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• Norma Ulloa

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IGRADE THREE I

MIC AE AARON P I NO COURSE

•

Especially designed to create student interest and

progress by combini.ng basic elements

of piano techni c with melody

•

correlated material

begin with

PERFORMANCE (11001 PF) ....... ... .page 5 THEORY (11002TH) ...................... ..page 5 TECHNIC (11001TC) .... ............... .... page 5

© 1946 (Renewed 1974) MILLS MUSIC, INC. Revised Edit.ion © 1994 BEA M ME UP MUSIC (ASCAP)

AU Rights Admini stered by WARNER BROS. PUBLICAATIONS U.S. INC.

All Rights Reserved



CONTENTS

"VICTORY BELLS" (study in thirds) .................. .. ... 5

ARPEGGIO STUDy ............................................... .

"SINGING COWBOY" (study for Left Hand) ...... 6

SIGHTREADING .. ..... .. ................. .... .............. .... ....

AUGMENTED AND DIMINISHED TRIADS.. ..... ...... . 8

" BALLADE" - Burgmuller .... ..... .............................

"WATER LILIES" ..... .. ......................... ....... ... ............ 9

"COUNTRY DANCE" - Beethoven ......................

"AT THE RACES" (velocity study) Czerny ....... .... 10

"SPINNING SONG" - Ellmenrelch ......................

"IN MEXICO" (rhythm) ......... ... .... ................... ...... 11

"ETUDE IN D FLAT" (for Left Hand) .................... .

"ARIA" - Bach ............ " .. .... ......... ...... .... ......... .... .. 12

"APRIL SHOWER" - Burgmuller ................. .. ............

THE CADENCE AND CADENCE CHORDS ........ .. 14

"WALTZ OF THE FLOWERS" - Tchalkowsky .........

"OFF TO THE HUNT" (broken chords) .. .. ...... ..... .. 15

"ALLEGRO" - Haydn ...........................................

"WHEATLANDS" - Knipper ... ............................... 16

"PRELUDE" - Berens .... .. .......... .. ................. ....... ..

STUDY IN WRIST STACCATO - Duvernoy ............. 17

"CURIOUS STORY" - Heller .................................. -

"FOR ELISE" - Beethoven .. ... .......... .. .. ...... ........... .18

"HAPPY-GO-LUCKY" ... ......................................... -

TRILL STUDY - Czerny .............. ............. .. .... .. ........ 20

"MINUET IN G" - Beethoven ........................ ....... .::

REST TONES AND ACTIVE TONES................... .. ....21

"H UNGARIAN DANCE" - Brahms ............... ... ..... ==

"THE DONKEY" ............ ......... ...... .......... ..... ... ......... 22

MAJbR TONIC CHORD ARPEGGIOS ............ ..... ­

"STUDY IN G MINOR" - Krause................ ...........24

MINOR TONIC CHORD ARPEGGIOS ..................



"NORWEGIAN VILLAGE DANCE" .... ...... .. ......... .. 25

MINOR SCALES AND MINOR TRIADS ..................'

"ELEGY" - Massenet ..... ... ....................................26

KEYBOARD HARMONy .................................... ....'

STUDY IN BROKEN CHORDS................... ...... ........28

DICTIONARY OF MUSICAL TERMS ................. " ...

"BUTTERFLY ETUDE" (octave study) - Chopln ... 29

CERTIFICATE .... .................................... ... ..... ........ ..

"TWO JUGGLERS" (chromatic study) ....... .. ....... 30

5

The double notes (3rds) in this study are splen­ did practice for the development of the hand. Fingers must be held finnly at first joints. Be sure to sound both tones exactly together.

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The notes in the bass clef of this piece fonn an interesting etude in thumb crossings for the left hand. For additional practice, the upper finger­ ing may be used throughout as an extension study,

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Augmented and Diminished Triads

The word AUGMENT means to enlarge or make larger.

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Play the chord of C MAJOR

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Enlarge by RAISING the 5th (G) a half step

and you have the chord of C AUGMENTED



The word DIMINISH means to make less or reduce in size.

Play the chord of C MINOR

Reduce the size by LOWERING the 5th (G) a half

step and you have the chord of C DIMINISHED

~ ~



Here are some chord progressions containing AUGMENTED and DIMINISHED triads.

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Try to locate the augmented chords in this piece. This piece should be played with ex­ pression.

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nl Practice the right hand separately, one note to a count (l 2 3 etc.) until you are certain of the notes. Increase speed gradually until you are able to playas triplets.

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In Mexican and South American music, rhythm is very important. Play this piece with a "bounc­ ing" rhythmical swing.

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This lovely aria by 1. S, Bach has a spiritual quality which lifts it high above ordinary music . Try to express the feeling of joy and exaltation when playing this composition.

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This piece is one of the most popular in a group of Classical Period country dances composed by . the great master, Beethoven. It should be played lightly.

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This composition is composed almost entirely of one leading motive or musical pattern:

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40 A well-developed left hand is essential if you wish to be a good pianist. How often do you hear the following, "I can play with my right band but can't seem to do any­ thing with my left." The answer is more studies for the left hand; ''Practice makes perfect."

Etude in E Flat

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40 A well-developed left hand is essential if you wish to be a good pianist. How often do you hear the following, "I can play with my right hand but can' t seem to do any­ thing with my left." The answer is more studies for the left hand; "Practice makes perfect."

Etude in E Flat Allegro ~

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44

PETER TCHAIKOWSKY (b. 1840 - d. 1893) Tchaikowsky, the great Russian compo er, was originally a graduate of law. However, his love for music was great and he devoted himself entirely to com­ posing. His music can best be described as sad, melancholy and soulful. He com­ posed six symphonies and several piano concertos, the most popular of which are the Sixth Symphony and the Piano Concerto in B Flat Minor. The delightful "Nutcracker Suite," althougb written in one of his rare lighter moods, is a con­ stant favorite among music lovers.

Waltz of the Flowers

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FRANZ JOSEPH HA YDN (b. 1732 - d. 1809) Haydn, affectionately referred to as "Papa Haydn," was from a large family of twelve children. Although his parents were quite poor, he managed to get a mu­ sical education and later was fortunate enough to have the patronage of the Ester­ Mzys, which enabled him to do a tremendous amount of composing. A teacher of Beethoven and Mozart, he also enjoys the distinction of being one of the wor1d's great composers. His "Surprise Symphony" and many shorter works are full of charm and humor.

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48 Study the chords on this page very carefully. They are repeated on the next page in broken fOnTI.

Prelude

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This favorite composition by Stephen Heller re­ quires a crisp staccato touch and a well-defined rhythmic accent.

Curious Story

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53 The name of this piece is the key to its interpretation. Study the bass chords carefully before playing hands together.

Happy-Go-Lucky

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54

In order to connect the double notes in this composition. it is necessary to observe the cor­ rect fingering. Play in a graceful manner and with much expression.

Minuet in G LUDWIG V AN BEETHOVEN (B. 177O-D. 1827)

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58

Major Tonic Chord Arpeggios 2

3

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(Harmonic Minor) ,

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