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Piano exercises can improve the way you play and heighten awareness of your mental and physical approach to the piano. Warm up before piano exercises by. Piano Exercises FORDUMmIES‰by David Pearl Piano Exercises Piano Exercises For Dummies Three-Finger Exercises for the Left Hand. Piano Exercises For Dummies [David Pearl] on wildlifeprotection.info *FREE* shipping on qualifying offers. The ideal hands-on reference for piano students who want to .

Piano Exercises For Dummies Pdf

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Blake Neely has been playing piano since he was about 4 years old, al- An award-winning composer and author, he has written symphonies, a piano. Hanon piano pdf - Click to print. The Virtuoso Pianist by C. L. HANON Part 1 transposed in all keys. PDF Format - pages - Piano exercises. GET IT ON. Read Piano Exercises For Dummies PDF Ebook by David wildlifeprotection.infohed by For Dummies, ePUB/PDF , wildlifeprotection.info .PDF).

So a reminder to monitor your comfort level and make appropriate adjustments is always a good thing. Sitting at the piano: You want to feel comfortably loose, with enough room to move freely and enough support to feel light and long in the upper body and head. You should be able to move easily in either direction of the keyboard, just enough to follow and support your arms when they venture away from the middle to the high or low registers. Check that your bench or chair is the right height.

You should see a slight arc from the elbow to the top of your wrist and back down your hand to the keyboard. You have a big advantage if you use an adjustable bench or chair available on the Web at places like www.

Good posture is all about support. Think about building support from the ground up: With the floor and the bench or chair providing your support base, align your body so your torso, shoulders, neck, and head are fully supported from underneath. Getting Ready to Practice 2. With both feet on the floor, and with your knees directly above your feet, sit evenly on your sitting bones so you feel a strong, stable support for your upper body. Your spine has four curves; it takes careful awareness and support in both the front and back to balance and feel centered throughout your upper body.

As you breathe in, feel the full length of your upper body from the sitting bones to the top of your head. Breathe out and feel a relaxed, stable balance throughout your body. Getting a handle on proper hand position Your hands should feel supported by your shoulders and arms, balanced and relaxed so they can move as easily as possible. Your wrist should be high enough that your fingers make a slightly curved shape with the fingertips on the keys, but not so high that you restrict movement.

You should see a rounded shape created by the soft, relaxed undersides of your fingers and palm, similar to the shape of your hand draped around the fist of the other hand, as shown in Figure Drape one hand around the fist of your other hand.

Waking Up Your Fingers As you move up and down the keyboard, try to keep this shape and feeling, with a minimum of twisting at the wrist. Hands on the fallboard: Counting out loud and bouncing Close the fallboard over the piano keys, and place your hands in playing position, as I describe in the previous section.

Count these eighth- Count: Incorporate this model into your fluid motion cycle, reading music and playing the piano in the motion of tempo and the musical phrase. Hand arches and finger drops The next exercise gives you practice switching comfortably from a contracted, arched hand position to an open hand position with your fingers loosely extended. To do the exercise, follow these steps: Let your hands rest, palms down, on top of the fallboard.

Raise your wrists as you touch your fingertips together in a point, fingers extended and still touching the wood see Figure Spread your fingers and let your wrists drop easily until your palms are on the fallboard again. Repeat several times. Raise your wrists with your fingertips on the fallboard. Rotation in and out, movement up and down the keyboard The next exercise gives you an example of how small forearm rotation should feel.

You use this motion when playing broken-chord figures like the Alberti bass pattern in Chapter To do a rotation exercise, follow these steps: Start with your hands in playing position, fingertips on the wood, wrists fairly high see Figure Rotate your wrist slowly to the left, and then to the right, feeling the weight transfer across your entire hand, through your wrist, knuckles, and fingertips.

Put your hands in playing position on top of the fallboard. To get a feel for the motion up and down the keyboard — which is what you want when you play the scales in Chapter 7 — try this exercise: Start with your hands in playing position, fingertips on the wood. Move your hands, forearms, and elbows evenly out to the sides and back in, keeping them all on the same plane, as if they were riding on a lateral-moving elevator see Figure Hands on the keyboard: Sound and movement on the keys After completing the exercises in the previous sections, lift the fallboard to see those 88 keys eagerly awaiting your tingling fingers.

You have to be willing to make some unusual music for this exercise, but give it a try: Playing and missing any notes that happen along the way, do the wrist bounces, hand arches and finger drops, wrist rotations, and lateral-movement exercises on the keys.

Just try to maintain the position, support, ease of movement, and relaxed feeling you develop throughout this chapter. Overcoming other posture pitfalls Be on the lookout for signs of tension: Hunching or muscle grabbing in the shoulders and arms; facial tics biting or grimacing, clenching in the jaw ; and stiffness in the neck or fingers.

These points of tension may be indirectly caused by inadequate support, but you can ease them by including them in the larger cycle of tension and release — your fluid motion cycle.

When you release tension, you clear a path for your mind to guide the search for solutions to your technical problems. Be careful when the instrument may be part of the problem.

You may want to limit practice time and take more frequent breaks if you find yourself in an uncomfortable situation! Turning down the volume to a very low level to avoid disturbing family, friends, and neighbors can lead you to compensate by over-pounding so you can hear yourself play. Instead, use headphones or earbuds with the volume adjusted to a level similar to what you experience in normal piano playing. If you have, join the club. But take a look at your hand, and then at the keyboard.

All your fingers are a different length, and each finger has a different set of muscles and a different way to make the keys on the piano go down. Your fingers get exercise every day when you write, beckon, grasp, shake, wave, twiddle, and point. But when you put your hands on the keyboard, your fingers need some extra help to make the music you want to make.

Developing control and agility starts with isolating each finger so you can learn how each one moves as you strike a key. By giving your brain information on each finger, you allow it to figure out how to move the fingers the way you want them to move.

The secret is that you can get around your limitations with a little brainpower. Finger strength comes with freedom of movement. When you tense, or hold, your muscles, you restrict your movement. So you want your fingers to feel comfortable. But they also need support. After you develop firm joints in the fingers and give each finger the support of your hand, wrist, arm, and on through the body, the strength will come from the movement itself.

You can read more about hand position in Chapter 1. The exercises in this chapter are combined so you can exercise your fingers in groups of twos, threes, and fours. Each exercise challenges your control by starting with eighth-note patterns and changing to triplet and then sixteenth-note patterns. Even though you begin with eighthnotes, you have to stay in the same tempo when you get to the triplets and sixteenth notes.

Exaggerate the articulations and dynamics as you practice and improve. Waking Up Your Fingers Play the two-note slurs in the last two measures with an easy, down-up motion starting in the wrist.

Keep your hand shape nice and round throughout, especially for the outside fingers, four and five. Make sure you give quarter notes their full value. Better to count the full beat while feeling a relaxed and fluid motion in your hand.

You can also add a bit of your own shading to the phrases by trying legato and staccato articulation. Shape each phrase with dynamics you choose to make the most music.

These exercises give you a chance to work on singing with your fingers. Shape the melodic phrases as if you were singing them by adding some of your own finetuned dynamics. For example, increase the volume on a steadily rising phrase and decrease the volume on a descending phrase. Angle your thumb down from your nicely arched hand. Isolating and Exercising Your Fingers Four-Finger Exercises for the Left Hand As you try these exercise patterns across your hand, you may hear that the notes played with fingers four and five sound softer than those played with fingers two and three.

Keep your hand shape nice and round throughout these exercises, especially for the outside fingers, four and five. You can increase the loudness of each note by increasing your attack speed — a faster speed of attack will get a louder sound.

By making sure fingers four and five have good shape and support, you make it easier to match attack speeds in all your fingers. For practice, play one phrase soft, the next one louder, and see whether you can control the dynamics at your liberty. This gives you an opportunity to make dynamic contrasts between the melody in one hand and the countermelody in the other, as well as gradations within each part.

Try bringing the melody out front by playing it a little louder, or by playing the countermelody a little softer. The exercises will help you develop the control you need to balance and shape melodic lines in each hand. In the first two sections, you work on developing a greater command of articulation — playing legato lines more smoothly and playing staccato phrases with clean, crisp precision. You focus on exactly how to move to get the most expression with the least amount of work.

Then you start to exercise in a variety of five-finger hand positions: After you work both hands separately, you play exercises with your hands together. Have you heard of the Italian violinist Niccolo Paganini, who blazed a path to stardom with his speed and dexterity?

He wrote a violin piece that other composers have used as a theme for their own virtuosic flights. Niccolo Paganini — , violin virtuoso, was known for a level of technical skill not seen on the concert stage at the time. He wrote music to feature his wizardry, including his Caprice No. The best known of these are Brahms, Rachmaninoff, and Liszt. Composer Witold Lutoslawski — also wrote variations on this theme, to be played by two pianists on two pianos!

Playing Legato The goal of playing legato is to play all the notes inside a legato slur smoothly and evenly, without any break in the melodic line as you play note to note.

To practice this, go for an overlap from one note to the next, finger-to-finger. Play the first note, and then overlap by releasing the key just after the next note sounds. Listen to the overall phrase, and make slight changes in loudness within the phrase to give it a nice shape. Music for Five Fingers Short Articulation: Playing Staccato Your goal here is to make every staccato eighth note the same length, and that length should be short!

Listen for the space between the notes as much as you listen to the notes themselves. As you play faster passages and faster tempos, you can minimize this move until the key release is only at the fingertip. These exercises are good for testing your speed and control. Try playing these faster and slower to find out where you lose control. Is it one finger in particular? At a certain tempo? After you find your limits, practice within them and expand them step-by-step.

These exercises begin with two eighth-note pickups. When you start a phrase with a pickup, think of the pickup notes as moving toward the downbeat, with a bit of emphasis on the downbeat itself.

In sequence, out of sequence 5 5 4 1 3 2 2 5 3 4 Minor: In sequence, out of sequence 1 1 4 1 3 2 4 2 5 3 Chapter 3: Music for Five Fingers Whole tone: In sequence, out of sequence 1 1 4 1 2 5 3 3 2 4 Chromatic: Stay within a tempo that you feel you can comfortably control. In sequence, out of sequence 5 5 2 5 3 4 4 1 3 2 Minor: In sequence, out of sequence 5 5 2 4 1 3 Chapter 3: In sequence, out of sequence 5 5 2 5 3 4 4 1 3 2 Chromatic: Putting the Hands Together Right-hand and left-hand parts share the same rhythm in these exercises so you can match the articulation and dynamics as closely as possible.

Paganini Variation for Ten Fingers In this piece, your hands move from one five-finger position to another. Spend some time plotting out when the positions change and how far the moves will be. This way, your mind is engaged and in control, directing your hands from position to position. As you become more familiar with the moves, you can increase your speed. Traversing the keyboard means working on fundamental finger moves: The chord work in this part starts with practice moving two fingers together as a single unit, playing two notes at the same time.

Then you move on to three-note chord exercises that take you through a series of steps to ensure comfortable, solid chord playing while releasing any muscle tension. Imagine playing fluid lines, shifting hand positions seamlessly, and covering the keyboard territory with flexible fingering. Adding the thumb means you can play more notes within one hand position, but the problem remains that the thumb has a very different size, shape, and angle when compared with the other fingers.

If you run out of fingers when the melodic line continues up or down, you have to move your hand position, and do it without breaking the musical line. The two best options are to pass the thumb under or cross the other fingers over. The keyboard terrain sets up different scenarios for these transitions, with possibilities available in the various white and black key combinations. Because the thumb is shorter, the easiest way to cross over it or pass it under is with a black-white combination, because you can use the key height and location to your advantage.

With one of your long fingers on a black key you naturally elevate your hand, like a bridge, for your thumb to pass under. These more difficult transitions can cause you to twist your hand position, flare out your elbow, tuck in your elbow, or otherwise contort yourself as you move up or down the keyboard, and the extra movement can get in the way of playing smoothly and comfortably.

The answer is to keep your hand quiet, and keep your arm perpendicular to the keyboard as you move out to the extremes or into the middle. This will make your scale runs sound smooth and feel more comfortable. But making these traverses seamless does take practice. The exercises in this chapter give you practice crossing over and passing under with different finger combinations, using a variety of scales.

You also discover how to make these transitions more comfortable. Developing a Strong, Supple, and Speedy Hand The performance piece at the end of the chapter showcases your smooth scale runs. One Under Two, Two Over One You first want to find a hand shape that eases the transition from one hand position to the next.

It helps to keep the two fingertips relatively close together and the top of your hand raised high but still flat. Now feel your fingertips on each key as you play the exercise. You may find it easier to straighten your second finger a bit as it crosses over your thumb to play a black key and curve it a bit when it plays a white key.

You can apply this to your third and fourth finger in the following exercises. Keep your hand position quiet, and watch for any unnecessary twisting. You can control the volume of a note if you think ahead to plan a hand shape that allows control of the attack speed. You can control your timing by guiding your fingers to perform a smooth movement. Developing a Strong, Supple, and Speedy Hand One Under Four, Four Over One This finger combination is more challenging because you need to contract your hand fully for the position shift and still make it sound smooth and effortless.

Watch your fingers once as they make the shift: Is your thumb or fourth finger aiming too far? Remember to relax! Feel an easy, fluid motion as you move. Exercise slower to focus on smooth transitions, and faster to focus on lightness and agility. Aria from La Cenerentola The charming character of this aria is well suited to polishing your graceful scale runs and light, staccato touch.

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Try singling out the sixteenth-note scale runs to practice the crossovers and pass-unders before you play the piece. Make as much contrast as you can between the staccato and legato, and remember that the rests can be as important as the notes. You can bring up the bass, hush the choir while the soprano has a solo, or lift up every voice for the full-out finale. These interval exercises also let you scrutinize the many combinations of fingers, intervals, and positions on the keyboard to get to know how each finger responds.

Special attention is given to strengthening those fingers that need it the most, but we try not to embarrass those fingers in front of the others! Playing Seconds with Different Finger Combinations Seconds are any interval combination on adjacent keys, white or black. Because of the keyboard layout, that means a variety of hand and finger positions to work on.

Each of the finger combination exercises in this section includes a study for the right hand and the left hand separately. Play through these exercises a few times slowly at first — concentrating on each hand — listening carefully to adjust the balance and timing of each finger combination.

Curve your fingers and keep the finger joints firm to play the seconds evenly. Then gradually increase your speed each time you play the exercise. As you increase your speed and accuracy, play this section as a series, starting with the right and left hand in the first finger combination, moving on to the right and left hand in the next finger combination, and so on. As you play the seconds with each finger combination, imagine the two fingers moving together as one unit.

In the first combination, for example, finger two and finger three move together to strike each interval in a synchronized motion. Two and three Start with two of your most agile fingers, your second and third fingers. Adjust your attack and your timing to play the seconds evenly while changing hand positions.

Playing Intervals Finger combination: Three and four Try to eliminate excess movement by keeping your hand close to the keyboard. Right hand: One and two You may find playing the seconds evenly difficult to do with this finger combination. Your first two fingers are such different lengths! Four and five Work on building strength in your fourth and fifth fingers by keeping the joints firm to make the accents strong.

Left hand: The different finger combinations keep all your fingers nimble so you can use all five fingers more confidently. Finger combination: One and three Take a look at your hand position as you get ready to play. Make sure you have a nice, high arch to your hand, and let your fingers hang down and your fingertips lightly touch the keys.

Two and four This next exercise is a good one to play with both staccato and legato articulation. Three and five Work for an even sound; balance the thirds so the two notes are the same volume. Playing Intervals Finger combinations: Keep your wrists up high, and lift your fingers up like spider legs, bringing them down evenly in twos.

And not too fast on this one — taking it slow and developing control are fine; stay relaxed and melt into the keys. The different finger combinations keep your muscle coordination sharp.

Finger combinations: One and four, two and five This one is especially good for the fourth finger. If you feel like giving yourself a challenge, try to play both hands at the same time! You can give your pinky some help by letting go of the fourth interval and moving your hand out, keeping the arched shape, toward the pinky. Developing a Strong, Supple, and Speedy Hand Playing Fifths, Sixths, and Sevenths As you exercise these larger intervals, you also get good preparation for chord playing, which is covered in Chapter 6.

The overall goal here is to watch for unnecessary twisting from side to side. Each measure can have a rhythmic pattern of four strong beats, on one, four, seven, and ten, with three eighth notes inside each strong beat. Playing Intervals Exercise in fifths and sixths As you play this exercise, four and five are round, but not stiff. Give these fingers some power and flexibility by bouncing your wrist lightly: Try turning on the metronome to check your steady speed.

Playing Intervals Performance Piece: Play each interval pair by using a single, confident hand move, with the same gusto you have when you sing out the tune from the bleachers. The piano sounds best when you make the most of its full harmonic potential. To get your piano to really sing out, you need flexibility in the wrist to increase your attack speed when you play chords. To balance, or voice, the chord notes, you need control in your fingers to vary the quality of your touch.

Naturally, you want to dig into the big chords and get your hands around the really fat harmonies, but keeping stiff fingers and awkward hand positions is tiring and can potentially cause some physical problems. Avoiding these problems and improving your chord voicing are the benefits of learning how to relieve the tension in your fingers, hands, and arms. This chapter helps you learn to play chords with a relaxed approach, gain a better chord technique, and improve your sound.

You can use the exercises to develop fluid motion and release muscle tension as part of a cycle to practice with each chord. The exercises start with single chords, move into a variety of chord progressions, and then combine melody with chords. You finish up with a performance piece that lets you set the room resonating with vibrant chords. You do need a certain amount of muscle tone and firmness in the finger joints to play nice, solid chords, but you also want to build in the habit of releasing tension while you play.

As you exercise, monitor your body for any area in which you may be holding tension — your arms, shoulders, neck, or even your face in the form of a grimace or facial tic. Your aim is to breathe through your body as you play and to establish a cyclical pattern of tension and release.

Developing a Strong, Supple, and Speedy Hand A simple two-chord progression Start with this simple two-chord progression, and put the following steps into a cycle for each chord: Allow your arm weight to drop onto the keyboard as you comfortably play the chord and hold the shape in your fingers.

With a loose, flexible feeling in your wrists, let the weight travel and be absorbed in your wrists with a light bounce. Keeping the chord notes held down, let the wrist float back up and release the notes under your fingers as you lift up from the keyboard, releasing any muscle tension in your fingers, hands, arms, and shoulders.

During the rest between the two chords, release any tension throughout your arms and torso, and prepare for the next chord shape as in Step 1. A longer progression Now try practicing the cycle in a longer progression.

Instead of channeling the weight to your fingertips and holding it there as you press down the keys, let it travel to your wrists where the weight is absorbed and released with a slight bounce. You need to maintain just enough muscle tone and shape in your hands and fingers to hold down each chord note. During a rest you have an obvious spot to relax your hands and release your muscles. Voicing Chords Every time you strike a chord you get to be a sound engineer — you can set your own EQ or equalizer levels with each chord.

Maybe you want to hear more bass, more top note, or bring out the notes in the middle for the fullest sound possible. Most of the time you want the top note to sing out the strongest, with support from the bottom note next and the inner chord notes balanced next. When you play chords you continually fine-tune your voicing to highlight melodic movement that takes place within a chordal setting. You can custom-balance each chord tone with subtle differences in your attack speed.

You achieve this with variations in the quality of touch for each finger. The piano is designed to transmit and, in effect, amplify these nuances from the key to the hammer to the strings and into sound. Any number of variations in your touch affect the attack speed of each chord tone. Experiment with voicing in the next exercise, bringing out the moving voice, which changes from the top, to the middle, to the bottom note of the chord.

When you want to bring out a certain note within a chord, try using a gentle touch on the other chord notes. A gentle touch should slow the attack speed, bringing down their volume. Bring out top note 3 2 1 Bring out middle note 5 4 1 5 5 2 1 2 1 Bring out bottom note 5 4 5 4 1 19 1 Left hand: The challenge is to find a way to stay in a fluid cycle that allows some muscle release while keeping enough shape and tone to maintain a full, even sound.

Pulsing rhythms This first exercise in repeated chords gives you practice with both short and long articulation.

Keep your wrist high and loosely relaxed for the faster eighth-note chords, making room for a light bounce off the keyboard as you release the keys. Relax into the keys on the long quarter-note chords.

Playing Chords Without Tension Changing dynamics Now practice this same method while changing the dynamic range. Increase the volume with a quicker attack speed rather than by hitting the keys harder. Keep enough tone in your wrist for the faster chord repetition, and then release any muscle tension on the long chords. You can allow the melodic movement of the chords and the phrasing, indicated by the slur, to lead your hands and arms with a small, circular motion.

Match your movement to the rhythmic motion and dynamic shape of the music. Playing Chords Without Tension Chord and Melody Combination Exercises The next exercises give you practice with some of the most common ways chords are combined with melody.

Practice the cycle of tension and release with each exercise. The hands trade off with the melody and three-part chordal background.

Piano Exercises For Dummies Cheat Sheet

Bring out the melody and balance the chords to shade its natural shape. Practice balancing the softer left-hand chords under the melody, and use the rhythmic pattern in the left hand to practice your cycle of release. Let both hands shape the dynamics and phrasing, and add to the melodic and harmonic movement of the theme. Coordinate your cycle of tension and release with the rhythmic pattern of the chords, making light wrist bounces on beats one and four of each measure. You expand the movement of your hands and arms with scales of all kinds, up and down two octaves, handstogether, in parallel and contrary motion.

Fingerings for every scale help make them easy to master. You can make a selection of scales that fit your daily workout goals, or pick different scales on different days for variety. In this chapter, you sharpen your crossover and pass-under skills as you extend single-note runs into two-octave scales with your hands together.

Practical Exercises for Beginners, Op.599 (Czerny, Carl)

If you need to review passing under and crossing over, see Chapter 4. You can get a good workout here, with scales and fingering for all 12 major, harmonic minor, and melodic minor scales, plus diminished, chromatic, and blues scales. How does scale practice connect with playing good music? And for good reason, because so much of the music we love is based on these scales.

So these scales tend to loom large; many pianists even envision doom and horror at the thought of practicing scales up and down the keyboard for hours at a time. You can take a more practical, just-the-facts approach with the scales in this section. Follow the fingerings carefully, and feel free to play them slowly or hands-alone as you get started.

Including Your Arms and Body The Three Diminished Scales The diminished, or octatonic, scale is unique and fun to practice because of its symmetrical pattern. It also means you have only three diminished scales to learn. Here they are: Play all the black keys with your third finger. Use your thumb to play all white keys except C and F in your right hand, and E and B in your left hand.

Play these keys with your second finger. Start on C for this exercise. Including Your Arms and Body Because of their unusual groups of intervals, blues scales are excellent for improving your crossover and pass-under technique.

Extending Your Scales Gaining Greater Command of Scales One of the best ways to practice scales is to vary the articulation and rhythm as you practice. You can gain greater command and improve finger flexibility with variations that take you out of the usual routine.

Playing scales the same way, day after day, can get you practicing on autopilot, tuning out while your fingers go through the motions. To reinvigorate your scales, and reinforce fingering, change it up a bit by varying the articulation and rhythmic groupings. Stay with four-note patterns for all the scales so the pattern comes out evenly.

Here are some suggested exercises — try some on your own, too. Extending Your Scales Performance Piece: These exercises increase your hand and finger independence and improve your coordination.

The ultimate goal here is to integrate or combine multiple kinds of movement into one action. Instead, imagine walking while turning your head to watch a car go by, or stirring a pot while talking on the phone.

The key to these parallel and contrary motion exercises is to integrate the multiple movements into a single feeling. Normal scale fingering applies most of the time, but the music takes you away from these patterns. The key to good fingering is finding the most comfortable solution to fit the music. Including Your Arms and Body Parallel Movement at the Interval Now your hands are moving on a parallel track, either a sixth or a tenth apart, instead of an octave apart.

Try focusing on one hand at a time until you start to feel the integration kicking in. Even if you miss a few notes, focus your attention on one hand while the other rides along in parallel motion. Including Your Arms and Body Contrary Motion Away from the Center Contrary motion can be easier than parallel because the hands are playing symmetrical fingering patterns.

Still, keeping your eyes up on the notes on the page can be a challenge. Develop a habit of reading the music bottom to top, your left hand before the right. Dare to keep your eyes on the music, visualize the synchronized movement, and trust your hands to find their place on the keyboard. If sharing a key with both thumbs is awkward, let one rest on top of the other for the shared note.

It combines all the different types of movement covered in the chapter and provides a good fingering and coordination challenge. Parallel and Contrary Motion Performance Piece: Try to match the articulation and dynamics in both hands to help bring off the effect.

The piano is essentially a percussion instrument, meaning that it produces a pitch that has a quick attack when you strike a key and the hammer strikes the strings. But after you release the key, the damper returns to stop the string from vibrating, stopping the sound. Sustaining the sound is possible with the sustain pedal, which keeps the damper off the strings for you.

By using the pedal in a careful way, you gain a greater range of expression. Overuse of the pedal can have some big drawbacks — unintentional mixing of harmonies, blurring notes, and obscuring any articulation that should be clear. Your careful and attentive listening helps avoid these problems. This chapter gives you practice pedaling for a variety of purposes and helps you avoid overusing the pedal.

Pedaling Chords The two most common pedaling indications are shown in the following figure. These indications are always shown below the bass staff. Including Your Arms and Body or The notch in the line in the following figure indicates where to change the pedal, quickly clearing any sustained sound pedal up and resetting the sustain pedal down.

Changing the pedal requires careful attention to clearing the harmony cleanly and completely. Good pedaling is all a matter of timing and listening. Your goal is to train your ear to listen for a smooth transition and a clean change from note to note and chord to chord.

You need the sustain pedal down at this time. You have to wait to change the pedal so it happens simultaneously with playing the next chord, with only enough overlap to create a smooth connection between chords and a clean resetting of the pedal.

You want a seamless transition — no gap — as if you were simply singing one note to another. After you change the pedal and the previous chord clears, you can release the keys and let the pedal do its job. Check out the way your foot is positioned. Your heel should stay on the floor, and your toes can rest on the pedal. Some pedals require more weight and pressure, and foot size and power are all different. You can use your longer toes plus some of the ball of your foot to press down the pedal, but as always go for comfort and ease.

Your ankle is the hinge that allows your foot to move with the least amount of movement and effort. Chapter 9: See Chapter 1 for more on posture. The first two exercises use the same chord progression to practice the pedaling basics.

Broken-chord pedaling In this exercise, you change pedal on a single note. Including Your Arms and Body Block-chord pedaling In this exercise you change going from chord to chord and on any moving lines within the harmony. Listen for those smooth transitions! Try it with this bluesy melody. Including Your Arms and Body Varied pedal changes You can enhance your legato phrasing by pedaling even more frequently along the melodic line.

The pedal can smooth over wide jumps and the places you have to lift your hand to change position. Using the Damper Pedal Pedaling for Effect Use the sustain pedal for atmospheric effect sustaining notes in a line for a blurred effect or to help sustain a note or chord over several measures. Blurred lines and long sustains In this exercise, the pedal helps sustain the long notes in one hand while smoothing the melodic movement in the other hand. Combined with a soft dynamic, this technique helps create a misty, mysterious effect.

Including Your Arms and Body Sustaining as the hands leave the keyboard You can use the pedal to give notes their full value when you have to move your hands to a new position on the keyboard. This can also be a plus musically, because you can exaggerate the rhythms and the differences between the long and short articulations. Using the Damper Pedal Performance Piece: Notice how the pedal is up when the melody is in the left hand, where it may muddy the line, and down when the melody is in the upper register of the right hand, where the mild blurring adds a nice effect.

During the last three measures, you keep the pedal down to layer the G-major chord over the full range of the piano. Jumping registers, from low to high or high to low, is a potent tool that few other instruments can match.

The exercises in this chapter give you practice jumping from one note to another and from chord to chord, over both smaller and larger intervals. This chapter also gives you lots of practice with the most common left-hand patterns — a variety of bass-note-to-chord accompaniments essential to playing waltzes, rags, marches, and many other dance rhythms.

The exercises warm you up for the lively performance piece at the end of the chapter. The piece is a ragtime-style number that keeps both hands jumping.

Jumping and Landing Accuracy Skills The key to making good, accurate jumps is the same whether the jump is big or small: Maintain a comfortable, balanced hand position as you jump from the starting hand position across the keyboard to your landing destination. Jumping with an overextended pinky and your hand outstretched like the descent of a giant hawk upon its prey is very common.

Instead, the image you want to keep in mind is of a frog jumping from lily pad to lily pad. Your hands are two frogs. As they jump from one position to another, they should look the same before and after the jump. You can practice this skill with every exercise.

Including Your Arms and Body Note-to-note jumps In this first exercise, you simply try jumping from note to note. Visualize each jump before you make the move. Include the relaxed, frog-like shape of your hand, the arc it traces as it jumps, and the specific finger landing on its target key. Your hands should also have enough flexion to hold their position as they come down into the keys without collapsing in the joints.

Allow some flexibility in your wrists to absorb the weight as you play the chords. See Chapter 6 for more on playing chords. Jumping Across the Keyboard Mastering More Complicated Jumps The next two exercises increase the challenge level with greater hand independence, varied articulation, and faster hand position changes. Accents on the downbeat Here, your frogs get a springboard from the upbeat on beat four to the downbeat on beat one. Practice with a light upbeat and a well-accented downbeat.

Including Your Arms and Body Accents on the upbeat Now move the accent to the upbeat, with a light, springy downbeat. Jumping Across the Keyboard Jumping with Both Hands Together After you practice jumps with one hand, you can synchronize jumps in both hands — first matching movements in parallel motion and then mirroring the jumps in contrary motion.

Two-hand parallel motion jumps R. Setting a steady rhythm and laying down the harmonic foundation are often the jobs of your left hand, while your right hand handles the melodic duties.

You can exercise this vital function in the next four exercises. First, try it with the help of the sustain pedal for smoother accompaniment patterns. Lifting the pedal on the upbeats makes the rhythm distinctive. You get a full harmonic sound as well as a smooth jump with the pedal down for each measure.

So practicing without the pedal is good for keeping an even rhythm, matching articulation, and smooth movement. Moving quickly off the bass note and rushing up to the chord is tempting, but this action usually cuts the bass note short. Stay on the bass note a little longer than you think you should to give the rhythm and harmony a solid foundation.

Including Your Arms and Body Waltz pattern Let your right hand sing out the melody while the left hand accompanies it with a waltz pattern. Jumping Across the Keyboard Performance Piece: Give extra emphasis to these syncopated notes. You integrate many of the moves presented in previous sections, putting them together in a variety of melodic and harmonic settings.

You practice arpeggio and octave exercises and independent hand moves like passing a melody from hand to hand, crossing a hand over a hand, and playing at the extreme registers of the keyboard. You practice chord progressions and cadences in Chapter 14, and ornaments in Chapter 15, with examples and explanations that make it fun and easy. Chapter 16 is filled with rhythm exercises that challenge you to stay mentally ahead of your hands so you can conduct and coordinate all your moves.

A performance piece filled with arpeggios P laying broken-chord patterns, or arpeggios, on the piano is very satisfying. In addition to the beauty and speed they can give your playing, they lend a bit of the style from the guitar and harp.

These string instruments play broken chords and arpeggios naturally as their strings are strummed and swept. Practicing arpeggio patterns is excellent for improving several different technical areas: Your hand shape is open, with a wider span compared to five-finger position.

The interval jumps are the same moves you make when you play arpeggios, but the exercises give you practice with each interval separately, starting with thirds and then on to fourths and fifths. The fingerings in each exercise will guide your hand position changes, so take some time to map out the hand positions as you go through them. Playing Arpeggios The Arpeggiator The exercises in this section give you a workout with arpeggios on major, minor, diminished, and seventh chords.

You get simple up-down patterns as well as nonsequential and inverted chord patterns. Practice hands-alone to really focus on the individual arpeggios. For a challenge, practice these arpeggios with both staccato and legato articulation. This section gives you four patterns that are found in a wide range of styles. Alberti bass exercise The Alberti bass, named after the 18th-century Italian composer Domenico Alberti, is common in classical-style accompaniments.

The pattern is a simple re-ordering of the chord notes in an arpeggio. You might find it natural, and indeed comfortable, to rotate your forearm gently from the outside pinky-side to the inside thumb side as you play this pattern. Playing Arpeggios Guitar-style broken chord exercise Playing guitar-style arpeggio patterns often involves spreading the chord out over both hands to capture the wide range common in guitar chord voicing.

Try the pattern with the melody to W. Louis Blues. Playing Arpeggios Octave and extended broken chord exercise For a big, full piano sound, you can extend the arpeggio up to the octave and beyond in your accompaniment. The following extended pattern is a great exercise for the left hand. Integration and Independence Performance Piece: Get the feel of the chord progression by practicing each chord shape in both your hands before you play. Pianists typically love to show off, and what better way than an impressive display of handoffs and crossovers?

A handoff is achieved by passing a melodic line from one hand to the other. Typically your left hand will hand off an ascending line to your right hand, and vice versa.

Exercise N°1

A hand crossover, not to be confused with a finger crossover see Chapter 4 , is employed when you find it handy and impressive to cross one hand over the other to grab a note or a chord or two. Hand-to-Hand Scale Handoffs As you hand off the scale from hand to hand, you want a smooth transition.

And you should hear no noticeable change in dynamic or articulation. Some of these techniques look complicated written on the grand staff! Integration and Independence Scale handoff exercise 1 Prepare the hand position for both hands before you begin each phrase. Playing a smooth scale in one hand is easier if the other hand is waiting quietly in position to take over. Alternating Hands Scale handoff exercise 2 1 1 3 1 1 3 1 3 2 1 1 3 2 2 5 3 1 3 1 5 1 2 2 1 3 1 4 3 1 1 3 1 3 5 Hand-to-Hand Arpeggio Handoffs The same hand preparation from the previous section applies to the chord arpeggios: If you anticipate your hand positions before you move, your arpeggios will sound much better.

Aim for a smooth line throughout the arpeggio. Just like the exercises in legato phrasing, a bit of an overlap can really help connect the notes and bridge any gaps.

See Chapter 3 for more on legato phrasing. Integration and Independence Crossing Over As you incorporate more and more of your body, remember to check your posture and comfort at the keyboard. You may have to adjust the height of each wrist, with a high arch in the crossing hand and a lower wrist position for the hand underneath.

Crossing over with the right hand R. Alternating Hands Crossing over with the left hand L. Your hands should be in a nestled position, with some air space in between to allow independent movement. Play these gently, with a lightly rocking rhythm. Keep in mind that your weight support should come from your lower body — your sitting bones and legs — leaving your arms and hands free to move. Integration and Independence Full Keyboard Exercises These exercises move over four and five octaves, working with triad arpeggios, block-chord triads, and an exercise with seventh chords in arpeggio and block-chord combinations.

Start off slowly and increase your speed as you improve. Practice your hand movements on this exercise with your hands touching, but not playing, the keys. Alternating Hands Full keyboard triads 5 3 1 L. Integration and Independence Full keyboard seventh chords 4 2 1 R. Or be creative and use a different surface: Try this exercise with hands in motion. Octave practice is similar to chord playing see Chapter 6 because you use your entire hand as a single unit, in contrast to finger independence exercises.

Good octave technique combines an open but not overextended hand position with a confident, comfortable arm drop. Most of your attention is focused on the position of your pinky and thumb, the fingers that do most of the note playing. But you also look at how the rest of your hand helps out. The height of your wrist, the angle of the inside fingers, and your depth into the keyboard are all factors in improving octave technique. As you go through the exercises in this chapter, you apply octave position to scales, jumps, broken octaves, and chords.

Because every hand is a different size and shape, you need to be on the lookout for tension and overstretching. Take breaks to relieve tightness and fatigue. Opening Up to the Octave There is no single, best way for you to play octaves; what works for one can be different for others and is based on the size and shape of your hands and fingers. Download the free piano sheet music. Exercise N1 in C. Hanon piano method pdf : piano finger exercises in all keys.

A large collection of piano exercises and etudes in PDF format. Free downloads of exercises by Czerny, Hanon, Moscheles, and many other composers. The study of the piano is now-a-days so general, and good pianists are so. The fourth and fth ngers are almost useless for lack of special exercises for. Genre Categories, Exercises Studies For piano 2 more. Scores featuring the piano For 1. PDF scanned by Unknown Fbusoni PDF scanned by piupianissimo6 Mar Additional drills in note recognition make this a valuable aid in developing.

A simple plan of piano exercises for beginning pianists through advanced pianists. Add Review. There are no reviews fcc part 97 pdf file yet. Be the first one to write a review. I will be uploading a new exercise each. Elmo Peeler - Blues Exercise No.Trilling Thrills and Other Fancy Ornaments.

Limited Warranty. Include the relaxed, frog-like shape of your hand, the arc it traces as it jumps, and the specific finger landing on its target key. You can take a more practical, just-the-facts approach with the scales in this section. Keep your wrists up high, and lift your fingers up like spider legs, bringing them down evenly in twos.

A common misconception is that all ornaments have to be played very fast. He comments and relates the work to famous compositions and musicians while explaining the benefit of the exercise very simply. A gentle touch should slow the attack speed, bringing down their volume.

Spread your fingers into a comfortably wide span, palms down. Hold your hands out and slowly move them in circles.

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