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Piano for dummies - Blake N.

Blake N. Piano for dummies - IDG, 1996. - 353 p.
Download (direct link): pianofordummies1991.pdf
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Figure 6-2: _ -—
Hanging ...
vnnr hat Half Whole
y°ur nat- rest rest
To see whole and half rests in action, take a peek at Figure 6-3. In the first measure of Figure 6-3, you play the two A quarter notes, and then the half rest tells you not to play anything for the next two beats. In the next measure, the whole rest tells you that you’re off duty — you rest for four beats. In the third measure, you put down your donut and play two G quarter notes, two beats of rest, and finally, the whole show ends in the next measure with a whole note A.
Chapter 6: Changing the Beaten Path 67
Figure 6-3:
Rocking and resting.
Count: 1, 2, (3,4)
(1,2,3,4) 1, 2, (3,4) 1,2,3,4
Quarter rests and more
Composers also use rests to tell you to stop playing for the equivalent of. quarter notes, eighth notes, and sixteenth notes. Figure 6-4 shows you the musical squigglies that correspond to each of these resting periods.
Figure 6-4:
Quarter, eighth, and sixteenth rests.
* 7 7
Quarter Eighth Sixteenth
rest rest rest
I like to think of the quarter rest as an uncomfortable-looking chair. Because it’s uncomfortable, you won’t rest too long. In fact, you don’t rest any longer than one beat in this chair.
The eighth rest and sixteenth rest are easy to recognize: They have the same number of “flags” — although slightly different in fashion — as their note counterparts. An eighth note and eighth rest each have one flag. Sixteenth notes and rests have two flags.
Quarter rests are easy to count — they last only one beat. Eighth rests are a bit harder to count simply because they happen faster. When you play eighth rests, count out loud “1-and, 2-and,” and so on. Doing so helps you place the eighth rests more precisely, and may even cause others to sing along.
Figure 6-5 gives you a chance to count out some quarter and eighth rests.
Figure 6-5:
Count 1&,
Part II: Getting Sound Down on Paper
Sixteenth notes also have a corresponding rest, but these are very tricky to play, except at very slow tempos. Until you get into more advanced music, you really don’t need to know much more about these rests than what they look like (refer to Figure 6-4).
For an example of how a composer incorporates all of the various-sized rests into one song, listen to Track 14. With so many rests, I call this one “Waiting for a Note.” The tune’s still pretty catchy, though, don’t you think? Play along when you’re ready.
Track 14
Waiting for a Note
—> —>— —I—{— —*—
'S" * • * -J—? • —• 1 —m —?—•
7 1 j I» [J $
%- 4 _ -Ô — G m—3—-m—-—i— 1 —
i ‘1 V r L*—J - =!
___________________ Cfeapter6:Chinyng the Beaten Path 00
Pick Me Up at Four
Figure 6-6:
Figure 6-7:
She'll Be Coming Round the Mountain in a pickup.
You’ve heard the old adage “everything starts from nothing.” Well, some songs actually begin with rests. That’s right: The performer walks out on stage, sits at the piano, and rests for a few beats before hitting a single note. Why can’t they all do this resting in the dressing room? I could give you a long and boring explanation of why some music starts with rests — but instead, I hope it will suffice to say that there are good reasons to do so.
A song like “She’ll Be Coming Round the Mountain” actually starts with a couple of rests, and the first melody notes come in on beats 3 and 4. These melody notes are called pickup notes, I guess because they pick up the beat and start the song. How nice of them! To play “She’ll Be Coming Round the Mountain,” you count “1, 2, She’ll be . . .,” as shown in Figure 6-6.
A m —«—m L——m
1 She’ll be H— com- —I—I— ng 'round the moun tain-when she comes.
Rather than “play” a bunch of rests at the beginning, the composer can opt to use a pickup measure, which contains only beats that actually play notes. Figure 6-7 shows you the different notation in a song with a pickup measure.
Pickup measure
if A
X 4 m m w m il
m v m

She'll be com - ing 'round the moun-tain when she comes.
To play songs with pickup measures, follow three easy steps:
1. Notice the meter.
2. Rest for the number of “missing” beats.
3. Play the pickup notes and away you go.
Hundreds of songs begin with pickup measures, including “When the Saints Go Marching In” (Track 15) and “Oh, Susannah” (Track 16). Listen to the CD and get a feel for these great songs. Play along with the CD if the mood strikes you!
Part II: Getting Sound Down on Paper
Track 15
When the Saints Go Marching In

1 Oh, when the saints
go march-ing in.
------------ o
5 Oh, when the saints go march - ing in.

Track 16
Oh, Susannah
when the saints go march - ing in.
Oh Lord, I want to be in that num - ber,
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