Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Rocket piano intermediate v1.2

980 views

Published on

  • Be the first to comment

  • Be the first to like this

Rocket piano intermediate v1.2

  1. 1. Acknowledgments.The Rocket Piano series was created on behalf of Rock Star Recipes LTD.Author & Music: Ashleigh Southam.Edit & Graphic Design: Unica Design LTDMultimedia Content: Rock Star Recipes StudiosPublisher: Rock Star Recipes LTDTerms of useBy purchasing The Rocket Piano series - you agree to the followingYou will use The Rocket Piano series, Chordinator, Keycelerator, Perfect Your Pitch Pro,Jayde Musica, Advanced Learning Techniques for Piano and other Rock Star Recipes Ltdproducts and services for your personal and private use only.The Rocket Piano series, Chordinator, Jayde Musica, Advanced Learning Techniques forPiano remain the property of Rock Star Recipes Ltd. and may not be resold, repackagedor otherwise transferred.Course and bonus product materials may not be duplicated or distributed in any waywithout expressed, written permission from Rock Star Recipes Ltd.Rock Star Recipes Ltd. retains all rights to these products.Copyright, © 2004 Rock Star Recipes Ltd.
  2. 2. Page Welcome to Rocket Piano’s Intermediate Piano Course!A Personal Message from MeWelcome back to Rocket Piano! In this book you’re going to learn more about chordprogressions, new key and time signatures, dynamic signs, and much, much more! You’lllearn how to reach those tricky notes with ease using my hand positioning techniques.You’ll also have over fifteen original compositions to play, as well as popular songs like“Amazing Grace” and “House of the Rising Sun.” Don’t forget to listen to the nearly 30audio tracks included.This book also continues on with all new Jam Tracks for you to play along with a realband!I’ve also included the New Rocket Piano Progress Tracker so that you can have a checklistof all the techniques you can expect to learn in the course. It is also a Record of Learningfor when you finish whether you want to revise your skills or just show off to your friendsall the amazing skills and techniques that you have learned!Once you have mastered a lesson or skill tick it off on the Progress Tracker, and move onto the next lesson! Commit yourself to ticking off the skills you learn as you go and seeyour improvement instantly!Are you ready?Ruth23Listen to a personalmessage from Ruth0101Every time you see oneof these buttons, play therelevant video or track!
  3. 3. Page Table ContentsWelcome!..................................................................3A Personal Message from Me..................................3Rocket Piano Progress Tracker................................5Chapter One............................................................6Review of Chord Progressions.................................6She’ll be Comin’ Round the Mountain......................6Shifting Inversions....................................................7New Hand Technique: 2nd Finger Over Thumb.......8Re-cap of Rhythmic Notation....................................98th Note Triplets.....................................................10Counting 8th Note Triplets......................................10Jam Track Six.........................................................14Chapter Two..........................................................16A New Time Signature............................................17Another Key Signature: B Flat Major......................18Primary Triads in B Flat Major................................19Amazing Grace.......................................................20The A Major Scale..................................................21Primary Triads in A major........................................22Play it Faster: Vivace..............................................23Revision Test: Part Three.......................................24Revision Test: Part Three continued.......................25Revision Test: Part Three Answers.........................26Jam Track Seven....................................................27Chapter Three.......................................................28More Signs that Modify Notes................................28The E Flat Major Scale...........................................30Primary Triads in E Flat Major................................31Play it Slower: Largo...............................................32Playing the Scales over Two Octaves....................33Arpeggios over Two Octaves..................................34Pedal Practice........................................................35Jam Track Eight......................................................36Chapter Four.........................................................37Seventh Chords......................................................37Dominant 7th Chords..............................................39Minor 7th Chords....................................................40Minor 7 Flat 5 Chords.............................................41Recap of 7th Chords...............................................417th Chords in I, IV, V Progressions.........................42Non Troppo Allegretto.............................................43Sforzando...............................................................45Jam Track Nine.......................................................46Chapter Five .........................................................48Three-note 7th Chords...........................................48Adding Inversions...................................................50Dominant Chords in Four Keys..............................51Andantino...............................................................52Jam Track Ten........................................................54Chapter Six............................................................56Key of E Minor........................................................56E Harmonic Minor Scale.........................................57E Melodic minor scale............................................57Primary Triads in E Harmonic Minor.......................58Revision Test: Part Four.........................................62Revision Test: Part Four continued.........................63Revision Test: Part Four Answers...........................64So Long!.................................................................65
  4. 4. Page Lesson or Skill Page # Date SignatureShifting inversions ............. .............. ..........................New Hand technique: 2 Finger Over Thumb ............. .............. ..........................8th note triplets ............. .............. ..........................A New Time Signature: 6/8 ............. .............. ..........................Key Signature: B flat major ............. .............. .......................... Primary triads in B flat major ............. .............. .......................... The A major scale ............. .............. .......................... Primary triads in A major ............. .............. ..........................Performance direction: Vivace ............. .............. ..........................Accents ............. .............. ..........................Staccato Staccatissimo ............. .............. ..........................Playing in unison ............. .............. ..........................The E flat major scale ............. .............. ..........................Primary triads in E flat major ............. .............. ..........................Performance direction: Largo ............. .............. ..........................Playing scales over two octaves ............. .............. ..........................Playing arpeggios over two octaves ............. .............. ..........................Pedal practice: Ped___ ............. .............. ..........................Seventh chords ............. .............. .......................... Dominant 7th chords ............. .............. ..........................7th chords in a I IV V progression ............. .............. ..........................Three note 7th chords ............. .............. ..........................7th chord inversions ............. .............. ..........................Dominant chords in:G ............. .............. ..........................In: F ............. .............. ..........................In: D ............. .............. .......................... In: Bb ............. .............. ..........................Performance direction: Andantino ............. .............. ..........................Key of E minor ............. .............. ..........................E harmonic Minor scale ............. .............. ..........................E melodic minor scale ............. .............. ..........................Primary chords in E harmonic minor ............. .............. ..........................Rocket Piano ProgressTracker
  5. 5. Page Chapter OneReview of Chord ProgressionsIn Chapter 17 of the previous Rocket Piano book, you learned about chord progressions;the series of primary triads that begin on the first, fourth, and fifth notes of a scale. In thischapter, you will learn a few more pieces with a I, IV, V progression in order to familiarizeyourself with this important sequence.Exercise: This piece is a I, IV, V progression in the key of G major. Practice identifyingthe chords as you play.She’ll be Comin’Round the MountainAllegro0113513513513513514135q = 126                       6                      10                    2 5 1 5 1 35 3 2 5 3 2 11 5 4 3 23
  6. 6. Page                      6                      Shifting InversionsYou should be comfortable with chord and chord inversions. Now let’s look at shiftinginversions and the difference in sound they can make. You may have noticed that a chordin root position always sounds very grounded and stable, while the same chord played inthe various inversions has a very different quality. The more you play chords, the moreyou’ll notice their tonal qualities.C major in root position andinversions in the right handHere are the same inversions for the left hand.ModeratoExercise: Practice chord inversion with the following piece.Rootposition1stinversion(with the rootnote C at thetop)2ndinversion(with the 3rdnote E at thetop)Rootposition(now an octavehigher) Rootposition1stinversion(with the rootnote C at thetop)2ndinversion(with the 3rdnote E at thetop)Rootposition(now an octavehigher)    1 23 5 1 35 1 35 1 5 3 1 5 3 4 1 5 11 23 5 1 35 1 35 1 5 3 1 5 3 5 3 2 102
  7. 7. Page New HandTechnique: 2nd Finger OverThumbAt this stage, the pieces that you’re playing are going to demand more technical fingeringand frequent hand position changes. To hit all the notes in a piece more easily, try thistechnique. When six notes occur in a row in the melody of a piece, let your 2nd finger goover the thumb. 2 fingergoes over       AllegrettoExercise: Practice putting your 2 finger over the thumb with this piece.24031 2 1 21 113513513512515151414252514135b                    b 5b                    b 9b                    b       13b                    b      1 2 1 1 2 11 2 11 2 11 2 1
  8. 8. Page Re-cap of Rhythmic NotationIt was a long, long time ago that you learned about rhythmic notation, so here’s a briefre-cap to refresh your memory. Notice the new names for the quarter, half, whole, etc.notes. They are more difficult to remember but are used often, so it is important to befamiliar with both.Whole noteor breve(4 beats)Written as asingle note Whole note rest                                             Written as asingle note Half note restQuarter note rest8th note rest16th note restWritten as asingle noteWritten as asingle noteWritten as asingle noteHalf note orminim(2 beats)Quarter noteor crotchet(1 beat)8th note orquaver(½ beat)16th note orsemi-quaver(¼ beat)
  9. 9. Page 108th NoteTripletsEight note triplets occur when there are three 8th notes played in the time of two 8thnotes, or one quarter note. When you play a triplet, then, you will spread the playing ofthe three notes evenly across the time it would take to play a quarter note.When 8th note triplets are written, a small number ‘3’ appears above or below the groupof notes.Remember ...three 8th note triplets =one quarter note ORtwo 8th notes.3  3              iiq = q OR3  3        iiq = iqCounting 8th NoteTripletsWhen counting 8th note triplets, you count:one-and-then, two-and-then, three-and-then, four-and-thenExercise: Clap the beats and count aloud the rhythm and also try clapping the rhythmand counting aloud the beats.3  3              3  3              3  3              3  3              iiq iiq iiq iiq q 3  3        iiq3  3      iiqone-and-then two-and-then three-and-then four-and-thenq q q q q44one two three four one-and-then two three-and-then fourListen to the following track, which will familiarize you with the sound of triplets.triplet sign3  0425
  10. 10. Page 11q = 96b     b   3     3    3  3   Exercise: Here’s a small piece just for the L.H to practice 8th note triplets. When notesin the L.H appear like this and have a repetitive pattern, the following can be called a bassline.Andante moderatoExercise: Try playing triplets with this piece.0506q = 96 3     3     3     3            13132435345 123 2 3455
  11. 11. Page 12Exercise: This piece has a few 8th note triplets, so take it slowly at first to get your timingright. Then, speed up as you get the hang of it.Moderato2q = 96  3     3       3              6    3    3              113333  3  3           16   3   3   3   3           q = 96  3     3       3              34 3 2 352 215 5423 415 3 53 3 42 1 215 55555 31 2 3 4534 5 342 5 107
  12. 12. Page 13Exercise: This piece also has a bass line in it. The bass line is the repetitive melodicline in the L.H. Again, play slowly at first until you feel comfortable with the piece.It is a good idea to practice with each hand separately before putting them together. Startby learning how to play the L.H (or bass line), then add the R.H.Andante 08q = 78b       b   3     3     3      5b        b   3       9b            b   3     3     3      13b    b   3       16b       b 3   3   3   3     5 3514153415352311 535115 3 1 5 15 1 5 5
  13. 13. Page 14WE’RE JAMMIN’!JamTrack SixExercise: This Jam Track requires you to use the 2 finger over thumb technique thatyou have been learning. Practice through your piano part a few times, before jammingit out with the Rocket band!06continued on next page..5 4 13 52 1 3 1 2245 4 3 2 5 51 543121354351 1312545121 31252 1Swing                             6                           11                              16                      
  14. 14. Page 1506xNow let’s all try playing together.Listen to this track, and play along onyour piano!242413515 24133535132 4 511351254234222                               28                           32                   22421 3 5121334 152
  15. 15. Page 16eqq.‘one’ beat instead of a halfbeat==‘one-two’ beats instead ofone beat=h. =iiq iiq iiq iiq q e q e q. iiqone two three four five six one two three four five six one-two three four-five six one-two-three four five six68‘one-two-three-four-five-six’instead of three beats. Thedotted half note now makesup a whole bar in time.68‘one-two-three’ beats nowinstead of one and a half. Thisalso divides the bar into half, sotwo dotted quarter notes makeup a bar in time.68ChapterTwoA NewTime SignatureBy now you should be able to play 44, 24, and 43 time. In this chapter, we’ll look at a newtime signature: .Normal bars and measures are counted by notes that can be divided evenly in half. With68 time, however, the beat is represented by dotted notes (like ) and thus gets dividedevenly into threes. A bar may consist of two dotted quarter notes ( ) or six 8th notes( ).Basically, the 6 on top means the bar gets divided up into 6, while the 8 on the bottommeans that an 8th note gets one beat.This means that this time signature is quite different from those we’ve looked at before.All the previous time signatures you’ve seen (with a at the bottom) take the quarter noteas the standard for one beat, which makes an eighth note last for half a beat. Now, theeighth note is the standard for one beat. This means that all the other note values changecorrespondingly.Here is a list of the new values of our notes when played in68 time.q.iiq iiqq. q.684Exercise: Clap the beat and count the rhythm of this exercise in68 time.
  16. 16. Page 17Allegro091Exercise: Most pieces in 68 time are played quite fast, but for this piece - as with a lotof others - it is okay to play it slowly when you’re first learning, then speed up. It’s muchmore important to get the notes and rhythm correct than to play it fast straight away.421 234 5551434 513513513513513513513554334 54 54423232 3q = 120b             b         6b            b            11b                  b            16b         b         19b             b      42 35 31 2 35 24 3 151
  17. 17. Page 18b bb bAnother Key Signature: B Flat MajorNow, you’re ready to learn another key signature: that of B major. B major has two flatsin it, B and E . Below, you can see how this key signature is indicated on the staff.Remember that any major scale can be created by two tetrachords joined by a whole note(Chapter 13 of the previous book). Therefore, the two tetrachords starting on B will makethe B major scale.Use the same R.H. fingering to play B major as you do in F major. The R.H fingering willgo: 1,2,3,4,1,2,3,4, both ascending and descending. The thumb will go under the 4 fingeron ascending, and on descending the 4 finger will go over the thumb.Here’s the scale ascending.bbbExercise: Here is the scales with both hands ascending and descending. Play over itseveral times slowly to begin with. Pay particular attention to the R.H fingering.R.H.1 2 3 4 1 2 3 4bb         first tetrachordW HW W HWWsecond tetrachordjoinedkey signature1041 2 41 2 43 3 123 124 3bb               bb                1 23 3 315 524 12 41 2 3L.H.bb        15 124 23 3first tetrachord second tetrachordjoinedW HW W HWWkey signature
  18. 18. Page 19Here is the I, IV, V chord progression in Bb major for the L.H, with the chords in the rootposition.This time the same progression except now with the inversions we’ve used previouslywhen looking at the primary chords.PrimaryTriads in B Flat MajorThe three primary triads in Bbmajor are Bb, Eb, and F.bChordIIVVTriadB majorE majorF majorPosition1st note4th note5th notebI IV VR.H.32 415 6 7 8bb       BbEb FExercise: Now play the inversions with both hands.bb   I IV VL.H.1 5Bb Eb F43211I IV VL.H.1 5Bb(root position)Eb(1st inversion)F(2nd inversion)432bb    bb bb     
  19. 19. Page 20Exercise: This piece has the same chords as the I, IV, V progression but in a differentorder than what you’ve been playing. This time, the chord progression goes: I, IV, I, V.Try to identify the chords and their names in reference to their place in the progression.ModeratoAmazing Grace12135135135124535q = 88bb 3       bb      5bb 3      bb     9bb   3       bb     13bb 3      bb   411544 22
  20. 20. Page 21The A Major ScaleNow that you’ve mastered the B flat scale, you’re ready for another: the A major scale.The A major scale has three sharps in it: F#, C#, and G#.Take a look at the ascending A major scale for both hands below. Remember that you cancreate the A major scale yourself by using the two major tetrachords joined by a wholenote principle.joined       R.H.1 2 3 4 1 2 3 4first tetrachordW HW W HWWsecond tetrachordkey signatureExercise: Play through the A major scale with both hands ascending and descending.Use the normal fingering for the major scales.                              1 23 3 311 2 1 23 1 1235 524 12 41 2 34 43 235 513       L.H.15 124 23 3first tetrachord second tetrachordjoinedW HW W HWWkey signature
  21. 21. Page 22You can vary how you play the I, IV, V progression by using the inversions differently,which will give the progression a different type of quality in the chords. As you alreadyknow, a chord that isn’t played in the root position usually has a sense of movement aboutit. On the other hand, a chord played in the root position feels more grounded. If you usethe inversions differently, you can shift the progression in terms of the range in which it isplayed.Look at the example below, in which inversions of the I chord are played. These inversionschange what inversions you will use to play the other chords, as well as making the chordtype easier to hear. Remember: if a chord is played too low on the keyboard, it losesquality, definition and becomes unclear.Here is the same progression for the L.H with the chords in the root position.Again, the same progression, except this time with the inversions.ChordIIVVTriadA majorD majorE majorPosition1st note4th note5th notePrimaryTriads in A majorThe three primary triads in A major are A, D, and E.IV VR.H.32 4 5 6 7 8I1AD E       I IV VL.H.321A4D5E  A(1stinversion)VIIVIIVIVI I    D(root position)E(2ndinversion) A(1stinversion)A(1stinversion) D(root position)A(1stinversion) E(2ndinversion)A(1stinversion)I IV VL.H.1 5A(root position)D(1st inversion)E(2nd inversion)432    
  22. 22. Page 23VivacePlay it Faster: VivaceVivace is the next tempo indicator you’ll learn. It means to play the piece lively and quick.It is a faster tempo than allegro, so vivace is now the fastest tempo you’ve played.Exercise: Try this piece. Remember what the staccato dot means? (If you don’t,refer to Chapter 9 of the Beginner book.)1413551 52413q = 132f                           6                      11                    16                   14 323 2 13 5 13 2 142 511 4 55 1 2 535251 4351
  23. 23. Page 24RevisionTest: PartThree1. If the root position of the C chord is made up of C E G in that order, what is the 1stinversion of the C chord made up of?a. C G Eb. E G Cc. E C Gd. G C E2. How many 8th note triplets fit into a measure of 4/4?a. 4b. 8c. 12d. 163. What does 6/8 at the beginning of a piece indicate?a. there are eight 6th notes per measureb. there are six 8th notes per stavec. there are six 8th notes per measured. there are 6 sharps and 8 flats in the key signature.4. What is in the key signature of Bb major?a. Bbb. Bb and Ebc. A# and D#d. 5 flats5. What are the sharps in the key of A major? Name them in order of their appearanceon the stave from left to right.a. C# F# G#b. C# G#c. F# C# G#d. F# C#
  24. 24. Page 25RevisionTest: PartThree continued..6. What does the term vivace mean?a. play lively and quickb. play slow and solemnc. gradually getting fasterd. play sweetly7. What is the defining characteristic of a harmonic minor scale?a. it has no sharps or flatsb. the descending scale is different to the ascending scalec. it has a raised 7th noted. it is played with harmony in 3rds8. What is the defining characteristic of a melodic minor scale?a. it has no sharps or flatsb. the descending scale is different to the ascending scalec. it has raised 7th noted. it is the opening melody of the song “House of the Rising Sun”9. What is the defining characteristic of a natural minor?a. it has no sharps or flatsb. it has the same key signature as it’s relative majorc. it has the same key signature as E melodic minord. it played only on black notes
  25. 25. Page 26RevisionTest: PartThree Answers1. (b) The first inversion of the C major chord is E G C (pg 7)2. (c) There are three 8th note triplets for every quarter note, so 3x4=12 (pg 10)3. (c) The 6/8 time signature indicates that there are six 8th notes to be played ineach measure. (pg 14)4. (b) The key signature of Bb major contains Bb and Eb. (pg 16)5. (c) The key of A major contains the sharps C# F# and G#. They are written on thestave from left to right as, F#, C#, G#. (Remembering that the sharps are placed onthe key signature beginning with F# and going up a 5th each time a sharp is added.)(pg 19)6. (a) Vivace means to play vivaciously, meaning lively and quick. (pg 21)7. (c) The Harmonic Minor has a raised 7th in addition to it’s key signature. (pg 142Beginner book)8. (b) The Melodic Minor is different descending from ascending. Ascending it has araised 6th and 7th, and when descending the 6th and 7th become natural again. (pg142 Beginner Book)9. (b) The Natural Minor has the same key signature as it’s relative Major which islocated a minor 3rd up from the Natural Minor scales root note. (pg 141 BeginnerBook)
  26. 26. Page 2707x07Listen to this track, andplay along with us!WE’RE JAMMIN’!JamTrack SevenExercise: This Jam Track is in the key of B flat major, and uses the time signatureyou’ve been learning about. Practice through your piano part a few times, before jam-ming it out with the Rocket band!68Slowbb                bb            5bb              b  bb            9bb                     bb     13 1.2.bb         bb       14 3 21 1 52132 1 2 3 4 3 2 145 4 3 2 1 2 2 1 3 5 13 5 2 4353 54 5315124512351
  27. 27. Page 28qnqqqnYou’ve seen the sign before. It is an accent sign, whichtells you that you should play that note louder. You mayalso see a sign above or an sign below a note. Bothmean the same as an accent sign.n n_qqq.q q q....._ Dots inside a slur mean that the notes should be playedslightly staccato (in other words, a little bit less staccatothan when the notes have ordinary staccato dots).-qq-The sign is a wedge sign. When you see this sign, playthe note super staccato. In other words, play the note asbriefly as possible. This is referred to as staccatissimo.-The sign means the note is to be played with slightlymore pressure to it.-qq--ChapterThreeMore Signs that Modify NotesHere are a few more signs that you should know. They are less frequent than the othersigns we’ve looked at but they’re important to know in case they come up in any of thepieces.Play it a Little Less Staccato:Play it a Lot More Staccato:Play it a Bit Harder:Play it Louder:26
  28. 28. Page 29VivaceExercise: Note the section below where the R.H and L.H play the same notes and samerhythm, but an octave apart. This is called playing in unison.15153 31214 1 4 1515314145 15145451132q = 128bb                  bb              6bb                  bb          10bb                  bb             15bb                    bb          19bb                  bb                 24bb              bb               15 5452323 45 23 1 545 23 5 52
  29. 29. Page 30The E Flat Major ScaleThe next scale for us to look at is the scale of Eb major. Eb major has three flats:Eb, Bb, Ab.bbb       L.H.15124233first tetrachord second tetrachordjoinedW HW W HWWkey signatureExercise: Play through the Eb major scale with both hands ascending and descending.bbb                 bbb                1 23 3 315 524 12 41 2 34 43 231 2 1 23 1 1235 5R.H.1 2 3 4 1 2 3 4first tetrachordW HW W HWWsecond tetrachordjoinedkey signaturebbb        OR written this way,an octave lowerbbb        15 124 23 3first tetrachord second tetrachordjoinedW HW W HWW16
  30. 30. Page 31This time, when playing the I, IV, V progression, try using different inversions in differenthands. It creates a different quality; the sound becomes more full. Try playing the standardinversions in both hands and then the different inversions in different hands and notice thetonal quality difference.Here is the same progression for the L.H. with the chords in the root position.The same progression with the inversions:PrimaryTriads in E Flat MajorThe three primary triads in Eb major are Eb, Ab, and Bb.bChordIIVVTriadE majorA majorB majorPosition1st note4th note5th notebbIV VR.H.32 4 5 6 7 8I1Eb Ab Bbbbb      bbb      bbb   I(1stinversion)IV(root position)V(2ndinversion)I(1stinversion)I(root position)V(1stinversion)IV(2ndinversion)I(root position)I(root position)IV(2ndinversion)V(1stinversion)I(root position)I(2ndinversion)IV(1stinversion)V(root position)I(2ndinversion)17I IV VL.H.1 5Eb(root position)Ab(1st inversion)Bb(2nd inversion)432bbb    I IV VL.H.321 4 5BbAbEbbbb     
  31. 31. Page 32Play it Slower: LargoNow that you’ve learned to play fast (vivace), it’s time to learn how to play slowly. Largois another tempo indicator that means to play slower than adagio, or in a slow and statelyway. In fact, largo is the slowest tempo you have played thus far.Exercise: Practice this tempo with the following piece. 18Largo51351 412 51351351445132 5 1512 2155q = 58bbb                      bbb          6bbb                     bbb          11bbb                        bbb 16bbb                    bbb   21bbb                  bbb   2 4 35 2 4 3 1 54 13 1 43
  32. 32. Page 33Playing the Scales overTwo OctavesYou’re now ready to try playing scales over not just one octave, but two. You’re going toneed a new hand technique for this one. You’ll have to cross your thumb under your 4finger after playing the first octave. Once the thumb has been repositioned, it can coverthe second octave.              11 2 3 451 2 341 223 3Here, the 1 thumb goes under the 4 finger so that therest of the notes in the two octaves can be reached.              123 1234512 123 3 4Now, on the descending, the 4 fingerhas to cross over the hand to make allthe notes accessible.Now, let’s apply the same technique to the left hand.Exercise: Now, try playing the scales in unison with two octaves. Then go back and playthe other scales you’ve learned so far with both hands and two octaves. These exercisesare important to learn because they familiarize you with the scales and can also be usedto warm up the fingers before playing.On the ascending L.H scale, the 4finger goes over the hand, makingthe rest of the notes accessible.              12312345 12123 3 4Finally, on the descending scale, the 1 thumb goes underthe hand so that the hand is positioned to get all the notesin both octaves.1 2 3 1              14 53 41 2 23 327
  33. 33. Page 34Arpeggios overTwo OctavesNow that you know how to play scales covering two octaves, you need to know how toplay arpeggios covering two octaves.Let’s start with the right hand. This time, the 1 thumb has to go under the 3 finger as theright hand ascends. Upon descending, the 3 finger will have to go over the the 1 thumb.             1 2 3 1 2 3 5123 1231 thumb goes underthe 3 fingerNow the 3 fingergoes over the 1thumbThe same principle applies to the left hand, except reversed. On ascending, the 3 fingerwill go over the 1 thumb. Upon descending, the 1 thumb will go under the 3 finger.            3 31125 512 23 233 finger goes overthe 1 thumbNow the 1 thumb goesunder the 3 fingerExercise: Now try both hands together. Go slowly until you get the hang of it.Exercise: Once you’ve gotten the hang of playing two octave arpeggios in C major, tryplaying two octave arpeggios in all the other keys, using the same fingering.                         R.H.L.H.
  34. 34. Page 35Pedal PracticeIn the Chapter 11, of the beginner book, you learned how to use the pedal. The pedal signmay be modified with small upward arrows, as seen above. These tell you to release thepedal then press down again, so that you’re only releasing it for a moment.q = 63                     5             10                15                         19       DolceExercise: Practice with the following piece. Note the dynamic sign. Dolce is a performanceindicator that means to play sweet and soft.1928q = 63                      5              10                   15                         19         5513413 353 5 34 5351551 53 5
  35. 35. Page 36WE’RE JAMMIN’!JamTrack 8Exercise: This Jam Track is a great opportunity for you to practice accented and stac-cato notes within a band context! Practice through your piano part a few times, beforejamming it out with the Rocket band!0808xPlay this track, to jamwith the band!                 5                    9                                  131. 2.                     54351 31324 35131 35 4 1 32153153152153 1423 5
  36. 36. Page 37Chapter FourSeventh ChordsAll the chords you’ve played so far have had at most three stacked notes. Now, you’reready to add one more note to create a 7th chord.A 7th chord is created by adding another note to an already existing triad. It gets its namebecause the additional note is a 7th interval above the root note of the chord.Here is the 7thinterval without theother chordal notes.7th chords create a more complex type of harmony within the chord. The additional noteadds harmonic complexity as well as making the chord more distinct.Now, let’s take a look at the left hand. The chord below is a C major 7th chord. It is builtup from the C note in the root. It has a C major triad in it and a 7th note at the top.Seventh chords, like triads, can be major or minor. For now, think about the 7th chordsthat appear in the key of C major. The fingering for playing 7th chords is:R.H. 1, 2, 3, 5 or 1, 2, 4, 5.L.H. 5, 3, 2, 1 or 5, 4, 2, 1.At this stage use the fingering that is most comfortable for you. The fingering that appearson the music is simply a guide.       root note3rd note5th note7th note      root note3rd note5th note7th note1352 13521352 1352Familiarize yourself with 7th chords by playing through the seventh chords of notes in Cmajor. It is quite a stretch, so don’t worry if you have to go quite slowly to start with.29As you can see, the 7th chordis named because there is a7th interval in the chord.
  37. 37. Page 38ModeratoExercise: Practice seventh chords with the following piece. 20q = 84mf                           5                    9                      13                  17               21                       13521352525 24 1 5 24 15 3 55 1 3 3 4 54 1 55 34 5 1 1 5
  38. 38. Page 39Dominant 7th ChordsBefore you go further, you need to know about dominant 7th chords. It is when a minor7th interval is added to the major V chord. It is called the Dominant 7 chord becauseadding the minor 7th gives it a dominant pull towards the I (1) chord.In the I, IV, V progression that you already know, the V chord will be played as a dominant7th chord. Below is an example using the C major key. Notice that the V chord (G major)now appears as a dominant 7th chord (V7).A dominant 7th chord is normally used on the V chord of a progression.Here are the dominant 7th chords in a few of the major scales:                         b         b        bb      bb      In C major, G is the V chord, so Gbecomes the dominant 7th chord.In G major, D is the V chord, so Dbecomes the dominant 7th chord.In F major, C is the V chord, so Cbecomes the dominant 7th chord.In Bb major, F is the V chord, so Fbecomes the dominant 7th chord.The notes in a G majordominant chord are G, B,D, F. So...G is the root note.B is the 3rd note.D is the perfect 5th.F is the 7th note.I V7C G    I V7I V7I V7I V730
  39. 39. Page 40Minor 7th ChordsMinor 7th chords are a snap once you understand dominant 7th chords. Basically, aminor 7th chord is a dominant 7th chord with a flattened 3rd note.To get a minor 7th chord, take the major 7th chord. Flatten the 7th note (which makes ita dominant 7th). Then, flatten the 3rd note. Look at the example below.1375C minor 7th chord(root position) bb bbbb● The 7th note, B , is a minor 7th away from C.● The 5th note, G, is a perfect 5th away from C.● The 3rd note, E , is a minor 3rd away from C. This gives the chord its minorquality.● The root note is C.Relative to the root note, a minor 7th chord goes 1, 3,5, 7. It looks like a minor triad witha minor 7th on top.b b
  40. 40. Page 41Minor 7 Flat 5 ChordsThis is the last 7th chord you’ll learn in this book. With the addition of this chord, you’llhave the vocabulary you need to cover the 7th chords in any major key.Minor 7 flat 5 chords are written minor 7 5 for short. To create one of these chords, allyou have to do is take the existing minor 7 chord (1, 3, 5, 7) and flatten the 5th. In otherwords, it will look like this: 1, 3, 5, 7These chords sound quite unusual, and it may take a while to get used to how theysound.Here is an example. This is a C minor 7 5 chord in the root position.bb bb b bbC minor 7 flat 5(root position)  bbb 1375bbbRecap of 7th ChordsHere’s a brief recap of the chords you have learned to play so far:● Major 7th chord: 1, 3, 5, 7● Dominant 7th chord: 1, 3, 5, 7● Minor 7th chord: 1, 3, 5, 7● Minor 7 5 chord: 1, 3, 5, 7To learn more about 7th chords go to the Rocket Piano Introduction to Jazz Piano book.bb bb b bb● The 7th note, B , is a minor 7th away from C.● The 5th note is now flattened from G to G . This note gives the chord its uniquesound.● The 3rd note, E , is a minor 3rd away from C. This gives the chord its minorquality.● The root note is C.Relative to the root note, a minor 7 flat 5 chord goes 1, 3, 5, 7. It looks like a regularminor 7 chord with a flattened 5th note.b b bbbb
  41. 41. Page 427th Chords in I, IV,V ProgressionsNow that you understand how to create a dominant 7th chord, you can put 7th chordsinto the I, IV, V chord progression that you already know. This creates a I, IV, V7th chordprogression.Let’s try creating this chord progression now in the key of C major.Be careful when playing 7th chords. Because of the new added notes -- and especiallyif the chords are played lower down the keyboard -- the chords can sound muddy andunclear. To avoid this, play the inversions of the chords. The same inversion principle thatyou learned with triads will apply, except now that there are more notes, the inversions willbe a little more tricky.Here are the inversions of the C major 7th chord for the right hand.Because there are now four notesin every chord, there are also fourdifferent inversions to play:• root position• 1stinversion• 2ndinversion• and now a new position, the3rdinversion.  rootposition1stinversion2ndinversion3rdinversionC major 7th chords with all inversionsHere are the same inversions for the left hand. Notice that the last inversion, the 3rd, hasto be played down an octave. This is because it would be too high to play in the L.H.atthis stage. The third inversion still has the same notes as a 3rd inversion C major 7 chord,but is simply an octave lower.               I V7IIVI V7IIV    rootposition1stinversion2ndinversion3rdinversionR.H.L.H.(played down an octave)
  42. 42. Page 43NonTroppo AllegrettoIn this next piece, all the chords are inversions of a C major 7th chord. This will get youused to their sounds and shapes.Note the new dynamic sign. Non troppo allegretto is Italian for “not too much allegretto,”or not too fast. (The word troppo means ‘too much,’ while the word non means ‘not.’ Sonon troppo means, ‘not too much.’)Non troppo allegrettoExercise: Play this piece slowly, or adagio, to begin with, then get up to speed.21313521352135213521352mf                      6                     11                    1 3 1 1 31 3 5 4 3 1 35 1 21 35 1 2 1 3 35
  43. 43. Page 44On the following page, you’ll play a piece with the I, IV, V progression in C major using theseventh chords. You’ll also note that the V7chord (G7) is played with an inversion insteadof in root position. This is because the root position would be too low and cause the chordto sound muddy and unclear.Study the four positions of the G dominant 7th chord for the left hand below.When the G dominant 7 chord appears, play it in the second inversion. This makes thechord more clear and gets all the tonal qualities of the chord.Exercise: Play the inversions below until you are familiar with the sound qualities of the7th chords. rootposition1stinversion2ndinversion3rdinversionL.H.          13521352rootposition2ndinversionSforzandoTo play the piece on the next page, you also need to know what sforzando or sforzatomeans. Whenever you see the abbreviations sfz or sf appear in the musical score, youshould play in a forced and accented way.This is considered an expression mark and is similar to playing notes with accents signs() over them. It’s just a different way of writing the direction.
  44. 44. Page 45Non troppo vivace22135135213513513521351352135214mp                    6                      13                          20  mp               25              51 1 1 2 4 51 2 4 5 4 5 12 4 153 2 431 3 3
  45. 45. Page 46WE’RE JAMMIN’!JamTrack NineExercise: This Jam Track is a great opportunity for you to practice the seventh chordsyou’ve been learning. Practice through your piano part a few times, before jamming itout with the band!09continued on the next page..3bDolce                 b       5b                   b          9b                  b                 512 31 5 2 4 24 55 13 23 3513 355153 15 3 1
  46. 46. Page 4709xPlay this track to getJammin’!13b      b                    18b  b          224153152152152153143 534215315315253 1415
  47. 47. Page 48Chapter FiveThree-note 7th Chords7th chords don’t always come in groups of four. Sometimes, you will omit one of the notesand play only three notes of the chord. But which three?The most important notes of the 7th chord are the 3rd, 7th, and root note. You can usuallyremove the 5th note in the chord while still maintaining the quality of the 7th chord. Thisis because the 5th adds no real tonal quality.To hear how this works, play the 7th chords in the C major scale below and listen carefully.The 5th note has been removed from each chord.When you remove the 5th, you’ll find that 7th chords become easier to play and slightlyless cumbersome.Now, try playing the same chords with the left hand.As you play, you’ll notice that the lower chords sound quite muddy and unclear. Do youalso hear the change that happens when you remove the 5th note in the 7th chord? 135 135 135135R.H.L.H.31
  48. 48. Page 4913513513513513513523         6            Exercise: Play through this progression slowly to get used to the shape, sound andfinger position of the 7th chords with the 5th note omitted.
  49. 49. Page 50Adding InversionsNow that you understand how to play 7th chords with the 5th note omitted, you’re readyto look at inversions. Just like the other chords, 7th chords with the omitted 5th notealso have inversions. Because there are only three notes, there are only three possiblepositions.Below are the C major 7th chords in the three positions with their 5th notes omitted.Now, see if you can use the same rule with the dominant 7th chord. Below is anexample of the G dominant 7 chord in the three positions, omitting the 5th note.         rootposition1stinversion2ndinversionrootpositionrootposition1stinversion2ndinversionrootposition      rootposition1stinversion2ndinversionrootpositionrootposition1stinversion2ndinversionrootposition
  50. 50. Page 51Dominant Chords in Four KeysNow, it’s time to look at the other dominant chords of the keys you’ve learned so far.Remember that the dominant chord is always the V chord from the 5th note in whatevermajor scale. Also, note the key signature for each key.Key of G majorHere is the D dominant 7 chordomitting the 5th note in threeinversions. D is the V chord inthe key of G major.Key of F majorHere is the C dominant 7 chordin the 3 positions omitting the 5thnote. C is the V chord in the keyof F major.b      b     rootposition1stinversion2ndinversionrootpositionrootposition1stinversion2ndinversionrootposition           rootposition1stinversion2ndinversionrootpositionrootposition1stinversion2ndinversionrootposition
  51. 51. Page 52Key of D majorHere is the A dominant 7 chordin all the 3 positions omitting the5th note. A is the V chord in thekey of D major.Key of Bbmajor bb     bb     rootposition1stinversion2ndinversionrootpositionrootposition1stinversion2ndinversionrootposition             rootposition1stinversion2ndinversionrootpositionrootposition1stinversion2ndinversionrootpositionHere is the F dominant 7 chordplayed in the 3 positions omittingthe 5th note. F is the V chord inthe key of B major.bAndantinoAndantino is another tempo indicator. It’s a bit confusing, as it usually means to playslightly faster than andante, but can also mean to play slightly slower. Be certain bychecking the metronome mark (the q = 78 below) to make sure that you’re playing thepiece at the right tempo.
  52. 52. Page 53Andantino135135 15 15132235134124125235 514135235 51413515213515213212512413524q = 78                      6              b     b  11 b                b      16     b    bbb    b     b   b b bExercise: This piece shows the inversion of the dominant V 7th chords with the 5thomitted in context with the I chord relative to it. There are many key changes in this piece,so just go slowly and notice the inversions of each chord.
  53. 53. Page 54WE’RE JAMMIN’!JamTrackTenExercise: In this Jam Track you will be able to put to use all that you have learnedabout 3 note 7th chords in this chapter. Practice through your piano part a few times,before jamming it out with the Rocket band!This song uses a weird looking sign called a ‘Coda’. It means you miss out the middlesection when you repeat the song, by skipping to the end part where the Coda is. Listento this example track to see how it is played.10Continued on next page..   b bb        9                                     13                                     544221423 5531 14 1 5 1
  54. 54. Page 5510xLet’s play it together!Listen to this trackand play along.18                 23                            25 1 2 3 54 35135 125
  55. 55. Page 56Chapter SixThe final key that you’ll learn in this book is E minor. You learned about minor keys inChapter 18 of the previous book. You should recall that every minor key is relative toa major key. In fact, the sixth note of every major key is the starting note of its relativeminor. Both relative major and minor keys share the same key signature.Key of E MinorThe relative major key of E minor is G major, because E is the 6th note in the G majorscale. The notes in E minor are the same as the notes in G major. The key signature forG major tell us that it has one sharp in it, F#.To create the natural minor key, use the same notes as in G major, but start the scale onthe sixth note (in this case, E).You may also recall that there are three minor scales: the natural minor, harmonic minor,and melodic minor. The natural minor has all the same notes of the relative majorscale. You can see that the E natural minor scale below shares the same notes (and keysignature) as the G major scale.                                 Here is the same scale, down an octave in the L.H.              Key signature6th note of the scale, E       G major1 2 3 4 5 6 7 8
  56. 56. Page 57E Harmonic Minor ScaleIn the harmonic minor scale, the seventh note is raised a half step (or up a semi-tone.To create the E harmonic minor scale, the seventh note, D, gets raised to D .#The harmonic minor is the commonly used minor scale. So, when looking at E minor, wewill refer to the harmonic minor.E Melodic minor scaleThe last minor scale is the melodic minor. The melodic minor scale uses different notesdepending on whether the scale is ascending or descending.On ascending scale, the sixth and seventh notes are raised a half step. The sixth note,C, becomes C , while the seventh note, D, becomes D .On the descending scale, you will play the same notes in the natural minor scale. In otherwords, the sixth note (C) and seventh note (D) will now be played as naturals.# #                                7th note raised by a semi-tone to D#E harmonic minor scale                                 E melodic minor scale6th and 7th notesraised to C# and D#6th and 7th notesreturn to naturalsascending scale descending scale
  57. 57. Page 58PrimaryTriads in E Harmonic MinorNow that you understand the scale of E harmonic minor, you can use the same processas before to form the primary chords for this key. The only difference is that you will playthe V chord as a dominant 7th chord in the most suitable inversion.The primary chords of E minor are E minor, A minor, and B major.The V chord triad in E harmonic minor is B major. Now that we have learned dominant 7thchords, we can add the seventh to turn this V chord into a V7 chord.Here is the same progression for the left hand.Chordi7iv7V7TriadE minor 7A minor 7B dominant 7Position1st note4th note5th noteiv7 V7R.H32 4 5 6 7 8i71E minor 7 A minor 7 B dominant 7    iv7V7L.H32 4 5 6 7 8i71E minor 7 A minor 7 B dominant 7    Here is an example of a i, iv, V chord progression with some inversions and some withthe 5th omitted.25iv minor7V dominant7i minor7             
  58. 58. Page 59ModeratoExercise: Practice chords with the following piece.265135545123123121251321351351513213513551355 2 11355551325 141q = 90                 5                       9                   13            17                21     
  59. 59. Page 60House of the Rising SunModeratoExercise: Here’s another song for you to practice on.1 527135151351351351341345113513451q = 96                           8                            14                           21                            27                    
  60. 60. Page 61Exercise: Here’s another piece to play for fun!Allegretto2814153 51 345145451515151415 151513131515q = 96b                    b                           5b                   b           9b                        b                     13b        b                 16b              b           
  61. 61. Page 62RevisionTest: Part Four1. Name all the notes included in the scale of Eb major?a. Eb, F, Gb, Ab, B, C, Db, Ebb. Eb, F, G, Ab, Bb, C, D, Ebc. Eb, Fb, G, A, Bb, C, Db, Ebd. Eb, F, G, A, Bb, C, D, Eb2. What is the term Largo indicating for you to do?a. Play to the end and repeat from the Largo indicationb. Play in a slow, stately wayc. Play notes stressed and fulld. Largo is the italian term for song-like, indicating to play expressively3. Name a fingering technique used in playing a scale over two octaves ascending anddescending.a. 3 finger over thumb techniqueb. thumb under 4 finger techniquec. thumb under 3 finger techniqued. all of the above4. Which finger is not used when playing an arpeggio over two octaves with the righthand?a. the 2 fingerb. the 3 fingerc. the 4 fingerd. the 5 finger5. What does the term dolce mean?a. to play soft and sweetlyb. to play quietly and dullc. to hold or pause on the noted. to play moderately loud and at a walking pace
  62. 62. Page 63RevisionTest: Part Four continued..6. What kind of chord does the symbol V7 indicate?a. Major chordb. Minor 7th chordc. Minor 7 b5 chordd. Dominant 7th chord7. What does the term non troppo mean?a. no trippingb. not to be played as a tripletc. not too muchd. play without repeats8. Which chord tone is omitted when making three note 7th chords?a. the rootb. the thirdc. the fifthd. the seventh9. What sharps are played in an E harmonic minor scale?a. F#b. F# C#c. F# D#d. F# C# D#
  63. 63. Page 64RevisionTest: Part Four Answers1. (b) The notes in the scale of Eb major are Eb, F, G, Ab, Bb, C, D, Eb. Eb keysignature has three flats. (pg 27)2. (b) Largo is an indication to play in a slow and stately way, ‘largely’. (pg 29)3. (d) All of these fingering technique are used in playing a scale over two octaves. (pg30)4. (c) The 4 finger is not needed to play an arpeggio over two octaves. (pg 31)5. (a) Dolce is the italian term for sweet, and it indicates to play soft and sweetly. (pg 32)6. (d) V7 is the chord symbol for the Dominant 7th chord. The dominant 7th chordconsists of root, 3rd, 5th and flat 7th, a major triad with a minor 7th added. (pg 35)7. (c) Non troppo means ‘not too much’ and normally precedes another expression - forexample, non troppo allegro, means not too fast. (pg 39)8. (c) The 5th chord tone is usually omitted to create a 3 note 7th chord. This is becauseit is least important in describing the function of the chord. (pg 42)9. (a) The key signature is F# and is the same as its relative key G major. Because it isa harmonic minor the 7th note D is also raised or sharpened, but this is written as anaccidental beside the note rather then in the actual key signature at the beginning ofthe stave. (pg 49)Well done! What score did you get outof 9? If you got less then 5 correct, goback and do the test again and refer tothe book to find your answers. This is agood way to ensure you are familiar withthis book before going on to the next.
  64. 64. Page 65So Long!Well, that’s it for now! I hope you’ve enjoyed my Rocket Piano Intermediate course. Nowyou’re ready to go onto the third book in the Rocket Piano series, the Advanced course.You’re doing great!Until next time!Ruth

×