THE COMFLETE PIANO PLAYERBOOK3

'By the end of this book you will understandthe importance of expression in music,and will be playing22 popular songs,

inclu di \g. Im agtn e, B / u e Mo o n, Ito rzt: egia n Wo o d,and Ratndrrps Kre Fa//in'On MlHead;

G^Kenneth Baker

A rnsr.n E rhlir.otir.rr "

CONTENTS

About this book, 5

LESSONS1 Chord pyramids, 6

'Shift'technique, 7Chord pyramids for right hand, 8

2 New notes: G, A, and Low B for righthand, 10R G, A, B for left hand, 10Accompaniment patterns, 10Phrasing, 12

Key of G, Scale of G, 14

$ Time, 16

The two-note slur, 18

New note: High D for left hand, 20Arpeggio (broken chord) style for lefthand,22Sixteenth Notes,24TheWakz,26Da Capo al Coda,27Grace notes,28Accidentals,30Repeated notes, 32Sixteenth Notes in X Time, 34New notes: B, C for right hand,High Efor left hand, 36

16 Tiiplets,33Aqpeggio (broken chord) style for bothhands,38

Quarter Note tiplet, 40More left hand melody playing, 42Dotted Eighth Note, 44Swing 46Last word, 48

SONGSAmazing Grace, 39Blue Moon, 14

Fascination, 8

Getting To Know You, 42Greensleeves, 17

Imagine, 34Irish Washerwoman ,32I Whistle A Happy Tune, 12

Lawrence OfArabia (Theme from), 40Liberty Bell, 20Minuet in G, 36Morning (from Peer Gynt),24Norwegian Wood, 18

Ob La Di, Ob LaDa,28Over The Rainbow, 30Raindrops Keep Fallin On My Head,46Smile, 6Somewhere My Love,26Spanish Eyes, 10

Summer Place (A) (Theme from),22Wonder OfYou (The), 48Yellow Submarine,45

9r0

11

12

13

t4r5

17

18

t920

CHORD PYRAMIDS

This is a simple yet effective type ofaccompaniment which can be used withmost ballads (slow expressive tunes, oftenplayed with a rather flexible tempo).Play the notes of the chord one by onewith your left hand, holding each notedown until the chord pyramid is formed.Observe the ties carefully.

Rubato

smile ev - enSmile tho' your heart is ach - ing, tho' it's break - ing,

SMILEWords:John T[rner & Geoffrey Parsons. Music: Charles Chaplin

chord pyramid

pass thumb under

new hand position

chord pyramid

2nd finqer2nd fingert,C-Abo Gm D7I

-d-24--when there are

n, | ,. tB'

-z.d-1.-clouds in the

-^L- th.r'sky you'll get

ffiby, if you

mf 1€ rW

pass thumb under

Gm Gm- tr

3€-a

smile tliro' your|

-D _1 ?,--

fear and sor - row,\r\

Smile and may -,,ct7

'I

be to - mor -row

chord pyramid chord pyramid

new hand position new hand positionF Dm7 Gm c7 F

ayou'll see theCleSC. 1a_2 '.F

sun come shin-ingl1*

thro' for'l 72

you.nlf n - 1^+

Light up yourP. t{2?=Y--

face with glad - ness,

\ ^+:

keep on

F-

try - ing,

hide ,ev -'ry-.-- e;-

o-+trace of sad - ness,

k2Zr----------'-Al rho' a

.'a 1*:

Abo

Dm7

still worth1

Smile whar's the of cry - ing, you'llcresc.

near) that's theev er so tlme you must.^-1a ----

smile.while, if you lust

*Shift Technique. Sometimes neceslary releasing the note. The 3rd finger is nowf^or goo.d leggto^ playing. Play F with 3rd ready fo-, .rrl ,*" l" irr" ";-pil;.finger then shift to 5tlifinger without

The chord pyramid technique can oftenbe used effectively in the right hand also,as seen in the following arrangement ofFasanahbn.

FASCINATIONMusic: F,D. Marchetti. English Lyric: Dick Manning

With expression

-66ff,yramid C

-

B

na[ 'Hr

tion I I

c

-

And it might have^ta +

-4'end - ed right

the left hand uses the treble clef l'e'e87 Dm convenle

d"7

-rp;then at the

10

start

ozfr?(\-/--./tt'u 1 \

/ Just a \pass-ing,/ cresc. \

for convenience

Dm7

a

glance mance

2frr K v-/4\

,/rt.u I \And I \might -.rmf\

Dm m

(1,H,)-

a -lgone on

C

my wav emp

\'-". heart ed

2*L

_1J L-'-J_It was fas - ci

rw^- {-

Dm7-5 G

-4 -O \-/-

na[ 'fir

tion I I know7-'t:7=

See - ing you a -,t lF

Dm+"---7 #5JL- 4-a -l-'

lone with the

'll7moon -light a

1- \_-bove-

(1.H.)- \/ Then I \ouched your

/ <

1?h-f-U

hand and next.f

mo - ment I

-YOU,kissed

3

-zT --aaturned to

a rF-_love. '

P -,-1---

NEW NOTES

-f Before tackling the next song, here are

L some new notes for you to leam:

G, A and low B forright handF, G, A and B forleft hand

AIBICIDI EI FIGIAI B DI EIFIGIAIBlC

ACCOM PAN I M ENT PATTERN S

Notice the repeated accompanimentpatterns in the left hand in Spants/t Eyes.

SPANISH EYESWords: Charles Singleton & Eddie Snyder. Music: Bert Kaempfert

I Tempo di Tango (A Latin'Amerih aunr" rhYthm)J = r oa 5

pattern

pass thumb under 4th fingerl,,

GAffi'

\\'f'f;CiR

&Di

#$lGl

$ir

pattern

rxzorr'ld lie in th'rt

Ll

n'7G7

pattern

?------1-zT--Soan - ish

*.

3

eyes

-.

-

1

-Tt-Tear-drops are fall - ing

t'from your Span - ish eves

mf

*T o,l-o- li-o. A nqrfial lit't. ,tccd fn nosition (see Rook

.i-r

=-itse don't

d Bti'Pleasep

v- 1z;__=--.-This is just a -

cresc.

plea

5

9

Udios and not good - bye-..-

drz--- ,-e=-iE;-\-.--Soon-?, ---:

EL'----lJ;2u-I'll re -

ft

t -11.

!r

pass thumb under 4th finger

pattern

pattern

a'^pass thumb under3rd finger

squeezetogether

'ti

ii

liti

.til

rirrli

.ii

liltl1l

Irll

,ii

:i:i,,

,iI

.:,1

ii

1pattern

53

;r G7

pattern

c7--\I7-:xl- ra-1--

a) J

turn Bring-ing you all thecresc.2-

I

love your heart can

b-

A Ab 1+--"C<--hold.f Pleasep say Si Si

))-L1+lu.

5

c cIar5p--i_-1_-1

S"yArf

you and your Span-ish'I

will wait foreyes fG

PHRASES AND PHRASING

A'phrase' is a group of notes whichbelong together musically.'Phrasing refers to the way in which thenotes are played.Usually you play the notes of yourphrases legato (connected):

SMILE (Book 3, p.6)

Sometimes you(disconnected):

a legato phrase

play them staccato

a staccato phrase

ln I trlhtstle ,4 Happy Tune, you will beusing a mixture of staccato and legatophrasing. You will also be accentingcertain notes. Such different types ofphrasing within a piece help to grve itcontrast, and contrast is one of the mostimportant aspects of phrasing.

(etc)

IWHISTLE A HAPPYTUNE(FROM,THE KING AND I')Words: Oscar Hammerstein IL Music: Richard Rodgers

Lightly J = 100

.%t

Theme from WILLIAM TELL OVERTURE (Book 2, p.44)

hold my head e

ev - 'ry sin - gleev- er I feel a -

whis-tle a hap-pyfraid, Itune, And

c ,G,

tr-"'",31\oh._ ,ocla,$c

t.

Cm

@ cooa c

5*Dal Segno Al Coda: 'From the sign to

Coda'.Repeat from the sign (X) until'to Coda$'. From there jump to

---

re\' C7 *D.s. alcoda

CODA (the final section of thepiece) and play through to the end.

new hand positionlf

F

25Db

c,^a3

F

41

rect,time

AndThe

whis - tle ahap-pi-ness

hap - pyin the

tune,tune

Socon

4

no one will susvin - ces me that

pect I'm a - fraid The re -mf

1

sult of this de cep - tion is

L=ve - ry strange to_ tell, For

G A

when I fool the1.e cresc.

peo-ple I fear, I1+

foolh.t

rrlmy - self as

"twell!

,$\-.I

nw

Gp .-= -,*-:0 zf '

oI'M nota- fraid.f

F

-

II.t\O

)r-dut araql uaqt puv

I r !, ),JoJ 3JBJ

), "

----

hIdreqs J

*

LOI LutvpuZ iepun qunql ssed

oHc

'd.reqs g su (p"reoqdal eql uo 11uy lq8lu]r re^areqart) g rirerre ,(qd o1 reqr.uauer

]snru nod,{a1 sn{} ur e.ru nor( ueqr,!\

+d.reqs ;91o ,(e;

gL = a uorssetdxa qlrrvr 'A;nnolg

s.ra8pog prEqrry :crsnl4l 'uBH zuero'I ,ipro16

(e)

€L

plnoJ AI - IBaJ I auo -aulosftu Jo e^ol E lno - qtl,1A

-Tr"'roJ .ra.{urd

uEaqleJnleu J I

:. lr-

c-B 8ur - ,(us aru pJeerl no1

,{tu ur rueeJp B lno - qll/fidreqsJ\ l. O

tuttU

JoJ araqlauol

se.{r I ruq^\ tsn( rrrau>1 noae 3ur - puBts aur .rBS no1

Lut3 zurg

d.reqs 3

NOON rnrs

:sr CJo de1 aqr roJ ernluu8rs .(e1 aqa'CJo Xa1 eql q eq o] prBS

ere dlluuuruoperd elucs sq] Sursn saJard

:d.reqs C :elou {cBIqeuo serrnbar r{cil.yv\'(rolrry) CJo elurs

eq] tuog pe^lrep q (rofe61) g3o de1 eqa

c@ i o ) I v

I Jo elers

Dsus4

Am7

squeeze together

Cm7

A7 new hand position

G6

fsqueeze together

G6

D7

tF sharp

D7

G Dsus4 D7

tF sharp

BbF7G

tF sharp

o7A

new hand positionAbmajT

4"t'-aa

sud-den - 11, ap-peared be

1efore De, The on - ly

111

one

1+my arms will ev - er

hold I heard some

cresc.1(\- bo - dy whis-per"please a -

'l 1()dore me," And when I1e L-,

5

looked the moon had turned to

se-- ltggold. Blue

,6->, m:lf

Bm7 Bb7 o^7=---H-?.

Unow I'm no long - er a -

F sharp*

Ione

I

with - out a dream in myF sharpt,It

B A1

with- out a love of mv

.r-

own.

(G} GilO

S lME

This means six eighth notes, or theirequivalent, per bar.

In $ time the dotted quarter note J. is thebasic beat, and there are two dottedquarter notes per bar:

Count: 1 2- 3 123.ITa1

I2

a'1

68

or:

456.ITI2

In faster pieces e.g. Libenl Bell (p.20) itwill probably be better to count 2 in abar:

(etc.)

(etc.)

The player may count either 6 eighthnotes or 2 dotted quarter notes per ba6whichever is more convenient.In slow pieces e.g. Greensleears (p.17) itwill probably be more convenient tocount6inabar:

GREENSLEEVES

Count:1 2 3 4 5 6A

Start playing here

LIBERTY BELL

GREENSLEEVESTiaditional

count:1234 56 1234 56tstart playing here

Am Bm Em

't23456 123456 123456

Am E Am

Gentlyflowing) = 120

E new hand position

2T---------?-- 3 5t47t a B .1

a)

q*

r

--.

.-{ I

ll-2t.. ----:1#*

3456 23 456 234

c.ross 3rd finger over thumb change fingerEm Am F

456 2345 23456 23456

56 23456

THE T\MO.NOTE SLUR

You leamed in Book One (p. 36) that asluf sometimes called a phrase marh is acurved line covering the notes, indicatingthat they are to be played legato:

tJ

and staccato).

2345D(no 3rd)

played:

l;))

drop lift

345D(no 3rd)

written:rlWhen a slur covers two notes onlv: l^-"'J' . )stress the first note (play slightly louder);let the second note be weak (pluy softer

NORWEGIANWOOD(THrS B|RD HAS FLOWN)Words & N{usic:John Lennon and Paul McCartney

NModerato l'=152 D(nO 3rd) ;.- GG

Let your hand drup onto the first noteand ltfi up from the second note. Thiswill give you the correct sound of thetwo-note slur.

I have arrowed the two-note slurs in thefollowing piece.

D(no 3rd) Dm7G

Count:

GG

D( 3rd) 'G

234 234two-note slur ,i

D(no 3rd).- I -.Gm

)l).iIt. I

play legato ----j

tttt

U mp I once had a

., 1-.girl, or should I say she once had

-.

no

a 1e'me.

,, ta.She showed me her

ta.room) is - n't it

good Nor - we - gian wood. She asked me to stay and she

!')sl urA

-cto

slu r*G-3+r

\=

/=

rJ\-l=

1=

/==

-__lnf,he

/=

I

\=

l=

Dm7

42

123456 456

1234 56

no 3rd

told me

lv

123 4 5

234

. slur!"r +slu r

+

I looked a - round and

3456

i,

2

no 3rd

234

G

2

drink - ing her

D(no 3rd

and then

1234

G

1234.: J

5

Dm7Ga D(no 3rd)

ticed there wBS - 11'1 a

rug bi - ding my

1awi)rl

ne We talked un - til

said: "It's time for

2 3 45 6

she

NEW NOTE

High D for left hand

I-,ook for the new D note in the followingthree pieces.

LIBERTY BELLByJ.P.Sousa

*March tempo ). = 92

F c7

Count: 1

5-4.ei Z i Z. o o---

1

a

1 1

5t-t *t -t-'t--r------r--5917a rw Y r

25--

F

{SFlJ H *1;D-v r

G

c

Bbr - - - open out hand- - - - - - - - -l

cross 3rd finger over thumbc7

F

1

c

1

FD

2

G7

1

pass thumb under 2nd

new hand position12

new hand positionc7

'I

o nxJt1;.

I

l-:

3n---Tal tJ.

?t. 1f

cross 2nd f inger over thumb

sIreIc m5

Cl

new hand position

5+'1

1dl p cresc.30.

I

zhe1Dt ta.

f

B F F4

a)

) ta. ta 'tC 1ta

\\---'l

1.

ARPEGGIO (BROKEN CHORD) STYLEFOR LEFT HAND

This is another useful accompanimentsffle, similar in effect to strummingchords on a guitar or banjo.It is indicated by means of a wavy line:

A SUMMER PLACE

(THEME FROM) A SUMMER PLACEWords: MackDiscant.Music: Max Steiner

I E".y temlro J. = 60

Play the notes of the chord(s) in rapidsuccession upwards, rolling your wristfrom left to right, yet keeping the wristrelaxed.Sustain each note on the way up in orderto get a rich, full sound.

Sum - merThere'snw

5f'

Place

r?: tr*lwhere it may

Dt-*.raln- or

t p:

storm yet I'M safe- and

1r*: r*:.warm- for with -Z - ).

BbBbF

1

F

Bb

1

FBb

2

Fine

a

ln_oirt: r#

that Sum - mera Sum - mer

?e,

PlacePlace

hG: ln:

your arms reachis that it'sDtZ;.

Bb ':1"

5#

out

-

toan - y-r+: t+:

me- and mywhere- when twola ,L,

heart- ispeo plet+ |+'

free- from allshare- all their) -.

'.---'.'..-

Ucare _

mif hopes

l+: t* |

for itall their

)t*'. !*..

knowsdreams

r*l r+:

there areall their)t*. r*

aJ , no gloom- ylove.' ---- cresc_:*-

skies when

)\t#.seen- through the

\ r*'.I eres of

Pts:ztl-trrl

Gm7 A-=- c7FD.S. al Fine

-.U L-r-those- who are

IQ:

blessed with

2eh n--.Ilove.

Dt$V"f

'------172O- t 'And the sweet se-cret

. m/p1*-5-

SIXTEENTH NOTES

O Written:rfiror: ffi....Sixteenth notes move twice as fast aseighth notes: - baO=t,

Sixteenth notes are featured in the nextpiece, Mornt:ng, by Grieg. To get thebasic timing, start by counting the piecein 6:

Count:123456123 5 and 6 and(Later): 1 2

Later on you will find that the piece willflow better if you count in 2.

MORNING

42

MORNING from 'Peer Gynt'By Edvard Grieg

Allegretto pastorale (ln a pastoral mood) J. = 50F

AJ p dolce (sweetly)

1t-e: t#: 1r*:

FDm

456 123456

DmACount: 1

B-l ta: l: lDt*;-

\til,l

4 5andGand

AA+

2 345 6 'l 2 3 4 Sand6and 3 4 5 6 2 345 6

12 34 5 6 1 2 3 4 5and6and 12 3 4 5 6 1 2 3 4 5 6R.H.-

-

IR.H.-

-- |

1 2 3 4 5and6andF

1 2 3 4 5and6and 1 2 3 4 5 6

D

456Dm

1 2 3 4 5 6

Gm

1 2 3 4 5 6F

12 3 4 5 6 1 2 3 4 5and6and 12 456

1 2 3 4 5 6 1 2 3 4 5and6and 1 2

Gm -4

DmDffi 3

F

23F

5 5

,[e: ,ba: lrfb:

5 5 53

1-.U /--v --LJ'--

Left Hand I

-z-:

r -i ;r}-rlcresc. L.H. I

I f +rtlrtt' L.H. I

m

u^\-f r' rcmPo)

1b: )eL

t+-J

t*: 10tr+: \ te,q

F4

\ts: -Jt4:-

-cresc.

a.. I -.

4 5 -J',

Di. -.

_o_oJJ p dim.

1r,+: lD,+-:rit.

Dr+:tJ-L

wt+l

45 6

- 3ur:ds. .,__/

Jo adoq' \.__/t

aqi sJa AoJ,ro

9

9Z

c

LCqunql JeAoJe Lllt ssed

Jnls

uorlrsod pueq Meu

Jnls alou-oMl

zt,L= a zllPMrunrpaw l puz rapunqunql ssed

(rN:ur s,vuvr) lAOl ll IUIH7171INOSar;zf acrrnetr41 :Jrsn6 relsqa1\ srJuBrC InBd :spro4

,,Uq,,eceld aql ezrr8 dleqIIr1\.\ eseqJ'PUBrl uel eq] ur srnls elou

-o/!q eq] e^resqo (oSur\qz ro]f,,oq ruo{'eruoqJ s,BrE-I) ao07 [14 ataynu?//os uI

'aruq I ur uepulA slz,/v\leoru daq] 'paeds uI drEA sezllezri' q8notplf

du paedsaqt q8noqr

pocIV

uorlrsod pueq rlteu

puBol

ll\ousBuos

7

\ AIU IOeq IIII!\

IUIqI araqJ,o

sraOurl puZ pue Lllt ssed

I

lae.r\s- a^ol

-

Atu 'uJql,(tu eJal{./r\I]IL dat atuoa

nu- PeI

c rabu r

0l

F

SIC-al

Somemff,+ +I

day

zj t++I

-- -> +'lrWe'll meet a -++C- +a

\-14 .

my

??+t

o galn

t++I iove- =..-

? + -C t ,- t

c

Eb

-tsF 1 a-a

50mecresc.,--.

dav

fi, L

I

when

,-l/n))

ev - er the

fl, L'l.4ir-

Bb Eb G7D.C. al Coda*

= -.- \ -54 3TD;d

sprlng,--.+i )ta ta

I

breaks

fli Lthroush.I./ ,-------T- S t-2 2--

I

A-.-/-4J)

5

a) -'1"-- till you arecresc. '-

,-

galn,_

-f,--5

@ cooa

*Da Capo Al Coda: From the beginning From there ju-p to the Coda (the finalto Coda. ection of the piece) and play through toRepeat from the beginning of the piece the enduntil to CodaS

c

GRACE NOTES

OB LA DI, OB LA DA

grace notes

llGrace notes are ornamental notes notincluded in the basic timing of the bar.They are always written small:

Play your grace notes as quickly aspossible. So, in the above example, holdyour half note C for almost its fulIlength.Then slip in the two grace notes justbefore the quarter note E which is dueon beat 1 of the next bar.

c7

F Bar 15 Bar 16.--

OB-LA.DI, OB-LA.DAWords & Music:John knnon and Paul McCartney

Bright J = 1OO

F

F7 Bb

c7

_il-r Des- mond had arnrd flap- PY ev - er

bar - rowaf - ter

1n thethe1n

|- -\mar - ket pladmar - ket place

a uor-rvDes-mond

is thelets the

sln - ger Inchil - dren lend

I

aa

band.hand. new hand pbsitionl-,

2

a)Des- mond says toMol - ly stays at

Mol - ly, "girl Ihome and does her

I

likepret -

your face"ty face-

and Mol - lyand in the

: ;-G.

says this as sheeve - ning she still

takes him by thesings it with the

,\.__nano.-band.--.-,-1 f.?r- J

^,^^^ ^^16.

da, life goesob la on La la how the

L*--r--

In a couple of

lFirhome. f-

3TU;-4-)--vyears they have

I

built a>

home sweet>

1-P€t42-a-

>--E- r-7-

change finOers p7

Bb

F c7 D.C. al Fine

a) 2 1 --G>

>mjf wirha couple of kids run - ning

-

I

in the>

5-

> -5-e2z--*3{.#ir--A--- ;B--3-7-NIr ---------l- 177-

a)yard of>

Des- mond andcresc.

Mol ly1-t--rJones. f

e CoPyright 1968 Northem Songs Limited. All rights for the USA, Mexico and the Philippines controlled by Maclen Music,Inc.,: : -{TV Music corp., 6255 sunset Boulevad, Ios Angeles, cA90028. All Rights Resewed. used by pemission.

ACCIDENTALS

t7 Accidentals are sharps, flats, or naturalswhich are not expected, because they arenot included in the key signature. In thefollowing piece, Oaer The Rainbow, onlythe F sharp is expected (key of G). Allother sharps and flats, and the rather

frequent F naturals, are accidentals.

Remember that accidentals only applyto the bar in which they occur. At thenext bar everything retums to normal.

t

OVER THE RAINBOWWords: E.Y. Harburg. Music: Harold Arlen

Rubato, con esPressione

taccidenta I

Gfl' Am

accidenta I

ttaccidenta ls

accidenta ls

G

Cm7 Cm6 G E7 Am D7

1 1

dSome - where

po - ver the rain - bow,

a). 2' ta

I

way upt r-Pass thumbI I *- | under2nd-'2 ze 1p.--rs.-t 3---

accidental

7 ar) r

T-----r-T-"1--.fhigh.

., 2 c)_

- l-{a--L-Ve-

There's a1?+

1-land that I heard of

o ll_-

't +once in a lull - a

--t-2H?--iltt- I 2----------1tT:E-

accidenta I

tld1o

by.1

Some - where

-----

o - ver the rain-bow

f . 2+Q-

I

skies areIt,,i r) ,Lrr)54

__-_1-s-z +---;TAI-2Ttt-"---rh---- 1edream real-ly do come

T-r_-T--I-_"1_-blue, And

12+thek-

t()dreams that vou dare to

- rl.?s----t}-rr' - +t

-r-2.' ---Eo :txl- +,t iiE

wake up where the clouds are far be -

1-1day I'll wish up - on a star andtrue. Some

Gsus253.2

Am Am-5

D7sus4 D7 {.rmaj /

Am

c$" G E7

D7

Wherel+

troub - les melt like lem - on drops, a -

cross 3rd finger over 5th finger

way a - bove the chim - ney tops, that'stL cresc. fnf1'!o

where you'll find me.

L

USome - wherep

-1 c)

o - ver the rain - bow,

12 - ,

blue - birds1) -L ,,) u)

--t----l--T-'r-rrl

fly

1 /) rt

5

-----t----s---Z 4- -4<dBirds\4. t

fly)

o - ver the rain - bow,r ^ ll

1.ewhy then, oh why can't

1d.I?

4E ---*-alH-'-2{-4. 2------i-T:u-

rit.

rl--

o -t_____# --

EZi I

ZI

cLO uorlrsod pueLl MauTUV

D1LAuorlrsod pueLl Mau

ttsalou paleadalLtuvttsalou paleadaJ00zL ='1, Ale^r'l

IEuoIlIpEJJ

NVhOMU]HSVM HSIUI

'saEussedelou pelBeder asaq] u1 dleq lee"r8

e'etur1 qcea ]ueruelour ryldorp e Suop

y peleede.r

pueq aq] qlr.{\'Surse:qd {rnls, Pug III^\noa'qe8e asn.ro3.(pee.r aq ]ou [I./!\ e]ou

eq] esr^\Jeqlo 'olBJJEls selou paleade.r3o .rred qceeJo ]srl, eqt,(qd 01 erns eg

g peleede.r

+.-++

NVNOMU]HSVM HSIUI

:UOISSECJNSur acr^\1 .(lprdur >lJru]s 'a'r peleader eq o]

seq elou e'unrulnzlaasryl4 ysuJ'acardyeu;nod ur suolseccoJo Jeqlunu E uO

-!tl

f--1oz

z

zn

Jn lst

Jnls+

L t0Itt I

{---HZ

z

z,t

Jnls*

I:,

Jn ls+

zn

Jnls*

I

rra)

+

fl

new hand position

new hand position

ln*GGc Am7

D7

G--1

Am7G

D7

ffit

7 4* 4 I r --r---2---- 1--------1-

It-j

A

-

---oJ_trfl" .iiu,. . slur slur

r5r--J--- !t-2. l.ttl-zt---l- 3-f---f=f-? ,--.7

U

d _1 aa tslur

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z- --\

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---,1Am

D7 G5r- tr

s ) .--1 7.------_?-a)

't-

,-1-|-1)

SIXTEENTH NOTES lN ITIME

t4In the next piece, Imagine, which iswritten in C-ommo.t fime (f )there are anumber of sixteenth note fragmentsmixed in with eighth notes, quarternotes and other time notes.

In such a situation it is probably best, atleast in the early stages, to count ineighth notes rather than guartgr notes.Eich sixteenth note will then have arecognizable place in the count:

IMAGINE

7 Bandl 2 3 4 5 6and7 Itsixteenth note fragmentst

At a later stage, when you have the feel quarter notes to the baq rather thanof the timing, you could try counting 4 8 eighth notes:

Count:12 3 4 5 6(eighth notes)

BAR 12 __ BAR 13

sixteenth notes C

(etc)

Count: 1 7(quarter notes)

3 and 4 a-and

!MAGINEWords & Music:John Lennon

Gentlyflowing J =60

Count: 'l

(eighth notes)

and

ft-

BAR 12

r sixteenth notes

,[rfl,D^ I - ma - gine there's no,),) ) -t ) -t ) )

No hell be,[D[fl,,[ru,D^lt's ea - sy if You

sixteenth notes C

,JlJljl a -bove us on - ly

\i

1i

23 45

23

TandSand 1 2

Dm

5 6 7 I 12 3

sixteenth notes Barl 3

7 Sand

Dm7 sixteenth "*".'jT

o

c34 678 3456

I - ma - gine allcresc.

the

1

4 5 6 Tand8and

sixteenth notes

567

5678sixteenth notes

6and7

cF

56

G

5 6and7

E

2345678sixteenth notes

liy - ing for

Bar 12F G c El- t I

lJ ---,-T4E;L-1 l-l

You may sav- I'm arry1

lream-er.

F--rI

\zr-----= fr

aBut I'm not the on- lv

t-one.

L-lI hope some-day_ you'll

cresc.'2'77'54

,- sixteenth notes E\,tL,-f>\ F G Q I chanoe finger

-t-J A__f__2__r_Zr__p_

a?Tr--T---r--r=a

,oln us_ and the world

- willI -rJ -1=

live as one.- a

2and3 4 5 6 7 8 123 5 6and7 1and2 4 5 6 7 8(Pause)

I

9t,

I\

c 0c

90cIUV

Llclalls Iraqle60l ezecI

'qceg dq qooqoloN uuapp8ul4lBuuV eq] urog ecerd ouad aplq Suruuuqc

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D NI I]NNIN

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I54 4 t--22 1+

|--,Ilsqu.eeze together

*

d

2

3

1

Am D7 G

lnew hand position D74

Am D7

cross 2nd finger over thumb

D A

GAmG

G

5

c A

D7

B

pass thumb under 3rd finger

c5

A

cross 3rd fingerover thumb

D

G D

5

, a I I,1 I I 11

s l-, tt

4

nnfnew hand position*

a)

2

I - t)

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1

1??) t+ 1*+a)

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45

I

l-1

)2ptc

E *

__-_-_ t * 2*3tl_____t__

1?ta )

p3 3

I t

{ l- -

3

21

hold for two beats each

GD G D7 G

TRIPLETS

t6A triplet is a group of 3 notes played inthe time of 2.

The most common type of triplet-theeighth note triplet-is written like this:

Compare the counting of normal eighthnotes and triplet eighth notes:

triplet eighth notes,5\

You will note that the triplet eighthnotes move slightly faster than thenormal eighth notes-they have to inorder to fit the bar. Be sure to keep yourtriplet notes regular and even.Eighth notes triplets appear in your nextpiece, Amazing Grace.

ARPEGGTO (BROKEN CHORD) STYLEFOR BOTH HANDSln Amazing Grace arpeggios work theirway upwards through both hands. Startwith the lowest Ieft hand note and playrapidly upwards, sustaining each note asyou go.

eighth note tripletG'-. /T--ffii??) ) ) o. I I I

.,0

normal'eighth notes

Count: 1 2and3 4 and1234

Count: 1 2trrplet3 4rri-plet1Z34

BbF7

AMAZING GRACETiaditional

Peacefully ) = n

Count:1 2 3 andtstart playing here

a rpeggro

lre tripleteighth nol+ F7 Bb GHO

3 - tri-plet

a rp.$_

3 - tri-plet

23triplet

1

C7sus4

1

Dm7

3 anda rp.*_

2

a ro.

3 and

triplet

3 - tri '- plet

arp* c7

G7

3

aro F

F

3 and

Gfl'

1

Bb ujp7

r tt.

2

i./1 2 (Pause)

5

d11A

l)

/t/- zing

+

2v-grace how

cresc.

1a tasweet the)/D 1l

F arP'r l +t -r. Dm7 ulp.

fa) 1 1u

that_p/ \__-z

a_*

wretch1

v

like

-+ ---5:

8c 53

54

z-\

,l1 1

qme_ *f , a) 1

I -I

ta p once l

1twas

-)

+

-2

lost butcresc.

1 c-/

now)ta

2

I'Mr-i

11 z1

found --.1a!

I 11 -./

was_p

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-d ,

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-

[ 'frf 'anow'I

.l o ,b.see. _.

1')

I

4€, 1

4 6

3 - tri-plet

0rnezI lald-t.t1- 7

,?'.0 }ald-rrl- z !1e;d-ul, p

.a\ 6

t tald-t.tt-74-\

I tald-ul-t g ield-ur-7 L

C

CJ

11a;du1 elou lal.renb

(: uo)coOqo3

teld-u1 -g Z1tald-;rt-?,-

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c,U =

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'arrefacunetrl :Jrsnr\J ry spro6

VIEVUV JO :l3NlUM\fl

? t z L v t (. L:lunoJsleldFl salou qlr{8le

- PyE elou reuBnb qoq uI ecrlcBrdJo,fiue1d nol azu8 Wn otqot/tg aruarozoTI.uE eq] tuou al.Ueq] eq] ,ac3rd xeu eqJ

'ue^e puB JBInSaJ eJe use^AlequI selou ]aldu] rnod ]Bq] arns aIEIAI

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(dEl-]ooJ B) t ]Beq uo leldu] rno,( UetS 't puB I s]rcq uo ]ooJ mod dea

selou Jeuenb letuJou

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Bbo

3-tri -plet

----+\-

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3 - tri -plet

234Ebm

3 - tri- plet

Dh

1

c

'-J,,2 -tri-plet 3\n,4 -tri-plet

\,2 -tri-plet 3

\t4 -tri-plet

\4.,2 -tri-plet 3

\11-./4 -tri-plet 1

€,2 -tri-plet

c

5c

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g-/4 -tri-plet 3 -tri -plet 3 -tri -plet

\,4 -tri-plet 1

------

I \9-,1 2-tri-plet 3

\d,,2-tri-plet 3 4

c c?

sft, ^-ale I L- tv-

--1+ p

I=z:ffi 2#4v|r--lelp?;p- Jt= 4- -f---.-.__--

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s-1a tT ,

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Fm Db c Db F' G3ZB;

zoa)

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l-a *r '5# . + VY?a)

1

2 -tri-plet 3 4 -tri-plet 1 tri - plet

MORE LEFT HAND MELODY PLAYING

r8

GETTINGTO KNOWYOUFROM'THE KING AND I'\\rords: Oscar Hammerstein II. Music: Richard Rodgers

For much of the next piece, Getting TbKnmp You, the melody is in the left hand.Adjust the sound balance between thetwo hands so that the left handpredominates. You will find that carefulattention to the phrasing marks (staccato,legato, and so on) will also help bring outthe melody.Note the eighth note triplets in GetttngTb Knmp You.

Cheekily ) =tzO Csus2

a)Get - ting to,Dr -F---(MelodY) ,/' 3

-21-1know vouknow i,o,

1+ ?

J-

get- ting to knowget - ting to feel

G-- ?all

free

#

aand

.l:-fr-41:--7-"

G7sus4 G7 G7sus4 G7 Dm7 G7

T--i7--?T-- bout

easyouv-

? *Get -ting to

!7hen I amG\likewith1aa'

youyou

e

Csus2 C Csus2 C

d get-ting to hope youget - ting to know what,T'- ? +'

liketo

mesay

iri+ Get-ting - toHav- en't you

G-ar +

'-.-----

(Melody)

Csus2 FmajT FmajT F6 --:/'4-\3--c-;4---r-;F

U7-Tknow you,1€- e

Put-ting it my way, butG-+t

1 t7nice - lva^-

-. , l-4You are pre

cresc.Z.--]-_t

^J,l l-,ltz----r------l-'

-1

_ CISC l5

1

mv cup otI

:4't-tea.

"f 6- .- Get-ting to\ (Melody) a-T

, 42ff-l-t#

-T.-.----*--1zi-r-12 -11 5Fr;=---I-

? 1-. 11no - ticed?cresc.

-1^

--

1

Sud-den-ly I'm bright and

?t ?#+ ?' )breez - y-1€- €:J- {-

Br cause of--

-

+-

--r---/

- t{_ -'--//mp

(Melody)

new hand posrtron

',2 FmajT F6 G7 Em FmajT

Css2c

Dm G7 \5

fta,

dayfJ )z i+

1

by day.

-\

/-'4-- + '6-Tst-f

tnew hand position

cc

c G\a)

su cG-. ,D7

t-t---?-?J 1e

all thep beau-ti- ful and new1? 1.

.Uz.,l11..7things I'm

cresc.earn-ing a-bout you

1 aeZtE

5

DOTTEDEIGHTH NOTE

l9As you leamed in Book TWo, (p.38), adot after a note increases its length byone-half So, a dotted eighth note isequal to l% eighth notes or 3 sixteenthnotes:

b=a.dotted eighth note 3

-rr1aaa

sixteenth

say: Hump-ty Dump-ty Hump-ty Dump-tyllalstress stress stress stress

These uneven types of rhythms are oftencalled'dotted rhythms'.Look out for dotted rhythms in thenext three pieces.

A dotted eighth rest, a silence equal toone dotted eighth note, is written likethis:

7' dotted eighth note rest

A dotted eighth note usually pairs upwith a sixteenth note, since togetherthey make up 1 quarter note beat:

is of eighth notes with a "liltl'

hNusually_l)i a) written: ).4 adotted eighth note

+sixteenth note

The general effect of a passage like:

quarter note

Use the phrase humpty dumPtY as aguide to this rhythm:

YELLOW SUBMARINEWords & Music:John l,ennon and Paul McCartney

MediumTempo J = lOOdotted rhvthm D7sus4 D7

Say: hump-ty

dotted rhythm

(hump)-ty dump - ty

D7sus4 D7

dotted rhvthm -r __9+

dotted eighth note reslI ,--Y f--r

hump- ty

G

dump-ty (hump)-tydump-ty

cD7sus4 D7 Am D7

D7sus4 D7 Am D7

Am7

hump - ty dump - ty

Am7

G6

Gsus2 G

G6

hump - ty dump - ty

Am7 D

Am7

hump - ty dump - ty

Gsus2

G6

D

GD

G

J G6 G+o-- In thery town- where I wast# *tL +

borntb a 'r) -lived a

L\.---

man- who sailed to

- ,--

o- sea, and he., 1*li i' lt

l-rr.L.-told

-

me of his1+ tt? ?

life1- a 1ta

in theL

\--Iand- of Sub- ma

25

tw:g-al - ffnes. cresc.

1*???'f LI VWe all live rn af Yel - low Sub - ma - rine,

1?'

AJYel - low Sub - ma - rine,e'

t7 = .i = 1?Yel - low Sub - ma-rine.1D. I

r |l tJWe all live in a

dYel1e' I

- low Sub - ma-rine, Yel - low Sub - ma-rine,#

t1 7 = =laYel - low Sub- ma-rine.

9b

-

c

q

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LO ZUIV l'rIV

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;Ats 6utnns0L = ; Butrrng

Jtuntpaw

(sassa.rts ou - lenbe 1;e)

h - -red - urnp ,(r -.red - Lunq

ur pedeld lnq (1pra1q ue>le] eq ]ou plno.Aa

))eq PloL{ puE ssar}st* ,(r-durnp h-dLunq :les

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8urm,s Jo sJrlsIJelJEJEI1J ulzur aql Jo euo,(epo1 relndod ilFs sr 's.0t6l

eql ur padolanap a1&s zzel z '8ut^tng

: r(es

It(e .GI

I

dots eu - uo8uo ,ul - IIEJ

Ja - Aau -,1 dru aJE sdorp - UIBJ

Z

rql,(u -,ul

- uruld-ruoc ,iq

-,ul - IIEJ daa4 .(aqt

UIEJ'peaq

t

+["fr" os

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ttZ

tvZ

:==-:,UISIq

- uJnlJOJ

aq3lq

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tou s,ut - .(r3sruees 8ul - qtoNl

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uoosool

II 'LY / Y

,)-l -l

,(ru uo (uI - 11eg deal sdorP-utzg.{u uo (uI - llEJ daa>1 sdorP-uregdru

p

-+L 4

-}.---

11r,Vr Sa.(a dl.u Ueau l(u - saoparB taal esoq^\,(nB aqr a{ll

Z

lBt{JrsnI

--_F--t

epEaqpEeq

tI

+

,I vI

(

:sq] 441 lauuELU pexBlar arolu E-w

Cm7 F7

Gm A sus2 AtJm t,m Gm7

Bb

Am Am7 D7

Gm7

Am Am7

grace noles

Am7

D.C. al Coda

sixteenth note fragment

FmajT B b Slower F,i, Bb

87c Bb

c7--.}..

c

a rpeggtolrY

-fil -f-aal3ffi cu.

-

_57 47-7--. -U

mpdid

13me some talk-in'to the

e

t [.[Lff"J'Sun,

+And

+

r--,ri{

I said I did-n't like the

$*1el"t D ^-I= r

way he got things

?ttL

D7t

omf done, Sleep-in'on the

-1#\E 1# t

niob, those* t,?? )

- -----rain-drops are fall-in' on my\4* i +'L-r-

head, they keep fall-in'-Li eiLA

FmajT Cm

-51t-ft.--a 1,mf But there's one

1-€-

-t-thing,|?

N ''I

eknow, the1 -, cresc..._f I -

.Tblues

rthey send to

5

1?S-+- azh .t-- --zFs.- -5{--------z

omeet me won't de1a) -

I

feat

)-a-

ffie, lt won't be long till-,T--- T

hap - pi - ness stepsfru 1+

$cooa C

Be- cause I'm

>> >1l- o-)-4 '

r

=iwUup to greet me.

_r? (-

T71=1+

free.

3L* i*Noth-in's wor - ry - in'

2

J'5

LAST WORD

THE WONDER OF YOUWords & Music: Baker Knight

Slowly ) = lZ _ swing style dotted rhythms

Am

FmajT

new hand posrtron

Gm Gm7 c7

So we come to the end of Book Threeof The Complete Piano Player.

You are now familiar with the middlerange of the piano, and Book Three hasintroduced you to some quite advancedtimings and rhyhm pattems.

In Book Four you will be:O l,earning more new noteso Adding a little syncopationo Playing in new keyso Using the piano pedalso Discovering new piano techniques

Till then your last song in this book is:

G

tplay "legato"

Gm Gm7 c7-,-

pass 4th finger round thirdI cross 3rd finger over 4thFCm6DTlI t-

cross 4th fi nger over 5thEF

cG

F Dm

BbF

F i FmajTt Dm

-

mum

tf----mrp 'Whenno one else can un-der

,^stand me

^^1? ?When ev'- ry-thing I do is

3r. 2rvrong.

->

-- --''+':,

oYou give me love and con-so

1

- la - tion1Q-+

-2--+--.{-----.{-

You give me hope to car-ry

la |fron. And you

- o-1t ?-+li. r ?--'t-7)-

ev' - ry-thing you do. That's thetry to show yourcresc.

love for me in

3----r5

T--=-----1-won - der,

.f1+The won-der of

1a)

you.

f " l r-

,h- I'l

+-----r----,:T-1