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Jerald Simon ™ Music Mentor™ Jerald Simon Music Motivation ®™ Music that excites, entertains, and educates!™ visit
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Jerald Simon
™
Music Mentor™
Jerald Simon Music Motivation
®™
Music that excites, entertains, and educates!™
visit http://musicmotivation.com follow Jerald on Facebook: https://facebook.com/jeraldsimon
Music Motivation® books are designed to provide students with music instruction that will enable them to improve and increase their successes in the field of music. It is also intended to enhance appreciation and understanding of various styles of music from classical to jazz, blues, rock, popular, new age, hymns, and more. The author and publisher disclaim any liability or accountability for the misuse of this material as it was intended by the author.
Copyright © 2015 by Music Motivation® - All Rights Reserved - International Copyright Secured.
WARNING: The music, text, design, and graphics in this publication are protected by copyright law. Any duplication in any form for any purpose is an infringement of U.S. copyright law.
I hope you enjoy “Essential Piano Exercises™”. With this book, I hope piano teachers and piano students learn what I feel are the essentials that everyone who plays the piano should know and be able to do well. I don’t want teachers and students to simply read the notes on the page. I would like everyone who plays these exercises to know them inside and out. Visit http://musicmotivation.com/essentialpianoexercises to watch the videos where I teach the intervals, scales, and chords that are introduced in this book, and then explain what we do with them and why it is so important that we learn them. Knowing how you can apply theory to real-life practical application will help you to become a better musician. Have fun with the music! Your Music Mentor™ Jerald Simon
The family portrait on the back cover was shot by Wendy Santiano. Visit her website at: http://www.wendysantiano.com or https://www.facebook.com/wsantianoauthor
CONNECT with Jerald
The front and background image is from the website: http://www.istockphoto.com. The photo of the piano keys was shot by Jerald.
http://musicmotivation.com/jeraldsimon https://facebook.com/jeraldsimon http://youtube.com/jeraldsimon http://linkedin.com/in/jeraldsimon https://twitter.com/jeraldsimon http://cdbaby.com/artist/jeraldsimon http://reverbnation.com/jeraldsimon [email protected]
CONTACT Music Motivation®
This book is dedicated to my many piano students, young and old, who have asked me over the years to put together a book with all of the piano exercises I feel are essential to help them play better in all keys and in all inversions. Also, for my wife, Suzanne (Zanny), my daughter, Summer, and my son, Preston.
Introduction........................................................................................3 Music Motivation® Checklist..........................................................6 Key Signatures....................................................................................9 Cool Piano Exercises.......................................................................16 Pentascales (Major, Minor, and Diminished)............................23 Maestro Stage....................................................................................47 Scales, Intervals, Triads, Seventh Chords (All Keys)....................48 All Triads (in all keys and inversions) - Major, Minor, Diminished, Augmented, Sus4, and Sus2.........................................................67 Sixth Chords (in all keys and inversions) - Major and Minor.....91 All Seventh Chords (in all keys and inversions) - Major 7th, Minor Major 7th, Dominant 7th, Minor 7th, Minor 7th flat 5, Minor 7th sharp 5, and Diminished 7th Chords..................................................99 Chord Progressions and Chords..................................................132 More best sellers by Jerald...............................................................169 Learn more about Jerald..................................................................172
Music Motivation® ™
Music Motivation® P.O. Box 1000 Kaysville, UT 84037-1000 http://musicmotivation.com https://facebook.com/musicmotivation https://twitter.com/musicmotivation [email protected]
Copyright © 2015 by Music Motivation® All Rights Reserved - International Copyright Secured. No part of this book may be copied, reproduced, or duplicated in any form by any mechanical, electronic or other means known or hereafter invented without written permission from the author, Jerald Simon. For more promotional excerpt permission, contact Music Motivation®, P.O. Box 1000 Kaysville, UT 84037-1000 - [email protected] First Printing 2015 - Originally created from 2006-2014 - Printed in the United States of America - 10 9 8 7 6 5 4 3 2 1 - Simon, Jerald - Music Motivation® Essential Piano Exercises - $25.95 US/ $27.95 Canada - Soft cover spiral bound book - ISBN-13: 978-0-9835568-9-3 ; MM00001019
Music Motivation® is a registered ® trademark
Welcome to “Essential Piano
Exercises™”
by Jerald Simon
To better help piano teachers, piano students, and parents of piano students effectively learn the music theory and what to do with that knowledge, thus bridging the gap between learning the scales and chords and using them to enhance the music, and make music of your own, Jerald Simon has created videos to accompany this book: “Essential Piano Exercises”. Jerald presents the exercises in book format and also includes video format with a side and top view to demonstrate the hand position, fingering, and technique needed to play the scales and chords correctly in all keys and in all inversions. He also explains what to do with the knowledge they have acquired and how to take their piano playing to the next level. Learning the theory is good, but knowing what to do with it is the practical application where Jerald demonstrates how to use music theory to arrange, to improvise, to compose, and to create music of your own. More important than simply learning the theory is the practical application of “why” we are learning these scales and chords, and “what” we can do with them once we have learned them. It is the hands on approach to teaching music theory. In addition, Jerald explains the theory in practical and simple terms so everyone can easily understand and know music theory for what it can do to help them in three primary ways: (1) sight-read the piano music better and faster as a result of knowing the scales and chords, (2) take their music playing and music creating to the next level so they can improvise, arrange, and compose music of their own, and (3) ultimately feel comfortable and excited to learn music theory - the “FUN way!” “My purpose and mission in life is to motivate myself and others through my music and writing, to help others find their purpose and mission in life, and to teach values that encourage everyone everywhere to do and be their best.” - Jerald Simon
A message from Jerald to piano students and parents: If you come to piano lessons each week and walk away only having learned about music notation, rhythm, and dots on a page, then I have failed as a Music Mentor™. Life lessons are just as important, if not more important than music lessons. I would rather have you learn more about goal setting and achieving, character, dedication, and personal improvement. To have you learn to love music, appreciate it, and play it, is a wonderful byproduct you will have for the rest of your life - a talent that will enrich your life and the lives of others. To become a better musician is wonderful and important, but to become a better person is more important. As a Music Mentor™ I want to mentor students to be the very best they can be. If you choose not to practice, you essentially choose not to improve. This is true in any area of life. Everyone has the same amount of time allotted to them. What you choose to do with your time, and where you spend your time, has little to do with the activities being done and more to do with the value attached to each activity. I believe it’s important to be well-rounded and have many diverse interests. I want students to enjoy music, to learn to be creative and understand how to express themselves musically - either by creating music of their own, or interpreting the music of others - by arranging and improvising well known music. In addition, I encourage students to play sports, dance, sing, draw, read, and develop all of their talents. I want them to be more than musicians, I want them to learn to become well-rounded individuals. Above all, I want everyone to continually improve and do their best. I encourage everyone to set goals, dream big, and be the best they can be in whatever they choose to do. Life is full of wonderful choices. Choose the best out of life and learn as much as you can from everyone everywhere. I prefer being called a Music Mentor™ because I want to mentor others and help them to live their dreams.
Your life is your musical symphony. Make it a masterpiece!
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
This book was created to encourage all pianists, piano teachers, and piano students to play all scales and chords in all key signatures. All of the scales (pentascales and major and minor scales) are presented following the circle of 5ths - moving from the key of C to G, and then on to D, A, E, B, F#, and C#. The pattern for playing the scales is best taught by following the circle of fifths (unless you are learning jazz scales, and then you might want to consider following the circle/ cycle of fourths and playing the key signatures according to the flats - C to F, and then on to Bb, Eb, Ab, Db, Gb, and Cb. Essentially all pianists should be able to play all of these exercises in this book, in all key signatures moving in all directions following the circle of 5ths, following the circle/cycle of 4ths, moving up chromatically in half steps, or zig-zagging in any conceivable direction or order (e.g. following chord progressions or moving through random key signatures at will). All of the exercises with chords - all triads (three note chords) and all sixth and seventh chords are presented moving up chromatically (or in half steps). This is done because it is one of the best ways to teach the patterns of the chords as they move through key signatures. This helps students develop muscle memory to more quickly and easily change keys and play the chords in all inversions by developing a feel for the individual chords in all keys and in all inversions. Everything taught in this book is presented based on the Music Motivation® Mentorship Map (on page five) and is something I personally created to let my piano students and their parents know what I would like to have them learn year by year, and what we would focus on, including: repertoire, music terminology, key signatures, music notation, rhythms, intervals, scales, modes, chords, arpeggios, inversions, technique, sight reading, ear training, music history, improvisation, and composition. It’s quite thorough, and helps the students, parents, and piano teachers have a map, so to speak, to guide them on their musical journey. On pages six and seven you will see the Music Motivation® Check List where I created a check off sheet to help students see what they have learned. On pages 8-12 we focus on learning the key signatures with a handout that piano students and piano teachers may make additional copies of (on page 10) to practice writing out all of the key signatures - major and minor - with all of the sharps and flats that go with each key signature. Pages 13-46 feature all of the “Apprentice” level exercises that I have listed as appropriate for first and second year students. Pages 47-92 feature the exercises from the “Maestro” level, and pages 93-167 comprise all of the exercises from the “Virtuoso” level. Have a wonderful time playing these exercises and mastering all intervals, scales, and chords in all keys and in all inversions!
Music Mentor™
Jerald Simon Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
The
M O T I V A T I O N
Music Motivation® Mentorship Map (for piano students)
Apprentice
Maestro
for 1st & 2nd year students
Repertoire In addition to the books listed to the right, students can sign up to receive the weekly “Cool Song” and “Cool Exercise” composed by Jerald Simon every week. Visit musicmotivation.com/ annualsubscription to learn more and sign up!
Music Terminology
Music Motivation® Book(s) Essential Piano Exercises (section 1) Cool Songs for Cool Kids (pre-primer level) Cool Songs for Cool Kids (primer level) Cool Songs for Cool Kids (book 1) The Pentascale Pop Star (books 1 and 2)
Songs in Pentascale position: Classical, Jazz, Blues, Popular, Students Choice, Personal Composition (in pentascale position - 5 note piano solo) etc.
( p ) , Forte ( f ) Mezzo Piano ( P ) (F ) Pianissimo ( pp ) Fortissimo ( ff ) Piano
Mezzo Forte
Music Notation
b
C, G, D, A, F, B b, E & Ab(Major) # A, E, B, F , D, G, C & F (Minor)
Essential Piano Exercises (section 3)
An Introduction to Scales and Modes Cool Songs for Cool Kids (book 2) Cool Songs for Cool Kids (book 3)
Cool Songs that ROCK! (books 1 & 2) Triumphant, Sea Fever, Sweet Melancholy, The Dawn of a New Age, Sweet Modality,
Variations on Mary Had a Little Lamb Twinkle Those Stars, Jazzed about Christmas, Jazzed about 4th of July
Jazzed about Jazz, Jazzed about Classical Music, Jingle Those Bells, Cinematic Solos, Hymn Arranging
Baroque, Romantic, Classical, Jazz, Blues, Popular, New Age, Student’s Choice, Personal Composition.
Baroque, Romantic, Classical, Jazz, Blues, Popular, New Age, Contemporary, Broadway Show Tunes, Standards, Student’s Choice, Personal Composition
Tempo Markings Dynamic Markings Parts of the Piano Styles and Genres of Music Music Motivation® 2nd Year Terminology
Pocket Music Dictionary (2 - 3 years) Harvard Dictionary of Music (4 + years) Parts/History of the Piano Music Composers (Weekly Biographies) Music Motivation® 3rd Year Terminology
Circle of 5ths/Circle of 4ths All Major and Minor key signatures
Names and Positions of notes on the staff (both hands - Treble and Bass Clefs)
Names and Positions of notes above and History of Music Notation (the below the staff (both hands) development of notation), Monks & Music,
&
?
Half notes/rests
(say it and play it - count out loud)
Quarter notes/rests
(say it and play it - count out loud)
Eighth notes/rests
(say it and play it - count out loud)
Scales
Music Motivation® Book(s) Music Motivation® Book(s)
Begin learning all major key signatures
(say it and play it - count out loud)
Intervals
Virtuoso
for 3rd year students and above
Spiral of Fifths, Chord Progressions within Key Signatures. Modulating from (Identify each key and name the sharps and flats) one Key Signature to another.
Whole notes/rests
Rhythms
musicmotivation.com
for 2nd - 4th year students
What Every Pianist Should Know (Free PDF) Essential Piano Exercises (section 2)
Music Motivation® 1st Year Terminology
Key Signatures
Music Motivation® ™
by Music Mentor™ Jerald Simon
w
h q
e
∑ Ó Œ ‰
&
?
Sixteenth notes/rests
(say it and play it - count out loud)
Thirty-second notes/rests (say it and play it - count out loud)
Sixty-fourth notes/rests (say it and play it - count out loud)
Gregorian Chants, Music changes over the years and how music has changed. Learn Finale and Logic Pro (notate your music)
r œ ≈ Kr œ ® KKr œ Ù
One-hundred-twenty-eighth notes/rests For more on rhythm, I recommend:
KKrK œ Â
“Rhythmic Training”by Robert Starer and “Logical Approach to Rhythmic Notation” (books 1 & 2) by Phil Perkins
1st, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, and 9th intervals (key of C, G, D, F, B b, and E b ). Harmonic and Melodic intervals (key of C, G, D, A, E, and B)
All Perfect, Major, Minor, Augmented, 9th, 11th, and 13th intervals and Diminished intervals (in every key) Analyze music (Hymns and Classical) to All Harmonic and Melodic intervals identify intervals used in each measure. Explain the intervals used to create major, Identify/Name intervals used in chords.
All Major Pentascales (5 finger scale) All Minor Pentascales (5 finger scale) All Diminished Pentascales (5 finger scale) C Major Scale (1 octave) A min. Scale (1 oct.) (Do, Re, Mi, Fa, Sol, La, Ti, Do) (solfege)
All Major Scales (Every Key 1 - 2 octaves) All Minor Scales (Every Key 1 - 2 octaves)
All Major and Natural Minor Scales - 1 octave
minor, diminished, and augmented chords?
(natural, harmonic, and melodic minor scales)
(Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti, Do) (solfege - chromatic)
All Major Scales (Every Key 3 - 5 Octaves) All Minor Scales (Every Key 3 - 5 Octaves) All Blues Scales (major and minor) Cultural Scales (25 + scales)
Modes
Ionian/Aeolian (C/A, G/E, D/B, A/F # )
Chords
All Major Chords, All Minor Chords, All Diminished Chords, C Sus 2, C Sus 4, C+ (Aug)., C 6th, C minor 6th, C 7th, C Maj. 7th, C minor Major 7th, A min., A Sus 2, A Sus 4,
All Major, Minor, Diminished, Augmented, Sus 2, Sus 4, Sixth, Minor Sixth, Dominant 7th and Major 7th Chords
Review All Chords from 1st and 2nd year experiences All 7th, 9th, 11th, and 13th chords inversions and voicings.
Arpeggios
Same chords as above (1 - 2 octaves)
Same chords as above (3 - 4 octaves)
Same chords as above (4 + octaves)
Inversions
Same chords as above (1 - 2 octaves)
Same chords as above (3 - 4 octaves)
Same chords as above (4 + octaves)
Technique (other)
Schmitt Preparatory Exercises, (Hanon)
Wieck, Hanon, Bach (well tempered clavier) Bertini-Germer, Czerny, I. Philipp
Sight Reading Ear Training Music History Improvisation Composition
Key of C Major and G Major
Key of C, G, D, A, E, F, B, E, A , D
Major versus Minor sounds (chords/intervals)
C, D, E, F, G, A, B, and intervals
Key Signatures and Chords, Play w/ IPod
The origins of the Piano Forte
Baroque, Classical, Jazz, Blues
Students choice - All genres, Composers
Mary Had a Little Lamb, Twinkle, Twinkle...
Blues Pentascale, Barrelhouse Blues
Classical, New Age, Jazz, Blues, etc. Play w/ IPod
5 note melody (both hands - key of C and G)
One - Two Page Song (include key change)
Lyrical, Classical, New Age, Jazz, etc.
MM00001019
All Modes (I, D, P, L, M, A, L) All keys Modulating with the Modes (Dorian to Dorian)
b b b
b
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
All Key Signatures, Hymns, Classical
The books from the Music Motivation® Series by Jerald Simon are not method books, and are not intentionally created to be used as such (although some piano teachers use them as such). Jerald simply creates fun, cool piano music to motivate piano students to play the piano and teach them music theory - the FUN way!
This is only an outline or suggestion - add to it or subtract from it! If you are doing something different all together that works, keep doing it. This is meant to give you ideas and supplement what you’re already doing.
™
Q
Music Motivation® Check List
Q
- Check off when completed (follow the circle of 5ths/4ths - or move up in half steps - you should be able to do all three)
All Major Key Signatures:
(tell your teacher the # of sharps/flats in each key and what they are)
Following the circle of fifths Intervals & Major/Minor Scales
F / G
C /D
A
(tell your teacher the # of sharps/flats in each key and what they are)
g / a
d/e
a / b
f
All Major Pentascales: Quarter Notes and Eighth Notes
B / C
F / G
C /D
A
g / a
d/e
a / b
All Diminished Pentascales: Quarter Notes and Eighth Notes
g / a
d/e
(1st, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th):
E
B / C
All Major Scales (1 octave):
(parallel and contrary motion)
A
E
All Minor Scales (1octave): (natural, harmonic, and melodic)
c
All Major Scales (2-4 octaves):
NO MUSIC PROVIDED - play without music
D
A
E
All Minor Scales (2-4 octaves):
NO MUSIC PROVIDED - play without music
b
f
c
All Major Triads:
(root, 1st, and 2nd inversions)
All Diminished Triads:
(root, 1st, and 2nd inversions)
All Augmented Triads:
(root, 1st, and 2nd inversions)
All Sus4 Triads:
(root, 1st, and 2nd inversions)
All Sus2 Triads:
(root, 1st, and 2nd inversions)
F
c
g
d
E
B
F
f
c
g
d
a / b
f
c
g
d
F / G
C /D
A
E
B
F
B / C
F / G
C /D
A
E
B
F
g / a
d/e
a / b
f
c
g
d
B / C
F / G
C /D
A
E
B
F
g / a
d/e
a / b
f
c
g
d
A
E
a
e
b
f
c
C
G
D
A
E
a
e
b
f
c
a
e
b
f
c
C
G
D
A
C
G
D
a
e
b
f
C
G
a
e
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
All Minor Triads:
(root, 1st, and 2nd inversions)
B
D
All Minor Pentascales: Quarter Notes and Eighth Notes
E
G
All Minor Key Signatures:
Intervals (built from all major scales)
Moving up chromatically (in half steps) All Triads (three note chords)
B / C
C
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
Key Signatures
Following the circle of fifths All Key Signatures & Pentascales
The boxes below and on the other side of this page should be checked off as completed when the piano student can successfully complete each exercise in a given key signature, up to speed, and with no mistakes.
Music Motivation® Check List
Q
Q
- Check off when completed (follow the circle of 5ths/4ths - or move up in half steps )
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
(root, 1st, 2nd, and 3rd inversions)
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
(root, 1st, 2nd, and 3rd inversions)
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
C
C /D
D
E
E
F
F / G
G
A
A
B
B / C
a
a / b
b
c
c
d
d/e
e
f
f
g
g / a
C
G
D
A
E
B / C
F / G
C /D
A
E
B
F
C
G
D
A
E
B / C
F / G
C /D
A
E
B
F
C
F
B
E
A
C /D
F / G
B / C
E
A
D
G
C
F
B
E
A
C /D
F / G
B / C
E
A
D
G
All Minor Sixth Chords:
(root, 1st, 2nd, and 3rd inversions)
All Major 7th Chords: (Maj./Maj.) (root, 1st, 2nd, and 3rd inversions)
All Min. Major 7th Chords: (Min./Maj.) (root, 1st, 2nd, and 3rd inversions)
All Dominant 7th Chords: (Maj./Min.) (root, 1st, 2nd, and 3rd inversions)
All Minor 7th Chords: (Min./Min.) (root, 1st, 2nd, and 3rd inversions)
All Minor 7th 5 Chords: (Dim./Min.) All Minor 7th 5 Chords:
All Diminished 7th Chords: (Dim./Dim .) 7
(root, 1st, 2nd, and 3rd inversions)
All Major Ninth Chords:
This is in the book, “Essential Jazz Piano Exercises”
All Ninth Chords:
Chord Progressions, triads, etc., built from scales...
This is in the book, “Essential Jazz Piano Exercises”
All I - IV - V - V7 - I (root, 1st, & 2nd inversions) simple and complete
All i - iv - V - V7 - i (root, 1st, & 2nd inversions) simple and complete
Major Chord Progressions: Minor Chord Progressions:
All Triads (built from all major scales):
(Maj., min., min., Maj., Maj., min., dim., Maj.)
All 7
th
(built from all major scales):
(Maj. 7th, min. 7th, min. 7th, Maj. 7th, Dom. 7th, min. 7th, min. 7th flat 5)
Simple ii7- V7 - I maj7 Jazz Chord Progression following the circle of 4ths
A Fun ii7- V7 - I maj7 Jazz Chord Progression following the circle of 4ths
In the book, “Essential Jazz Piano Exercises”, we cover 9th chords, 11th chords, 13th chords, voicings of chords, blues scales (major and minor), left hand patterns (walking bass patterns, boogie-woogie patterns, etc.), modal jazz improvisation, ii-V-I chord progressions, ii-V chord progressions (dorian - dorian), and much more - in all keys and in all inversions.
MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
Thiese last two are in the book, “Essential Jazz Piano Exercises” by Jerald Simon
C /D
Moving up chromatically (in half steps)
C
(root, 1st, 2nd, and 3rd inversions)
All major and minor sixth chords, all seventh chords (major, minor, etc.)
All Major Sixth Chords:
Q
Key Signatures
Q
Key Signatures (Major and Minor) and Major Penta Scales, and Scales: (Circle of Fifths)
Let’s talk about key signatures. When we talk about key signatures, the easiest way to explain them is by thinking about languages. Look at the chart of the circle of fifths on the next two pages in the handout. In the key of C major we have no sharps or flats. If we move to the right of the circle of fifths we will be in the key signature of G major. Think of this like learning to speak German. We have one sharp - F sharp (F ) in the key signature. When we are playing a piece in the key of G major we will always have an F sharp (everytime you see F play F sharp (F ) instead of F natural). Any note in the musical alphabet (A, B, C, D, E, F, and G) can have a flat sign ( ) or a sharp sign ( ) placed in front of it. When this happens, the note either moves down half a step to the left for flats, or up half a step to the right for sharps. Let’s look at the F note. The regular F note is the fourth above C. The F note is a white note, but when it has a sharp placed in front of it the note is taken up half a step to the right. The black note directly to the right of F is F sharp (F ). This is where the key signature goes. Since there isn’t anything here (sharps or flats - this is the key of C major or it could be A minor - the realitve minor of C major).
=
F
=
=
F sharp
B
(this is an accidental)
This is where the key signature goes. Since we have one sharp (F sharp) this is the key of G major/E minor)
F sharp
B flat
(this is an accidental)
This is where the key signature goes. Since we have one flat (B flat) this is the key of F major/D minor)
=
F natural
B flat
A natural cancels the sharp.
B natural
A natural cancels the sharp.
The first example to the left is in the key of C major. When the sharp symbol ( ) is added in the measure you will play the sharp for that measure only. This is called an accidental note because it is not part of the key signature. After you finish playing the measure with the sharp, you will play the F natural again unless you see another accidental note. Below the first example is an example of the key of G major (which has an F sharp in the key signature) followed by an F natural. The same examples are shown with B flat and B natural.
I like to have the students memorize the order of the sharps introduced by saying this: Five Cool Gorrilas Dance And Eat Bannanas. Once they have memorized this saying I tell them the order of the sharps is F , C , G , D , A , E and B . For flats I have them say: Better Exercise And Drink Good Cold Fluids. Once they have memorized this saying I tell them the order of the flats as B , E , A , D , G , C , and F .
= Memorize This! for key signatures with sharps:
Five Cool Gorrilas Dance And Eat Bannanas.
= Memorize This! for key signatures with flats:
Better Exercise And Drink Good Cold Fluids (for flats you may also say BEAD GCF if that helps you)
I like to have students first play all major pentascales in all keys following the circle of fifths. After they can play all of the major pentascales in all keys, I then have them learn the minor and diminished pentascales in all keys. They can learn the patterns and the feel of playing the pentascales in all keys quickly. After doing so they are then ready to play the major and minor scales 1 octave, then 2, and 3 octaves contrary (opposite direction starting on the same note - right hand goes up, left hand goes down, and parallel motion (both hand moving the same direction up and down the piano). I like to start with contrary motion because the fingering is the same for both hands and students learn the patterns quickly. Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
11
s
at
Fl
a f
Minor Key Signature
C g d a e b f c
a e b f c g d a
C f b e a d g c MM00001019
a d g c f b e a
0 1 2 3 4 5 6 7
0 1 2 3 4 5 6 7
1
2 3
Major Key Signature
(when completed)
e c
(key signatures with flats)
Check Off
b g
0
4
7
5
6
6
C/D
a/b
1
4
5
B/C
d/e
e c
g/a
F/G
a f
3
7
d b
2
ps
g e
ar
C a
Sh
F d
Key Signatures
Major Penta Scales, and Scales:
(key signatures with sharps)
P = Perfect (interval) M = Major (interval) Major Scales:
Major Pentascales:
Sharps: (in order as they appear)
P 1
M 2
M 3
P 4
P 5
M 6
M 7
P 8
Ø
C g d a e b f c
d a e b f c g d
e b f c g d a e
f c g d a e b f
g d a e b f c g
a e b f c g d a
b f c g d a e b
c g d a e b f c
f f f f f f f
c c c c c c
g g g g g
d d d d
a a a
e e
b
Major Scales: Major Pentascales:
Flats: (in order as they appear) Ø
b b b b b b b
e e e e e e
a a a a a
d d d d
g g g
c c
f
C f b e a d g c
d g c f b e a d
e a d g c f b e
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
f b e a d g c f
g c f b e a d g
a d g c f b e a
b e a d g c f b
c f b e a d g c
o va 2. Inn tive Imp
ve C ati
ry Ther Theo
1.
at
omposition TM
Fl
1 2
3 4
7
Minor Key Signature
0
Sharps: (in order as they appear)
5
6
6
1
7
5
2
3 4
(key signatures with sharps)
P = Perfect (interval) M = Major (interval) Major Scales:
Major Pentascales: P 1
M 2
M 3
P 4
P 5
M 6
M 7
Ø
1 2 3 4 5 6 7
0
Major Scales:
Flats: (in order as they appear)
Major Pentascales:
Ø
1 2 3 4 5 6 7 Copyright © 2015 by Music Motivation® - http://musicmotivation.com
P 8
(Print off a Copy of this and Practice until you know it) to be filled out by the Student (all instruments can/must do this)
Major Key Signature
0
ps
(key signatures with flats)
(when completed)
Date Passed Off
ar
Check Off
Sh
3
TM
nTM - 3. C satio re ovi
2
1
r
s
-
apy
TM
MM00001019
All Major Key Signatures (following the circle of 5ths)
# w ww
& 44 ww w
C Major
(0 sharps and 0 Flats)
? 44 www
#### w & ww
5
E Major
# # # # (4 sharps - F , C , G , and D )
? # # # # www
b b b b www b & bb
9
Cb Major
ww w
b b b b b b b (7 flats - B , E , A , D , G , C , and F )
? bb b b bbb b & b b www
13
Eb Major
b b b (3 flats - B , E , and A )
? b b www b
##
G Major #
www
D Major
w # ww
# # www
# # # # ww # w
#### # w # ww
(1 sharp - F )
ww w
#
# # # # # # (6 sharps - F , C , G , D , A , and E )
# # # # # www #
Gb Major b
b
b
w bb b b b ww n b
b
b
b
(6 flats - B , E , A , D , G , and C )
nbb
www
Bb Major b
b
(2 flats - B and E )
w n b b ww
#### ## #
www
b b b b b (5 flats - B , E , A , D , and G )
?
n n n n n nb b b b n bbb
www
# # # # # # # (7 sharps - F , C , G , D , A , E , and B )
Db Major
nbbbbb
####
C# Major
w n b b b b b ww
bn b b b b b www
ww # ## w
# # # (3 sharps - F , C , and G )
# # # # # # www #
F# Major
# # # # # (5 sharps - F , C , G , D , and A )
####
A Major
#
(2 sharps - F and C )
B Major
####
#
# # # ww w
w n b ww
F Major b (1 flat - B )
n b ww w
b w n b b b ww
Ab Major
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
nbbb
b b b b (4 flats - B , E , A , and D )
ww w bn b b b
nbbb
w n ww
&
C Major
(0 sharps and 0 Flats)
n ww w
Play the chord and say the Key Signature (the chord and the key signature are the same) and tell how many sharps or flats there are, and then tell which ones they are! Know the key signatures by heart! MM00001019
n n n n n nb b b b n bbb
All Minor Key Signatures #
17
& ww w
# www
? ww w &
www
C# minor # # #
(4 sharps - F , C , G , and D )
? # # # # www
b w & b b b b b b ww
25
Ab minor
www
b b b b b b b (7 flats - B , E , A , D , G , C , and F )
? bb b b bbb b & b b www
C minor
b b b (3 flats - B , E , and A )
? b b www b
# # www
G# minor
D# minor
w # # # # ww #
# # # # # www #
# # # www
Eb minor b
b
bb b b b www n b
b
b
b
(6 flats - B , E , A , D , G , and C )
www
n b b www
b
www #### ## #
Bb minor
nbbbbb ?
G minor
A# minor
www
b b b b b (5 flats - B , E , A , D , and G )
n b www
D minor
b
(2 flats - B and E )
b (1 flat - B )
nb w ww
####
n n n n n nb b b b n bbb
# # # # # # # (7 sharps - F , C , G , D , A , E , and B )
n b b b b b www
bn b b b b b www b
# (3 sharps - F , C , and G )
# # # # # # ww # w
# # # # # # (6 sharps - F , C , G , D , A , and E )
####
F# minor # #
#
#### # # www
# # # # # (5 sharps - F , C , G , D , and A )
nbb
29
#
(2 sharps - F and C )
#### w # ww #
### w ww
www
B minor
(1 sharp - F )
(0 sharps and 0 Flats)
####
##
www
E minor #
A minor
21
(following the circle of 5ths)
n n n n n nb b b b n bbb
b n b b b www
nbbb
F minor
b b b b (4 flats - B , E , A , and D )
www b nb bb
nbbb
n www
A minor
(0 sharps and 0 Flats)
n w ww
Play the chord and say the Key Signature (the chord and the key signature are the same) and tell how many sharps or flats there are, and then tell which ones they are! Know the key signatures by heart! Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
The “Apprentice Stage” begins on page 13 and continues until page 46. These exercises are all in pentascale position meaning they are all in a five finger position and the students feel comfortable playing the five finger scales and intervals in all keys. It is a great way to develop the finger strength they need and also go through every key signature - even in the beginning stages of playing the piano. Have fun with these. Music Terminology
Music Notation
Rhythms
Intervals
Scales Modes Chords Arpeggios Inversions Technique Sight Reading Ear Training Music History Improvisation Composition MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
Essential Piano Exercises - Section ONE
Key Signatures
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
TM
3
4
A diminished pentascale
5
6
4
3
2
5
1
same fingering in all keys (following the circle/cycle of fifths)
E diminished pentascale
1
2 1
3 1
4 1
5
4 5
3 5
2 5
apy ry Ther
Theo 1.
3 mposition TM
2
2
1
5 1
1 5
same fingering in all keys (following the circle/cycle of fifths)
11
B diminished pentascale
16
F # diminished pentascale
MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
r
o ve C a ti
(following the circle of 5ths)
1
ova 2. Inn tive Imp
TM
nTM - 3. C satio re ovi
All Diminished Pentascales
-
TM
Theo
(following the circle of 5 )
1.
ths
2
1 3 mposition TM
1
2
3
4
5
4
3
2
C major pentascale
1
2 1
3 1
4 1
5 1
4 1
3 1
2 1
Blocked Intervals
1
2
1
3
1
4
1
5
1
4
1
3
1
2
1
Broken Intervals
5
5
4
3
2
1
2
3
4
5
4 5
3 5
2 5
1 5
2 5
3 5
4 5
5
4
5
3
5
2
5
1
5
2
5
3
5
5
same fingering in all keys (following the circle/cycle of fifths)
G major pentascale
same fingering in all keys (following the circle/cycle of fifths)
9
D major pentascale
13
5
A major pentascale
MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
r
o ve C a ti
ry Ther
apy
ova 2. Inn tive Imp
TM
nTM - 3. C satio re ovi
All Major Pentascales (eighth notes)
-
TM
3
4
4
5
3
2
1
2 1
3 1
4 1
5 1
4 1
3 1
2 1
1
2
1
apy ry Ther
Theo 1.
3
1
4
1
5
1
4
1
3
1
2
1
A diminished pentascale
Blocked Intervals
3 mposition TM
2
2
1
Broken Intervals
5
5
4
3
2
1
2
3
4
5
4 5
3 5
2 5
1 5
2 5
3 5
4 5
5
4
5
3
5
2
5
1
5
2
5
3
5
5
same fingering in all keys (following the circle/cycle of fifths)
5
E diminished pentascale
same fingering in all keys (following the circle/cycle of fifths)
9
B diminished pentascale
13
F # diminished pentascale
MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
r
o ve C a ti
(following the circle of 5ths)
1
ova 2. Inn tive Imp
TM
nTM - 3. C satio re ovi
All Diminished Pentascales (eighth notes)
-
The “Maestro Stage” begins on page 48 and continues until page 92. The “Virtuoso Stage” begins on page 93 and continues until page 167. Students are encouraged to take all of the suggested exercises and, once perfected, play them up and down the piano 1, 2, 3, and 4 octaves until the student feels confident and comfortable to do them memorized in all keys and without looking at the music. Music Terminology
Essential Piano Exercises - Section TWO
Key Signatures Music Notation
Rhythms
Intervals
Scales
Modes Chords Arpeggios Inversions Technique Sight Reading Ear Training Music History Improvisation Composition MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
MM00001019
All Major Triads (root, first, and second inversions) C
5 3 1
5 2 1
1 3 5
1 3 5
5 3 1
1 2 5
5 3 1
Enharmonics - C Sharp and D flat sound the same
5 3 1
1 3 5
1 2 5
C#
5
5 2 1
5 3 1
1 3 5
1 3 5
same fingering in all keys (moving up{chromatically} in half steps)
same fingering in all keys (moving up{chromatically} in half steps)
9
Db
13
D
1
3
5
1
5
3
1
5
2
5
1
3
1
5
3
2
5
1
3
1
5
3
5
1
5 3 1
1 3 5
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures. MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
All Minor Triads (root, first, and second inversions) Cm
Enharmonics - C Sharp and D flat sound the same
5
5 3 1
5 2 1
1 3 5
1 3 5
5 3 1
1 2 5
5 3 1
5 2 1
5 3 1
5 3 1
1 3 5
1 2 5
1 3 5
1 3 5
C m
1
3
5
5
3
1
same fingering in all keys (moving up{chromatically} in half steps) #
1
5
2
5
1
3
1
5
3
2
5
1
3
1
5
3
5
1
5 3 1
1 3 5
same fingering in all keys (moving up{chromatically} in half steps)
9
Dbm
13
Dm
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures. MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
Diminished Triads (root, first, and second inversions) The o symbol means a diminished chord
Co
Enharmonics - C Sharp and D flat sound the same
5
5 3 1
5 2 1
1 3 5
1 3 5
5 3 1
1 2 5
5 3 1
5 2 1
5 3 1
5 3 1
1 3 5
1 2 5
1 3 5
1 3 5
5
same fingering in all keys (moving up{chromatically} in half steps)
C#o
same fingering in all keys (moving up{chromatically} in half steps)
9
Dbo
13
Do
5 3 1
3
1
3
1
5
1
5
2
3
1
5
1
5
3
2
5
1
3
1
5
3
5
1
1 3 5
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures. MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
All Augmented Triads (root, first, and second inversions) The + symbol means an augmented chord
C
+
5 3 1
5 2 1
1 3 5
1 3 5
5 3 1
1 2 5
5 3 1
Enharmonics - C Sharp and D flat sound the same
5 3 1
1 3 5
1 2 5
C#+
5
5 2 1
5 3 1
1 3 5
1 3 5
1
5
same fingering in all keys (moving up{chromatically} in half steps)
3
5
1
2
5
1
3
5
1
3
5
5 3 1
1
1 3 5
3
1
5
3
1
5
2
1
5
3
same fingering in all keys (moving up{chromatically} in half steps)
9
Db+
13
D+
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures. MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
All Sus 4 Triads (root, first, and second inversions) C sus4
5 4 1
5 2 1
5 3 1
5 4 1
1 2 5
1 4 5
1 3 5
1 2 5
Enharmonics - C Sharp and D flat sound the same
5 2 1
1 3 5
1 4 5
C# sus4
5
5 3 1
5 4 1
1 2 5
5 4 1
1
4
5
1
5
2
1
5
same fingering in all keys (moving up{chromatically} in half steps)
2
5
1
3
4
1
5
3
5
1
4
1
5
2
5
1
1 2 5
same fingering in all keys (moving up{chromatically} in half steps)
9
13
Db sus4
D sus4
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures. MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
All Sus 2nd Triads (root, first, and second inversions) C sus2
5 2 1
5 3 1
1 4 5
1 3 5
5 4 1
1 2 5
5 2 1
5 4 1
Enharmonics - C Sharp and D flat sound the same
5 2 1
1 4 5
1 2 5
C# sus2
5
5 3 1
1 3 5
1 4 5
same fingering in all keys (moving up{chromatically} in half steps)
1
2
5
1
5
4
1
5
3
5
1
4
3
1
5
2
5
1
2
1
5
4
5
1
5 2 1
1 4 5
same fingering in all keys (moving up{chromatically} in half steps)
9
Db sus2
13
D sus2
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures. MM00001019
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
All Major Sixth Chords (root, first, second, and third inversions)
& 44 ? 44
5 3 C6 2 1
5 3 (or 4) 2 1
5 4 2 1
5 4 2 1
œœœœ
1 2 3 5
1 2 4 5
C#
D b6
œ ? b b b œœœœ œœœ bb &
##
? ##
œ œœœ
œœœœ œœœœ
œœœœ
œœœ œœ œ œ œœ œœœ www w œœ œ w œ ? œ œœœ ww œ w œœœ œœœœ
œœœ œ
&
œœœ œ
œœœœ
œœœ œ œ œœœ œœœœ www w œœœ œœ w œ œ w œœœœ œœ ? œ ww œœ
œœœ œœœœ œœœ œœ œ œ œ œœ œœœ www w œ œœœ œœ w œœœ œ ? œœ ww œ w œ œ œ & œ œœ œ œœ œœ
œœœ œ œ œ œœœ œœ œ
D6
œœœœ œ œ œ
œ
3 5 1 2 (or 4) 5 1 2 3
œ œ œ œ œ œœ œ Broken Chords
&
œ œ œ œœ œœ
œ œ œœœ œœ œ œ œœœ œœ
5 3
2 1
3
2 1
(or 4)
&
1 2 3 4 5
˙˙˙ ˙˙
œ œ œ œ œ œ œœœ œœ œ
˙˙˙ ˙˙
œ œ œ œ œ œ œ œœ œœ œ
˙˙˙ ˙˙
œ ˙˙˙˙ œ œ œ œ œ ˙ œ œœ œœ œ &
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
5
œ œ œ œ ˙˙˙˙˙ œ œ œœœ œœ œ
œ œ
1
œ œ œœ œ œ œ œ œ œœ œ
&
œ œ
4 5
œ˙˙˙˙ œ œ œ œ œ œœœ œœ œ ˙
œ
œ œ œ œ œ œœ œ
1 2
œ ˙˙˙˙ œ œ œ œ œ ˙ œœœ œœ œ 2 5 4
œ œ œ œœ œœ
œ œ œ œœ œœ
5 4 3 2 1
œ ˙˙˙˙ œ œ œ œ œ ˙ œœœ œœ œ
12 3 5 1 2 4 5
same fingering in all keys moving up chromatically (in half steps)
b b b œ œœ œœœ b & b œœœ œœ œ
19
5 4 2 1
1 1 1 1 1 2 1 5 3 2 1 2 2 2 2 3 2 5 3 2 1 4 3 3 3 (or 4) 5 3 (or 4) 5 5 5 5 5 6 same fingering in all keys moving up chromatically (in half steps)
œœœ #### # œ œ œ # & # œœœœœœœœœ œ œœ œ œ œ œ # œ œ ? # # # # # œœ œ œ & œ # œœœ
13
5 3 (or 4) 2 1
5 3 2 1
œœœ œœ œ œ œœ œœœ www w œœœ œœ w œ œ w œœœœ œœœ ? œ ww œ
Blocked Chords
1 2 3 5
5 3 2 1
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
Essential Piano Exercises - Section THREE
œœœ œœœœ œ œ œ œœœ œœ œ œ œœœœ œœœœ œœœ & œœ œœ
7
Enharmonics - C Sharp and D flat sound the same
5 3 2 1
All Minor Sixth Chords (root, first, second, and third inversions)
& 44 ? 44
5 4 C m6 2 1
5 3 2 1
5 3 (or 4) 2 1
5 4 2 1
b œœœœ
5 3 2 1
5 5 3 3 (or 4) 2 2 1 1
œœœ œœ œ b œœœ œœœœ œ œ œ œ œœ b œœœ b œœœ œœ œ œœœ œœ œœ b œœœœ œ œ œ œ b œœ œ & œ œœœ? b œœ œœœ b œœ œœœ
5 4 2 1
Blocked Chords
1 2 3 5
1 2 3 5
C#
5 3 2 1
b wwww
b wwww
bœœœ œ œ œ œ œ œ b œ œ œ œ œœ œ 3
2 3 5 2 4 5 1
œœœœ œ b œ œ 1
œ œ œ b œœ œœ Broken Chords
œ
1 2
œ
5 4 2
1 1 1 1 1 1 5 3 2 1 2 2 2 2 2 5 3 2 1 2 4 3 3 3 3 (or 4) 3 (or 4) 5 5 5 5 5 5 m6 same fingering in all keys moving up chromatically (in half steps) 1 2 4 5
(or 4)
œ ? b b b b œœœœœœœ bb 19
&
##
b œœœ œ
n œœœ œ œ œ n œœœ œœ œ
D m6
œ ? # # n œœœœœœœ
n œœœ œ
& œœ
œœœ œ & œœ
œœ
œœ
b œœœœ œœœœ œœ œ œœ b œœœ b wwww œœœ œœ w ?œ bœœ b ww œ w œ œ b œœ œœ œ
n œœœœ
œœœ œ
œœœ œœ w œ n œœ n www œœœ œœ w ?œ nœœ n ww œ w œ œ n œœ œœ œ
œ œ œbœœ œœ œ œ œb œ œ œ œ
œ œ œn œ œ œœ œ œ œn œ œ œ œ
3
2 1
œ œbœ œ œ b œ œ œ œ œœ œ
˙˙˙ ˙˙
œ œn œ œ œ n œ œ œ œ œœ œ
˙˙˙ ˙˙
œ ˙˙˙˙ œ œ n œ œ n œ ˙ œ œœ œœ œ &
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
5
˙˙˙ ˙˙
œ b œ œ œ˙˙˙˙˙ b œ œ œ œœ œœ œ
&
œ œ
œ œ bœœ
˙˙˙ œ œ œ nœ œ n œ ˙˙ œœœ œœ œ
œ œ
&
5 2 4
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
1 2 3 4 5
Enharmonics - C Sharp and D flat sound the same
œœœ œ
b œœœ bbb œ b œ œ œ œ & b b œœ œ œ
1 5 3 2 1
1
œ˙˙˙˙ œ œ n œ œ n œ ˙ œœœ œœ œ
same fingering in all keys moving up chromatically (in half steps)
D b m6
13
œ ˙˙˙˙ œ b œ œ ˙
5
(or 4)
œœœ n œœœ œœœ œœ œ #### # n œ œ œ & # # n œœœœœœœ œœ œ œ œ œœ n œœœ n wwww œ n œœœœœœ œ œœ œ w n œœœ œ œ œ œ # œ œ œ ? # # # # # n œœ œ & œ œœœ? œn œœœ n www œ n œœœœœœ œ & # œœœ n œœ œœœ
7
5 1 2 3
5 4 3 2 1
All Major Seventh Chords (root, first, second, and third inversions)
5 4 2 1
5 3 (or 4) 2 1
5 3 5 2 3 (or 4) 1 2 1
5 3 2 1
5 4 2 1
œœœ œ œ œ œ œ œ 4 & 4 œœœœ œœœœœœœ œœ œ œœ œœœ œœœœ œœ œœ œœ œ œ œ œ œ œ œ œ ? 44 œœ œ & œ œœ œ ? œ œœ œœœ œœ œœœ C maj7 5 3 2 1
5 3 2 1
Blocked Chords
1 2 4 5
1 2 4 5
C#
www w
5
(or 4)
1 2 3
Broken Chords
œœœ œœ œ œ œœ œœœ œœœ ww œ ww œœ œœ w œ œœœ œ ? œ œœ www œ œœœ
œ ˙˙˙˙ œ œ œ ˙
œ
3
5
œ
5 3 2 1 5 4 2 1
1 2
&
5
œ œ œ œ 5
3
2 1
(or 4)
˙˙˙˙ ˙
œ ˙˙˙˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œœ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ ˙ œ œœ œœ œ & œ œ œ ˙˙˙ œ ˙
œœœ œœ œ œœ œœœ œ
œœœœ œœœœ ww ww œœ œœ w œ œ œ w œœœ? œ ww œ
www w www w
œ œ œ ˙˙˙˙˙ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ ˙ œœœ œœ œ & œ œ œ œ ˙˙˙ ˙
œ ˙˙˙˙ œ œ œ œ œ œ ˙ œ œœ œ œ œœ œ œ œ œ œ œ œœœœœ œ œ œ œ œ ˙ œœœ œœ œ & œ œ œ œ ˙˙˙˙
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
(or 4)
same fingering in all keys moving up chromatically (in half steps)
D maj7 # # œ œœœœœ œœœœ & œœœ œœ œ œœ œ œ œ œ ? # # œœœ œœ œ & œ œœœ
19
3
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
1 2 3 4 5
Enharmonics - C Sharp and D flat sound the same
D b maj7
1 2
œ œœ œ œ œ œ œ œ œ œ œ œœ œ
www w
œ bb b b œ œœœœœ œœœœ œœœ œœœœ œœœ œœ œ œœ & b œœœ œœ œ œœ œœ œœ œ œ œ œ œ ? b b b œœœ œœ œ & œ œœ œ ? œ œœ bb œœœ œœ œœœ
13
œ œœ œ œ œ œ œ œ œ œ œ œœ œ 1 2 4 5 1 2 3 5
1 1 1 1 1 1 1 2 2 2 1 5 4 2 2 2 2 5 3 2 3 4 3 3 (or 4) 4 3 (or 4) (or 4) 5 5 5 5 5 5 same fingering in all keys moving up chromatically (in half steps) maj7
1 2 3 5
# # # # # œœœœœ œœœœ & # # œœœœ œœ œ œœ œ œ œ œ œ # œ ? # # # # # œœ œ œ & œ # œœœ
7
5 3 2 1
5 4 3 2 1
All Minor Major Seventh Chords (root, first, second, and third inversions)
5 4 2 1
5 3 C m (maj7) 2 1
5 3 (or 4) 2 1
b œœ œœœœ œ œ œ œ b œœœ œœ œ bœœœ œ œ œ œ œ ? 44 b œœ œ œ & œ œœœ & 44
5 3 2 1
Blocked Chords
1 2 4 5
1 2 4 5
5 3 5 2 3 (or 4) 1 2 1
5 4 2 1
b œœœœ œœœœ œœœ œœ w œ b œœ b www œœ œœ w œ ? œb œœ b w ww œ œ œ b œœ œœœ 5 3 2 1
5 3 2 1
C#
D m (maj7) # # œ œœ œn œœ œœœœ n œœœœ œœœœ œœœ œœ œ n œœ & n œœœ œœ œ nœœœ œœ œœ œ œ œ œ ? # # n œœœ œœ œ& œ œœ œ ? œ n œœ œœœ n œœ œœœ
19
1 2 3
œ œœ œb œ œ œ œ œ œ œ œ œbœ œ
n wwww n wwww
œ ˙˙˙˙ œ b œ œ ˙
œ
3
5
œ
5 3 2 1 5 4 2 1
1
&
5
(or 4)
œ œ b œ œ 5
3
2 1
(or 4)
˙˙˙˙ ˙
œ ˙˙˙˙ œ œ n œ œ n œ œ ˙ œ œ œ œ œ œœ œ œ œ œ n œ œ nœœœ œ œ œ œ œ œ œ ˙ œ n œœ œœ œ & n œ œ œ ˙˙˙ œ ˙
b wwww b wwww
n wwww n wwww
œ b œ œ œ ˙˙˙˙˙ b œ œ œ œ œœ œ œ œ œ œ œ œ œ b œ œ bœ œ œ œ œ œ œ œ œ œ ˙ œb œ œ œ œ œ & œ b œ œ œ ˙˙˙ ˙
œ ˙˙˙˙ œ œ n œ œ n œ œ ˙ œ œœ œ œ œ œ œ œ œ œ n œ œ nœ œ œ œ œ œ œ œ œ œ ˙ œn œ œ œ œ œ & œ n œ œ œ ˙˙˙˙
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
2
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
1 2 3 4 5
Enharmonics - C Sharp and D flat sound the same
D b m (maj7)
(or 4) 5
same fingering in all keys moving up chromatically (in half steps)
œ bb b b œ œœ œb œœ œœœœ b œœœ œœœœ œœœ œœ œ b œœ & b b œœœ œœ œ bœœœ œœ œœ œ œ œ œ ? b b b b œœœ œœ œ& œ œœ œ ? œ b œœ bb œœœ b œœ œœœ
13
3
1 2
Broken Chords
1 1 1 1 1 1 5 4 2 1 2 2 2 2 2 2 3 2 1 5 4 3 (or 4) 3 3 (or 4) 4 3 (or 4) 5 5 5 5 5 5 m (maj7) same fingering in all keys moving up chromatically (in half steps) 1 2 3 5
œœœ œœ œ œ #### # n œ œ n & # # n œœœœ œœœœ œœœ œœ œ œœ œœœ n œœœœ œœ œœ nœœœ œ œ œ œ œ # œ œ ? # # # # # n œœ œ & œ œœ œ ? œ n œœ # œœœ n œœ œœœ
7
œ œœ œb œ œ œ œ œ œ œ œ œbœ œ 1 2 4 5 1 2 3 5
5 4 3 2 1
All Seventh Chords (Dominant) (root, first, second, and third inversions)
& 44
5 4 2 1
5 3 2 1
b œœ œœ
5 3 (or 4) 2 1
? 44 b œœœœ œœœœ
5 3 (or 4) 2 1
b œœœ œ œ b œœœ œœœœ œœœ b ww œ ww œœ œœ b w œœœœ œ ? œ œœ w ww & œœ b œœœ œœ œœ œ b œœ 5 3 2 1
œœœœ œœœœ
C7
5 3 2 1
œ œœœ
5 3 2 1
5 3 2 1
5 4 2 1
Blocked Chords
1 2 4 5
1 2 4 5
1 2 3 5
C #7
D7
(or 4)
1 2 3
b www w b www w
n www w n www w
5
1 2
3 2 1 5 4 2 1
5
3
2
1
œ œ œn œ œ œ œ
œ
&
nœ œ œ œ
˙˙˙˙ ˙
œ œ b œ ˙˙˙˙˙ œ œ œ œ b œ œ œ œ œ œbœ œ œ œ œ œ œ œœœ œ œ œ œ b œ œ b œ ˙ œ œœ œœ œ & œ œ œ b œ ˙˙˙ ˙
n œ ˙˙˙˙ œ œ œ œ œ œ ˙ n œ œ œ œ œ œ nœ œ œ œ œ œ œ œœœœœ œ œ n œ œ n œ ˙ œœœ œœ œ & œ œ œ n œ ˙˙˙˙
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
1 2 3 4 5
(or 4)
n œ ˙˙˙˙ œ œ œ œ œ œ ˙ œn œ œ œ œ
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
5
(or 4) 5
Broken Chords
same fingering in all keys moving up chromatically (in half steps)
# # n œ œœ œœœ œœœœ n œœœœ n œœœœ œœœ œœ œ œœ œœœ œœ œ & œœ œœ œœ œ n œ œ œ œ ? # # œœœ œœ œ& œ n œœ œ ? œ œœ œœœ œœ n œœœ
19
1 2
3 5
Enharmonics - C Sharp and D flat sound the same
D b7
1 2 3
n œœœ œœ œ œ n œœ œœœ œœœ n ww œ œ ww œ œ œ n œœ œ œ œœ œœ n w n œœ œ œ œ œ w œ œ œ ? w œ œ n œœœ œ w œ œ n œœœ
bœ bb b b b œ œœœœœ œœœœ œœœ b œœœœ œœœ œœ œ œœ & b œœœ œœ œ œœ œœ œœ œ b œ œ œ œ ? b b b œœœ œœ œ& œ b œœ œ ? œ œœ bb œœœ œœ b œœœ
13
b œ ˙˙˙˙ œ œ œ œ œ œ ˙ b œ œ œ œ œ œ bœ œ œ œ œ œ œ œœœ œ œ œ œ b œ œ b œ ˙ œ œœ œœ œ & œ œ b œ ˙˙˙ œ ˙ 3
5 1 2 4 5
1 1 1 1 1 1 5 4 2 1 2 2 2 2 2 2 5 3 2 1 (or 4) 3 3 4 3 4 3 (or 4) (or 4) 5 5 5 5 5 5 same fingering in all keys moving up chromatically (in half steps)
# # # # # n œœ œœœ œœœœ & # # œœœœ œœ œ œœ œ n œ œ œ œ # œ ? # # # # # œœ œ œ& œ # œœœ
7
5 4 3 2 1
All Minor Seventh Chords (root, first, second, and third inversions)
& 44
5 4 2 C m7 1
5 3 2 1
? 44
5 3 2 1
5 3 (or 4) 2 1
5 3 2 1
5 3 (or 4) 2 1
b œœœ œ œ b b œ œ œ bb œœ œœœœ œœœ œœ œ b œœœ œœœœ b œœœœ b b ww œœ ww œ b œ œb œ œ œ œ œœ œœ b w bb œœœ œœœœ bœœœœ œ b œœœœ œ w œ œ œ ? b w b œ b œ w œ œ & œœ bb œœœ œœ œ œ œ œ bœ 5 3 2 1
5 4 2 1
5 3 2 1
Blocked Chords
1 2 4 5
1 2 4 5
1 2 3 5
C # m7
Broken Chords
1 1 1 1 1 1 5 4 2 1 2 2 2 2 2 2 5 3 2 1 4 4 3 3 (or 4) 3 3 (or 4) (or 4) 5 5 5 5 5 5 same fingering in all keys moving up chromatically (in half steps)
n n wwww n n wwww
D b m7
D m7
5 3 2
5 1 2 3
b œ ˙˙˙˙ œ b œ œ ˙ 3
(or 4)
5
1 5 4 2 1
1
&
n n wwww n n wwww
5
3
2
(or 4)
1
˙˙˙˙ ˙
œb œ ˙˙˙˙˙ b œ œ
œ bœ œ œb œ œ œ œ bœ œ œ œ œ œ b œ œ
&
b œ ˙˙˙˙ œ b œ œ ˙
n œ ˙˙˙˙ œ œ n œ œ n œ œ ˙ nœ œ œ œ œ œnœ œ œ œ œ n œ œ nœ œ œ œ œ œ œ n œ œ n œ ˙ œn œ œ œ œ œ & œ n œ œ n œ ˙˙˙˙
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
2
bœ œ b œ œ 5
same fingering in all keys moving up chromatically (in half steps)
# # n œ œœ œn œœ œœœœ nn œœœœ nœœœœ œœœ œœ œ n œœ & n œœœ œœ œ nœœœ œœ œœ œ n œ œ œ ? # # n œœœ œœ œ& œ n œœ œ ? œ n œœ œœœ n œœ n œœœ
19
1 2
(or 4)
n œ ˙˙˙˙ œ œ n œ œ n œ œ ˙ nœœ œœ œ œnœ œ œ œ œ n œ œ nœœœ œ œ œ œ n œ œ n œ ˙ œ n œ œ œœ œ & n œ œ n œ ˙˙˙ œ ˙
bœ bb b b b œ œœ œb œœ œœœœ b œœœ bœœœœ œœœ œœ b w œ b œœ b ww œ b œ œbœ œ œ œ œ & b b œœœ œœ œ w bœœœ œœ œœ b w œ œ b œ œ œ ? b b b b œœœ œœ œ& œ b œœ œ ? œ b œœ b www œ b œ œb œ œ œ œ bb œœœ b œœ b œœœ
13
œ bœ œ œb œ œ œ œ bœœœ œ œ œ b œ œ 3
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
1 2 3 4 5
Enharmonics - C Sharp and D flat sound the same
# # # # # n œœœn œœ œœœœ nn œœœœnœœœœ œœœ œœ œ n œœ & # # n œœœœ œœ œ œœ œœ nœœœ œ n œ œ œ œ # œ œ ? # # # # # n œœ œ & œ n œœ œ ? œn œœ # œœœ n œœ n œœœ
7
1
5 2 3 5 1 2 4
5 4 3 2 1
All Minor Seventh Flat the 5th Chords (root, first, second, and third inversions)
5 3 2 1
5 4 C m7 ( b 5) 21
5 3 2 1
5 3 (or 4) 2 1
5 3 2 1
5 3 (or 4) 2 1
5 3 2 1
5 4 2 1
4 5 5 1 2 3 5 1 2 b œœ œ 1 2 5 1 2 3 bœ b b œ b œ œ 4 b b œœ œœ œb œœ œœœ b œœ b œœœ œœœ œœ b b ww & 4 b œœ œœ œ b œ b œœ b ww œ b œ bœ bœ œ œ œ œ b œ bœ œ œ œ Blocked Chords Broken Chords œ œ b œ œ œ œb œ b œ œ œ œ œ œ b w b œ b œ œ b œ œ œ œ œ ? 44 b b œœœ œœ œ ?b œ b œœ b b w ww œ b œb œ œ œ b œ & b œœ b bb œœœ œœ & 1 1 1 œœ 1 œ 1 b œœ 1 1 1 5 1 1 4 3 2 1 2 5 1 2 2 2 2 2 2 2 2 1 5 4 2 4 5
7
4 5
3 5
C # m7 ( b 5)
3 (or 4) 5
2 3 5
3 (or 4) 5
3 5
4 5
5 3 2 1
4 5
3
(or 4)
5
2
3
(or 4)
same fingering in all keys moving up chromatically (in half steps)
∫ œœ ∫ bb œœœ œœ b œ œ œ œœœ œœ œœ œ b œœ ∫ œœœœ œœœœ ∫ b ww b bw w
D b m7 ( b 5)
b & b b b b ∫ bb œœœœ
13
? bb b bb
bœ œœ œœ b w œ œ ∫ ∫ bb œœœ œœœœ œœœ ww b œœ œ ? b œœ ∫ b w œ ∫ & ∫ œ œœœ b œœ b œœœ
D m7 ( b 5)
? ##
b nn œœœ œœœœ
œ
bœ œ œ ∫ œ bœ ∫œ œ œ ∫ œ b œ
œbœ
œ ∫ œbœ œ b œ œ œ œ œ œ œ
∫ œ
b œœ b nn œœœ œœ œœ œ n œœ
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
MM00001019
&
œœ œœ n w n œ œ œ œ bœ œ œ œ n œ œ n œ b œ n œœ b n w bœ ww œ nœ b œ œ œ nœœœ œœ œœ n w nœ œ œ œbœ œ œ œ n œ œ n œ œ bœ ww œ n œ b œ œ œ n œœ œ ? b œ n œœ b n w b & bœ & œœœ n œœ n œœœ
# # n œ œœ œn œœ & b n œœœ œœ œ
19
œ
∫ œ bœ œ b œ œ œ œ
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
5 b œ b œ ˙˙˙˙˙ b œ œ 3
(or 4)
2
1
œ b œ bœ2 5
3
(or 4)
bœ ˙˙˙ ˙˙ 1
n œ ˙˙˙˙ n œ n œ œ ˙ nœ ˙˙˙˙ n œ n œ œ ˙ œ b œ ∫ œ
b œ ˙˙˙
œ b œ ∫œ
bœ
˙˙ ˙˙˙˙ ˙
œ n œ bœ
n œ ˙˙˙
œ n œ bœ
nœ
˙˙
˙˙˙˙ ˙
1 2 3 4 5
Enharmonics - C Sharp and D flat sound the same
# # # # # # n œ œœ n œœ n œœœ n nn œœœœ œœœ œœ œœ n w n œ œ œ œn œ œ œ n œ œ n œ œ n œ œ œ # n n œœœ œœ œ & n œ n œœ n n www œ n œnœ œœ n œ nœœœ œœ œœ n w n œ œ œ œn œ œ œ œ n œ n œ œ n œ œ œ n œ œœ n œ ? # # # # # # n n œœœ œœ œ ? n œ n œœ n n w w n œ n œ w œ n n & œ œ œ & # œœœ n œœ n œœœ same fingering in all keys moving up chromatically (in half steps)
5 4 3 2 1
All Minor Seventh Sharp the 5th Chords 5 3 2 1
4 &4 ? 44 7
(root, first, second, and third inversions)
5 4 2 1
5 3 2 1
C m7(# 5)
# bb œœœ œ
5 3 (or 4) 2 1
#œ œœœœb œœœ œœœ œ
œ # bb œœœœœœ œ
b œœ
Blocked Chords
1 2 4 5
1 2 4 5
œœ
& #œœ
œœ
5 3 2 1
5 3 (or 4) 2 1
# bb œœœ œœ œb œœ
5 3 2 1
5 4 2 1
œ # œœœ b œœœœ
œœ œœ œ # ? œb œœ # bb œœœ œœ œ œ 1 1 1 1b œ 2 2
5 3 2 1
ww # bb w w
3
œ œ # œb œ œ b œ œ œ œ œ œ
5 1 2 4 5
3
#œbœ #œbœ
1 2
1 2 3 5
œ bœ
5 1 2 3
œ œ # œb œ œ b œ œ œ œ œ œ
w
œ
‹ œn œ
œn œ
1 5 4 2 1
5 3 2
nœ œ n œ‹ œ œ œ
#œ #œ
5
œ ‹ œn œ œn œ œ œ œ œ œ œ
‹œ
n œœ n bb œœœ œœ b œ œ œ œœ œœ œœ œ b œœ
œ œ nœœœ b œœœ
œœ œœ œ œb œœœ œ œ œ n ? bb b œ b œœ œ ? b œ n œ n & bb œœœ b œœ b œœœ n bb œœœ œœœ
D m7(# 5)
# # n œ œœœn œœ & # n œœœ œœ œ œ œn œœœ
# nn œœœ œœœ
# œœ # nn œœœ œœ œœ œ nœœ & # œœœ
œ
ww n bb w ww n bb w w
œ
œb œn œ
bœ
œœ œ
œ œ
nœ &
œœ œ #œœ n œœœ # nn w www œ n œ # œ n œ œ œ œ œ
œœ œœ n w œ # œ œ #w œ ? n œ n ww
# nn œœœ œ œ n œœ
w
bœ œ b œ nœ œ œ
œnœ#œ
nœ
œœ œ
œ
nœbœ #œnœ
&
#œ
œn œ
&
1
(or 4)
œ n œ‹ œ œb œ n œ
˙˙˙ ˙˙
n œ ˙˙˙
˙˙
nœ
b œ ˙˙˙
˙˙˙˙ ˙
˙˙
˙ n œ b œ n œ b œ ˙˙˙ œ ˙ œœ œ
# œ n œ # œ n œ ˙˙˙˙ œ œ ˙ œœ
#œ n œ œnœ œ œœ
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
2
bœ
œ n œ‹ œ
nœ b œ œb œ œ œ œ
œb œ
3
˙˙
5
(or 4)
2
œ bœ#œ
&
same fingering in all keys moving up chromatically (in half steps)
b & b b b b n bb œœœœ œ
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œ bœ 1
‹œ n œ œn œ œ œ œ
œ ‹œ
# œ b œ ˙˙˙
3
5
œn œ# œ
nœ
˙˙˙˙ ˙
1 2 3 4 5
Enharmonics - C Sharp and D flat sound the same
ww ‹ nn w
œœ œœ n w œ n œœ œ ‹ ‹ nn œœœ œœœ œœ ? œ n œœ ‹ n w ww œ & ‹ œœ ‹ nn œœœ œœ œœ œ n œœ
D b m7(# 5)
? ## œ
(or 4)
Broken Chords
1 1 5 4 2 1 2 2 2 2 5 3 2 1 3 4 4 3 (or 4) 3 3 (or 4) (or 4) 5 5 5 5 5 5 C # m7(# 5) same fingering in all keys moving up chromatically (in half steps)
? #### ## #
19
œ bœ
ww # bb w w
# # # # # # n œ œœ n œœ ‹ œœœ ‹ nn œœœœ n œœœ œœ œœ œ ‹œœ n œœ & # ‹ n œœœ œœ œœ œ
13
2
1
5 4 3 2 1
All Diminished Seventh Chords (root, first, second, and third inversions)
5 3 2 1
5 4 2 1
C dim7
& 44 b b ∫ œœœœ
œœœœ
b œœœ b œœœœ œ
b b ∫ œœœœ
& b œœ
b b ∫ œœœœ
œœœœ b œœœœ
? 44 b b ∫ œœœœ
Blocked Chords
1 2 4 5
5 3 2 1
5 3 (or 4) 2 1
5 3 2 1
1 2 4 5
œœ
œ ∫ œœœ
œœœ ∫ œ
1 2 3 5
1 2 3 (or 4) 5
1 2 3 5
5 3 (or 4) 2 1
5 4 2 1
5 3 2 1
œ b œœœ
œ b œœœ
œœ œ b ? œ
bœ œ œ œ bœ œ œ ∫ œ œ ∫ œ & œ bœ bœ bœ œ œ
4
1
2
3
5
1
5
4
2
1
? œ b œ b œ ∫ œ œ œ œ œ&
2
3
(or 4)
5
1
2
3
1 2 4 5
5
3
(or 4)
2
1
C # dim7
? # # # # # # n n b œœœœ # #### ## & #
2
4
1
5
n œœœ n œœœœ œ
n n b œœœœ
& n œœ
n n b œœœœ
1
5
œ b œœœ
4
2
œ n œœœ
same fingering in all keys moving up chromatically (in half steps)
œœœœ
œœœœ n œœœœ
œœ
1
5
˙˙˙˙ ˙
œ n œœœ
œœ œœ œ n ? œ n œœ œ b œœœ
3
2
1
(or 4)
˙˙˙˙ ˙ 1 2 3 4 5
n n b wwww n n b wwww
b œ ˙˙˙˙ n œ n œ n œ œ n œ œ ˙ nœ bœ œ œ œ bœ n œ n œ n œ œ n œ œ nœ bœ œ œ œ
In addition to playing this exercise as it is written, you should try to play all of the chords as arpeggios, or broken chords, up and down the piano one, two, three, and four octaves - in all key signatures.
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5
5 4 3 2 1
same fingering in all keys moving up chromatically (in half steps)
œ b œ œ n œ œ œ œ nœ ? #### ## œ n œ n œ b œ œ œ œ œ & #
10
2
∫ œ b œ b œ œ 2
(or 4)
∫ œ b œ b œ œ
bœ œ œ œ bœ œ ∫ œ bœ 3
1 2 4 5
Copyright © 2015 by Music Motivation® - http://musicmotivation.com
˙˙˙˙ ˙
Enharmonics - C Sharp and D flat sound the same
#### ## & # n n b œœœ œ
7
5
b b ∫ wwww 3
1
Broken Chords
5
b b ∫ wwww
œœ œ bœ
1 2 3 5
1 2 3 (or 4) 5
5 3 2 1
On the following pages (starting on page 133 and continuing on until page 148), I have included the “I-IV-V-V7-I” chord progression in all keys. These roman numerals are taken from the degree of the scale notes (refer to pages 48-62 of this book for the details about the roman numerals or chord created from the scale shown as roman numerals based on their position in the scale - e.g. I - ii - iii - IV - V - vi - vii - VIII or I (upper case roman numerals are major chords and the lower case roman numerals are minor chords with exception to the vii (7) chord which is a diminished triad). Music books often speak of Cadences which are essentially chord progressions. Let me explain a few and then I’ll explain why I chose the “I-IV-V-V7-I” chord progression to have the students practice in all keys. Plagal Cadence (IV - I) or 4 - 1 (e.g. F to C) The Plagal Cadence is a chord progression that moves from the IV (or 4 chord - e.g. F), and then returns to the I (or 1 chord - e.g. C). It would look like this: F - C. The chords can be played in any position (root, first, or second inversions), which simply means that the notes change position (e.g. root = CEG, first inversion = EGC where the C has been removed from the bottom of the chord and added to the top of the chord - basically inverting the notes of the chord, and second inversion = GCE where the C and the E have been removed from the bottom of the chord and added to the top of the chord. Authentic Cadence (V - I) or 5 - 1 (the 57 is also used - e.g. G to C or G7 to C) The Authentic Cadence is a chord progression that moves from the V or V7 (or 5 chord - e.g. G or G7), and then returns to the I (or 1 chord - e.g. C). The same explanation about the inversions is correct. Complete Authentic Cadence (I - IV - I - V7 - I) or 1 - 4 - 1 - 57 - 1 The Complete Authentic Cadence is a chord progression that moves from the I (or 1 chord - e.g. C), to the IV (or 4 chord - e.g. F), and then returns to the I (or 1 chord - e.g. C) and then plays the V7 (or 5 chord - e.g. G7) before finally returning to the I (or 1 chord - e.g. C). This is the chord progression that is taught to music students and is Score the one they learn for various testings (AIM, Federation, MTNA, etc.). Students should learn how to traditionally do all of these chadences and many more in all keys and in all inversions. Look at the Plagal Cadence, Authentic Cadence, and Complete Authentic Cadence examples below:
Plagal and Authentic Cadences
& 44 œœ œ
Plagal Cadence
? 44 œœœ I
œœ œ
˙˙ ˙
œœ œ
˙˙˙
IV
I
Authentic Cadence
Complete Authentic Cadence
œœœ œœ œ
œœœ
œœ œ I
œ ˙ œœ ˙˙
V7
œœ œ
˙˙˙ I
I
œœ œ œœ œ
IV
œœ œ
œ œœ
œœœ œœ œ I
V7
www www I
Chord 5 changes in contemporary music (or modern music of today) is more free in its form and structure, so I have included the I - IV - V - V7 - I (e.g. C - F - G - G7 - C) chord progression in all keys and in all inversions to better help students quickly change from the IV to the V chord as that is a familiar chord progression in modern music - without first returning to the I chord as in the I - IV - I - V7 - I chord progression.
&
∑
∑
∑
?
∑
∑
∑
Have fun learning and mastering this chord progression in all keys - major and minor - and in all inversions! Copyright © 2015 by Music Motivation® - http://musicmotivation.com
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(simple - root, 2nd, 1st, 1st, root - moving up chromatically in half steps)
5 3 1
5 2 1
5 3 1
C
F
G7
C
root
root
2nd
1st
1 3 5
1 2 5
1 4 5
G 7
C
root
2nd
1st
1st
root
Enharmonics - C Sharp and D flat sound the same
A 7
D
root
2nd
1st
1st
root
root
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A
D
G
D
1 3 5
G
same fingering in all keys (moving up{chromatically} in half steps)
F
10
1st
C
7
1 2 5
same fingering in all keys (moving up{chromatically} in half steps)
4
5 3 1
G
5 4 1
G
A
A7
D
1st
root
2nd
1st
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I - IV - V - V7 - I Chord Progression (simple - no inversions - see complete chord progression)
“I - IV - V - V7 - I” Chord Progression in every key
“i - iv - V - V7 - i” Chord Progression in every key (complete - root, first, and second inversions in all keys - moving up chromatically in half steps) 5 3 1
5 2 1
5 4 1
5 3 1
Am D m
E
E7
Am
root 2nd 1st 1st
root
1 3 5
1 2 5
1 4 5
1 2 5
1 3 5
A mD m E E 7 A m
5 2 1
5 3 1
Am Dm
5 3 1
E
5 3 2
5 2 1
E7
Am
1st
1st root 2nd 2nd
1 3 5
1 3 5
1 3 5
1 3 4
1 3 5
A mD m E E 7 A m
same fingering in all keys (moving up{chromatically} in half steps)
Enharmonics - A Sharp minor and B flat minor sound the same
7
root 2nd 1st 1st root
1st root 2nd 2nd
1st
5 3 1
5 2 1
5 3 1
5 2 1
5 3 1
Am
2nd 1st root root
2nd
Am Dm E
E7
1 2 5
1 3 5
1 3 5
1 3 5
1 2 5
A mD m E E 7 A m
2nd
same fingering in all keys (moving up{chromatically} in half steps)
B m E m F
F7
Bm
root 2nd 1st 1st
root
13
19
B m E m F F 7
Bm
root 2nd 1st 1st
root
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B m E m F
F 7 Bm
1st root 2nd 2nd
Bm Em
F F 7
Bm
B m E m F F 7
2nd
2nd 1st root root
1st
Bm
F7
1st
1st root 2nd 2nd
B mE m F
Bm
2nd 1st root root
2nd
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2nd 1st root root
I - IV - V - V7 - I Chord Progression (complete - root, first, and second inversions)
5 3 1
5 3 2 1
5 3 2 1
C M7
D m7
E m7
ii(2)
iii(3)
5 3 2 1
I(1)
5
1 2 4 (or 3) 5
1 2 4 (or 3) 5
A m7
B m7 5
IV(4)
V(5)
vi(6)
vii(7)
1 2 4 (or 3) 5
1 2 4 (or 3) 5
1 2 4 (or 3) 5
1 2 4 (or 3) 5
B m7
C M7
D7
E m7
F m7 5
I(1)
ii(2)
iii(3)
IV(4)
V(5)
vi(6)
vii(7)
F m7
D M7
E m7
ii(2)
A M7
B m7
C m7
D M7
I(1)
ii(2)
iii(3)
I(1)
13
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5 3 2 1
A m7
G7
F M7
same fingering in all keys (moving up{chromatically} in half steps)
9
5 3 2 1
G M7
5 3 2 1
5 3 2 1
5 3 2 1
1 2 4 (or 3) 5
C M7
VIII(8or1)
1 2 4 (or 3) 5
G M7
VIII(8or1)
G M7
A7
B m7
C m7 5
D M7
iii(3)
IV(4)
V(5)
vi(6)
vii(7)
VIII(8or1)
E7
F m7
G m7 5
A M7
IV(4)
V(5)
vi(6)
vii(7)
VIII(8or1)
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All Seventh Chords (Major 7th, Minor 7th, Minor 7th, Major 7th, Dominant 7th, Minor 7th, Minor 7th Flat 5)
All Seventh Chords (moving up diatonically in every key)
“All Major Octave Chords” (blocked and broken) moving up chromatically in half steps through every key signature
3
5
7
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Jerald’s Albums & Singles are available from all online music stores
Every week Jerald produces and releases a new “Cool Song” and “Cool Exercise” available for all piano students and piano teachers on his website (musicmotivation.com). Each new “Cool Song” and “Cool Exercise” is emailed to all Music Motivation® mentees according to their preferred subscription. See which subscription is the best fit for you and for your piano students (if you are a piano teacher) by visiting:
http://musicmotivation.com/annualsubscription At Music Motivation®, I strive to produce the best quality products I can to help musicians of all ages better understand music theory (Theory Therapy™), improvisation (Innovative Improvisation™), and composition (Creative Composition™). I try to tailor my products around the needs of piano teachers and piano students of all ages - from beginning through advanced and would love to receive your feedback about what I can do to better help you teach and learn. Let me know if there is a type of piano music, music book, fun audio or video tutorial, or any other educational product you would like to see in the field of music (principally the piano), but have not yet found, that would help you teach and learn the paino better. Please contact me. I look forward to your comments and suggestions. Thank you. Copyright © 2015 by Music Motivation® - http://musicmotivation.com
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Jerald is continually coming out with new books and has multiple books planned to be released each year. Check musicmotivation.com for new books, CD, singles, and more.
Check out these best sellers by Jerald Simon
visit musicmotivation.com to purchase, or visit your local music store - Chesbro music is the national distributor for all Music Motivation® books. Contact Chesbro Music Co. if you are a store (1.800.243.7276)
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Copyright © 2015 by Music Motivation® - http://musicmotivation.com
Learn more about
Jerald Simon Visit http://musicmotivation.com/jeraldsimon “My purpose and mission in life is to motivate myself and others through my music and writing, to help others find their purpose and mission in life, and to teach values and encourage everyone everywhere to do and be their best.” - Jerald Simon First and foremost, Jerald is a husband to his beatiful wife, Zanny, and a father to his wonderful children. Jerald Simon is the founder and president of Music Motivation®. As an entrepreneur, he loves business, composing music, and writing poetry and motivational self help books. He is a composer, author, poet, Music Mentor™, and piano teacher (primarily focusing his teaching on music theory, improvisation, composition, arranging, and pop, new age, and jazz music). He also focuses on being a music educator, professional speaker, and life coach. Jerald loves music, piano, teaching, speaking, performing, playing sports, exercising, reading, writing poetry and self help books, and spending time with and traveling with his family. Jerald and his wife, Zanny, and their children enjoy traveling together, eating at great restaurants, working, playing, and enjoying life. Jerald created musicmotivation.com as a resource for piano teachers, piano students, and parents of piano students. He is the author/poet of “The As If Principle” (motivational poetry), and the book “Perceptions, Parables, and Pointers™.” He is also the author of 17 music books from the Music Motivation® Series™ including the popular series: Cool Songs that Rock™ (books 1 and 2), and Cool Songs for Cool Kids™ (pre-primer, primer level, and volumes 1, 2, and 3)”, and has recorded and produced albums and singles of original music including TRIUMPHANT. He has created a “Fun to Play™” YouTube channel where Jerald teaches theory (Theory Therapy™), improvisation (Innovative Improvisation™), and composition (Creative Composition™) on the piano: http://youtube.com/jeraldsimon. The books from the Music Motivation® Series have been featured in the American Music Teacher (MTNA) 2011 August/ September issue, the Clavier Companion (2011 July/August issue), Publisher of the Month through Chesbro Music Co. (national distributor 1.800.243.7276), and various newspapers and media across the country. Jerald presents to MTNA chapters and various music schools, groups, and associations throughout the country doing workshops, music camps, master classes, concerts and firesides to inspire and motivate music students and teachers. He enjoys teaching piano students about music theory (Theory Therapy™), improvisation (Innovative Improvisation™), and composition (Creative Composition™). He is a Music Mentor™ and encourages music students to get motivated by music and to motivate others through music of their own.
SPECIALTIES: Composer, Author, Poet, Music Mentor™, Piano Teacher (jazz, music theory, improvisation, composition, arranging, etc.), Motivational Speaker, and life coach. Visit http://musicmotivation.com/speaker, to book Jerald as a speaker/ performer. Visit http://musicmotivation.com/resources to print off FREE piano resources for piano teachers and piano students.
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