ˙ œ ˙ œ
? 3 ˙˙ .. ˙˙ .. ˙˙ 2œ ˙. 1˙ 2œ ˙ œ
Row, row, row, your boat gent - ly down the

œ œ œ
9 LH OVER RH

& ˙. ˙ Œ œ œ œ
C

œ œ œ
LH RH

œ œ œ
3 5

1˙ .
?˙ ˙ #œ
stream Mer - ri - ly, mer - ri - ly, mer - ri - ly, mer - ri - ly,
œ ˙ Œ ∑ ∑
2*

* G # : The sharp does not change the interval (distance) of a 3rd between the hands to page 31

Œ Œ
DUET/ACCOMPANIMENT: Play as written while "Row, Row, Row Your Boat" is performed 1 octave higher.
? 34 ˙˙˙ ... ˙˙ .. ˙˙ .. ˙˙ .. ˙˙ ˙
5

˙. ˙. ˙˙ . 1˙ ˙
. 2œ 1˙ œ
? Œ
Œ Œ œœ œœ Œ œœ œœ Œ œ Œ Œ œœ œœ
œœ œ œ ˙ œ œ œ œ œ
9
1˙ . 1˙
œ
5
4˙ 3˙ .
3˙ ˙ Œ .
30 œ © QuenMar Music
to page 31
 Nothing will work
unless you do.
Row, Row, Row Your Boat, Cont'd Maya Angelou

Œ œ œ œ
13 17 LH OVER RH

&˙ œ ˙ œ œ œ
LH

œ ˙.
RH

˙
5

?Œ
life
Œ
œ
is but
˙ œ
a dream
˙. Œ
Mer - ri - ly, mer - ri - ly,

˙
2 1
3

Write in LH accompaniment 21 ,
& 3œ œ œ œ œ œ ˙ œ ˙ œ ˙ œ œ ˙.
?
mer - ri - ly, mer - ri - ly, life is but a dream, a - dream.

rit. MA BOOK 1

Duet/Accompaniment (cont'd from page 30)

?Œ œœ œ Œ œœ œ Œ œœ bœ œ ˙˙ Œ Œ œœ
œ
œœ
œ
Œ œœ
œ
œœ
œ
13 17

1˙ ˙ 2œ ˙ ˙. ˙.
2œ Œ
œ ˙
? Œ˙ Œ Œ Œ
œœ # œœ œœ œœ œœ œ œœ Œ œœ b œœ
œ ggg ˙˙ ..
21

œ ˙. 1˙ œ 3˙ œ ggg ˙˙ ..
œ ˙ rit.

© QuenMar Music 31
 Definition for Chord & Triad LH Bass Note
_ (BN)
Root _r
CHORD: combination of notes as a group 1st inv. 3_
TRIAD: 3-notes (or implied) root, 3rd & 5th 2nd inv. 5_
BOTH the above can be referred to as chords I (C) and INVERSIONS 3rd inv. 7
Under a line is for LH
_I(C) *
r
ww
I _
_
3 (E)
ww
I _
_
5 (G) w
3w
w
I*

& w
3w w w
w
3 C

ww
2
C
w 2w
w 3w
? ww
3w
3w
BN w E
BN w G
BN C

BN C
Root Position 1st inversion (inv.) 2nd inv. Root
* BN not always indicated when
it is the root of the chord
V (G) and INVERSIONS

www
_(G)
V _ _
V _ _
V V

ww
r 3 (B) 5 (D)

& ww ww w
3w
2w
3
3 G

w ww
3w
w 2w
G

? 3w
ww 3w w
w BN G
BN D
BN B
BN G
Root Position 1st inv. 2nd inv. Root

V7 (G7) and INVERSIONS

_ (G7)
V7 __
V7 _ _
V7
www
_ _
V7
www
V7

www
r 3(B) 5 (D) 7 (F)

& www5w w
5

www w
5

w
5
5

w
G

www www
wwww wwww w
G

? www w
w
BN BN G
F
BN D
BN B
BN G
Root Position 1st inv. 2nd inv. 3rd inv. Root
32 © QuenMar Music
 Hold finger with the line down -
until the next chord is played.
Joining I to Closest Inversion (inv.) of V7


(root) (1st inv.) (2nd inv.
 
    
I _ _
V7 I _ _
V7 I _
_ _ _
V7 _I _ _I _ V7 _I _

        

3 (B) 5 (D) 3 (E) 7 (F) 3(E) 5 (G) 5 (G)

   

5 4 5 4 5 4

   
5 5 5 5


2 2 2 2 2 2

        

3 4 3 4 1 1 1 1 1 1

   
1 1 1 2


1 1 1 1 1 1 1 1 1 1
3 2 3 2 3 3 3 2 3 2
5 5 5 4 5 4 5 5 5 5

 = 52-60

 
In boxes, write in LH BN (r, 3, 5 or 7)

          
LH C5 I V7 I V7 I V7 V(7) I V7 I V7

      
r

 
3

           hold hold

  Join I - V7- I  
    ()*             
Join I - V7 - I

 
thumb lifts
hold hold

 
* Without a sharp, note is part of the V7 chord.

C    V7
I 
 
Write in accompaniment


I


         
Coda


I V7 I V7 I V7

 C   
C

             
rit.
© QuenMar Music
 Roman Numerals
Triad I = C, E, G (G often omitted)
Triad V = G, B, D, (D often omitted)
Chord V7 = G, B, D, F (other than 7th Auxiliary
_ on the 7th
often omitted)
7
_ Upper auxiliary

 = 52-64 On the Avignon Bridge 7 Lower auxiliary

LH C5
3rds b/w Hands France

1 
_I V7
_ _I V7 _I _


V7


3 (E ) unless otherwise indicated


7( F ) 5 (G ) 3 (E ) root ( G ) 7 (F )

      3
 2
  3 
  3       
Sur le pont d'A - vi - gnon, l'on y dan - se, l'on y dan - se.
1 1

In brackets, write in Letter B N name


5 I _ _
V7 _ _I V7 _
I _
V7 _ _I

  
root ( ) 7( ) 5( ) 3( ) 7( ) 5( ) 3 ( )


3 7

 1    3
  1 2 
    3      
Sur le pont d'A - vi - gnon, l'on y dan - se tous en rond.

 4     
to page 35

DUET/ACCOMPANIMENT: Play as written while "Sur le Pont d'Avignon" is performed 1 octave higher

     
        

          
     

1 5 1. 2.
4

 
                    
   to page 35
 3
© QuenMar Music
 Cont'd
Write in accompaniment

 
9 13


I V7 I V7 I

             
    
Les mes - sieurs font comm' ca, et puis en - cor' comm' ca; Sur le pont

Apply Accompaniment. Indicate embellishments.

17

    
V7 I V7 I V7 I V7

           
LH
d'A - vi - gnon, l'on y dan - se l'on y dan - se. Sur le pont d'A - vi - gnon,

     
  
Coda

 
I V7 I V7 I

     rit.
l'on y dan - se tous en rond. Final two measures are one octave higher

Duet Accompaniment, Cont'd

             

 
 
 
 
     


9

           
 
13 17 
               
Coda

      
   
    
4 1. 2.

                    

 3
© QuenMar Music
 
Time Signature 

2 strong beats every measure
> w > w
w = weak

LH C5  = 56-68


          
1 5 _I (C
_ ) rds V7
_ G7 _I ( C
_) 1. V7(G7) 2. V7
_ ( G7
_ ) I(C)
(_ )

   2  
3 b/w Hands PN p 37

 
3 E 7 F 5 G 7 F

      
3

   3            
> w > w

In boxes, write in LH BN:

       
9 13 I V7 I 1. V7 2.V7 I

 
r, 3, 5 or 7

         2 
 2
 
  3                      
 rit.

DUET/ACCOMPANIMENT: Play as written while is performed 1 octave higher

                 


1 5 1. 2.

 
         
        

                         

9 13 1. 2.

         
               
rit.
© QuenMar Music
 Passing Notes (PN)
Inserted for transition by step from
one harmony unit to another.
 What's the preferred time signature


of the prison pianist?

Passing Notes ascend or descend by

 Time
scale steps from V(7) - I. Step often omitted.
ut Time!

Hands generally move in opposite directions
Exception: moving together 3rds b/w Hands Often notated
Cut Time
 = 56-72  I (C)

  1 2 
I (C) V7(G7) I(C)

  5              5  4  
C5 C2

 1    
  3       1 2      
> w > w
1  
4  3 
1
5

5 2

1  
 5                     
I

  
V7 I


C5

 35        2         


1

 
3
5 3
5
step
omitted continue LH

       
Apply a LH G BN with rhythm as desired
_ a tempo


I

  
V G C5

    rit. 


               
descends Coda


I I
_ E_ _


3rds b/w
_ hands

 
V7 __
V7

     
E
G F C G C

 rit.
© QuenMar Music
 = 56-72


Introduction


I (C) LH Solid _ ( _G7)
V7 V I (C) _ ( G7
V7 _ ) I

  1                
7 F 3 B

  
2

  3    2 1   1    
Here's a wish for cats and dogs: "Why can't you just

5
3
5 5 
2
1
5  3

Hold finger with the line down -


rit.
3rds b/w Hands until next chord is played (p 33)

 3 2   
_I V7
_ I _
V7 _I I _
V7 I

                
5 7 7 5 7


3

        
get a - long?" Kit - ty pur - ring oh so near, Not for long though, Guess who is here?
1 2      
continue LH

         
Solo Break V7
I In boxes, write in LH BN I V7 I

 3              
r, 3, 5 or 7


  
a tempo


V7 I V7 I V7 I

       
       
2
4
2
rit.
Hap - pens so fast; She's out of sight! No more pur - ring; this is not right!
© QuenMar Music
  Life is 10 percent what happens to you
and 90 percent how you react to it.
 = 52-64 Coach Lou Holtz

5 4 

    1 4
 
I (C) LH Solid, Split

          3  2  
_ ( G7
V7 _ _ I (C) _ ( G7
V7 _

3 1  
Introduction _ ) )

1   
V7 LH C5 5 D 3 (B) 7 F
5

   1
2

  1 2    3 4
    5  
rit. Solid Split Solid Split


     1     4
In brackets, write in Letter names for chords & BN

 1  3 1     1    
I( ) V7 ( ) I( ) V7( ) I( ) Fine
5 5

 
  5
  2 1
3
  
 
1
2

Write in accompaniment. Indicate Har

 2               
V7( ) I( ) V7 ( ) I( ) V7( )

  3 2 3
  
 

                     

Apply accompaniment


I V7 I V7 D.C. al Fine


2 3 2

rit.
© QuenMar Music
The Can-Can: French in origin and traditionally performed by a chorus line of female dancers Split 3 p 50
wearing long skirts, petticoats and black stockings. It is a very energetic dance Single Bass Note ( ) ascending
characterized by high lifting and kicking of the legs. to 2 or more chord notes ( )

 = 88-96
In boxes, write in LH BN (r, 3, 5 or 7) France
Introduction J. Offenbach


I V7 I I V7 I 1819-1880

                
 
4


1 2

   
             
3 1 3  5


5 2 5 Split (see above)


5

 4 
V7 I V7 I V7

 1       1 3  1    
5


2
2 1 2

        

   
 
5 5 (p 41) 5 1

Write in accompaniment & chord name


  4               

2


MA BASICS A
© QuenMar Music
 Split 2 p 50
2 or more notes of the chord ( )
 Motivation comes from within.
descending to a single BN ( ) Unknown

 = 48-56

LH C5

 5 
_I (_C ) 3rds b/w Hands V7
_ ( G7
_ ) I V7 I V7
_ ( G7
_ )

              2  5  3
3 E 5 D 5 D

3
 4

             
Ro - ses are pret - ty but vio - lets are too. Mix 'em to - geth - er; it's

3 4 5 1 2 4

    4V7    3I   
LH C2

 
V I V7


5

 
2

 3  5

 1  
1

3
ea - sy to do. Ro - ses are pret - ty but vio - lets are too.

      
1 1

 
2 2


5 5

5 3
Split (see above)

     
Apply accompaniment


__(p 24)


I V7 __ __ I I


G G 
G 


E

 3 1   
C

 
5
1 rit. MA BASICS A
MA BASICS A
I picked some flow - ers and put - 'em in a vase for you.
© QuenMar Music
 NEW RH POSITION
RH D1 RH thumb plays D
beside Middle C.

 = 60-72


RH D1 & C1 RH fingers move up one white key
1 LH C5
_) 3
rds b/w Hands 5

  4 2     
_
I (C _ G7
V7 _ _ _I ( C

5
_ _)

 
17 otherwise indicated 5 (D ) 7 (F ) 21 RH C1

   
unless

 
3 E 3 E
3 1
  3 3

  3           3    5 
Saw - ing, nail - ing some - thing new; take some know - ing 'how - to'. Don't need school or

to page 43

DUET/ACCOMPANIMENT: Play as written while is performed 1 octave higher.

 

   2  
  
  
  
  
  
  
 5    
              
   2         3    1   
1

 
1

      
3

                                 
  

9

    4  
13

                 
rit.

 1              21  

 
 
 

   


     
  
17

3  4      
 4    
  
                  
   
1 2

© QuenMar Music
 
In the brackets, write the Letter name for bass notes (BN)

  4      
_
V7 _ _I V7 _I _
9 V7

 4    
5( ) 7( ) 5( )

 
( ) 3( ) 7( )

 3 2

3

 4             
piles of rules; just a plan and a few good tools. Mea - sured boards are lift - ed high;
2


(Key Change)
_I 13 V7
_ KC
/V7*/D7 Key of G
 3           
I

    
5( ) 5( )

  
4 4

      
stained and read - y to ap - ply. What a feat when it's com - plete and de - cor - a - ted
4 5 4


(Key Change)
* Key of C Write in accompaniment with Letter name for chords & BN. Indicate Har
KC/V7/G7 and PN.

        
17


4
     1  

neat! There's a lot of work to do; take some know - ing 'how - to'.

rit.

 
21 Apply accompaniment a tempo

   3     3       
rit.
May - be some day when we're out, there will be an 'o - pen house'!
MA PRIMER B
* /V7: slash before V7 indicates the new key is 5 scale notes lower (or 4 higher) than its root note (KA Basics A)
© QuenMar Music
 Chromatic Step (CS) The Upbeat
This melody begins on the 4th beat.
on the keyboard. Example, C to C 
Closest distance between two keys
It precedes the first full measure.
(3 missing beats in the final measure )

 = 100-108

  2   4   5   4
LH C5

 5       
I V7 I V7 (p 15)

 
(p 19)

  2

    15     14    5  3  2

  
(PN)
2
Below each line write in the __ __ __ __ __ __ __
BN: root, 3rd, 5th, or 7th r 5 r continue
same
r 3 5 7
LH C2

      3     
I V7 I V7 I

4
 
4
  3  
2

           2 
   __
1 1
2 5 2 5
__ __ __ __ __ __ __ __ __


LH C5

      
V7 I V7 I

 1    
3 4
2 5 2
1 2

 4       
         
 *

__ 
1 1
2 5 3
__ __ __
to page 45
* Triad notes (root, 3rd, 5th) are often effective lowered 1 CS on the beat (Symbol ) KA BASICS A.
© QuenMar Music
 Reminder
Always put in
dynamics (p 10)
 Yesterday is history; tomorrow is a
mystery. Today is a gift. That's why
we call it 'the present'.
B. Olatunji

 1      5 
V7 I V7 I

    
4


3
2 2

 4       
5 5
       
  3

1 2
5
__ __

Write in accompaniment

   
I V7 I V7

   5
 4  5        2  

Coda Opt.: final 2 measures
1 octave higher

      3   
I V7 I V7 I

4
 
4
    


© QuenMar Music
 'How' you say something is
as important as 'what' you say.
Unknown
h = 56-72
RH D1 & C1
The Woodpeckers
,
1 LH C5 & C1

4
17 I 3rds b/w Hands _ _
V7 _ _ _ _
I _ _

œ œ Œ 3œ
unless otherwise indicated 3 7 5

& 4 3œ œ œ œ 4œ œ ˙ ˙ œ 5œ œ
5 7 5 3 5 3

1œ œ œ 5

? 4 ˙˙ .. Œ œ œ Œ ˙
Tip - toe, tip - toe; tak - ing care, Want to see what's tap - ping. "Please be qui - et

4
3 œ 4œ œ ˙ ˙ ˙ ˙
to page 47

DUET/ACCOMPANIMENT: Play as written while "The Woodpeckers" is performed 1 octave higher.

j
? 4 2˙Œ œœ Œ œœ Œ œœ 2 œŒ œœ Œ œ Œ œœ 2œ œ
Œ Œ œœ Œ œœ
1 5
17
1œ
. œ 2˙ œ 1œ .
œ œ œ
21
˙
4 ˙ J ˙ ˙
ΠΠ.
2

. .
j Fine
? 1Œœ . œœ 2œ œŒ ‰ œ ‰ œœ œ œ ‰ ‰ Œ
Coda (2 measures, p 47)
œœ
2˙ œ œ œ
4œ
œ œ œ œ œ œ œœ œœ œœ ˙
œ œŒ œ
9
3
J Œ 5˙ 1œ
œ œœ Œ Œ
œ . .
j j D.C. al Fine
? œ œ œœ œœ œœ ˙ œ œ œŒ œ œ # œœ œœ œœ ˙ œ # œ œŒ .
j
2œ #3œ . œ œ ‰ œ œœ Œ
13

œ 1œ œ 1œ œ
4
2# œ œ
1
Œ Œ . Œ . Œ Œ . Œ . Œ Œ J ‰ Œ R rit.
3

œ
46 © QuenMar Music
 
In brackets, write Letter names for the chord & BN


_ )
_ (G7
V7 _( ) ( ) ( ) I( ) V7 ( )

 2   
9

 4
  3   
7 F 5

2
     2 
   2  3
1
         


o - ver there; don't dis - turb by talk ing". Ma - ma shows how it's done;
2 2 3

KC*(Key of G)

 3     3      3    
I( ) ( ) 13 /V7/D7

 
    
ba - by bird co - pies
1
mom;
 in the
 3 4 3bu - sy time sun;
  
      2
ev' - ry one hav - ing

 
1 2 1 2

KC* (Key of C) Write in accompaniment, chord names & BN. Indicate embellishments

  
  3 
/V7/G7
        
17 a tempo
    
21

 1 3


fun! Lis - ten to the stea - dy beat, car - ried out with vi - gor. Find an in - sect


rit.

         
Coda

 2         
2
2

they can eat; what a jui - cy din - ner. What a jui - cy din - ner.

* KC: Key Change, KA Basics A rit.

MA PRIMER B
© QuenMar Music
 Dotted Quarter Note (  )
 =     Reminder
. =  Always put in
dynamics (p 10)
Dot adds on 1/2 the note's value

 = 56-68

I (Intro. can be measures 7 & 8)
  V7
    
_
V7 _I _

 4     2   1   2   4    
I England

2   
* 5


7 5 3

  
2 3
1

  35   2  
                       
1. Lon - donBridge is fall-ing down, fall-ing down, fall - ing down. Lon - don Bridge is fall-ing down, My fair la - dy.

     
* Har are generally Passing Notes on a weak beat (p 19)
rit.

Option: continue
to verse 2., p 49

         5 
      
DUET/ACCOMPANIMENT: Play as written while is performed 1 octave higher.

    
                           
 
           2 1 

  

rit.


Finger with the line is held until LH Scaling Up
   
the following chord is played.

    
  3    4 2 
I V I V I V7 I

 5
  
  C D E F G 3A B 1C 4   1 3  
5 5 5
3 2 3 2 (p 44)

5     2 1 
1 1 1 1 1 

1 
5  4 
  5 
© QuenMar Music
 with Variations
Introduction RH Solid (played softly )

                
England


V I LH Melody (sings out ) V7

      

2 1
 1     
1. p 48

  4     3 4  
2. Build it up with wood and clay, Wood and clay,
3

           
I V7 I

     

   fair 
  1  2 1
 3  2         
Wood and clay, Build it up with wood and clay, My la - dy.

 4

NOTICE: RH Auxiliaries (Aux.) are root, 3rd or 5th 1 CS between beats.

                     2 3 4  
I V7 I


    
4
3 2 1 2 1 1 2 1 3 1 3 4

     2
4  
 3  
3. Wood and clay will wash a way Wash a - way, Wash a - way,

Write in accompaniment (See LH octave range, p 48)

              3    3   2 1 
I V7 I

1
  3       3
4 4 5
3 1 1 2 1 4 1


Wood and clay will wash a - way, My fair la - dy.

© QuenMar Music rit.

 Write in your top tempo
 = _____

3   
  
 2  1 2 
LH Solid

   2 I 
5I

  1  3 1 2  4  
I V7 I V7 V7
1 LH C5 1
1 4


   13 1 
  3    3   1 
C D E F G A B C

5 
2  2
  2
 3


5 5
5
LH Split
     
     2 4
    
5I

 
I V7 I V7 V7 I

3  1  
2 2

LH C2 3 1 1


1
1
 12  1      
(p 44)

3  

5      2  5 
 
5th

    2  1 2 
LH Split 1 CS

1      I
  
5I

1   
I V7 I V7 V7
3

LH C5 3 1

1   3

 5 13  5 12             


  
2

3rd 5 
 
* 1 CS

  
LH AB (Alternating Bass)

1  3    1 2    I 
5I

   
I AB is 3rd or 5th V I V V7
4

1


LH C2

1   3 1

 2                3   
Write in


2nd beat

 (3     
(5th) rd) (5th) (3rd) 5 
* Many notes can be the AB with the root. Notes from the chord are the most common
© QuenMar Music
Tuba Largest and lowest sounding of brass instruments.
In marching bands, it maintains a steady tempo -
often with a root & 5th accompaniment.
 Music expresses that which cannot
be put into words and that which

Introduction
 = 60-72 cannot remain silent.
Victor Hugo

 
  3         
V7 I LH AB, p 50 4 V7 I
4 3

    1  1     1       
  
2 2
step staccato (p 20) AB
omitted AB AB

     
Write in accompaniment & chord names Option (p 37) _

  
V

          
3 AB

     
  
   
AB

 1 2            
Indicate chord names & embellishments. Aux. & PN are an option (Opt.) _

         
3 AB

1 2   1

 3    3    2            
(Opt. )

   
continue RH same
*
 
4

3  

    
(p 50)
Coda

  
Choose

 3        3   
2nd beat

  rit. MA BASICS B
* Careful: 3rd with both hands as single notes can produce a 'blunt sound'.
© QuenMar Music
 Triad IV

 7 I (C)
  
(A) I (B) _I
      
I (C) IV(F) V7(G7) _
IV I IV _I

F  G   
th 5 (C ) 3 (E) 3

C
C

 7 
4 notes

    G    
  
th

C     
C 1 2 1
1 5 3
F 5 2 3 4 5
4 scale notes C is part of C triad
triads I & IV 1st inv. (p 32)



= 52-64 Country Dance

  2   4 2     2    3   5 
I LH Solid, Split Scotland

3  2  1  2  4  2  

   
          
1
3 4 2 3
5 5

 
  1     2    
_
V7 _I _
V

 3  2       2   
5 3 5 3


4 3

  
 4    3
5
    4   
5
 5 
to page 53
Measure 2. for
ending (Fine)
© QuenMar Music
 
*
   
I (C) IV(F) V7(G7) I (C)
( )
( ) ( )
( )

The 5th of the chord (in brackets) is often omitted

Cont'd
4
* V7: any note, other than the 7th, can be omitted

             2 4   
     
1. 2. Fine V
_ V7
I IV I I IV I 3 3 5
25

 5  12     
Skip next


measure.

   
Choose (A) or (B), p 52

    
Continue.
1
3 3
5
rit. G triad

4
2nd inv. (p 32)

         I       
Continue LH with Solid, Split or Sequential Chords

  3 
I V(7)

 
3 2 1

    2     D.C. al Fine
       
Write in chord names

 
Choose (A) or (B), p 52

 (2  )
2 3


rit.
© QuenMar Music
 Triad IV (F, A, C)
Root (F) is 4 scale degrees up from C
Notice: both C & F triad have a C

 = 56-64 Lyrics, England

RH C1 & D1 see above Melody, France

  2  1  5 4      3 4   
3rds b/w Hands _ ( _F ) _ ( _F ) _ _ _
I IV I IV I V7 I 5 _ IV

   
unless otherwise indicated 5 C 3 A 5 7 3 3

  
5 5
2

  35  2 
     1  3    
 
Twin - le twink - le lit - tle star; How I won - der what you are. Up a - bove the


3


In boxes, write in LH BN (r, 3, 5 or 7)
Write in accompaniment
I V7 I IV I V7 I IV I

 3             4    
9

     
    2         

clouds so high, Like a dia - mond in the sky. Twink - le twink - le lit - tle star;
1 2 1 2

rit.
(IV) Apply accompaniment

]   ]  ]  
V7 I V7 I Coda


IV _
I V7 (p 37) I

        ]
5

  
3 4 6th 6th 6th 6th

How I won - der what you are. How I won - der what you are!

DUET/ACCOMPANIMENT: Play as written while is performed 1 octave higher.

                                        

Fine D.C. al Fine

        
1 9


5

                 rit.   

© QuenMar Music
 Taking the Challenge!

Create Your Own Accompaniment

for Folk Songs

55
 Each of the following melodies can be repeated with different accompaniments.
(Option: change accompaniments within the melody)

Following each melody: Circle the number that represents the hand positions/accompaniments (acc.) tried.
Circle the number that best represents how smoothly the hand positions/acc. changed.
Circle the number that best represents the overall impression (dynamics, timing, embellishments, presentation, etc.)

EMBELLISHMENTS: Auxiliary Note pp 21, 23-27, 34; Harmony Crossing pp 18-54; Passing Note(s) pp 26, 37; Intros pp 38-40, 49, 51
ACCOMPANIMENTS: 3rds b/w hands pp 17-20, 23, 30, 34, 36, 41-47, 54
RIGHT HAND: C1 pp 6-54; D1 pp 42-48, 54; Solid Chords pp 21, 23-28, 32-33, 35, 37, 49, 68
LEFT HAND: C5 pp 6-7, 11, 14-21, 23, 25, 27-54; C1 pp 8-10, 12-13, 47; C2 (with & without solid chords) pp 24-27, 35, 41, 50-51
Alternating Bass pp 50-51; Solid Chords pp 32-33, 38-40, 52, 68; Split or pp 40-45, 50

 = write
Write in a comfortable metronome tempo
---------

    
tempo
Introduction England

  5         4 2  
1. This old man; he played one,

 
2. This old man; he played two,

 5
(IV, p 52)

      
          
3 2
1

He played knick - knack on my drum with a knick - knack pad - dy wack give a dog a bone.
He played knick - knack on my shoe with a knick - knack pad - dy wack give a dog a bone.

       

Coda

 5     
5 Hand positions/acc. 1 2 _____

  
Smooth changes 1 _____
Overall impression 1 2 _____
(includes embellishments)
rit.
This old man came roll - ing home. This old man came roll - ing home. Total
This old man came roll - ing home. 5 max.
© QuenMar Music
  = ----------- 
  1
write tempo England

        
Hump - ty Dump - ty sat on a wall; Hump - ty

         
(IV, p 52)

  
5
3   
Dump - ty had a great fall. All the king's hors - es and all the king's

        2   
Hand positions/acc.
Smooth changes
1 2 _____
1 _____
Overall impression 1 2 _____
men could - n't put Hump - ty to - geth - er a - gain. (includes embellishments)
Total
5 max.

 = -----------
  
write tempo England

        

LH 1
1
All a - round the cob - bler's bench, the mon - key

     
  LH
1 1     rit.
chased the wea - sel. The mon - key thought 'twas all in

       
(LH OVER RH) Hand positions/acc. 1 2 _____

   
LH Smooth changes 1 _____


Overall impression 1 2 _____
(includes embellishments)
Total
fun, Pop! Goes the wea - sel.
5 max.
© QuenMar Music
  = write  
 
-----------

 
America

 
tempo

        
Go tell Aunt Rho - dy, go tell Aunt Rho - dy: Go tell Aunt

        
RH chords (pp 21 & 49)

       
Rho - dy her old grey goose is dead. The one that she was sav - ing,

              
one that she was sav ing. One that she was sav - ing to

      
Coda

  rit.    

Hand positions/acc. 1 2 _____
Smooth changes 1 2 _____
Overall impression 1 2 _____
(includes embellishments)
make a feath - er bed, To make a feath - er bed. Total
6 max.

 = -----------
          
write tempo England

    Hand positions/acc. 1 2 _____

Hot cross buns, Hot cross buns.

    
Overall impression 1 2 _____


(includes embellishments)

       
Total
4 max.
OPTIONS: Repeat: LH with the melody (octave lower)
They're so fresh and taste so good these hot cross buns. RH chords, where desired
Coda: repeat 2nd stave in a higher octave range
© QuenMar Music
 Reminder
Always put in
dynamics (p 10)

 = -----------
write tempo

  
Introduction

   
England


V(7)

   

Boys and

          
girls come out to play. The moon does shine as

        
 
bright as day. Leave your sup - per and leave your

      
   
sleep and join your play - fel - lows in the street.

    
   
Coda
Hand positions/acc. 1 2 _____
Smooth changes 1 2 _____
Overall impression 1 2 _____
(includes embellishments)
Join your play - fel - lows in the street. Total
6 max.
© QuenMar Music
  = -----------
write tempo

 
Rhythmically Relaxed America

               

LH 1 2 3
1


The Old Gray Mare, she ain't what she used to be. Ain't what she used to be,

                    
1
LH 1

Ain't what she used to be. The Old Gray Mare, she ain't what she used to be man - y long years a -

 
    
(IV) *

    4
(IV)

        LH
1
go. Man - y long years a - go, Man - y long years a - go, Oh! The

          Hand positions/acc. 1 2 3 _____

Old Gray Mare, she ain't what she used to be Smooth changes 1 2 3 _____
Overall impression 1 2 3 _____


(includes embellishments)

 
Total

     
9 max.

man - y long years a - go.

* Option: change F A C to F A C (minor chord, KA BASICS A) 
© QuenMar Music
 write tempo

 = -----------
write tempo

          
Introduction


America

 2 
V(7) (IV)

 3  1

5

  1
3

1. I'm a lit - tle tea - pot, short and stout;


2. I'm a spe - cial tea - pot, it is true.

           
(IV)

       3 
3 1
1
Here is my han - dle, here is my spout. When I get all steamed up, then I shout, "Just


Here, let me show you what I can do. I can change my han - dle and my spout, "Just

       
   
Hand positions/acc. 1 2 _____
Smooth changes 1 _____
Overall impression 1 2 3 _____
tip me o - ver and pour me out!" (includes embellishments)
tip me o - ver and pour me out!" Total
6 max.

 = -----------
 
             
write tempo

     
France


4

Are you sleep - ing? Are you sleep - ing? Broth -er John, Broth -er John. Morn-ing bells are ring - ing,


      RH
   RH
  
RH RH
Hand positions/acc.
Overall impression
1 2
1 2
_____
_____
rit. (includes embellishments)
LH LH Total
Morn-ing bells are ring - ing: ding, dong, ding! Ding, dong, ding!
4 max.
© QuenMar Music
  = -----------
write tempo
America

      
Introduction Lyrics: Jim & Gayle Dunsmoor

          
1. Mer - ri - ly we roll a - long, roll a - long,

     
          
 

roll a - long. Mer - ri - ly we dip and sway; o'er the bright blue sea.

       
RH solid chord on 2nd & 4th beat

      
x x x x


2. Lend a hand and hoist the sails, hoist the sails, hoist the sails.

            
x x
 

Lend a hand and set the sails; now we're un - der way.

 
OPTIONS: pp 50 & 51

             
to page 63
3. Care - ful - ly we check our course, check our course, check our course.

© QuenMar Music
 Cont'd

        
      
Care - ful - ly we tack and jibe; head - ing for the bay,

     
Coda
Hand positions/acc. 1 2 3 4 _____
Smooth changes 1 2 3 _____
Overall Impression 1 2 3 _____
(includes embellishments)
Head - ing for the bay. Total


10 max.
= -----------
Skip to My Lou
      
write tempo


Introduction

  
America

           

Fly's in the butter - milk, Shoo, fly, shoo. Fly's in the butter - milk,

                  

Shoo, fly, shoo. Fly's in the butter - milk, Shoo, fly, shoo. Skip to my Lou, my dar - lin'.

    
         

Skip, skip, skip to my Lou. Skip, skip, skip to my Lou. Skip, skip,
Opt. Repeat final 2 measures

       
1 octave higher

 
Hand positions/acc. 1 2 3 _____

 
Smooth changes 1 _____
Overall Impression 1 2 _____
(includes embellishments)
skip to my Lou, skip to my Lou, my dar - lin'. Total
MA BASICS A
6 max.
© QuenMar Music
 

= ----------- England


        
write tempo

   1  1 3   3 1 
5 3

1. White cor - al bells up - on a slen - der stalk, Lil - ies of the val - ley deck my

5  4
 
2. Oh, don't you wish that you could hear them ring? That will hap - pen on - ly when the

 1 
     1  2  
Coda Hand positions/acc. 1 2 _____
4 3
Smooth changes 1 2 _____
Overall Impression 1 2 _____
(includes embellishments)
rit.
gar - den walk. Total
fair - ies sing 6 max.

 = ----------- 
  
write tempo Go to Sleep France

           
Fais do - do Co - las mon p'tit frè - re. Fais do - do t'aur -


Go to sleep Co - las, lit - tle bro - ther. Go to sleep and

   
Fine Coda (an option)

         
as du lo - lo. MA BOOK 2 Ma - man est en haut, Qui fait du ga -
have hap - py dreams. Mo - ther is up stairs; she's mak - ing a


            
Option: Repeat with RH


an octave higher
Hand positions/acc. 1 2 _____
Smooth changes 1 2 _____
Overall Impression 1 2 _____
teau. Pa - pa est en bas, Qui fait du cho - co - lat. D.C. al Fine (includes embellishments)
cake. Pa-pa is down - stairs; he's mak - ing cho - co - late. Total
© QuenMar Music 6 max.
 

  
= -----------


England

  
write tempo

        
(IV)

 
Lav - en - der's blue, dil - ly, dil - ly lav - en - der's green. When I am


Coda
    
         MA PRIMER B
king dil - ly, dil - ly you shall be queen. You shall be queen.
Hand positions/acc. 1 2 ____
Smooth changes 1 2 ____
Overall impression 1 2 ____
(includes embellishments)
Total
 = -----------


6 max.

   
write tempo (IV)

         
Baa, baa, black sheep, have you a - ny wool? Yes sir, yes sir,

     
Fine

        
MA BOOK 1
three bags full. One for my mas - ter and one for my dame.

   
D.C. al Fine

   
Hand positions/acc. 1 2 ____

   
Smooth changes 1 2 ____
Overall impression 1 2 ____
(includes embellishments)
One for the lit - tle boy who holds out his hand! Total
6 max.
© QuenMar Music
 Stephen Foster
1826 - 1864

 =----------
He wrote over 200 songs.

  3
America Many of the songs were

 3   
write tempo


(IV) Stephen Foster inspired by the southern

    1   
5 United States and they
have remained popular.

1. Way down u - pon the Swa - nee Ri - ver, Far, far a - way,
2. All up and down the whole cre - a - tion, Sad - ly I roam.

       
(IV)

          
That's where my heart is turn - ing e - ver, That's where the old folks stay.
Still long - ing for the old plan - ta - tion, And for the old folks at home.

    
 
E
_______________
LH Option: 3rds b/w Hands

    
Chorus

 
(IV)


E D

 (   )
3
2 3 1

All the world is sad and drear - y ev - ry - where I roam

 3      
(IV)

          
Oh dark - ies how my heart grows wear - y Far from the old folks at home.

       
Coda


Hand positions/acc. 1 2 3 ____
Smooth changes 1 2 3 ____
Overall Impression 1 2 3 4 ____
rit. (Includes embellishments)
Far from the old folks at home. Total
10 max.
© QuenMar Music
 ADDING IT UP
Page Title Maximum Your Mark
56 This Old Man 5
57 Humpty Dumpty 5
57 Pop! Goes the Weasel 5
58 Go Tell Aunt Rhody 6
58 Hot Cross Buns 4
59 Boys and Girls Come Out 6
60 The Old Gray Mare 9
61 I’m a Little Teapot 6
61 Are You Sleeping? 4
62 Merrily We Roll Along 10
63 Skip to My Lou 6
64 White Coral Bells 6
64 Fais Dodo 6
65 Lavender’s Blue 6
65 Baa, Baa, Black Sheep 6
66 Old Folks at Home 10
Total 100

If you scored 80 – 100 CONGRATULATIONS!

Before continuing to Keyboard Accompaniment Basics A,

a score of 75 or more is recommended.

ENJOY CONTINUED SUCCESS & MANY, MANY ‘MUSIC ADVENTURES’

© QuenMar Music 67
Technical Names: Tonic Dominant C MAJOR SCALE
Roman Numeral: I V

   
Letter Name: C G

     
3*

   
1 2 1 2 3 4 5 4 3 2 1 3 2 1

  
      
         
5 4 3 2 1 3 2 1 2 3 1 2 3 4 5
Try to play all the notes of the above scale legato - no gaps!
OPTION: Play the above scale hands together LH Bass Note (BN)
with Har and 3rds b/w hands (pp 17, 19) Root r
1st inv. 3
2nd inv. 5
TRIAD I and INVERSIONS (inv.)
r
Built on the Tonic 3rd inv. 7


_

 
_I _ _

  
r 3 5


3
3


2


3


Root

  G
Root st
1 inv. nd
2 inv.

E
3
2 C
3
3
C

Chord V7 and
Built on the Dominant TRIAD V and INVERSIONS Inversions

  
  

V
_ _ _ _ V7
_ _ _ _

  
r 3 5 r r 3 7 5

    
3
3

 
2

 
3

  G    D F

 
Root 1 st2 3 nd rd

 D
st
1 inv. nd
2 inv. Root

B
Root


3
2
3
3
G B
G
The above chords and inversions should be SECURE ascending and descending
© QuenMar Music
 'Note Helpers' are suggestions.
Spaces
 
You could find your own helpers!

  
  
F A C E

 
( Spells ' Face ' )

All Cows Eat Grass

Lines
  
  
 
Every Good Boy Fine Always

Does

  

Go Big Dog Find Abby Cat

Help Needed!
    
Write letter names below each note

               
    

Who put __ __ __ __ __ __ __ in my __ __ __ ?

© QuenMar Music
 Notes in Spaces
w bw
With comfortable fingering, say names as you play: (try to complete each line under 10 seconds)

w
1.

& w w #w

?
2.
w w bw w #w
w

w #w
3.

& bw w w #w

? bw w w
w
4.

#w bw

5.
bw ? bw bw
& #w #w w
70 © QuenMar Music
 Notes on Lines
w w
1. With comfortable fingering, say names as you play: (try to complete each line under 10 seconds)

& w w #w bw

? w bw w #w
w
2.

w w bw w
3.

& bw #w

?
4.
bw w #w #w
bw #w
5.
bw #w ? w #w
& w bw
© QuenMar Music 71
 A perfect score for one line is 10 marks - 1 mark for each correct measure and 4 marks for finishing under 10 seconds

 
Hint: Make your 3rd reading the test!

   
1. Score


   
 
2.


 
  
3.

 
  
  
4.
 
5.
    
   Subtotal _____
50 max.
© QuenMar Music
 AB Alternating Bass: root & chord note alternate rall. Rallentando - gradually getting slower
Upper aux. Upper Auxiliary: ascends 1 or 2 CS & returns
Lower aux. rit. Ritardando or Ritard - holding back the tempo
Lower Auxiliary: descends 1 or 2 CS & returns


..
Keys before  release. New phrase begins
BN Bass Note: lowest note being played Repeat
Breath Mark Repeat from the beginning
.. .. Repeat
b/w Between: 3rds b/w Hands Repeat from the first sign
CS Chromatic Step: Closest distance b/w 2 keys RH C1 Right hand position: thumb on middle C
D.C. al Fine Da Capo: Back to beginning; continue to Fine RH D1 D1 position: thumb on D next to middle C

 Fermata (Pause)
Hold the rhythmic event for an appropriate I Roman numeral: I = 1; V = 5 (5th scale note)
duration - momentarily stop the pulse I:1st, 3rd & 5th notes of a major scale - forms a triad
V V triad (built on 5th scale degree up) root, 3rd & 5th
Fine The End

V7 V7: includes 7th - 2 CS  from the chord's root


Flat
Lowers the pitch one chromatic step (1 CS) Sharp
(closest distance b/w 2 keys on the keyboard) Raises the pitch one chromatic step (1 CS)
Harmony Crossing (closest distance b/w 2 keys on the keyboard)

 
Crossing from opposite directions, the hands Slur
play keys that share the same letter name Notes over or under a slur are connected. Drop on
LH C5 Left hand 5th finger on 1st C below middle C 1st key with a slight accent. Release 2nd key while
LH C2 C2: 2nd finger on 1st C below middle C lifting the wrist

.     .
LH C1 C1: thumb on middle C Staccato
__ Dot
N Lower
_ range . at the head indicates key(s) release instantly
___  Note from G to A range
__ descending from
> > release instantly but with an accent

      
N  2nd G below middle C.  3rd G to A range Tie
Between 2 notes of the same pitch. 1st note is held
Natural: Cancels a sharp or flat

for the time value of any linked note

   

Octave Higher Time Signature

Notes played an octave above (8va)     Top number: number of beats in a measure
Octave Lower Lower number: kind of note (eighth, quarter, half, etc.)
Notes played an octave below (8vb) that receives one beat
Passing Notes (PN) r 3 5 Triad: Root, 3rd & 5th. Often referred to as a chord
PN ascend or descend by scale steps from ___
3 Triplet
root of V to root of I. Steps often omitted      3 events in the time duration of 2. 'One beat triplet'
Dynamics: see page 10
© QuenMar Music
 Song Index
61 Are You Sleeping 29 More with Four (Secondo)
65 Baa, Baa, Black Sheep 16 Moving Together
24 Back and Forth 66 Old Folks at Home
25 Bouncing the Ball 60 Old Gray Mare, The
59 Boys and Girls Come Out to Play 57 Pop! Goes the Weasel
40 Can-Can, The 41 Pretty Flowers
27 Cleaning Day 21 Right Hand for Harmony
19 Crossing to Sixths and Tenths 30 Row, Row, Row Your Boat
37 Cutting Time 10 Sailing
64 Fais Dodo (Go to Sleep) 8 Sharing Middle C
15 From a Symphony 18 Sixth or Tenth?
58 Go Tell Aunt Rhody 63 Skip to My Lou
7 Hands Together With Octaves 11 Skipping Song
9 Heading Out 52 Soldier’s Joy
58 Hot Cross Buns 42 Something New
57 Humpty Dumpty 6 Stepping Up and Stepping Down
61 I’m a Little Teapot 33 Stretching and Holding
14 Jolly Tune, A 34 Sur le Pont d’Avignon (On the Avignon Bridge)
65 Lavender’s Blue 56 This Old Man
48 London Bridge 12 Train, The
49 London Bridge with Variation 51 Tuba Time
39 Long Jump, The 54 Twinkle, Twinkle Little Star
22 Marching On 36 Two – Two Encore
17 Mary Had a Little Lamb 26 Up and Away!
14 Measures With Two 44 Walk in the Park, A
23 Measures With Three 64 White Coral Bells
62 Merrily We Roll Along 38 Wish for Cats and Dogs, A
28 More with Four (Primo) 46 Woodpeckers, The

74 QuenMar Music
 BRAVO!

You have complete KA PREPARATORY

and are well on your way to creating

GREAT ACCOMPANIMENTS