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Piano for dummies - Neely B.

Neely B. Piano for dummies - IDG Books , 1991. - 353 p.
Download (direct link): pianofordummies1991.pdf
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Track 44
Aura Lee
y 4— -m & _ _
r = J r r J g= ~ f=
As t I 1 ne black-bird in the sp ring, H 1 !— 'neath the wil - low tr ee,
t): a » « »
/ 4 » o —o —o
——*—-—9— —• ° —m i
J ^=f= —J— f :
1 1 sat and piped, 1 heard him sing, d—1 1— sing of Au - ra Lee.
fci: «» ˆ»
J O — —e —© 4 »
Au - ra Lee, y» rj
Au - ra Lee,
r r T r
maid of gold-en
x r P •— w ~T—d— & P m f I m— rj • i
s i=rd un- shine c wj ame a - long with tt —© ee. s =M— wal- lows in t he nr. LU *
/ .j —O 1 2- ?
138 Part IV: Living in Perfect Harmony
CO Your left hand isn’t limited to single notes or fifth intervals. The composer may give you thirds, sixths, octaves, or anything else he or she desires. You can give your left hand a real workout with the next song, “Auld Lang Syne” (Track 45), which mixes up several types of intervals in the left hand. And I’m not embarrassed to say it again: Practice each hand separately before putting the two together.
Autd Lany Syne
FI B\>
auld ac- quaint-ance
be for- got and
nev - er brought to
mind? Should
A7 Dm Gm C7 F
auld ac- quaint- ance
be for- got in
days of auld lang
syne? I
.iJ j IJ- j>J r
doubt that a - ny -
one has yet de -
ci - phered what that
means, but
L- j)J J
Gm C7
J) j) J
you can play ft
ev - 'ry year at a bash on New Year's
W2 s-------------------------—&---------k
Chapter 11
Understanding Keys
In This Chapter
p- Finding a home for your music p- Introducing key signatures ? Naturalizing some notes
wL eys allow you to drive a car, open doors, read maps, and even roller v ?skate. Keys may be frustrating when you misplace them several times a week, but they’re still handy and essential tools in life — and in music.
In this chapter, I tell you about musical keys. I’m not talking about the black and white keys you press when you play a keyboard. This is a completely, utterly, totally, wholly different type of key. And it won’t unlock your car either.
Home Su/eet Home
A key is a set of notes that corresponds to a certain scale. (Chapter 8 tells you all about scales.) Keys (scales) provide a foundation of compatible notes which composers can use to construct melodies and harmonies.
A musical key is a song’s home. The key tells you several things about a song: which sharps and flats will be used in the song (see Chapter 2 to understand sharps and flats), which scale the song is based on (see Chapter 8 for more on scales), and much more.
When a song is in the key of C, it means that the song is primarily based on the C major scale, using mostly (or only) notes from that scale for the song’s melody and harmony. Throughout the song, your ears get comfortable with notes from the C major scale. If the composer throws in a slew of other notes from another scale (like F-sharp), it’s a bit unsettling to your ears. When the song returns to notes from the C major scale, your ears feel at home again.
uo Part IV: Living in Perfect Harmony
The real definition of a song’s key is not, of course, a song’s home. As some music snobs quickly point out, a song’s key is its tonal center, meaning the tones of a scale that the melody and harmony of the song are centered around. But, please. That’s just about as interesting as watching paint dry.
A whole ring of keys
Music uses many different keys, which are named after the many different notes on your keyboard. In other words, you have a musical key for the notes A, B, C, D, E, F, and G, plus all the sharps and flats.
Like the various homes in your neighborhood, each key has its own unique character, look, feel, and sound. A composer uses a particular key to give his or her music the right sound and feeling. How so? Each musical key has a slightly different overall sound to it.
I can expound on the differences between each of the keys for probably another 30 pages, but you would bypass such a snoozerama quicker than you can say “spare me.” The best way to show you the difference keys can make to music is to have you listen to the same song written in two different keys. Listen to, or play, “Good Night, Ladies” (Track 46), which is in the key of C.
Track 46
Good Aliy ht, Ladies (in the key of C)
Good night.
la - dies.
Good night.
la * dies.
Good night
la - dies. We're
going to leave you
Chapter 11: Understanding Keys
You can also play “Good Night, Ladies” in the key of F (Track 47). Although the melody and harmony of the song are exactly the same, the sound and character are subtly changed simply by changing keys.
Track 47
Good Night, Ladies (in the keg of F)
Good night,
la - dies.
Good night,
la - dies.
Good night,
la - dies. We're
going to leave you
These songs are the same; only the names of the notes and chords have been changed ... to protect the innocent (1 couldn’t resist!).
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