2014 premier piano course sampler

Music That Students Love to Play

20142015Music SamplerContents:About Premier Piano Course ......2Premier Online Assistant .........3Piano Maestro ........................3New .......................................4Level 1A ................................ 12Level 1B ................................ 21Level 2A ...............................33Level 2B ............................... 41Level 3 .................................49Level 4 .................................58Level 5 .................................67Level 6 .................................76

Authors Gayle Kowalchyk, E. L. Lancaster, Martha Mier, Dennis Alexander, and Victoria McArthur

22

About the Core Books

The music of Dennis Alexander and Martha Mier is accessible and sounds great. The pacing and sound pedagogy produces strong sight-readers. Musical structure and concepts are presented in a fun and interactive way. The emphasis on performing rhythms in patterns helps with reading and memorization. The CDs for Lesson and Performance books, beautifully performed on acoustic piano,

provide an excellent model. Creative orchestrations on the GM disks for the Lesson and Performance books are

appealing to students. Correlating Pop and Movie Hits take the guess work out of finding popular music at the right level.

Lesson Bookintroduces all new concepts.Theory Bookpromotes comprehensive musicianship.Performance Bookcontains outstanding music written in varied styles to reinforce new musical concepts.

Technique Bookintroduces easy-to-understand technique tools and applies them to artistic performance.

(Additional materials are available for the course.

See back cover.)

Dennis Alexander has earned an international reputation as one of the most prolific and popular composers of piano music for students at all levels. His pieces have been staples on festival and syllabus lists for more than 20 years.

Martha Mier is the composer of the popular piano series Jazz, Rags & Blues, the top-selling supplemental piano series in the world. Because she taught piano for many years, her compositions reflect her keen sense of what students want to play and how they learn.

Dr. Victoria McArthur is Program Director of Piano Pedagogy at Florida State University, Tallahassee. She is a noted expert in the areas of piano technique, sight-reading, and practice strategies.

Dr. Gayle Kowalchyk and her husband, Dr. E. L. Lancaster, have authored more than 400 educational piano books based on their years of experience on college faculties and in their private piano studio. At Alfred, Gayle is Senior Editor of Supplemental Piano Publications and E. L. is Senior Vice President and Keyboard Editor-in-Chief.

What Teachers Like About Premier Piano Course

About the Authors

About Premier Piano Course

About the Core Books

About the Authors

FREE Support for Teachers and Students!

Premier Piano Course, Lesson Books 1A-2B are now available in the award-winning lesson assistant and practice motivation app:

What is Piano Maestro?

Piano Maestro is a smart iPad app that listens to an acoustic piano or keyboard (no wires or cables required).

Music is displayed on the screen while the student plays along to background tracks.

The graphics are designed to help students look ahead while playing.

The app slows or speeds up the tempo, shows or hides fingerings and/or note names.

For an incorrect note, an option is available to show the correct note on the staff and keyboard.

Why Piano Maestro? Motivates the student to work to earn a higher score

and level, like a game. Keeps track of the pieces students play and how long

they play them with weekly progress reports sent to the teachers E-mail.

Receive access to the music from Premier Lesson Books and other pieces and exercises when you purchase a full membership.

How do I start? Purchase an iPad, iPad Air, or iPad Mini. Download the FREE Piano Maestro app from

the app store. Plug in your Alfred promotional code and start exploring. Give the promotional code to your students to take

advantage of the homework and assessment tools.

Visit PremierPianoCourse.com today!

Get Piano Maestro NOW!

Level 1A2B Available now!Premier Online Assistant is a resource to support teachers

and students who are using Premier Piano Course. In these

short videos, co-author Gayle Kowalchyk explains each new

concept introduced in the corresponding Lesson Book in a

concise way.

Students can watch each video on their computer

or smart device to:

introduce the concept before they study it in the lesson.

review the concept after they have studied it in the lesson.

Scan the QR Code with your smart device to see all videos for Level 1B.Text SCAN to 43588 to download a free QR reader.

Scan the QR Code with your smart device to get the app!

Premier Online Assitant Video correlates with Lesson Book 1B, page 18.

3

SPECIAL INTRODUCTORY GIFT!Receive 30 FREE songs from Premier Piano Course, Lesson Books 1A-2B.Redeem using coupon code ALFGFTSUMR inside the app.

Piano Maestro by

4 Notespeller 1A Gayle Kowalchyk and E. L. Lancaster 42680

3

CDE on the KeyboardLesson Book: page 19

1. Write the letter name on each key marked X.

X XX X X X XC

2. Draw a line to connect each key marked X to its correct anchor.

X X XX X X

C D E

C is the white key to the left of two black keys. D is the white key between two black keys. E is the white key to the right of two black keys.

16Lesson Book: page 41

Landmark Notes

1. Name each note. Then, play on the keyboard.

& 4

3

5

.

.a.

?

4

4

5

w

b.

Memorize these Landmark Notes as guides to learning other notes.

? w ?

w

&

w

& w

Treble GMiddle Con the bass staff

(LH)

Middle Con the treble staff

(RH)

Bass F

&

w

& w

?

w

w

?

LH Middle

C

Bass F

RH Middle

C

Treble G

2. Draw a line to connect each note on a spaceship to its matching name on one of the planets.

30

Haydn

Mozart

Lesson Book: page 60More About Skips

1. A skip moves from a space to a 2. A skip moves from a line to a space.line.

(Circle one.)

space.

line.

(Circle one.)

3. Circle step or skip for each example.

ww

ww

ww w

w

skipskip skipstepstep step step skip

Meet Wolfgang Amadeus Mozart (17561791)

4. Name the notes to learn about this famous composer.

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w

Moz rt n

ivin on rts

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w s just six y rs

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h

whin urop n h

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21

Lesson Book: page 46

C 5-Finger Pattern in Bass Clef

1. Name each note in the C 5-finger pattern in bass clef.

2. Name each note in the C 5-finger pattern in bass clef.

3. Draw a line to connect each note on a T-shirt to its matching name on one of the skateboards.

These notes step

These notes step

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4

4

w

?

4

4 w

up.

down.

(Circle one.)

up.

down.

(Circle one.)

C

DG

EF

w?

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w?

w?

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NEW

5Notespeller 1B Gayle Kowalchyk and E. L. Lancaster 42681

8Lesson Book: pages 1415

The Music Dictionary

Name the notes to fill in the missing letters from note names and dynamics in the music dictionary.

whol

ott h not = 3 ountsl

not = 4 ounts ( ts)

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not = 2 ounts ( ts)

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NOTE NAMES

DYNAMICS

15

New Notes B and DLesson Book: page 24

1. Draw a half note a 2nd up from Treble C. Then, draw a half note a 2nd down from Treble C. Name each note.

4. Write the note names on the blank lines. Then, play on the keyboard.

5. Draw a line to connect each note to its matching name.

& 4

4

& 4

4

Up a 2nd Down a 2nd

& 4

4

3

w

2. Circle each D on the staff.

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ww

w

w

3. Circle each B on the staff.

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w

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w

&

&

w

&w

D

B

C

w

22


Interval of a 5th

x x x x x x ?

4

4

space to space

& 4

4

line to line

skipping alinespaceline

skipping aspacelinespace

On the staff, the notes of a 5th move up or down:

from a space to a space, skipping a linespaceline

from a line to a line, skipping a spacelinespace

1. Name each note. Then, cross out the measures that do not contain 5ths.

2. Draw a line to connect the 5ths to the matching note names on one of the wind chimes.

& 4

4

& 4

4

?

4

4

?

4

4

& 4

4

?

4

4

ADCF

EB FC

26Lesson Book: page 37

Review

1. Name each note of the harmonic intervals.

a.

b.

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4

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w

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4

4

c.

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4

4w

wd.

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4

Meet Clara Schumann (18191896)

2. Name the notes to learn about this famous composer.

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l S hum nn

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on rtw s

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This interval is a2nd.

4th.

(Circle one.)

This interval is a3rd.

5th.

(Circle one.)

This interval is a2nd.

4th.

(Circle one.)

This interval is a3rd.

5th.

(Circle one.)

NEW

6

4

Unit 1: Middle C and Bass FUse with Alfreds Premier Piano Course,

Lesson Book 1A, page 37

&

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4

4

4

4

2 2

F

2 2

&

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.

.

.

.

5

2 2

2 2 2

Write the names of the notes in the boxes . Then, play each note using finger 2 .

q Activity 1 Play the Note

&

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4

4

4

4

.

.

.

.

5 1

f

Write the names of the notes in the boxes, then play .

q Activity 2 Play from Note-to-Note

4

4 ..

RH

LH

Tap the rhythm on the closed keyboard cover or on your lap .Count and keep a steady beat .

q Activity 3 Rhythm Challenge

Sight-Reading 1A Carol Matz and Victoria McArthur 41040

5

&?

44

44

5

Walk - ing onF

1

des - ert trails,

hot and

dry,

&

?

..

..

5

see the black

crow

15

fly - ing

high.

Choose a tempo at which you can play with a steady beat .Keep going, even if you play a wrong note or leave notes out . Challenge: Play with a metronome ( q = 100120) .

q Activity 4 Play Without Stopping

&?

44

44

5

1

Hik - ing in the

Moderately

F

des - ert,

can - yons all a -

round.

&

?

..

..

5

Ev - ry - thing isp

qui - et,

15

theres not a

sound.

Circle all the tempo and dynamic markings . Then play, making the music as expressive as you can .

q Activity 5 Play Expressively

Desert Trails

Desert Hike

30

Unit 14: ReviewLesson Book: pages 6263

&

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4

4

4

4

2 2

F

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2 2



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LH

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31

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431

Here at the

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F

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2

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..

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5

1

Swim - ming and

3

fris - bee are

4

just what we

1

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Choose a tempo at which you can play with a steady beat .Keep going, even if you play a wrong note or leave notes out . Challenge: Play with a metronome ( q = 92112) .


&

?

44

441

We just made a

3

F

Happily

sand - cas - tle

right here on the

1

1

o - cean shore.

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5

1 If the waves come

3

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f

2

then well have1

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build one more!



At the Beach

Sandcastle

NEW

7Sight-Reading 1B Carol Matz and Victoria McArthur 41041

10

Unit 4: Legato and StaccatoLesson Book: page 15

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4

4

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2 2

F

2 2

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Choose a tempo at which you can play with a steady beat .Keep going, even if you play a wrong note or leave notes out .Challenge: Play with a metronome ( q = 112126) .


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44

441

When I roll my

p

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bowl - ing ball

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.

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5

1

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Bounce the Basketball

Bowling

28

Unit 13: FlatsLesson Book: page 43

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Choose a tempo at which you can play with a steady beat .Keep going, even if you play a wrong note or leave notes out .Challenge: Play with a metronome ( q = 92112) .


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44

I

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p

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The Tadpole

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NEW

8

8

Sunshine Boogie

Lesson Book: pages 1011

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Martha Mier

Premier Jazz, Rags & Blues 2A Martha Mier 42425

18

Rockin Low C


Martha Mier

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Half Step Blues


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9Premier Jazz, Rags & Blues 2B Martha Mier 42426

8

Major-Minor Boogie


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18

Ragtime Hoedown


Martha Mier

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28

Red Satin Jazz


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NEW

11Technique Book 6 35262

20Lesson Book: pages 1921

Technique Tool 2Voicing the MelodyVoicing means to bring out the melody by playing it so that it stands out from the other notes played by the same hand . Usually this note is played louder . Play with more weight on the notes to be voiced as the melody .

1.Play the RH melody notes with added weight ( f ) .

4.Finally, add the LH playing the bass notes . Remember to play all melody notes with added weight ( f ) .

3.Play the RH melody in No . 2 with added weight ( f ) as you play the other RH notes softly . The soft notes were previously the shadow .

2.Play the RH melody with added weight ( f ) while you simultaneously and silently play the other RH notes . Pianists call the silent notes the shadow .

&

#

#

4

3

5

f

Allegro moderato

4

5

4

&

#

#

4

3

5

f

Allegro moderato

42

Voice top note

The shadow The shadow

42

Voice top note

5

&

?

#

#

#

#

4

3

4

3

5

f

P

Allegro moderato

42

24

Voice top note

5

24

14

Voice top note

5

34

more weight

38 Lesson Book: page 40

The following music examples each represent one of the four major style periods: Baroque, Classical, Romantic, and Contemporary .

Play each example written by famous composers . Listen carefully to your sound, then circle the name of the Technique Tool you used to play each .

Music Time Traveler

&

&

c

c

1

5

p legato

Allegro

.

1

2

3

3

Sonata in C Major (First Movement) Wolfgang Amadeus Mozart (17561791)

K . 545 (excerpt)

(circle one)

Rock the Alberti Bass or

Playing Grace Notes

Technique Tip: Play the LH evenly and lightly using gentle hand rocks.

&

?

#

#

43

43

1

2 3 5 1 4

1

2

f

Animato

5

4

2

1

1

Minuet in G Major (from the Notebook for Anna Magdalena Bach)

Johann Sebastian Bach (16851750) (excerpt)

Sustained Notes or

Open the Hand

(circle one)

Technique Tip: Voice the melody as it moves from RH to LH in alternating measures .

Baroque

Classical

48

Technique Tools Review

Circle the Technique Tool needed to play each example . Then play, using that Technique Tool .

Slur Gestures or

Open the Hand

(circle one)

1.

2.

(circle one)

4.

3.

5.

(circle one)

Trills or

Building Scale Velocity

Voicing the Melody or

Over and Back

Building Scale Velocity or

Slur Gestures

(circle one)

Building Scale Velocity or

Open the Hand(circle one)


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Technique 5

ContentsEdited by Morton Manus

Cover Design by Ted Engelbart

Interior Design by Tom Gerou

Illustrations by Jimmy Holder

Music Engraving by Linda Lusk

Copyright 2013 by Alfred Music Publishing Co., Inc. All Rights Reserved. Printed in USA. ISBN-10: 0-7390-7071-1 ISBN-13: 978-0-7390-7071-0

A Note to Teachers . . . . . . . . . . . . . . . . . . . . . . . . 2

Technique Tools Review . . . . . . . . . . . . . . . . . . . . 3

Artistic Etude 1 (Music with Action) . . . . . . . . . . . . 4

Hands-Together Workshop 1 . . . . . . . . . . . . . . . . . 6

The Primary Chords in D Minor . . . . . . . . . . . . . . 7

Technique Tool 1 (Even Sixteenth Notes) . . . . . . . . . 8

Artistic Etude 2 (Dueling Melodies) . . . . . . . . . . . . 8

Masterwork Etude 1 . . . . . . . . . . . . . . . . . . . . . . . 10

Technique Tool 2 (Playing Grace Notes) . . . . . . . . . 12

Masterwork Etude 2 . . . . . . . . . . . . . . . . . . . . . . . 12

Playing Augmented Triads . . . . . . . . . . . . . . . . . . . 13

Technique Tool 3 (Body Balance) . . . . . . . . . . . . . . 14

Technique Tool 4 (Over and Back) . . . . . . . . . . . . . 15

Artistic Etude 3 (Long Phrases) . . . . . . . . . . . . . . . 16

The Primary Chords in A, E, and B Major . . . . . . . 18

Technique Tools Review . . . . . . . . . . . . . . . . . . . . 19

Masterwork Etude 3 . . . . . . . . . . . . . . . . . . . . . . .20

Technique Tool 5 (Building Scale Velocity) . . . . . . .22

Hands-Together Workshop 2 . . . . . . . . . . . . . . . . .23


Technique Tool 6 (Sustained Notes) . . . . . . . . . . . .25


Triads and Inversions . . . . . . . . . . . . . . . . . . . . . .28


Two-Octave Arpeggios Beginning on White Keys . .30

Technique Tools Review . . . . . . . . . . . . . . . . . . . .32

Building Scale Velocity in Bb Major . . . . . . . . . . . .34Hands-Together Workshop 4 . . . . . . . . . . . . . . . . .35

The Primary Chords in Bb Major . . . . . . . . . . . . . .35Building Scale Velocity in G Minor . . . . . . . . . . . .36


The Primary Chords in G Minor . . . . . . . . . . . . . .37

Artistic Etude 4 (Finding the Heart Note) . . . . . . . .38

Technique Tools Review . . . . . . . . . . . . . . . . . . . .40

Slur GesturesVoicing the MelodyBuilding Scale Velocity in Flat KeysTrills

Form and ExpressionChanging MetersThe Soft Pedal (Una Corde)What Makes It Swing?

NEW

E Major Scales in Parallel MotionTwo-Octave Harmonic Minor Scales in A, E, G, and DC Harmonic Minor Scales in Parallel Motion

Hands Together Workshops

Technique Tools

Artistic Etudes

6

12

Pedagogical Focus Reading skills Steady, rhythmic pulse Basic technical foundation

Reading Landmark notes C, G, F Steps and skips up and down from landmark notes Bass clef introduced before treble clef Varied fingerings to prevent reading by finger numbers No fixed hand positions Short sight-reading examples included in Lesson Book Sight-reading examples (Now Play This) included in Theory Book Flash Cards include sight-reading examples

Rhythm New notes immediately used in short rhythm patterns Corresponding rest introduced after each new note 10 multiple-note rhythm patterns develop sight-reading skills Duet accompaniments promote a steady pulse

Technique Developed equally in both hands Short, effective technical exercises (Workouts) included in Lesson Book Entire range of the keyboard is explored through creative pieces

Creative Thinking and Musicality Duet accompaniments in a variety of styles to encourage stylistic performance Analysis (Closer Look) to promote musical understanding Suggestions (Premier Performer) to enhance performance skills Activities such as composition and improvisation (Imagination Station) to encourage creativity beyond the music on the page in both Lesson Book and Theory Book Ear-training activities (Now Hear This) included in Theory Book

Classical Composers Introduced Johann Sebastian Bach Ludwig van Beethoven Franz Joseph Haydn Wolfgang Amadeus Mozart Guiseppe Verdi

Familiar Music Used in Lesson Book (Arranged) Alouette Beethoven: Ode to Joy Big Ben Haydn: Theme from Surprise Symphony Hush Little Baby Merrily We Roll Along Mozart: Eine Kleine Nachtmusik Old Joe Clark Old MacDonald The Wheels on the Bus

Familiar Music Used in Performance Book (Arranged) Mulberry Bush Verdi: Anvil Chorus

Level 1A OverviewLevel 1A Overview

13Lesson Book & CD 1A 20652

14 Lesson Book & CD 1A 20652

15Theory Book 1A 22354

16 Performance Book & CD 1A 21232

17

Co

nte

nts

Edit

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on M

anus

Cov

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Ted

Eng

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my

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ic E

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by

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MM

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Alfr

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in U

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ISBN

-10:

0-7

390-

4543

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978

-0-7

390-

4543

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. . . .

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. . . .

. . . .

. . . .

. . 2

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. . . .

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. . . .

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. . . .

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Tech

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. . .

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. 6

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. . . .

. . . .

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Art

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. . . .

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. . . .

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Tech

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. . .

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Art

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. 20

Art

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. . .

. . . .

. . . .

. . . .

. 26

Tech

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. . . .

. . . .

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Art

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. . . .

. . . .

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Tech

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. . . .

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32

5

Bea

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Pop and Movie Hits 1A 34015

20

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way

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Christmas Book 1A 30878

21

Pedagogical Focus Gradual expansion of reading range Systematic development of playing hands together Intervals

Reading New landmark notes, Treble C and Low G 2nds, 3rds, 4ths, and 5ths up and down from landmark notes Sight-reading, Now Play This, and flash card examples continue

Rhythm Review of rhythm patterns from Level 1A 3 new rhythm patterns Continuation of duet accompaniments for rhythmic stability

Technique Hands-together coordination developed through a sequence of pieces and Workouts

Creative Thinking and Musicality Closer Look, Premier Performer, and Imagination Station continue Activities in Theory Book (Musical Detective) encourage analysis and musicality

Familiar Music Used in Lesson Book (Arranged) Chopsticks My Pony Row, Row, Row Your Boat

Familiar Music Used in Performance Book (Arranged) Mary Ann Mexican Clapping Song (Chiapanecas) Our Team Will Play Tonight Scarborough Fair Snake Charmer When the Saints Go Marching In

Level 1B OverviewLevel 1B Overview

22 Lesson Book & CD 1B 22352

23Lesson Book & CD 1B 22352

24 Theory Book 1B 22174

25Performance Book & CD 1B 22172

26 Technique Book 1B 27628

Smooth LegatoCrisp StaccatosRising WristAmazing Phrasing

Technique Tools

Singing MelodyExpressive Legato and StaccatoLegato ConnectionTempo and Expression

Artistic Etudes

Hold and PlayContrary MotionParallel Motion

Hands Together Workshops

27Premier Jazz, Rags & Blues 1B Martha Mier 41039

2

Jazz on Ice

Use with Alfreds Premier Piano Course,Lesson Book 1B, pages 45

? 432

.12

3

.

.P

RH

LH

Smoothly

.

J J

..

.

.124

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1

.

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.

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.

Duet: Student plays one octave higher.

&

?

43

43

4

Smooth - ly we

F

Smoothly

.glide,

gen - tly we

.turn,

&

?

5

3

ice skat - ersp

grace - ful - ly

spin and

.

turn.

Martha Mier

4

Dizzy Lizzy Boogie


? 44

4

2

b j

JPLH

RH

Moderate and steadyPlay eighth notes evenly

b

2

j2

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4

b

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2

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.

.

.

.

.

.


&

?

44

44

5

F

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5

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&

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5

5

4

Martha Mier

10

? b 44 .1

5

.

.

.

n.

.

b.

.

.

.

.

.

.

.

.

.

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Mysteriously

.

.

.

.

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.

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.

.

.

.

.

.

.

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.

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.

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.

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.

.

.

.

.

.

. # 2

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.

.

.

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.

b.

.

.

.

.

.

.

.

.

.

.

.

.

.

n.

.

b.

.

.

.

.

.

.

.

.

.

#.

.

J J J4

n # w. # 2


&

?

4

4

4

4

1

5

a game playedF

Mysteriously

in the dark,

played out - side,

1

where you hide

&

?

5

1

5

in a yard or

at the park.

Search for

ev - ry -

w

15

one.

Theres

Flashlight Tag


Music by Martha Mier Words by Gayle Kowalchyk

24

A Little Ragtime


? # 442

.

3 .

.

.

RH

LHP

With a steady beat

.

..

.

1

.

.. .

. .

. .

? #5

.

.. .

. .

. .

. .

.

.

. .

.

.


&

?

44

44

5

F

With a steady beat

1

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2

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#

&

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5

# w

2

w

w

5

Martha Mier

28

The pieces in this book correlate page-by-page with the materials in Lesson Book 1B. They should be assigned according to the instructions in the upper right corner of each page of this book. They also may be assigned as review material at any time after the student has passed the designated Lesson Book page. Pop and Movie Hits 1B also can be used to supplement any beginning piano method.

Edited by Morton Manus

PoP and Movie Hits 1B

CONTENTS

(Meet) The Flintstones . . . . . . . . . . . . . . . . . . . . 2

Great Balls of Fire. . . . . . . . . . . . . . . . . . . . . . . . 8

Inspector Gadget . . . . . . . . . . . . . . . . . . . . . . . 22

Over the Rainbow . . . . . . . . . . . . . . . . . . . . . . 16

Puff (The Magic Dragon) . . . . . . . . . . . . . . . . . 18

Supercalifragilisticexpialidocious . . . . . . . . . . . . . 6

Theme from Ice Castles . . . . . . . . . . . . . . . . . 10

Theme from Superman . . . . . . . . . . . . . . . . . 12

Were Off to See the Wizard. . . . . . . . . . . . . . . 14

What a Wonderful World. . . . . . . . . . . . . . . . . 20

Yo Ho (A Pirates Life for Me) . . . . . . . . . . . . . . . 4

Alfreds Premier Piano Course Pop and Movie Hits Book 1B includes familiar pieces that reinforce concepts included in Lesson Book 1B. The music continues the strong pedagogical focus of the course while providing the enjoyment of playing familiar popular music. Duet accompaniments create rich sounds and can aid the student with rhythmic security. Both solo and duet parts contain measure numbers for easy reference.

Allowing students to study music they enjoy is highly motivating. Consequently, reading and rhythm skills often improve greatly when studying pop and movie music. The authors hope that the music in Pop and Movie Hits 1B brings hours of enjoyment.

Printed in USA.No part of this book shall be reproduced, arranged, adapted, recorded,

publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with

copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions.

ISBN-10: 0-7390-6496-7

ISBN-13: 978-0-7390-6496-2

Produced byAlfred Music Publishing Co., Inc. P.O. Box 10003 Van Nuys, CA 91410-0003

alfred.com

8

1957 (Renewed) UNICHAPPELL MUSIC INC., MIJAC MUSIC, CHAPPELL & CO., INC. and MYSTICAL LIGHT MUSIC All Rights on behalf of itself and MIJAC MUSIC Administered by UNICHAPPELL MUSIC INC.

All Rights on behalf of itself and MYSTICAL LIGHT MUSIC Administered by CHAPPELL & CO., INC. All Rights Reserved

Jerry Lee Lewis is best known for his riveting on-stage performance of Great Balls of Fire. After its release in 1957, it reached No. 1 on the country hit list and No. 2 on the Billboard pop chart. Rolling Stone magazine named it as one of 100 greatest songs ever written.


Great Balls of Fire

&

?

44

44

Fast rock

f3

You shake myww

15

nerves and youww

rat - tle my brain.ww

.

?

4

4

1

5

RH

LHF

Fast rock

?

5

2

2

? ..

F P

#

1

3

2

2

? ..

F

1

5

w

w

8va2nd time

9 17

13 21


Words and Music by Otis Blackwell and Jack Hammer

16

&

?

44

44

w3

Flowing

-F Somew5

where

#4

o - ver the

# rain - bow

w3

way

? #

4

4

5p

RH

LH

Flowing

12

12

3

5

1

235

w

n

14

2

? #w

1

5

2

1

2

2

w

#

5

2

? #

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5

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.

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5

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.

.

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6 22

1 17

12 28


The classic song Over the Rainbow was sung by Judy Garland in the popular film The Wizard of Oz. It eventually became Garlands signature song, meaning it was the most requested song during her live performances. The song was originally deleted by the executive producers of the film since they thought it slowed down the movie. The composer successfully argued that the song was an asset and it was put back into the movie.


1938 (Renewed) METRO-GOLDWYN-MAYER INC. 1939 (Renewed) EMI FEIST CATALOG INC.

All Rights controlled and Administered by EMI FEIST CATALOG INC. (Publishing) and ALFRED MUSIC PUBLISHING CO., INC. (Print)

All Rights Reserved

Music by Harold Arlen Lyric by E. Y. Harburg

Over the Rainbow(from the M-G-M Motion Picture The Wizard of Oz)

17

&

?

6

w3

up

w2

high,w1

ww

w5

theres

w1

a

1

land that I

&

?

12

1

heard of

2

#4

once in a

lul - la -

wby.

w

&

?

17

w3

-Some

w5

where

#4

o - ver the

# rain - bow

w3

skies

&

?

22

w3

are

wblue,w1

ww

w5

and

w1

the

1

dreams that you

&

?

28

dare to

2

#4

dream real - ly

do come

wtrue.

ww13Move

w

Contents(Meet) The FlintstonesGreat Balls of Fire Inspector Gadget Over the Rainbow Puff (The Magic Dragon)SupercalifragilisticexpialidociousTheme from Ice Castles Theme from SupermanWere Off to See the WizardWhat a Wonderful WorldYo Ho (A Pirates Life for Me)

Pop and Movie Hits 1B 34016

29

ContentsAngels We Have Heard on HighCoventry CarolDance of the Sugar-Plum Fairy (from The Nutcracker)Deck the HallsGod Rest Ye Merry, GentlemenIts the Most Wonderful Time of the YearJingle BellsRussian Dance (Trpak) (from The Nutcracker)Silent NightToyland

Christmas Book 1B 30879

30

A Note to Teachers

Great Music & Musicians provides a foundation for understanding the major cultural periods, musical styles, and the development of music through the ages. The book and CD includes art and listening examples to encourage discussions. Although not correlated page-by-page, Book 1 is appropriate for piano students in various levels of Premier Piano Course (based on the individual students reading level). It also may be used with other piano methods or in group lessons.

An introduction focuses on musical style and how to listen to music. The units that follow provide overviews of the major musical style periods. Each highlights cultural trends, important composers, musical forms, and how music relates to other arts. The enclosed CD includes excerpts from important musical compositions to reinforce the concepts presented. Art vividly illustrates each time period.

Each unit is organized in the following order: a one-page overview, including

an historical background

a two-page look at important musical developments

a two-page art spread to provide insight into life at the time

a one-page summary with listening examples and a written review

An answer key for the review is provided on page 56. It can be used to quickly check answers after completion of each activity and can be cut and removed if so desired.

No part of this book shall be reproduced, arranged, adapted, recorded, publicly peformed, stored in a retrieval system, or transmitted by any means without

written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the pub-

lisher at alfred.com/permissions.

ISBN-10: 0-7390-8760-6

ISBN-13: 978-0-7390-8760-2

Produced by Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003

alfred.com

A Note to Students

Great Music & Musicians will take you on a musical journey throughout history. You will learn about musical style periods, important composers, their compositions, how musical styles developed, other arts, and what life was like during the times. As you travel through time, you will see important works of art and hear outstanding pieces of music. You will be able to apply what you learn about music history to music that you are studying and performing. Enjoy your travels!

Contents

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Unit 1 The Greco-Roman Era. . . . . . . . . . . . . 7

Unit 2 The Middle Ages . . . . . . . . . . . . . . . . 13

Unit 3 The Renaissance. . . . . . . . . . . . . . . . . 19

Unit 4 The Baroque Period . . . . . . . . . . . . . 25

Unit 5 The Classical Period . . . . . . . . . . . . . . 31

Unit 6 The Romantic Period . . . . . . . . . . . . 37

Unit 7 The Turn of the 20th Century . . . . . 43

Unit 8 1945 to the Present . . . . . . . . . . . . . . 49

Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

43

Impressionism

At an art show in 1874, the painting Impression, Sunrise by Claude Monet (18401926) was described as unfinisheda sketch. Monet and other artists used brush strokes of pure color to show the reflection of light on objects. This style of art was called Impressionism.

The term was also used to describe the music of Claude Debussy (18621918). Inspired by a poem, his Prelude to the Afternoon of a Faun portrays the dreams and visions of a faun (a Roman god, half man and half goat) through unusual melody, harmony, and orchestration.

CD Track 16: Prelude to the Afternoon of a Faun (1894) by Claude Debussy

Impression, Sunrise (1872) by Claude Monet

Faun by Lon Bakst (18661924)

Claude Debussy

Unit 7The Turn of the 20th Century

By the 20th century, developments in science and technology began to influence society and the arts. International communication allowed musicians to develop an awareness of cultures from around the world. Musical trends and styles changed quickly as composers explored new ideas. Many even wrote in multiple styles throughout their musical careers. The music was often a reaction against the overly emotional style of the Romantic period. Composers continued to use musical forms and instruments of the past but in new and unique ways.

Expressionism

Influenced by new psychological studies of the subconscious mind, Arnold Schoenberg (18741951) developed a musical style called Expressionism. Schoenberg no longer accepted beauty as necessary. Instead, he used harsh musical dissonances to express powerful, yet personal, inner emotions. Schoenbergs Pierrot Lunaire uses a technique known as sprechstimme, a type of sung speech using approximate pitches and wide leaps.

CD Track 17: Valse de Chopinfrom Pierrot Lunaire (1912) by Arnold Schoenberg

In the Expressionist painting The Scream by Edvard Munch (18631944), fear is conveyed through the use of heavy brushstrokes, striking colors, and the distorted face.

The Scream (1893) by Edvard Munch

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Portrait of Adele Bloch-Bauer I (1907) by Gustav Klimt (18621918)

From Klimts Golden Phase, this painting uses gold leaf (real gold hammered into very thin sheets).

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Jazz Influences

George Gershwin (18981937) began to work in the field of popular music at age 15 when he heard the African-influenced rhythms of jazz. He was one of the first musicians to be successful in both popular and serious music. Among his works are many Broadway musicals, piano concertos (Rhapsody in Blue and Concerto in F), the orchestral piece American in Paris, and an opera (Porgy and Bess).

In 1927, Gershwin went to Paris to study composition with the famous teacher Nadia Boulanger (18871979). She told him she could teach him nothing and encouraged him to continue his unique jazz-influenced style.

CD Track 18: Rhapsody in Blue (1924) by George Gershwin

Sergei Prokofiev (1934)

by Pyotr Konchalovsky

(18761956)

George Gershwin (1936) by Arthur Kaufman (18881971)

A Premier Composer

Some 20th-century composers used forms favored by Classical composers, like sonatas and symphonies. This is known as neoclassicism.

Sergei Prokofiev (18911953) studied and conducted the symphonies of Haydn as a student. He decided to compose his first symphony in the style of Haydn, yet he used unexpected harmonies, wide melodic intervals, and other individual features. The third movement is a gavotte, which was a popular Baroque court dance. However, it certainly departs from the style of Haydn.

Great Music and Musicians, Book 1 Nancy Bachus and Tom Gerou 39060

31

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Taking place in St. Petersburg, Russia, the exotic and brightly colored stage set reflects elements of primitivism.

Petrushka (1911) by Alexander Benois (18701960)

Primitivism

Through his use of energetic rhythms and complex harmonies, Igor Stravinsky (18821971) became identified with a musical style called Primitivism. He revolutionized music with his early works for the Ballets Russes (The Russian Ballets). The music of Petrushka uses the technique called parallel harmonies (chords locked into an unchanging shape that move up

or down).

Primitivism in art idealized folk and non-Western cultures. The brilliant colors and rough, flat decorations of Alexander Benois Petrushka set design and Picassos self-portrait reflect this style.

CD Track 19: Russian Dance from Petrushka (1911) by Igor Stravinsky

Self-Portrait (1907) by Pablo Picasso (18811973)

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Igor Stravinsky (1915) by Jacques-mile Blanche

(18611942)

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Word Scramble

Unscramble each composers name to match his musical style:

Listening Guide

CD Track 16: Prelude to the Afternoon of a Faun by Claude Debussy (Impressionism)

A flute playing a dreamy solo opens, followed by the harp and hornsunique colors for a concert hall in 1894.

CD Track 17: Valse de Chopin from Pierrot Lunaire by Arnold Schoenberg (sprechstimme)

The reciters use of sprechstimme and the lack of traditional chords gives a surreal atmosphere.

CD Track 18: Rhapsody in Blue by George Gershwin (jazz-influenced concerto)

The opening of this concerto for piano and orchestra begins with a wailing clarinet.

CD Track 19: Russian Dance from Petrushka by Igor Stravinsky (Primitivism)

A full orchestra opens with the theme. Woodwinds, strings, and piano are featured in turn, along with exciting percussive effects.

Summary: The Turn of the 20th Century

Around the turn of the 20th century, there were many different musical styles. Some composers felt the extreme emotionalism of Romantic music needed to be limited.

Most composers rejected Romantic tradition.

Western musicians were introduced to art and music from different cultures.

Many composers wrote in different, unique styles within their careers.

Trends in the visual arts influenced music. Jazz (with its complex rhythms) and technology (especially music recordings) impacted the arts.

Forms and instruments of the past were still used in the 20th century, but often in very different ways.

K R I S T V A S N Y

V E K P R O F O I

G E W N S H I R

G O C R E N S H E B

S U B S Y D E

(Primitivism)

(Neoclassicism)

(Jazz Influence)

(Expressionism)

(Impressionism)

1.

2.

3.

4.

5.

modern grand piano

56 Answer KeyTeacher: You may cut and remove the answer key from the book.

1. ___ Western art music

2. ___ music notation

3. ___ style periods

4. ___ folk music

B

A

D

C

Introduction Page 6:

M D L Z A T E I P

O

S

H L I F P I O A P

N L Y K M E O R K N

O Y V D P E O L A K

C R I M R G N I L X

H E O V A A C I V O

O P T H S I U H U E

R X T E S Q I L Z S

D Y H U B A R D I I

P I M H O M E R F S

Unit 1 Page 12:

Unit 2 Page 18: non-religious music

a person or organization that financially sponsors the arts

music for church

where monks and nuns live

one voice

travelling musicians from the Middle Ages

many voices

a highly decorated book of music from the Middle Ages

monasteries and convents

illuminated manuscript

secular music

polyphonic

patron

monophonic

troubadour, minstrel, minnesinger

sacred music

H1

1

2

2

3

3

M A D R I

R

P

S

I

C A P P

H

O M

A R M O ND T

E

T

L

LA

H

G

E

Y

A

L

M

T

E

U

R

A

A

Unit 3 Page 24:

Unit 4 Page 30:

4. CONCERTO GROSSO

A. alternating groupings of instruments

B. a humorous piece

C. type of solo violin piece

5. BAROQUE

A. something not working

B. measures air pressure

C. irregularly shaped pearl

1. SINFONIA

A. a small country in Europe

B. sounding together

C. a type of melody

2. SONATA

A. an instrumental piece

B. a kind of harmony

C. a type of sacred music

3. SONATA DA CAMERA

A. early photography

B. chamber sonata

C. outdoor sonata

Unit 6 Page 42:

1. MENDELSSOHN

2. VERDI

3. BERLIOZ

4. SCHUMANN

5. CHOPIN

6. TCHAIKOVSKY

Unit 7 Page 48:

(Primitivism)

(Neoclassicism)

(Jazz Influence)

(Expressionism)

(Impressionism)

D E B U S S Y

S C H O E N B

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