St}JGf!. N THT RAIN f f l f l l l l , L ' ; : : , . ' - ' ' - - '

' - : i a ' - l : '

l + - : ^ ' : : ! ' r " ' a t

(-iJ.* "

t , $ v - , ' ' . t

'-) -

g"

/86.43Fr a, It

CONTENTS

About this book. 5

LESSONS

1 How to sit correctly, 6

2 The piano keyboard, THow to learn the white keys

3 An important note: Middle C, 9

4 Finger numbers, 10

5 How to play legato, 12

6 How notes are written, 14

7 How notes are written-2, 18

8 Musical timing and the beat,2I

9 Developing your sense of rhythm, 24

10 More about rhyhm,26

11 Exceqpt from a famous classic, 30

12 Ties, 31

13 TWo more popular tunes with ties, 32

14 Playing from two staves, 34

15 TWo staves again, 35

16 Phrase marks, 36

17 Quavers, 38

18 Staccato and accent, 40

19 Rests and silence. 42

Last word. 48

SONGS

Annie's Song, 42

Banks Of The Ohio, 13

Can't Bty Me [,ove,27

Chitty Chitty Bang Bang, 39

Choral Symphony (Theme from), 38

Help, 28

I'd Like To Teach The World To Sing, 36

I Know Where I'm Going, 17

Largo (From The New WorldSymphony), 30

[,ove Me Tender, 34

Mary's Boy Child, 35

Old Macdonald Had A Farm, 40

One Of Those Songs, 33

Rivers Of Babylon, 19

Scarlet Ribbons, 41

She l,oves You,27

Singin' In The Rain, 46

Strangers In The Night, 44

Streets Of [,ondon, 3 7

Super Ti'oupeL 48

This Ole House, 23

What Now My tove,32

When The Saints Go Marching In, 11

White Rose Of Athens, 26

HOW TO SIT CORRECTLY

It is important to sit correctly at thepiano. The more comfortable you are,the easier it is to play. Sit as shown hereand you will always feel comfortable andrelaxed.

Sit facing the middle of the instrument,your feet opposite the pedals. Sit upright.Adiust your seat so that your arms arelev'el *itn the keyboard-br sloping downslightly towards it.

POSITION OF THE HANDS

Support your hands from the wrists.Curve your fingers slightly as if you weregrasping lightly an imaginary ball.

With the tips of your fingers cover fiveadjacent noles in'each hand. This is thendrmal Five-Finger Playing Position. It isalso the hand's most relaxed state. Afterall fingering and hand changes during apiece, you should return to this position.

THE PIANO KEYBOARD

There are only seven letter names usedinmusic :ABCDEFG.These seven letter names repeat overand over again on the keyboard.

HOW TO LEARN THE WHITE KEYS3 C, D & E

Use the black keys to locate the whitekeys.For example, 'D' lies between two blackkeys.

The black keys are arranged in groups oftwos and threes.

two black keystwo black

To the left of D lies C.To the right of D lies E:

HOW TO LEARN THE WHITE KEYS: F, G, A & B

[Jse the groups of three black keys tolocate R G, A and B (the remaining fourletters of the musical alphabet):

three black keys

Find all the Fs, G's, A's and B's on yourpiano.Play each note in turn and name it.

HOW TO LEARN THE WHITE KEYS: C to B

Play every 'set' of white notes, beginningwith C and ending on B. Play in allpositions on the piano. Do this severaltimes, naming the notes as you playthem.

three black keys

You now know all the white notes andtheir names.

AN IMPORTANT NOTE: MIDDLE C

One of the most important notes on thepiano is Middle C. This is the C nearestthe middle of the instrument, directlyopposite the manufacturer's name, as yousit at the piano.

The C belowMiddle C

MIDDLE CThe most central C

The C aboveMidd le C

[,ook at the illustration above. From it,you will see that:

The C to the left of Middle C is calledllhe C below middle C.'

The C to the right of middle C is calledThe C above middle Cl You should, atthis stage, be able to find these three C'sright away. lrarn to find them this easyway:

O Play Middle C with the right hand (utyfinger will do).

o Play Middle C with the left hand.o Play The C below Middle C with the left

hand.o Play The C above Middle C with the

rrght hand.o Finally: play Middle C again with one of

the fingers of each hand.

You now know where to findMiddle C and the C's immediatelvabove and below it.

FINGER NUMBERS

To make learning easy, the fingers ofboth hands are given numbers:

left hand

You will see that the thumb counts asfinger Number 1.

To familiarise you with the fingernumbers of the right hand, we are goingto play the great jazz number: tr4hen TheSaints Go Marcltng In.

right hand

Before you start to play, cover the fivenotes from Middle C to G above it withthe five fingers of your right hand, likethis:

/t:gl,,:

,W:!i

R .H.( RightHand)

M I DoD

IE

IF

llG

Now play each note with the fingersshown below. To help you play in time,tap your foot to the music. The littlediagrams below the finger numbers Ishow you when to tap.

Notice that every so often the tune 'stays

stilli while you go on tapping your foot.Remember to hold the note downduring this time.

f i nge rnumber :

WHEN THE SAINTS GO MARCHING INTiaditional

34swhen the Saints

Ittttr s t u S t

345march - ing in

rt*? f f T

5313Saints 8o -march ing -

!!ttBttf

1ohsa*

1Go

*

2to

*

3I 'm

*

4ber

?

2in

*g

c

t

134Oh when the**t

3going

?

1be_

tl*ei l # * G

355in - t ha t num -

t3

when

t*

*s

U

4the

tIt

5Saints

s*

31go mar ch

** t

2- in8

* *n a

1in

t*O Copvr igh t 1984 Dorsev Brorhe rs N{us ic L td . . London Wl A l l r i g h t s r t ' s t ' n t ' c l . I r t t t ' r t t a t i o t r a l c o p v r i g h t s e t r - t r t ' t l

11

You now know the finger numbers of the right hand.

HOW TO PLAY LEGATO

Legato means joined uP'. When Youplay legato, yoqr playing sounds smoothand connected.

To get this smooth and connected effect,as each new note is played you releasethe preceding note. In other words: onefinger exactly replaces another. Ther"*lt is a continuous, unbroken flow ofsound. This is true legato playing.

Always play legato unless the music ismarked otherwise.

In your efforts to play legato, never letone sound overlap the next. If you do,you may get an ugly sound mixture.Your ear will tell you when you areplaying legato. Remember:

O No gaps.O No overlaps.

Now play I,trhen The Saints Go MarchngIn agiin-fue you playing smoothly? Doall the notes join up? If so, You areplaying legato.

LEFT HAND FINGER NUMBERS

You are now going to learn the left handfinger numbe^ U/playing the traditionaltune: Banhs Of Tlte Ohio.

Before you start to play, -cover the fivenotes from C below Middle C to G with

the five fingers of vour left hand:

L. H.(LeftHand)

Now play each note according to thefinger numbers given.

Thp your foot to keep time, as before " '

-l[*11*ll-

Remember: play legato

BANKS OF THE OHIOTiaditional

fingern u mber : 5

I

*s

55to take

t!4to

t*

33my love

rts* u *g

5asked

tIt

*s$

4a

!

r$ utu43

take a

t!3

walk

*e0

u33

Right down

*t

4walk

*

7

*fit*

2a

I

3712where wa - ters f low

t?93

554down by thestB{ ? t I

1l i t

t

4t le

fil

1be

*

1side*{t

*t

t?*

?t**

3banks

3

t**ftk

s

34of the O*tG r i

45h i o

* *S ! t

@ Copvr igh t l9g4 Dorscv Bro thcrs Mus ic L t t l . , LOnc lOn Wl . A l l r igh ts reser l 'ed . In tc rna t io r ra l copvr ig i r t sccure t l

You now know the finger numbers of the left hand.

HOW NOTES ARE WRITTEN

Musical notes are written on groups offive lines called 'staves':

The notes may be written on any 'line':

in any 'space' between lines: this counts as a 'space'

this counts as a 'space'

The piano needs two staves: one for thetop half of the instrument:

A stave

This sign is called the 'Treble Clef'

and one for the bottom half;

This sign is cal led the 'Bass Clef '

The twobrace':

staves are joined together by n

Brace

The notes on the upper stave (indicatedby the Tieble Clef) are usually played bythe right hand.

The notes on theby the Bass Clef)the left hand.

Middle C falls onthe two staves.

lower stave (indicatedare usually played by

a line exactly between

Actual ly writ ten:

G> Middle C playedby r ight hand

Middle C playedby left hand

MIDDLE C

€>

The Middle C line is never drawn in itsentirety since that would cause confusionwith the other lines. A partial line is allthat is needed:

MIDDLE C

Such partial lines are called 'ledger lines.'

Now let's see how your first five notes forright hand are written:

Cover the five notes Middle C to G withthe fingers of your right hand:

R.H.(RightHand)

You used theseGo Marc/ttng In,

notes n When The Samtson page 11.

R. H .tR igh tH and)

<,1

MIDDLE C

l-earn these notes now.

Cover the five notes with the correctfingers of your right hand and play thenext tune: I Knoz.u Where I'm Going :

llM I Do

ID

IE

IF

rlG

llledger

I KNOW WHERE I'M GOING\\ords & Music: Herbert Hughes

R Hr r g h t

r a n d )

know

* w&who's

*

I

&E

where I 'm

w&f f i w

I

&ff

go

*

know

%ing - 3p6

& &$€ w *

goin' with me

w&&w s w

ffi&ry

&dear knows

w&f f i w

I

&*w

know who

*&f f i *

love,

&&* w

my

&

and shoes of

*wffi

who I'l l mar

&&&i l * t r W

but

&

She

&@

has stockings of

*&&w s w

silk

&ffi

wwwbright

&&&w

green leath - er

f f i&ww w #

EDr tin

&lng

&W

E

- 'ay

ffi

Dr- g

b wffier

wW

Combs to

&*r #

buckle

&her hair _ and a

& w w& *for ev

&ff iw w

Crrpr r ig l r t t909 br Booser '& Co. Th is ed i t ion a t r thor ised fo r sa lc in the LJn i ted K i r rgc lo rn a r rd t l rc 'Repr r t r l i t o f l re landpcn l i : : io r t o f Booser '& Ha lvkes Mus ic Pub l ishers L td . A l l r igh ts resen 'cd . In te rna t iona l copvr igh t sccr : rcd .

17

HOW NOTES ARE WRITTEN.2

You now know your first five righthand notes and how they are written.

frt's learn the first five left hand notes.Start at Middle C and work down thekeyboard (i.e. to the left).These are the five notes:

L.H.(LeftHand)

They are written:

l,earn these notes now.

Cover the notes with the correctfingers of your left hand and play yournext tune:

G4

F5

MIDDLE C1

{>L. H.(LeftHand)

IF

tlG

tlA

IB

M I Do

Rtbers Of Bahylwt.

RIVERS OF BABYLON\\brds & Music: Farian, Reyam, Dowe and McMaughton

L . H .( le f t

ha nd )

the rivers

$U

S A I

wof Ba by - lon

*&**w s w s

By

rug

Hold note down here

There

w

down

&*

Yeah- we wept

w@

&ffi

&w$

%

by - lon

f f i f f iw q @

of

wBy

&w&w

Z i - o n

&*&trw#

Ba

@

the rivers

&w

- mem - bered

Yeah we

ww*

we sat

s&w €

There

**

down

*&ws

^t

r e - m e m - b e r e d

l o r t h e [ ' K a n c l F , i r e . A l l r i e h t s r c s e r v e d . I n t e r n a t i o n a l t o o v r i s h t s e t ' u r c d .

w&&#

You nowand how

know nine important notesthev are written:

MIDDLE C1

<>I

l€>

/I

I/

2B

3A

4G

5F

1MIDDLE C

These nine notes are all that are neededto play all the songs in this book.

After this, new notes will be addedgradually. Keyboard charts will be givento illustrate new notes as they occur.

The cardboard chart included with thisbook fits over the piano keyboard andmay be used for reference. In addition, inthis book, 'letter names' have beenwritten against the notes. But, 1zoushould memorise all new notes assoon as possible.

I t r

IF

tlG

llA

IB

MIDoD

IE

IF

llG

MUSICAL TIMING AND THE BEAT

The 'Beat' is the name given to therhyhmic pulse felt behind most music.

When you were tapping your foot toIr[4rn Tlte Satnts Go Marching In, Banfrs OfThe Ohn, and Rtbers Of Babylon, /ouwere tapping out the beat. In most tunesthere is a series of natural 'accents',

which recur regularly every few beats.A line called a'bar line' is drawn in frontof every one of these natural accents.These lines divide the music into 'bars'

or 'measures'.

Accents (not usually marked)

I snnt +\ BAR2 BAR 4

Double Bar l ines -(the end of the piece,or a section of thepiece)

Bar l ines

In the above example the beat is writtenin 'crotchets' (sometimes called 'quarter

notes'):

t l t l. . - .or|? ? ? ?l t l l(Note that the 'tails' or 'stems' may bewritten up or down).

Look at the above example again,and you will see that there are fourcrotchets (quarter notes) to the bar,This is indicated at the beginning ofthe piece like this:

The above pair of numbers is called the'time signature'. In every time signaturethere is:An 'upper figure': this shows how manybeats there are in the bar (four in ourexample).

A 'lower figure': this shows how thebeats are written. In our example thelower figure 4 means that the beats arewntten as crotchets ("c1urrrter" notes).

l 1

DEVELOPING YOUR SENSE OF RHYTHM

The melody notes of This Ole Housecorresponded with the crotchet beatexactly. But usually a melody includes anumber of notes of longer duration.

This is how some of these longer timenotes are written:

Name of note How written Duration

Min im(half note) )))

Lasts for two(crotchet) beats

Dotted minim(dotted half note) ) )))

Lasts for three(crotchet) beats

Semibreve(whole note) ))))o

Lasts for four(crotchet) beats.

To get you used to these different timenotes, I want you to play now somerhyhm exercises. They are writtenentirely on Middle C.

The frst rhyhm exercise is for the righthand. It features 'crotchets', 'minims','dotted minims' and 'semibreves'.

In each bar, there are four crotchets (ortheir equivalent).Choose a suitable speed (not too fast),and maintain the same speed throughout.Thp your foot once on every crotchetbeat.

RHYTHM EXERCISE 1

BAR4

2

BAR 5 BAR 8

Coun t : 1

Bar 1 Play Middle C on beats l, 2, 3and 4.

Bar 2 Play C on beat 1 and let thesound continue while you countand tap beat2.Play C on beat 3and let the sound continue whileyou count and tap beat 4.

Bar 3 Play C on beat 1.Play C on beat 2 and let thesound continue while you countand tap beat 3.Play C on beat 4.

Bar 4 Play C on beat 1 and let thesound continue while you countand tap beats 2, 3 and 4.

Continue similarly to bar 8.

Did you keep your speed constant?

Now another rhythm exercise, this timefor the left hand. Again you will be usingMiddle C only.

This exercise is in fl time, in other wordsthere are three crotchets (or theirequivalent) to the ban

RHYTHM EXERCISE 2

L , H .

C o u n t : 1 2 3 1 2 3 1 2 3 1 2 3

1 2 3 1 2 3 1 2 3 1 2 3

Did you keep your speed constant?You now know about: 3 beat notes J. Dotted minims1 beat notes .J Crotchets(quarter notes) (dotted halfnotes)2 beat notes J Minims (half notes) 4 beat notes o Semibreves (whole notes)

25

MORE ABOUT RHYTHM

t0From now on you will be called upon toput your knowiedge of rhyhm to work.The popular tunes you are going to learnwill use all four kinds of notes: crotchets,minims, dotted minims and semibreves.Check that you know them thoroughly.

You are first going to play tr[/hiteRose Of ,,4t/teru for the right hand.As usual before you start to play, coverthe notes Middle C to G with the fivefingers of your right hand .

The tune starts on Middlethe thumb. There are fourtheir equivalent) to the bar.

C played withcrotchets (or

Remember to play legato

WHITE ROSE OF ATHENS\ Itrsic: Manos Hadjidakis. Words: Norman Newell.\clditional Words: fuchie Bleyer.

NOTESREQUIRED

FINGERING | 23 4 5@

the

4

white rose blooms1 2 3

a

4

note down for four beats

You

1

must

4

E

leave

1

Det

3

me

4

Dlone

1

leave

1 2

ly.

3

good

3 4bye my love

1 2 3till4

the

1

Till

1

the

4

galn.

1

I 9 6 2 S c h a t ' f l c r s - K a s s n c r N I L r s i c L t c lI r t t c r r r a t i o n a l < o p v r i g h t s t ' c t r t t ' r l .

white rose

1 2

blooms a

3 4

Nlus ikver lag , ( i ,n r ranr ' . O Copvr igh t 196I anr lPar r ton St r te t . I -on t lon S\ \ '1 . A l l r igh ts resened

Now two famous Beatles themes, bothfor left hand. Before you start to play,cover the notes Middle C to F with thefingers of your left hand.

The first theme starts on F with the fifthfinger and you start playing on thesecond beat of the bar.

Remember to play legato.

CAN'T BUY ME LOVE/

Words & Music:John Lrnnon & Paul McCartneySHE LOVES YOU

buy3

NOTESREQUIRED

FINGERING5 437 I@

love1

Can't2

',atI

me4

Iove1Coun t : 1

Star t p lay ing he

F G A B

IY I D

e

Can't buy1 2 3

me4

love1

She loves you, yeh!2 3

yeh!3

She4

loves1

YOU,2

yeh!3 4

yeh! She3 4

Hold the notedown here+

loves you, yeh!1 2 3

yeh!1

yeh!3

yeh!1

Q Copvr igh t 1964 Nor thcrn Songs L td . , l9 Upper Brook St rec t , Lonc lon WlO Copvr igh t 1963 Nor ther r t Songs L tc1 . , 19 Upper B look St rce t , Lon< lon Wl

A l l r i g h t s r c s c n ' c d . I n t c l n a t i o n a l c o p v l i g h t s c c u r e d

Al l r ights resenecl . In ternat io t ra l copr l ight s t ' t ' t t rcr l

2 7

Now a Beatles tune for right hand: Help.

There are four crotchets to the bar. Youwill be using crotchets, minims, andsemibreves.

Before you start to play, cover the notesMiddle C to G with the five fingers ofyour right hand.

HELP\\irrds & Music:John Lrnnon and Paul McCartney

The tune starts on the second beat ofthe bar with the note E (3rd finger).

NOTESREQUIRED

FINGERING | 23 4 5@

IY I D

eD E F G

So

3

$7he2

here I

n I3

young- ef,

1 2

was4

much young - er

4 1 2

than to

3 4Coun t : 1

S ta r t p l ay ing

Nev - er1 2

an1

bod -

3need

3l n a n y2 3 4

y's4

v2

ed4

help1

Oh but now those1 2 3 4

days are gone1 2 3

AS

4

I 'm not4 1

so self2 3

sured1

*This curved line concerns the singeronly and is called a 'Melisma Mark' or'Singer's Slur'. Here the singer continues

the syllable '-sured' throughnotes E, D and C. Look onfor five more 'Singer's Slurs'.

the threethe next page

Now1

find I've3 4

changed my mind,1 2 3

I 've

4

o -

1

pened up the2 3 4

doors.1 2

Help me1 2

can, I'm1 2

if3

you4

E Dfeel

3

- lng4

down1

EAnd

3I

do1

pre3

cl

4

ap2

ate you1 2

be * ittg3 4

'round

1

F DHelp me

1 2get my

3 4feet

1back

2the4

on3

ground1 2

Won't vou2 3 4

Ho ld t he no te

down he re

-yplease,

1 2help - me?

1

*This curved line is a 'tie' (see page 31)not a 'Singer's Slur'.

O Copvr igh t 1965 Nor thern Songs L td . , l9 Upper Brook St rec t , London Wl . A l l r igh ts resen 'ed . In te rna t io r ra l copvr ig l i t sccu led

29

TWO MORE POPULAR TUNES WITH TIES

t3The next tune ,lrl4tat l{mts NIy Loae, alsofeatures ties and is for the right hand.Before you start tousual notes, Middle

play, cover theC to G, with the

right hand fingers.

The tune starts on the second beat ofthe bar.

English Words: Carl Sigman. French Lynic: P Delanoe.

\ Iusic: (l Becaud.

WHAT NOW MY LOVE

R H

c

Coun t : 1

S ta r t p l ay ing

What

2A

here I

now my

3 4

NOTESREQUIRED

FINGERING

Ethat

3

1234@

Tie (ho ld down the no te )

cnow

2

Ieft

1

you've

4

me?_-

3 4

IM[-

D E F

c c Dan - oth

1How

2can

3I4

- e r4

c

1

watch - ing my2 3 4

turn2

ash

1 2lng

3

to

4

And my3 4

hopes to bits of

2 3 4

clay.11

I 1 2

B, l i i ' .h Cr , r ' , r r j ronu 'ea l t l r l cxc . Car rada a i i c l A . ,s t ra la r ia l and ' t i re . e l l r ig l i t s resencc l . I r t te r r ta t i< i r ra l copvr igh t secured.

Here is another tune which features ties.It is for the left hand.

Before you start to play, cover Middle Cto F with the five fingers of the left hand:

This tune starts on G with the 4th finger.There are four crotchets (or theirequivalent) per bar, and the tune startson beat 2:

ONE OF THOSE SONGS(LE BAL DE MADAME DEEnglish lyric: Will Holt. Music:

MORTEMOUTLLE)Gerard Calvi

NOTESREQUIRED

FINGERING 432 I@

G A B

Il.'1tD

o

WellCoun t : 1 2

star t p lay ing h ' " r " t

one of those songs1 2 3 4 1

hear now and then-1 2 3 4

this3

IS

4that

2

you4

1You

4

don't know just1 2 3

1

where- and4 1 2

T i e

you3 4

don't1

know just when-2 3 4

T i e

; 2 3 t ; 'one of those songs-

1 2 3 4 1

that

2

are

4

o ver

1 2

and then-

3 4

T ieT ie

It 's one of those songs__ that

1 2 3 4 1 2 3 4 1 2 3

O Copvr igh t t958 bv Ed i t ions Mus ica les du Car rouse l , F rancc . O Copvr igh t 1959 bv Parncs Mus ic L td . , 37 l41All r ighis iesened. I irrernational copvright secured.

srart play - ing a gain.-

4 1 2 3 4 1

M o r t i r r r t ' r S t r t ' e t . L o r t d o n W l l b r t h c U K a n d E i r t ' .

Now you know about ties and howthey make the notes last longer.

33

PLAYING FROM TWO STAVES

t4LOVE ME TENDER\\ords and Music: Elvis kesley & Vera Matson

This is the first time that you have hadto read music written on two staves. [nyour next piece both hands share thetune. This is why two staves arenecessary. Play the piece several times

and get used to reading two staves.

The left hand plays first. It starts on Gwith the 4th finger.

NOTESREQUIRED

FINGERING 4371234(GFrHAr.lD<Rcrtrrtn-[Dr

G A BY I D,|5.

v D E F

aJLove me ten - der,

1

^---C? go C+

D7r-DU

love me sweet.

3A+

Nev - er let me1

-c sgA;--B?-

go.

ce

Coun t : 1

DZI-- D

life com - plete.3

And I love You1

c Bt-nhlve made my

ttl

1-ol-ctoJ

All my dreams ful

_u__E_7____ a

Love me ten - der, love me true. fil.

T- I

r---tr2!U

For mY dar - lin'

Dt-Dzr--

I love you,3

l A )

A n d I a l - w a y s1

Ct no

C+

will.

-__----l

r r rgh t 195{ i bv Eh is Prcs lev N{us ic In< . , Ncr r 'York , USA. Car l i r r Mr rs ic CorP. , 1 { t ' - r ' r r ' B t r r l i r rg t t , r r S t rec t , Lor rdon WIX 2 l .R: t , r ' r i ron o f L ' i r i t t ' c l K ingdorn o f Great Br i ta i r r a r tc l Nor thcrn I re land, E i rc , I r rae l . a r rc l the Br i t i sh Donr i t t io r ts , Co lor l ies .

TWO STAVES AGAIN

r5You will use both hands again in thenext piece NIary's Boy Child.The right hand plays first. It starts on Ewith the 3rd finger.

MARY'S BOY CHILDWbrds & Music: Tester Hairston

NOTESREQUIRED

FINGERING5 4371234@@

o#ean - gels sing, aHark. now hear the new King born to And

Coun t :

1 2 3

2

1 2

3

f^t_V-E'-Dt-s*-

Man will live for e v -3

er - more, Be

-Dt-

cause of Christ-mas1

^ ; c? go1 : -Y l I I

ce

Day.

;N-G

1 2 3 4

2

1 2 3 4

3

--rt

T-E+_-*r-------

Trum-pets sound and

DfrEC

an - gels sing.

T=--7-D.re7r-Listen to what they say. That

2-B - '

Ao-- l

t-Er-ozrgj-Man will live for

4

ev3

er - more, be

-D--

cause of Christ - mas1

; (--C trt t

C€-

Day.

E\-i-G Afrf o . A?- -l=---- 1--1

1 2 3 4 1 2 3 4 1 2 3 4

O C t i o r . r i e h t 1 9 5 t i a I r d l 9 5 7 S c | r u r r r a I r r r M t t s i c C o r p . , L i S A . B c l r t r I l e M u s i c L t d . , 3 4 / 3 6 M a d d c l x S t r e e r , L < l I t c 1a r r d C | j n n i , , r r r n c a l t l r o f N a t i o n s i e x c . C a n a d a i . A l l i i g h t s r c s e n ' e c l . I r t t e r l t a t i o t t a l c o p v r i g h t s e c u r c d .

PHRASE MARKS

L Curved lines over or under the notes are

I O rl','*' J*:: Xt*.?h::H,ll?,:",,,

Unless directed otherwise, play all noteswithin phrase marks legato fioined .,p).

I 'D LIKE TO TEACH THEWORLD TO SING\\irrcls & Music: Roger Cook, Roger (Jreenarvay,

Uillv Backer & Billv Davis

L H

C o u n t : 1 2 3 4

Star t p lay ing t re re f

Phrase mark (pl.y legato) Tie (hold down the note)

NOTESREQUIRED

FINGERING 4 3 I 2 3 5CCFTHAND @

GA

Ir"llD

oD E G

R H

I

_ t l

D /EJDJE l -

fur- nish it with

Dd. Ee-

love, GrowaJ ,/

I 'd3

like to build the1

c )A l c t Ae -

world a home and

^rAr-CFa ?-Tr-_zI-- \rT- T--]_-- -T-

D;FE7*'---E7-

hon - ey- bees and

-U-D-- tr{t--Ee-

ap - ple trees and

cTDr-c7-snow- white tur - tle

3doves. I 'd

_ A + -

2Y

tl

DJ-EJ-D/-Er-

per - fect har - moaJ

like to teach the

4 1-z\;- ^-- At-C?_ Al-

world to sing in

t=----A;--C?At-

a,J c./ .

ny . I 'd

: i : . i l , 7 1 l r l l l r t ' C . o r a C o l a ( , o . C o p v l i g l r t a s s i g , r r t ' r l t o S l r a t l a N l t r s i t I n c . . I - ' S A . R i g l r r s a s s i g r . r c t l l ! l 7 l f i r r t l l c L I K a r t < l E i I t '

r r . i r \ l r r s i c I - r r l . . 5 J h t , o b a l c l s R o a r l . L , , ' i i l , r t , l r , t , t . . c , l l r i g l r t r r c s t ' r v t ' r l . l r r t c r r r a r i < > r r a l c o P v t ' i g h t s t ' t t t t ' c r 1 .

STREETS OF LONDONWords & Music: Ralph McTell

Coun t : 1

2 3

NOTESREQUIRED

FINGERING 4321234 5CTEFTHAND @

::l

51

f fD+ET\J-ETlike to hold it

DFE7"-ET

in my arms and

-cf Dzl-gz-

keep it com - pa3

ny.

_c?'

3 5 1

_d--=

Have you seen the

Lv_ l)u-

old man in the

C++

closed down mar - ket,

1 2

l lR

AJ

Kick - ing up the3 1 -c f

pa - pers with his

C + + C

u o - - 7

worn out -

IJ (J

shoes?

3 5 3

t1-7--E F

by his

-T-'

In his eyes you see no pride, hand held loose - lY1

e ? ? a - C t

side,

v 1--

ol

Yes ter - day's3 1 . C1+

pa - per tell - ing

t + + t -

y e s - t e r - d a Y ' s

4G-r: A? B?-

news.

ce_

1 2 3 4 1 2 3

O Copvr ig l r t 1968 and 1972 West rn ins te r Mus ic L td . , l9120 Po land St ree t , London Wl

4 1 2 3 4

All r ights resen'ed. lr-rtcrtrat ional copvright securccl

QUAVERS

t7Quavers (or eighth notes)

,l,tnlJ

The next three pieces feature a new time If you say the word 'and'between beatnote: the quaver. numbers, it will give you the time of the

ouaver. You will come across quavers inbars 10 and 11 of the famous theme fromthe Choral Symphony by Beethoven. Inthis and the-following two pieces I havemarked the places at which you shouldsay 'and' when counting.

Quavers move twice as fast as the basiccrotchet beat:

Theme from CHORAL SYMPHONY NOTESREQUIRED

Bv: Ludwig van Beethoven

F INGERING 4 1234 5(LEFTH-,AND^.GlcHrrtAtlD)

B a r 1 0 B a r i l

1 2 3 4 1 2 a n d 3 4 1 2 a n d 3 4 1 2 3 4

\ rghr I sE4 Dors.r Brothcrs Music Ltd.. London wl. All dghs rrsened. lnr€rnatioDal copvrighr securcd.

I

ITI

G

IY I D

eD E F G

3 5

-T-' E e-DC-eZ--TQU-cv--

- - - - D U - q

C o u n t : I 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

3 1

d E E,V-DU- e7_==-DTc u)-- Cl 4

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

a r2 1

Dr-E)ts t zsffil l

r il ll l

i l

-DrfElr ?et-Dt-d u e e E T c J CJ t ) r

4

3 5 1

J U-!--tr E =-DU- eTJ uo E ve c+ +

Words & Music: Richard M. Sherman and Robert B. ShermanCHITTY CHITTY BANG BANG

COMMON TIME. Another way of wr i t inS:f t

+ 1 - /

NOTESREQUIRED

FINGERING 4321734@@

1 1

il-cryOh you

\pret - ry Chit - ty Bang Bang

1C e ? ? ? ? ^ 4

Q7t - -aF

J Juo C+Chit - ty Chit - ty Bang Bang

I I I

\\

we love you1

C?go r

Count . 1 a n d

I

a n d ; a n d

2

-d-D-ct-

And our

oA

\pret - ty Chit- ty Bang Bang

- ) a - t a ^ 4

Chit- ty Chit - ty BangBang2

P , o a a a t a ^ -

loves us too I

^ ^ Ba-9?L L i '

I

I

a n d a n d a n d 2 a n d 3

l l l

1 a n d 2 a n d 3

I

4 a n d a n d 3

3 1

-U-=nc4-

High, low,\

An - y -where we go on1

Cc+? ?? -4

C=---r .TlDr C1.

Chit - ty Chit - ty we de

l l l

pend.

cg-t-17

1 3

-u-cZE----zrDTcTr

Bang Bang Chit - ty Chit - ty

, , , P,Z ̂ ̂Bang Bang, our

- l)-

fine four fen

B3- dered friend!

1Ce

T-AF-- r ( i -

; a n d 4 a n d 1 2 3 42

i r r

STACCATO AND ACCENT

t8A dot over or under a note means that A dash over or under a note means holdthe note is to be played 'Staccatoj which the note for its full value, or even ameans 'cut shortl Keep the wrist loose faction more.and 'peck' at the note with the finger.Stac&o (cut short) is the opposite-of | ?

Accent (renuto.mark)-hold

legato (smooth and connectld). a I the note(s) for its full value

I i In the next piece make the contrast1 I Staccato - cut the note(s) short between staccato and accented notes.

OLD MACDONALD HAD A FARMTraditional

NOTESREQUIRED

FINGERING 4 3 I 2 3@@

G A

IY I D

eD E

1 3

dcr++Old Mac - don - ald

4had a

n - l )

farm

u y - U T U

E e i - e e i -

ce'o! And

4

c o u n t : 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

1 3

dc lon

1+q ]

this farm he4

had some chicks,

^r -l ),

E---Tu)U o

E e i - e e i -

ce'o! With a

4-\ . L;L L t - -

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 a n d

1 1 2 2

cr l tchick chick here and a

4

c++Tchick chickthere,

chere a chick, there a chick,

c l)

+ J e J

ev' - ry.where a chick chick,

JJ

1 2 3 4 and ' l 2 3 4 1 and 2 3 and 4 1 and 2 and 3 4

: rlL( l9E4 Dorsev Broiheri Music Lrd., London wl. All righ$ resened. Inrerradonal copwighr secured.

SCARLET RIBBONS\\brds by Jack Segal. Music by Evelyn Danzig.

NOTESREQUIRED

FINGERING5 432 t734 5(TEFTHAND @

1 3

otttOld Mac - don ald

4had a farm

A ) , ) ^

L 7 7 U J J

E e - i e e i -

c€' ii

o ! ;I

-i: ---T---=C-

I peeked"And forCL

-Dzr--

ln

meto

some3

A r

-D'_-

say good -scar - let

B a

celnight andrib - bons,

4

then Iscar let

on ct

heard m!'

r ib - bons2-B( -+-

Fr| , \r I' ! - l - I

p lsoftl

ach - itg,night mychildfor3

crescendo or cresc.(ge t t i ng l oude r )

*Repeat Marking. Go back to the matching sign: l|: and play through the first 8 Bars again.

O Cop\ nshr 1949 b1 Mrlls Musrr IDL., l6l9 Broadwaa, Ne$ York, NY. trSA. For the Brnish Empire 1exc. Canada and Ausrralasialeelw,; MiTls Muric t rd., 2so Purl.rwav, cruvdon c{9 4qD. f,rgland. All rishrs rescncd- Inre;nadonalcoprrisht seered.

mf moaerately loud r

-+l

t

\ t , ,

a

Just be3

-Ar*

fore the

E l r t )

c+dawn was

Ce

r v U l J

break ittgI

came those

cblove ly

^1t

p

Ritenuto or Rit.S lowinq down 1

-il-Dtt-

scar let

c;-l--rib - bons,

4

scar let

C*

rib - bons

Q,r> 5

for her

A ; A a

ce'hair.

--Z\. ffi Grs-- A 7 - - - A T v l

RESTS AND SILENCE

t9Silence in music is important. Silencescan be dramatic, romantic,or add an atrof expectancy. To indicate silence inmusic, srgns called 'Rests' are used. EachTime Note has its own rest.

-

-

Crotchet (quarter note)

Minim (half note)

Semibreve (whole note)

Quaver (eighth note)

Crotchet (quarter) rest.A si lence last ing1 Crotchet beat.

Minim (half l rest.A si lence last ing 2(crotchet) beats.

Semibreve (whole) rest.A si lence last ing 4(crotchet) beats-Or:one whole barts rest,regardless of TimeSignature.

Quaver (eighth) rest.A silence lasting 1/z

(crotchet) beat.

I

I

a'lI

You will come across various rests inAnnie's Song which you are going to playnow. Make sure you respect thesesilences. The first few rests are 'arrowed'

to make it easier for you.

ANNIE'S SONG\\brds & Music by Tohn Denver

NOTESREQUIRED

FINGERING

These two notes arep layed together

3 1234 5@@

42

AY I D;5.

\y D

TIE F G

4 2

t--

a

Youp

L'J

filI up my

Uor'

sen

.e L'T -

like a

o het rest semibreve rest(who le ba r )

semib reve res t (who le ba r ) cro tchet restsI

I

ts e__d t

night ln a\

for est

ci ^2

v+J

Like the

+ JJJ

moun- ta ins i :

These two no tes (E and C)42 2 3 a re p layed toge the r

FI; L I z4 I-o-uu'

spring

cF.\.-.ttime

;AL UU tT

Like a

- _ v

walk in the

L " \ . #

rain -1 -

c?'

\--t--

2 2

-tsFZ- R . F r_t_

da '

e

Like a

f i",ual

V J

storm in the

L l O .

des

L'eL'--.-t

ert _

.e v u t -

Like a

J

sleep - y blue

342

11

) t \\

o ceanr 4

Ct - "^'-

CTYou

+UJ - -

fill up my

J J ( / .

sen

cEL!_-SCS -

--^{

tl

WU--come

-V-

fill me a1

ee'9'-1r].

3

O C t l p r ' r i g l r t l 9 7 { C l r c r r r ' [ - a r l c ] \ { t r s i t C ( ) . . L : S A . C h c r r r ' L a I r t , M r r s i c C t l . . U S A . C l r c r r r ' L a l r c N l u s i c . L t c l . ' 6 2 C a r r t p d e r lA l l I i g ' l r r s t t . t ' t t t ' , 1 I r r t t t r r . r t i , , t r a l , , , 1 , r t i g l r l : t t t t t t t l .

+ :

I have 'arrowed' the first few rests in thispiece. After that I leave it to you towatch for and respect the resls.

STRANGERS IN THE NIGHT NOTES\lusic: Bert Kaempfert. words: Charles Singleton & Eddie Snyder.

REQUIRED

F INGERING 321234 5CLEFTHANp^@

A B

IIr4lD

oD E F G

1

d c+uc "c1u?=_Stran -gers in the night

frp (moderately soft)

:tc4DU-c-uT---c7

ex-chang-ing glan - ces, won-d'ring in the night?

o lcr f R ace>- 'T--T I

_-l I

++r / Y , - Y

U C + L ' r C +

what were the chanc - es2

. - - ] -B? Be

we'd be shar-ing love--v

-niBa a A!BT'

I be - fore the night was

i ro ?B?c?Bf n?-

2

-\)-r -z

D+EHD*et:Some -thing in your eyes -

-DJEJTtE-ED---

was so in - vi ting,

d D O \

through

--z \)

,r tTt

l l a l f . d r l l

a c?L ,7 7 CJU 5_ . - - -some-thing in your smile_

. r C J U C E - U J C T

was so ex - cit - inB , some- thing in my heart

a i c+ i n ) c-s-

1 3

c .J

told me I must have2

?Be B.

E

you

. . . - E_: \ - - .__-,

Strang- ers in the nightcresc.

two lone ly peo - ple were stran - gers

=\---- l

n ight

4

t s -F

lit - tle did we o;*,

- O - r - E

up to the mo- ment when we

. L y = D ? ?

said our first hel - lo,

f

3 - 1

_T_r --E?---7D

love was just a glance a - way, a'rrw o 3c*

c-v11 \

warm em-brac-ing dance a - way and

ePF l rn -P ,o

C +u" ?CJU ?',--z

ev - er s incethat night-p

-i- -T-Frv--

1

d . _ tgJuJEvuu cJ

we've been to - ge ther lov - ers at first sight-)

o3c; z,.:c7-

CJUr C+

in love for - ev - er

PR- R3

r \ - t 3

a)It3

r r ) ,

turned out so right

o L a ^ . i . - Z ' /

-------TZD7C7-

for stran- gers in the\night.

c{

E =

>e

ry cresc.

O Copvr ighr l9 t i6 Champion Mus ic Corp . and Screen Gerns-Co lunrb ia Mus ic Inc . , USA. MCA Mus ic L td . , 138 P iccad i l l v , London Wlfor the nri i ish Commonwealth 1exc. Canada, Australasia and Brit ish Terri tor ies in South Anrerica), South Afr ica, Eire and Continetrt of EuropcAll r ights resen'ed. International copvright secured.

f

- 1 L '

SINGIN' IN THE RAIN\\brds: Arthur Freed. Music: Nacio Herb Brown

NOTESREQUIRED

FINGERING 43212345@@

GA B

IMrc

oD E F G

4

-V \I '------------- F-= ---r----r-- I E Z -

AJ*f r,^

4

- U J C l

ing in thesing -2

P, rs

c1rain, Just

A A .

C a ' - r l a L u e b -

sing ittg in the2

R n-r 1;-J- , - L i -

A A l l n ' l 7\J

a)

rain, What a

-rr;-Afi---c j-n p-

Cz e uJ ' -----Z

glo ri - ous2

Befeel ing I'm

A€--G-

-J

d \ - - - l E - Ue

hap py a2

R o

\ /gain. I 'm

-___/ L - aJe

laugh - ing at2

R aI

=a \

clouds,

- A -

SO

E U O

dark- up a2

B o

\ (bove, The

n A -

r

c

sun's in my

3

E-

heart and I'm

P , r s A r

E "

rea dy for1

C g A r C l

love. Let the

4I a - A - n

t t

It 1

-rr- -G4 G

WD-E''-storm

; y clouds

$ n

chase Ev' ry

Aat-Gz-Ap

W7t)irE-one- from the

2Br

place, Come

Ae-e-t----p--

5

WDTEv--

on- with the

BZ

E.v-

rain, f 've a

A ^

- - - - L - L r e

smile- on my2

B r '

face. I' l l

A-a--'.-..-

5

il E - v D -

walk- down the

B3

\lane, with a

A A -

u t

hap - py re2

B r '

\ (frain, And

L,-rt A-

1Y

G4-tc}-Gtta)

sing in' I Just

4

Et--

sing - in' in the2

P ^ r -

trrezrDT

cresc. A rc|.

E=

rain.

a'A7-T

e

"f

+ ;

@ Coovr iehr lq2q bv MGV lnL . . I 5A. CoDvr ish ensa l 1957 RDLbrns Muin CorD. . USA. R 'shrs rh 'ouehour rh . wor ld . , ' r ( ro l led by Robb,ns M u .k Cotp . UsA

Adm, ;hrered hv B iaTh ' . . Murn Lrd . , 37 /4 i Monrmer s r reer , Lo ldon w l . ro r rh r UK and Ene: . { l l r iqhr ; re .e tued. ln re rnr lona l .op \ nghr sccuRd

LAST WORD

Congratulations on comqteting Book.

One-of 'The Complete Piano PlayerJ

Lr Book TWo You will be:O Inatning new noteso FindingLut more about

'fingering'

o Using sharPs and flatso Und&standing something about 'keys'

O Discovering new piano techniques'

SUPER TROUPER\\brds & Music by Benny Andersson and Bjorn Ljlvaeus

In the meantime Yourbook is SuPer TrouPer

last song in this

NOTESREQUIRED

FINGERING 4 | 73 4 5

@@

llIIG

M I D,=.,\7 D E F G

Shin - ing like the

f ti per Trou - Per

Dl-Ee-rzEc-P

lights are gon - na find lrl€,

one. To-night theFeel-ing like a num- ber

Smi - ling, hav - ing

- l l

ffirWbeams are gon - na blind trl€,

e ?

ffiF+=--J-U

Su - Per Trou - Per1

c??

l - - E -

but I won't feel

e€ -

DCr

blue,

4Gffi

l lI

a

B o c u M t r s i c L t c l . , l W v t r d l r a r n Y a r d , W r ' n d h a n r P l a c e ' l , o n c l o r r W l f b r G r e a t B r i t a i r r a n d E i r e .I ( . , rp r r igh t 1980 LTr t io r l Songs AB ' S tockho l rn ' Su 'eden f i r r thc rvor ld

r., r ights resen'ed. International copyright secured'

n q OC,T 2007

some-where in the crowd there'sl i k e I a l - w a Y S do. 'Cause

Ar !r\r1r A$;.n f"lTY I tiqfrA$tiE$10/05 (56325)