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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 9-5:
Fragments of a good thing still make a good thing.
m
*— ■— • • ■— •—s— ll,. H
/ HN -- m —• — ° A
Left-hand melodies
Sometimes it’s nice to play a melody with your left hand. You may tire of playing with your right hand, want to hear the melody lower, want to add a little variety to the song, or have an itch that needs a good right-hand scratching.
Whatever the reason, I do have a hidden agenda here: Playing melodies with the left hand helps you get familiar with the bass clef notes while strengthening your left-hand coordination. Don’t hold it against me for having a secret agenda.
Left-hand melodies are lots of fun, but remember to observe the correct fingerings as you play these classics, “Swing Low, Sweet Chariot” and “Little Brown Jug” (Tracks 36 and 37). Actually, I renamed the latter “Little Keyboard” to give you a little musical inspiration.
112 Part III: One Hand at a Time
Track 36
Su>ing Lou/, Su/eet Chariot
1 2 1 2 4 5 2
É1
12 12
Swing low, sweet char- i - at, com-in' for to car-ry me home. Swing—
3 1 2 5 3 1 2 3
i-- tHI
low, sweet char - i - at, com-in' for to car-ry me home.
Track 37
Little Keyboard
3 5 3 4 2 *): 4—s • • •—4—m- 1 2 13 . 1» m * dP~ 2 1 r r
5 3 4 2 * m m J * m i 1 U 1 3 2 r-p— f P f 1 -1——p— 2 » » f
6 4 3 2 3 2 1 2 ?— 1 •
10
4 3 2 3 2 1 4 1
*=? Ip-f-p i¥rr • r IT r r f II
14
Chapter 9: Hey, Don't Forget Lefty!
Accompaniment patterns
Scales and melodies are fine material for the left hand, but this isn’t Lefty’s main purpose. Rather, your left hand begs to be playing accompaniment patterns while your right hand noodles around with a melody or some chords. One of the most user-friendly left-hand patterns is the arpeggio.
(I show you other, jazzier accompaniment patterns in Chapter 14.)
Oh, no! More Italian? Yes, in addition to pizza, rigatoni, and ciao, the other Italian word that should be part of your everyday vocabulary is arpeggio. The word translates to “harp-like,” which means absolutely nothing to piano players. However, after many years of bad translations, musicians have come to understand this word as meaning “a broken chord.”
Well, nothing’s really broken about an arpeggio — it works great. You simply play the notes of a chord one at a time, rather than all at once. (See Chapter 12 for more about chords.)
Three-note arpeggios
In my opinion, three-note arpeggios are the easiest and most versatile left-hand accompaniment pattern to play. A three-note arpeggio fits the hand really nicely, too. For example, place your left hand on the keys in C position with LH 5 on C, LH 2 on G above that, and LH 1 on middle C. Fits like a glove, right?
^ The three notes you use for three-note arpeggios are the root, fifth, and top
notes of the appropriate scale. (Chapter 8 tells you more about scales.) |fOjl Using the C major scale, for example, the arpeggio notes are C, G, and C.
Now comes the versatile part: The pattern is the exact same in the C minor scale. So, you can apply the three-note arpeggio to major or minor harmonies by playing the root, fifth, and top notes of the scale, as shown in Figure 9-6.
Figure 9-6:
Major or
minor, C arpeggio G arpeggio F arpeggio A arpeggio
the notes_________________________o_________________
of these ^ n u o u „ ° «i *
arpeggios o 0 11
have the same pattern.
u Part III: One Hand at a Time
The easiest way to start playing three-note arpeggios is with a quarter-note rhythm. In 4/4 meter, you play in an “up and back” motion — root, fifth, top, fifth — so that every measure begins with the root note of each arpeggio. In 3/4 meter, you play upwards — root, fifth, top — only, again so that each measure begins with the root note.
Figure 9-7 demonstrates these three-note arpeggio patterns with a simple quarter note rhythm in both meters. The first eight measures are in 4/4, the last eight are in 3/4.
5 2 1
2?
~XJT
Figure 9-7:
Getting the hang of left-handed arpeggios.
2
m
To play a faster arpeggio in eighth notes, simply speed up the process. That is, you play a full set of root-fifth-top-fifth for every two beats, so that beats 1 and 3 of every measure start again on the root note of the arpeggio. A 3/4 meter with eighth-notes is slightly different. Beat 3 of each 3/4 measure gets only two notes of the arpeggio, preferably the top and fifth again.
Try this faster eighth-note arpeggio pattern with the example in Figure 9-8. Gently rock your left hand back and forth over the keys until you feel this pattern is second nature to you. Of course, this may require quite a few repetitions, but practice makes perfect.
.Chapter 9: Hey, Don't Forget Lefty!
c
5 2 1
A P i»i *1 *1 * F1 ?
UJJ'EiMW
atflccrcJtfrnPtrCpPtTtf
Figure 9-8:
Playing
faster
arpeggios.
Four-note arpeggios
Another very popular and handy (pardon the pun) arpeggio is the four-note version. For this arpeggio, you add the third note of the scale. The four-note major arpeggio uses the root, third, fifth, and top notes of the scale. To form a four-note minor arpeggio, you simply lower the third note a half step. For example, the notes of a C major arpeggio are C, E, G, and C. To make a C minor arpeggio, simply lower the third note E to E-flat, just like you do in the C minor scale. (See Figure 9-9.)
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