IGRADE THREE I

MIC AE
AARON
P I NO COURSE

Especially designed to create student interest and

progress by combini.ng basic elements

of piano techni c with melody

correlated material

begin with

PERFORMANCE (11001 PF) ....... ... .page 5

THEORY (11002TH) ...................... ..page 5
TECHNIC (11001TC) .... ............... .... page 5

1946 (Renewed 1974) MILLS MUSIC, INC. Revised Edit.ion 1994 BEA M ME UP MUSIC (ASCAP)

AU Rights Admini stered by WARNER BROS. PUBLICAATIONS U.S. INC.

All Rights Reserved

CONTENTS

"VICTORY BELLS" (study in thirds) .................. .. ...

5

ARPEGGIO STUDy ............................................... .

"SINGING COWBOY" (study for Left Hand) ...... 6

SIGHTREADING .. ..... .. ................. .... .............. .... ....

AUGMENTED AND DIMINISHED TRIADS.. ..... ...... . 8

" BALLADE" - Burgmuller .... ..... .............................

"WATER LILIES" ..... .. ......................... ....... ... ............ 9

"COUNTRY DANCE" - Beethoven ......................

"AT THE RACES" (velocity study) Czerny ....... .... 10

"SPINNING SONG" - Ellmenrelch ......................

"IN MEXICO" (rhythm) ......... ... .... ................... ...... 11

"ETUDE IN D FLAT" (for Left Hand) .................... .

"ARIA" - Bach ............ " .. .... ......... ...... .... ......... .... .. 12

"APRIL SHOWER" - Burgmuller ................. .. ............

THE CADENCE AND CADENCE CHORDS ........ .. 14

"WALTZ OF THE FLOWERS" - Tchalkowsky .........

"OFF TO THE HUNT" (broken chords) .. .. ...... ..... .. 15

"ALLEGRO" - Haydn ...........................................

"WHEATLANDS" - Knipper ... ............................... 16

"PRELUDE" - Berens .... .. .......... .. ................. ....... ..

STUDY IN WRIST STACCATO - Duvernoy ............. 17

"CURIOUS STORY" - Heller .................................. -

"FOR ELISE" - Beethoven .. ... .......... .. .. ...... ........... .18

"HAPPY-GO-LUCKY" ... ......................................... -

TRILL STUDY - Czerny .............. ............. .. .... .. ........ 20

"MINUET IN G" - Beethoven ........................ ....... .::

REST TONES AND ACTIVE TONES................... .. ....21

"H UNGARIAN DANCE" - Brahms ............... ... ..... ==

"THE DONKEY" ............ ......... ...... .......... ..... ... ......... 22

MAJbR TONIC CHORD ARPEGGIOS ............ .....

"STUDY IN G MINOR" - Krause................ ...........24

MINOR TONIC CHORD ARPEGGIOS ..................

"NORWEGIAN VILLAGE DANCE" .... ...... .. ......... .. 25

MINOR SCALES AND MINOR TRIADS ..................'

"ELEGY" - Massenet ..... ... ....................................26

KEYBOARD HARMONy .................................... ....'

STUDY IN BROKEN CHORDS................... ...... ........28

DICTIONARY OF MUSICAL TERMS ................. " ...

"BUTTERFLY ETUDE" (octave study) - Chopln ... 29

CERTIFICATE .... .................................... ... ..... ........ ..

"TWO JUGGLERS" (chromatic study) ....... .. ....... 30

The double notes (3rds) in this study are splen

did practice for the development of the hand.
Fingers must be held finnly at first joints. Be
sure to sound both tones exactly together.

Victory Bells
Allegretto
5

MICHAEL AARO
5

II.

j
, .J

..

5
3

3 2
3
~1

;;;;;;:::::::::

marcato

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>

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5

II

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31 ______

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3

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31 _______

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....I

I. .J..

>

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~~

v _ .,""''

The notes in the bass clef of this piece fonn an

interesting etude in thumb crossings for the left
hand. For additional practice, the upper finger
ing may be used throughout as an extension
study,

Singing Cowboy
Vivace
1

"

...

...

i
5

...

--. .

Pin - to

on,

Ride

mf

5
3

5
3

*ride

I
on,

.
5 2 2

,.

..
-

... ...

Out

where

the

,.
1

~:

meets

plain

the

sky,

,
,

45

II

...

f.)

...

'"

on,

Ride

.'

...

Pin - to

ride

on,

2
1

17

Hap

J IOOJA

-2

...

...

..

py

and

care

.,'

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free

~'-

am

c-~

I.

c.I'

7
2 _____

11

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is

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I

2 _______

.
I

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on,

Pin

,
,

to

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old

the

trail

you.

with

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...

ride

on,

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where

the

plain

meets

the

...

on,

Pin

...

...

to

ride

on,

2
1

..p- ... ...

..

py

care

Hap

llOO3A

..

Ride
a tempo

Ride

sky ,

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tJ

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11

1 ____

rit.

,.,2

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new,

...

Out

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,

1\ _ 3

tJ

...

world's born

roam - mg

go

cresco

When

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i

o.

The

'"

row,

sor -

all

I, :
5

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... ...

Gone

2 _____

53
2
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1.

and

.'

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free

rit,

=6 -

am

I.

_=6

Augmented and Diminished Triads

The word AUGMENT means to enlarge or make larger.

Play the chord of C MAJOR

Enlarge by RAISING the 5th (G) a half step

and you have the chord of C AUGMENTED

The word DIMINISH means to make less or reduce in size.

Play the chord of C MINOR

Reduce the size by LOWERING the 5th (G) a half

step and you have the chord of C DIMINISHED

~
~

Here are some chord progressions containing AUGMENTED and DIMINISHED triads.

4jijgl~
Cmaj

4ij&ij lijij ~~Ir l r

Cdim

II

Amin

Gdim

II

II

Cmin

Gmaj

Cmaj

t&~ &&~ I!!~

Eroin

Groin

Triads of A minor Scale

(harmonic fonn)

~j
mm
I
1I003A

i Ii

dim

II

aug
III

j
min

IV

,I

,~

maj

maj

dim

VI

VII

~
min
I

II

Gmaj

II'

Try to locate the augmented chords in this

piece. This piece should be played with ex
pression.

Water Lilies

Andante espressivo
1

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5 -
5
2
L
4
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42

5
11

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-

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'2

~----------------~II~------------5
4
5
5
2
2
2
1
1
3
1~
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13

11
3

1
2

--"

51
A

4
1

bij -

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:t

rit.

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3
1

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4
4
5
1
5
A'--_ _ _ _ _ _ _ _ ___

5
3

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!ri

a tempo

..,
\

5
1

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1

3
A

'2
4
"'-___________________
5

1
5
A

rit.

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10

nl
Practice the right hand separately, one note to a count (l 2 3 etc.) until you are
certain of the notes. Increase speed gradually until you are able to playas triplets.

At the Races

1
2

-!...

8va- - --- - ------- -

- - - - : :: - ;_

2~

f
1

1
3

mf

1
3

II OO3A

1
2

3
5

In Mexican and South American music, rhythm

is very important. Play this piece with a "bounc
ing" rhythmical swing.

In Mexico
AUegretto
3
2..-::-.._

-.-

/
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>

1
2

4t

mf

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1
2

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2

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2

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mf
1

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3

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12

~'A'
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if!. (

This lovely aria by 1. S, Bach has a spiritual

quality which lifts it high above ordinary music .
Try to express the feeling of joy and exaltation
when playing this composition.

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Bach (at the piano) and his family

Aria
JOHANN SEBASTIAN BACH
(B . 1685 - D, 1750)
arr, by Michael Aaron

Andantino espr:...:e:s::si:.,:v;:o:-__________

3, ----

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poco rit.
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till
5

--4

--.
5

14

The Cadence and Cadence Chords

A CADENCE is a point of repose or rest at the close of a musical sentence. To form
a CADENCE we use the TONIC. DOMINANT and SUB-DOMINANT chords.

EXAMPLE : Play "Off to the Hunt" on the following page and notice how the last
two chords of the piece, (V7 to 1) give you the "feeling" of a completed musical
sentence.

Cadence Chords
f1

...,

tonic

dom.

tonic

tonic

sub
dom.

,.

"
tonic

tonic

) ..

tonic sub tonic dom .7 tonic

dom.

...

-i
tonic

~
0
0

sub
dom.

tonic

V7

--_ . -

IV

...

-i
-i
t
tonic sub tonic dom.
dom.

-&

tonic

f
IV

...,

I""

I .

IV

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f1

tonic sub tonic dom.7 tonic

dom .
.1

IV

I
,

llOO3A

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0

0
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IV

tonic

11

-i
t
tonic dom.

tonic sub tonic dom.

dom.

tonic

II

sub
dom.

IV

tonic

"

tonic

dom.

I ...,

...,

I
tonic

..

IV

II

tonic sub tonic dom.

dom.

tonic

IV

V7

-&
-i ... -i t
tonic sub toruc dorn.7 tonic
dorn.
I
0

IV

V7

Notice the contraction of the hand when playing

from C to E in the fust measure. The practice of
broken chords will develop "elasticity" of the
hand, so essential to good piano technic.

Off to the Hunt

Allegro con brio

1

I ~

..2.

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j,

3~

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...

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V7

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t..

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3
5

:..---- "3

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5

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2
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a(

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II

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2
5

a(

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....".
7

11.

-=

.
.

16

Interpretation in music means expressing the

mood of the composition. This particular piece
is distinctly Russian in flavor and should be
played with expression.

Wheatlands

KNlPPER
,. Moderato espressivo

Tr-:

3[

51

61 .~
31
5

1~ 1

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mf

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,........,
5

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dim.

1
2

.-

1
2

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5 --------

51

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mp
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5

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FP rit.
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4

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51

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t:I.

17

Study in Wrist Staccato

Play with a m ther high wrist and a

light bounding wrist action.

DUVERNOY

Allegretto

"':'

"':'

5
1

"
..,

.
t .

1~

4
2

4
2

;.

...

'":'

.
4

4
2

P ieggiero

1\

5
1

.:.

.:.

4
2

~~

..,

4
2

4
2

!: !: !:

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5

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5

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5
1

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. . . ..
5

.:. .:. .:. .:.

4
1

* ..

1l003A

. . . ... .

>

4
2

::>

1.....1

1\

I"'--

'L

;,.~

~~~~
1

tiL . . . .
2
4

.........
1

dim. e rit.
~~ ~~
1

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1

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18

Try to "match" your tones from note to note in

order to obtain a smooth, even effect. Observe
expression marks carefully, and strjve for a
steady graduation of tone in crescendos and
decrescendos.

Beethoven at the piano

Fiir Elise

LUDWIG V AN BEETHOVEN
(B. 1770-D. 1827)
arr. by Michael Aaron

Poco moto

"

4
5'-----:- >

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5
A'--____________----'

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4
1 .________ /

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20
To obtain an even tri ll, try to "match" each tone. Practice at three different speeds.
First as quarter notes; second as eighth notes; third as sixteenth notes (as written).

Trill Study

Allegretto

CZERNY

=
1

1
3

5
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61

61

.:>

61

61

61

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6I ~ 6I~6I

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61

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5

1
3
5

8va - - - - - - - - - - - - - - - - - - - - 1
1

1
2

ll003A

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61

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2

323

1
3

1
2

Rest Tones and Active Tones

All music is composed of tones of the scale, and it is im

portant to understand something of the quality of each tone
in relation to the others.

REST TONES

J
do

Degrees of Scale 1st

j j
mi
3rd

sol

do

5th

8th

The first, third, fi fth and eighth degrees of the scale are
called REST TONES because a melody or musical compo
sition may end, or rest on any of these tones.

ACTIVE TONES

J J J
fa
4th

re
Degrees of Scale 2nd

La

ti
7th

6th

The second, fourth, sixth and seventh degrees of the scale

are called ACTIVE TONES because they have a restless
quality and progress or resolve to the nearest REST TONE.

Active Rest
Tone Tone

Jre J
do
2nd to 1st

Active Rest
Tone Tone

J j
re
mi
2nd to 3rd

Active Rest
Tone Tone

fa
mi
4th to 3rd

Active Rest
Tone Tone

Active Rest
Tone Tone

J j
La

soL

ti
do
7th to 8th

6th to 5th

Find the ACTIVE and REST TONES in the following progressions.

w w
llOO3A

~ ~

1 -

Pieces written in meter are usually played at a

fairly rapid tempo. Be sure to practice slowly at
first, accenting the 1st and 4th beats.

The Donkey

Allegretto

ft..it

4";

.---""""'

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--

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mp

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II003A

----.-/

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...

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2.....-

<

f,

1
2

Ii.it

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1..1""\

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mf

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-.....-'

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1'1' \

'J!.1

..01

1:

24

This is a splendid study for the contraction of the hand.

Practice this etude daily to develop flexibility of the hand.

Study in G minor

Allegretto
fl

~3

-.J

---

II!"

-~

-----

21-----1

"

II!"

.'1

.,.

t--

"

KRAUSE
~
"' ~

II!"

-----

------

/ ~~~~~I~~3~1~2~~3~'~2~3~~~~~~~~~~3
'
2 ~.~E3~'~~~~
~~~~
~
~~~~
~~~~2~~~~~~
~ 1~
~~~~~3
1 2
~

) -.J

~~-

cresco poco a poco

.1

,,_____

1\

I~

.J
>

-----

l .
.
l lOO3A

II!"

.,

II!"

~.

r--:-

--I

II!"

p
/

2'

l'

"-

crescopoco a poco

) -.J

3_
2
-

----

r--;.

~
c.
:

poco rit.
I

13

11

"':'

..=

The open fifth in the bass is characteristic of

Norwegian folk music and should be played
with well-marked rhythm.

Norwegian Village Dance

Allegretto

A"oIt

~-

-.J

5
3

- ... ... ...

p marcato

..

.. .... .
1

3-

4
1

...

5,

"1

1"

"1

1~

...... . .. .. ..

....

,L

"

-&

"2

"1

l l003A

2'
1

5
1

1
5

5
4

1
5

5
1

5
1

26

JULES MASSENET (h. 1842 - d. 1912)

Massenet's achievements can be summed up in three words: Concentration, Industry
and System. Born in Montaud, France, his family moved to Paris when he was
eleven, in order that he might study at the famous Paris Conservatoire. At the age of
twenty-one, he won the "Prix de Rome." During the eighteen years be taught at the
Conservatoire, he still managed to compose over a dozen operas, despite his heavy
teaching schedule. Asked when he found time to accomplish so much, Massenet re
plied, "When you sleep!"

Elegy

An "elegie" is a funeral song or requiem and should be played in a sad

and expressive mood. Bring out the melody which lies in the left hand.
MASSENET
arr. by Michael Aaron

Moderato con espressivo

I

II.iIo

mpm~~to

--

--

it(rjt
1

...

--.

lfI

2
1

4
3

"-----.J

ifCYt

53

"~I

5
3

-- ~

-... ...

--

2
1

~~:'l fTt
5

...

3
2

-- --

2
1

L -_ _ _ _ "-----.J

=--

53

""---1

""

1\.iIo

...

4
2

T il

... ...

IC1iJQi
~1

>

--.

--q

2
1

~
3

5 '---"

I JOO3A

27

.,5

3
I

II ..

---.r

accelerando

\~
I

-
#

-.

;;;

~~

~--------~

~~

'"

.)

... ... ... ... ... ...

~~

""

5
2
1

- -

.ft

rit. e dim.

3
2

p a tempo

" . c'"'
~'

---

it

it

<

"

4
2

A"

_. 1*"

>

5
2

..

4
1

,-

5 3

.--.......

,-

...

L -_ _ _ _ _ _ _ _ _ _~

"'1

..---...

2
~
5
L -_ _ _ _ _ _ _ _~~ 1

--"'"

-.l::

I\. Jj,

~t

tJ

ml

r~

poco aceel.

>

>

r?

~..,!!j
~_ _ _-,I
1
5

15

2
1

..
2

;;:>

~_

poeo rit.

r=

.=,

______'

~-

>

>
3

1\

1\

,....

...
dim.

III 2

pp

. -......

>

L -_ _ _ _ _ _ _ _ _ _~A~______________~

.
~

'4

II

II

1':\

s--'3

tL

"""'!!

[5 2 1

1l 003A

L_______--'

---.:.I.h.
/~ 2 1

~.

r--

Is

L -_ _ _ _ _ _~AL

p Lento

f ~.
'-'"

1 3

r~ 7 ~ 7 , 7

54

-----......

f~

--..

~ Jj,

... ... ... ...

.,
rit.

28
Make th is study part of your daily practice in order to
develop the extensor muscles of the hand.

Study in Broken Chords

Allegretto
2

"

.;

""""""T

- ~

45

".-0:.

~ ~

.......

mf

..
-

1
J

"

) .;
)

;;l

"

.....

2 4

r"""T I

"

\~

5
4

<:

v~

5
3

"- "

I"'"" T

I:

..,

11

Yi

' -&

45
11

1 "5

"

I"'""

..

....

..

'\

1
1

~.;

~~

~
5

1 "5

4'" ":;

""""""T

--.,.~

-.,.

--

l~.

_-9'

.
.;

.,

..

,...-]"

"

I
2

FREDERIC CHOPIN (b. 1809 - d. 1849)

Although Chopin was not very robust, and was handicapped a great deal of his life
by illness. he still managed to compose a tremendous amount of wonderful piano
music. His Preludes, Etudes, Waltzes, Polonaises and Scherzos contain the poetic
charm, delicacy and strength which characterizes all of his music.
No piano recital would be quite complete without the inclusion of some music by
this great master, who has often been referred to as "The Poet of the Piano."

Butterfly Etude
(Study in Octaves)
This is a splendid octave study and should be practiced daily.

Play lightly with a rather hi gh and flexible wrist action.

(4 )

V'

CHOPIN
arr. by Michael Aaron

/el-r

p leggiero

~,jf

'--_ _ _---', 2

'--_ _ _~'2

)~ r
)

..;.

..;.

/i"

1I.if

~ -~

'If

~--

~ ~~

;.

~~

;..

tJ

'--_ _ _ _-', 2

fI\ ..

f:\

.."..-.

-.,.

-~

~
~

"T.
{ I ~'

I l003A

--

'"

it

----'J 3

L---_ _ _

[2

....---~

~
+
+-

30

The chromatic scales in this piece demand a

light relaxed thumb action. Practice slowly and
evenly until a smooth effect is attained.

Two Jugglers

AUegretto
1

"

,.
J ..

.!.

~~

4
_' 2

l'

_' 1

_ ' 1

mp
I

1Ij1 1,

~~

jlll

aft

t, .
2

11

..
5

llOO3A

"

J,j. "

....

.,..

) .;
J

..

....

,
....

31
3

..

----i

sfo
1

) .; I

"

.. "

,.

.,..

l'

.J '

,J '

~.

) -.J

511

sfi
I

,
2

II

.=. .. ~

I. .,..

~ .:;;.

fK-

)r

11

$.

fr

J
..

llOO3A

I'

51

l'

1\

j
3

-1'1"

S~

~ 1'r1

it.: jJ----

ril.

--.

=::::::----..

I:

32
After this study has been mastered, practice arpeggios in other keys.

See page 58 for arpeggios in all keys.

Arpeggio Study
Practice hands separately

.
,
)

tJ

,
,

*
P e legato

..

)
)

...

.. r

_1*-...

,,. .
~

4
5

llOO3A

..

...
4

-,

!: :

3u

2
"'

..
4

4
5

..

-&

-&

e:

3
T

2
1

...
4

"

.. r

...

-&

.
-

-&

*
..L

-&

-&

5
1

.1

*
I

.1*-.
2

.-

...

"

..
4

~
5

Sight Reading
In order to become a good sight reader, one should develop
the habit of reading notes in groups, rather than singly.

EXAMPLES

~ FJ J 1]

or

,: -r r4' F
(

;J

The above groups of notes are composed of LINE NOTES and SPACE NOTES in succession.

DO NOT READ C-D-E-F-G

DO READ Five notes moving UP the keyboard (to your right) starting on C.

EXAMPLES

~ j

J J

or

,: L j J7

The above group is composed of three SPACE NOTES in succession, and three LINE NOTES

in succession.

This means you will bave to skip two lines, or two spaces.

DO NOT READ F-A-C

DO READ Three notes moving UP the keyboard, starting on F with two skips.

Cultivating this habit of GROUP READ lNG, rather than the note by note approach, will not
only improve your SIGHT READ lNG, but will also improve your piano playing. All musical
ideas are composed of NOTE GROUPS in various forms, sometimes referred to as MOTIVES
or MUSICAL PATTERNS.

llOO3A

A "Ballad,," is a story in musical form. Try to picture a woodland scene in which elves
and woodland sprites are dancing. The rumbling of thunder imitated in the bass clef
warns of an approaching storm. The sprites hide but return when the storm ends. They
continue their dancing only to be interrupted once more. In the final measures you can
feel the gradual subsiding of the storm, ending with a lightning crash.

Ballade

BURGMULLER
arr. by Michael Aaron

Allegro con brio

5
3
1

'"

)~

~~~

~~~

~~~

...

...

4
3
1

1~

3
1_

5
1

!. !.

sf
~

~ ~ ~

"~ ~ ~

~ ~ ~

eJ

.-

r--

...

sf

~~

"~ ~ ~

, ,

--.

cresco

,1

...,.

",

1
4

...H

"':

-*!

b~

f:\
...H

1
4

5
1

"

--~

~- '

1 ---

1"

...
4

".
I

eJ

P dolce

, ,

, ,

-...Ji

, ,

, ,

.
"":-

"

p misterioso

p
fII.. fII..

~~

fII

fII..

,.

,. ,.

fII..

fII.. fI

1
3

,,

"l ....

~f*"

---------

..

e:::::::::

-:::::::::::.2

poco rit.

H--a
1
2

J J003A

...

!-.

'-J

animato

C:

~ ~

4!

1\

31

I
I

..

( I

31

........

cresco

= t I

-""
........

J
~

'"

,J

if

I
I

31

--

5
3

--..
rit. e dim.

--

~~~

~~~

-,

~2

4
4
3

"

I tJ
,

..

"~

sf

.--

sf

..

L.

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r-

. --

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cresco

,1

, ,

, ,

, ,

,......,

--;

"

...

, ..

5
3

, ,

-, ,

---, ,

"""--"

l...-I

.5

'I

J\

1
2

'I

>~

'

>

>

-I

-:.4:--------------i

8va - - - 1

1:\

dim.

sf
1:\

1l003A

36

This piece is one of the most popular in a group

of Classical Period country dances composed by .
the great master, Beethoven. It should be played
lightly.

Country Dance

....I

I -&:
.J

..

LUDWIG V AN BEETHOVEN
(B . 1770 - D. 1827)
arr. by Michael Aaron

Allegro con brio

"P
>

~.
~.

7'

" .. it

.J

.
2

4-.:!,

-----

'rl

.It

"

f,

--;

" ~ -It
)

~>

4l

..

>

'!"

'-..l!:

.
>

'!"

>

3 ______
2
3

'!"

'-l!:.

>

..

>

>

II

IIOO3A

'!"

'I!'

p
~

3.
'1 ':

l'I~i~

) eJ

.. .. ....

5_

-----

..

.. .. ..

1'1 ~

-It

'-"""'>

I
I

~-

>

(I~#bl

>

>

1!'

,- .
4

1 eJ

.--. . . . -
1

...........

cresco

) .
I

Eft Elf

_ =---

I
,

.,
U1

2-4

3 ~

-.....j!

>

-r!

>

5~

~ I~=

iiJ il ;j

--

>

l'

~-

>

--

>
.it

>

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IV

Q] I ~
5

32

..

>

cresco

'.'

mp
>
2 -4

......

.'-..:..
2

~1t

.,

"

( ~.
f

>

L'

'-1

>
4

, ...,

,,~j

.
I .
\

....
-1

I IOO3A

>------

..
f

..
4

I
-

"

..

sfo

....

38

This composition is composed almost entirely of one leading motive or musical pattern:

nTInln

Spinning Song
Allegretto

11

ELLMENREICH

I
tJ

~"'''''-4f
~>' . . .~ -4f
-....
--

mp

..1

~v

~~

> 'r"

'.

-....

:;J. ." .. .."tJf

"

"':'

5
3

'-

>

11 2.

11.

"
::>

"':'

p cresco

>

-...

......

~." .. :J' ~'-'

~rb;r

"':'

poco rit.

P atempo

--..
;:)0,.

tJ

- -

...

...

p marcato it canto

"

..

~.
:..L'

.,

..

~"...-.....

.. ..
- :--

---

'-..

.,

-~

...

~.

3
2

>:
#'

--

.,.,--. --.
~

.L

2
llOO3A

3 -5

4
3

- -

1'

t----.

..

....

2
5
3

.,

., ., ., .,

., ., ., .,
;;:

~
3 -5

.. y.

3
1

3
2

fl

3 5

3-5

39

"' , "

..

>

c ~.

3
2

1\

l"'"

..

I~ '"

t--.

;:;::r

>

-r-

..

~3

.. .- .- [P

cresco

ll ~

~ ~

......

3 5

)~
I

>

-.....::.

>
r

Iii;!

>

3_

-.....::.

#t -a- -a

~~ .,...

,./

#t

h-J .. .

~.

i'I ~~

.'M

fO{

II

5
1

..

..,

4
1

31

~
.

~~ 4,- ",4

cresco

#t -a--a

h-f f .

3~

~~
"'''. '*!

1.:,,
;:;1 ~1
''''::

3
~

2
1

1\

, ..,

5
3

4
2

4
2

>

>

~ _~

poco ril.

11 2.

,~

p cresco

11.

5
3

3
1

j~

)-.J

~.".'*!
~

'1:::; l1 ~t ~

FU r'~lJ

nt. e Ifn.

ll OO3A

1
2

_:tS

./

_.

./

40
A well-developed left hand is essential if you wish to be a good pianist. How often
do you hear the following, "I can play with my right band but can't seem to do any
thing with my left." The answer is more studies for the left hand; ''Practice makes
perfect."

Etude in E Flat

Allegro

(19 \ i ~:J
1

II

f
..

-1

;::::==?2

J)
3

7)

,.

..

...
5

4
2,

L-3~

..
5

11

cresco

..

---3

TT.

( rl E [J i )

<I

4
2,

-~

llOO3A

>----

2 zzl3

II

----t

J
I

>- -

-.
5

,.

~I ~

,.

,.

=-:g l -~

3_

MICHAEL AARON

lasa

...

41

~ ~ I'!z

J;>
1

T1

---

mf

1"""""""""

{'

II

",-;~ Ir
1 --

4
2

1~

psi "

>

II

r~ ~ ~ E;;t E ~J ~ ~ ::::t.. Ii~ ~ ~ E;;t E ~J

' #~ IJ

L-3---.J

II

...
5

>

-'

LiiUII

..

--

---

- -

...
5

l lOO3A

..
5

eJ

dim.

..
5

-6
5

40
A well-developed left hand is essential if you wish to be a good pianist. How often
do you hear the following, "I can play with my right hand but can' t seem to do any
thing with my left." The answer is more studies for the left hand; "Practice makes
perfect."

Etude in E Flat
Allegro
~

4
2

3
1

MICHAEL AARON

4
2

i~"~J~~;~=-----------~~~~~"':'~~~L-~3~~~~-~
~~~~~-rJ~~~~~
)

\~~~~~~~5~~3~2~~~3~~2~~~2~3~~~2~~3~~~~5~~3~;2~~~~~~~~~~~~~~
3

I'&~~;gg=

3ifU

l~h~11 J ~ c rJ
5

E FJ

11

?J~

L-3-.J

OJ

!
3

'OJ5

--

IIOO3A

11

cresco

."..

>--
...

t~ q Iu Q C rJ E FJ ~~ ~ I

2.

...
5

41

_ _ _ 24
~

~ ...

..

mf

1-3~

. .
~

( -&1'
~

. .
~

-.

>

-<iIIII

-"..-,..

:;:.a.'

..1.

4
2

m~'
3

'I

lasa

-- --

--

,
I

..

..
..
5

1I003A

-.

4
2

dim.

>

L-3----.J

..
5

.g
5

42

The practice of changing fingers on repeated

notes is very helpful in developing sensitivity
and control at the finger tips. Practice very
slowly at first and gradually increase the tempo,
playing lightly.

April Shower
(Study in Repeated Notes)

BURGMULLER
arr. by Michael Aan m

Allegretto

.
p

i~

1-:.;

3
~

-- ..

11

-- -r

.,.
2

.
. .

...

..

.,.
1

1
3
5

3~

..

5 -
~

..

I
cresco

llOO3A

J ~

I .

b:

;..

IF

43

Ii

I
.;

'"::

,~

. ,.. ,..

---

P leggiero

..

2-

.J

cresco

-5

,..

..

-, ,..

3~

l '

>

dim.
-.I.

>

3~

;.

a}

-,

---

'-

. '." ,..

,.. ,..

2~

. ,.. ,.. .. .

2 ..

--

-~

'"

:>

'1

3~'

"

..

..

......

,.. ,.. ..

2~

~3

I-

.,

, '\ _'1
J

21

5----..

-It

.. ..

...

,:

3./""2

'\

\~
I
,

;.

'"

Ii

b-Ii

.. "

.~

~:
....1

3~2

- ,

--::

- -

1""

>

~
l""

......

.J

poco rit.

cresco

~:

.:

.:.

.
>

llOO3A

44

PETER TCHAIKOWSKY (b. 1840 - d. 1893)

Tchaikowsky, the great Russian compo er, was originally a graduate of law.
However, his love for music was great and he devoted himself entirely to com
posing. His music can best be described as sad, melancholy and soulful. He com
posed six symphonies and several piano concertos, the most popular of which are
the Sixth Symphony and the Piano Concerto in B Flat Minor. The delightful
"Nutcracker Suite," althougb written in one of his rare lighter moods, is a con
stant favorite among music lovers.

Waltz of the Flowers

TCHAIKOWSKY
arr. by Michael Aaron

Allegretto
J

~---.

p
..;.

..;.

5_ 4

JJ,

JJ,

)~

~.~.-

..

21

~.

sT---

-.....

~Y*

loft-

>

3---

1
2

1
2

>

15

3C '

till'

-====
-

------.

===

yl

3~

~
~-

&j

.....

---

31

- =- -

.......

----

I 1003A

"-JJ,
.;

h. ..

1~

crescopoco a poco

- = r

/"'"-

.."..---

..;.

2 __
4

~- 1I~~

..;.

31

"

124

1\ JJ,

-I

'4

11 &j
1

&j
I

l1J

>

ll olf

( T"'"
- 4f

--- -

=-

~.

~T'

,r

~
5

>

~
5

I"

~ -.J

II.

.. .

ojt.

-----

.ojt.

cresco pOCO a poco

P
I

-......

oIf_ -

=
5

...,

..".,...

rit.

..
=

IV

#Jt

4,

..

tJ

45

l~

II.jj.

--

---2

~---

-------

-.J

>

:.t -.

-.J

,
,

5::::-

..

4~~ :.--~.~.
2

Vivo

5
2

..

1
4

'

-'

..............

.
.
3

15

lento
11.110

..

.~.

t:\

-'

pp
t:\

1*-

2 '" .---....../,

-~

..

46

FRANZ JOSEPH HA YDN (b. 1732 - d. 1809)

Haydn, affectionately referred to as "Papa Haydn," was from a large family of
twelve children. Although his parents were quite poor, he managed to get a mu
sical education and later was fortunate enough to have the patronage of the Ester
Mzys, which enabled him to do a tremendous amount of composing. A teacher of
Beethoven and Mozart, he also enjoys the distinction of being one of the wor1d's
great composers. His "Surprise Symphony" and many shorter works are full of
charm and humor.

Allegro
1\

.:..

-:

.,.

.:..

HAYDN
arr. by Michael Aaron

...:.

+-

f=

f-

.,.

~
.,.fL.,.
.:.

5.

..,
mf
1\

..,

1~

2
5

3
5

5
5
3
1~

1\

~ ~..,

' - 1----

.;.

/-

I!

tI!

".,- ;

II!

..

;!

"*f

'--"

...:.

-3

t--

'tl!

sfo

1\

2
/

'I!

sfo

5
3

r'
"

'--"

"'-

l...-

,~

~
~

"

iii.

...:.
5

iii.

;.

.;.

jL

---...'

~
~

-.J

2-

-..

(L

:.

3
./

...,

I:

...
1
3

~2
~
--'ii

~
,,~

.-

:..J..

r--:

rt

r--.

--- .

_.

'I"'"

~1

..

;.

) e

1\

"':'

-.J

..

"':'

1\ '

..:.

..,;.

it

...:.

"':'

r_

-_

r-r-_

.
.,.

.,... ---

-.J

.---

cresco

"
eJ

rt

..

V-

--...

1... ~-

'7

I"".oooIi

~-

, -.J

.;

1I003A

~.

f!:

~ r--;.
4

"

-----

'-- ~

3........-

""

...

cresco

..

..

it

231

"':'

T
4

"

f
~

~ . -

3~

2
3

:J

1\ --- ..

4
2 ,....."

mf

( ~

fL

3
5

-~

) e

1~
3

I-

If
~

::;;

~ ~

48
Study the chords on this page very carefully. They are
repeated on the next page in broken fOnTI.

Prelude

Moderato

"

5
3
2
1

5
4
2

BERENS
5

5
3

:3

c:;,.

,jj.

I ..

-6

mf
I
I

"I...._ _ _ _ ~,

I5

~.~

~"

"----

Ped. simile

5
3

" .Ilo

~~

) tJ

___

...

c;;

GO

:3

-J

-J
-.J

c:;

, r?

5
"

,jj.

-.J

5
4

-6

19

,3

:3

1.l

:I

GO

4,

<

"

"

Jj.

:lA
~

..;

-97

I
~

f~

----l

IIOO3A

49

,,~

:>

..

1 2 ~

1 23

1 2!

-.

...

...

'\III

1 2 3

I\,~

...

...

1~

-----

--...

123

1 2 3

-~

1 2 3

1 2 3

.~

I
j

-----

... ,:;

-';.

...
..

II~

1~

2 3

1 2 ~

---------- --------

1 2

2-

.i

...

-------

.~

...

~ J

------- ------- '-------

...~ ..,.

, tJ

2.

.;.......~

.~

. ..

....

..

5
,2 4

'~

11.110

1 24

----

I
tJ

;t-*~

1 2 4

----------

"7

2 3

~";.

-------

1I~

t.I

"

1 2 4

y .

'\III

.;.

1 2 4

------- ------- -------

I\,~

------- ------- -------

..,.
...,
- .., .
mp~
-~

t1

1 2 4

123

...

---- ----

.. .

. ..

. ...

2 3

11

71
5

...5

llOO3A

This favorite composition by Stephen Heller re

quires a crisp staccato touch and a well-defined
rhythmic accent.

Curious Story

Molto vivace
1\

.;

---

L-- 3 -----.J

--- "

..

y~ ~ ~

/I

:i

...

"-... ~
:;;;;

HELLER

..

3
1

"-.:

mf

~2

4--."

....oil!

1--'"
f
I /I ~

L-..- 3----1

r'\

...:.

.:..

--'IIl'I

'~

>

1
3
5

~.

,,-.....

/I

tJ

mf

- >
;;. ?

;;~ .

5
4
1

4_1

t-T" __~

t- "l1'"""

t- 1"""

2~ .
I .

;..~! ~~
,

f-====

tJ
Il003A

'":'

-<

1/

'\

1'1

".,

--2

r--.

..

mf

t:Jl;
J ] !h
.
.

7"

IL

..--.....

r;

1........5

-.!L

'"

i" ' ' ' i.... -It ..

..~~
=

..M

:3

---

r;

r;

-'

r;

5
1~

43
>-

'""

-~

cresco

"':

~5

~'
mf

:h

1~

r.h.~

~.
--T.

5_

I
I

..

>

-:v

~
p

2
4

dim.

>

tf4 ~

tf4 ~

1
2

1'1

----

'0

--

it

.
""'-

4_ 1

...

....

I
I

"

..

eJ

1
2

3
5

"

,."

3
1

.:.

-------
-.J

5
1"-';'

llOO3A

'

"

, +-+-F F :iF.,... :i"'" .. .'"1

.
-

'0

-
3

""'-

~.
..:..

..

fT

"

,it

t- t- t

"

52
misterioso

1 tJ

----

II

P poco rit.

..

4f1"'
~

Ii-

::>

4 ,...",.

>

,
)

tt

2
~
--------

...

agitato

PF.i >

3_

W1

a tempo
Lh.

-I

~
i.h.

l.h.

C ~ ' t. J
..,. '.Lh.!?'""I

8ft

I, "

I Lh.!?'""I

8ft

I lh.!?'""I

I<f

1 ,-....

I ~.

If

I ~~

If
I>
I

1 5?\'1

/1
3

I2

~~

~~ t=~,.1

:3

~ 3 2

2 .!~ .

2 3

---

>

r1

~
<

tt

l.k

rit.

it~
I.h.

>

Vivo

3r-r--,

11

n----- n

) tJ

8ft

If >

'I~

tt

II

'W1

4. ~mm J~

I>

(,'i)'

tt

4~

JJ

I,, "

11

l:

!I

,-

3~

4t-~ - ~ -

tJ

'"

4,...",.

"I ,,~

p molto rit.

<

eJ

F'r.l > -

'*f
5

~~

...
>

--

m1Jl 12~
:>

V
:>

t'

:>

IIOO3A

--

53
The name of this piece is the key to its interpretation. Study
the bass chords carefully before playing hands together.

Happy-Go-Lucky

Allegretto 5

11

.'

I .,.

.
..

'

,/

:!

- _.'

,.....

'/

. ,.....

I
~

:!

r.o.

U'
-..:J

) lOO3A

54

In order to connect the double notes in this

composition. it is necessary to observe the cor
rect fingering. Play in a graceful manner and
with much expression.

Minuet in G
LUDWIG V AN BEETHOVEN
(B. 177O-D. 1827)

Moderato
4

-5
i~
3

/ ",Ij.

.)
\

4
4
2

24

.........,; -....;; --=

..

---

'5

..

.....

II

3~

I--

12

-:;;;

"II'

-===

11

1~

1~ i

5,

,..

,, ~

5
3

..

4
2

-----I

...----:-

.-...-/

mf

-~

1---_

-.l

,..
1

~ ~

.-

543

-!-

d.
3
_ _ _ _-.J

LI

......

~ ~ ~

ll003A

sf.

mf

.4

>~
-

3
" r

-,;.

41-

55

1'1 Mo

.J

- - -.. ; .... .. _.
1

-. . . . . .

2_'

...

..:::

TRIO

~ Mo ~

..

Co

,.

-
,2

--

----

.--

--

--.........

.,,--..
I

--

----

,------..

<

'!'

4~

--..

~
4

--

..
JR

mf
~~ ~

15

5 ____

"

>

>

~ b,'

4~

>

<

II

r----..

l~

.
tJ

+f*~ ~

1\ Mo

Fine

L --J

41!'

...

"'

'I

'"

.. ' - I,"

, 9,

..

'111

dim.

L--J

L--J

112.

11.

sfo

2_

~0

_ . ~_
2

;>

> ------
;>

2454

D.C. al F;n~
/

1'1 Mo

.J

5
3.___..

)
,

.-

T I

llOO3A

---==

___ 11.,

.-

"---

p poco rit.
~

'I

====-
J--;j)

112. ,

--

.. .

====

J--;j)
a.

1
4

56

Tbi s Hungarian dance by Brahms is a good ex

ample of Gypsy Folk music. It is to be played
with much spirit, strong rhythm and feeling.

Hungarian Dance
Allegro

,,
,

JOHANNES BRAHMS
(B. 1833 - D. 1897)
arr. by Michael Aaron

1\.If

t!:

.;

-t r
f

51

tJ.

".-

.-:-

::::,;.

r:

sfo

sfo

sfo

.
I .

:4j

r
sfo
.

"J .If

it

..

-
.'

---.,

r:

-9

sfo

-.JJv~ ~

..

,
3

~~

:4j

"'.If

1..
J

t!:

~.

19-

>

>

~
3

lIOO3A

1
2

>

,r&
3

1
2

Ii
5

>

~
I""

-7

I\. ...

o!t~1

"

..........

;:I

~
&I

sf

-
1

=
~

--2-

~1

,.

~---./

--

:?-

1\. ...

11:

~.

It.

)
,

..

..

.,

1\ ~ ~

..

.it

pOCO

~ ~ .Ji

..

I
t.J

:r.J

,
)

......--......

~r-J

-=

J J

f -

rit.

T ~ .1

rit.

-~

JO

~~

J\

.:.t.

r-..

>

...

--

:;iii

.
>

IF

>

>.
~-

..r

~.

1ft!!

a tempo
~

It

'If.

~
~

;;

.:.

I ---..

7'

v
4

>

*Sludents with sman hands may omit or release the notes D, C# and G# as indicated by the asterisks.
II 003 A

>

58

Major Tonic Chord Arpeggios

2

1m

3 2

2 4

C
MAJOR

MAJOR

5 4 2

2 4

5 42 1

'2'

'"

"

'5

2 4 2

..

B~

G
MAJOR

MAJOR

2 4

3 21

2 3 5 3

1 2

242

(4)

E~

MAJOR

MAJOR

"

5 4 2
2

3 5 3

1
I

MAJOR

4 2

) , 4t

A~

A
MAJOR

'2'

1 "

..

~-

I I 1
2

'2'

2 4

-.

241

1 4 2

(1' &ll&!~ JjJ ~

(4)
2

I; r Fri ~ J j 10

D~

MAJOR
MAJOR
5 4 2 ,

1 2 4

'5

( 1 7}= ~h&~&

err~ I

lEEr; IF,
1

2 1 4 2

2 3

(I' &~ll~~llj 3D .
1

2 3 1

2 4 1

IIJ I

2_ '

3 2

G~

MAJOR
MAJOR

{I~: ~ ~I EI~tti=
j ~ '. ~I''-

5 3 2 1

I 1003A

r r1J
1

'2

4 2

J J...L J

..

...

) .

1 2 4

2 4 1

2 1 4 2

1 2 3

4 2 1

'2

.......,
4 1 2 4

Minor Tonic Chord Arpeggios

2 35 3
2 3 5 3

, 2

OJ

1\

MINOR

A
MINOR

..,

5 42

4 2

235

M~OR!
4

542 1

1 2

'5

II

. . ..

1m

F#

MINOR
2

....

I ~

2 1 3 2

.~~,..

.; II.
..

11 J
4 2

_J.

1 2

5 3

1m
I &'~& JJi/ " IEr[f

-2

_!'

Bb

MINOR

MINOR

4 1

3 2

1 3

2 4

2_ I

32

..~
41

c#

353

5421

242

2 1 4 2

.. .,;

r T~ 1

2 3 1

5 4 2

MINOR

2 1 4

_.

-,

C
MINOR

124
2

II-,
,

e~

~~~~~
5 4 2 1

'"

i .....

tJ

B
MINOR

E
MINOR

I I 1 J

2 3

J I
r

JPJ

1 2

3 '
2 3

.2

5 3

I I

.. .
"

G#

Eb

MINOR

MINOR

.... I I,
~~

,
1 4

1 2 4 1
llOO3A

..

60

Minor Scales and Minor Triads

(Harmonic Minor)
,

I~

MINOR

3 1

-:;J."'; ....

3
4 1

1 I

rW'3 I

J~J~J

"

E
MINOR

,jj.

't

3 1

..

..l

-"'I
I
I

5
3

m.JJiJ~

I I ] .J 1
4

~~

1 3

....

..,;~

~3

J III

First Second
Inver. Inver.

""'.
it'

-...

I ~-r

-....

1 3

Root
Pos .

.JJJ

l Iff"

l lJ

, , 1J
5

I 1 1

.J

5
1

~,jj.

3 1

..,;

r T I J.J :;J..JJ

.... -

-rrI J
3

MINOR

,jj.

1 3

l1 r i

1 i .J

J J T1

~ .. ,jj.

..

-R

3 1

(1)

4 1

[~~

F#

2
(4)

'4

4 1

. nn

1
3

:B:
-&

MINOR

1 3

4
3
4

I\,jj.

I
c#
MINOR

..

it

341

3 1

....

)
t

_ __
3

r TJ .J J~ D J J J l

i [1J
_i.. ~

3 1

13

l 1

'4

41

143

Lt#f
3

....

-&

4 1

3
3
4

G#
MINOR

1 3
3

II003A

1 4

3
4

:3

61

Minor Scales and Minor Triads

4 5

II

- - .J.~J;
r rJ~ --- JJJ

Lr~
,

3 ,

Jlj

1',17

t.

..fINOR

-.~~

,'',

I I J

L3 J.

T1

Pos.

'

3
,

T
7

First Second

Inver. In ver,

Root

.....

.....

3 1

MINOR
4

4 1

'"

-.

MINOR

....
I

~rlJ

.b.,.

rlJ JJ~~J ~..JJl l

3 1

I
1

l.lJ

l3

1
, J

-.,.

Lr~-

11 ..1

MINOR

, r1 I J

I t.)
I

.,.~~~

.l.....J

""
-&

:3

J.JjJ ~
3

L1

I l

'r r'
3

~~

,..

llnJ~.tiJ
4

1 3

it

tt

:B:
-&

5
4

, 11 I

Bb
MINOR

'2

.,;.

1--'
I ,

....

[ I I

....;.

3 1

J ~ ~.tiJ J J

~i

1J

'1

14

13 12

J3

l 1 r
4

1 3

.......

~
- 3

'2

".1.

R
L>o

..

3 1

1 3

3 1

r1 T 1

JJ~rJJ~D

'

D"JJT ri

4 _ , 3

.JJ

'\.'

Eb

-.:

I II T

MINOR <

.. .,..~

(~.-.'

~4

U
1

~r 1"
3

2 1 4

IIOO3A

4 1 '2

62

Keyboard Harmony
The following chord drills are a review of the various chords you have learned.

Play hands separately, then together.

1\

..

'

. .. ..

MAJ. DIM. M AJ. AUG.

I
LL

11

.,.,

t.J

... 7th -a
MIN. DOM. MAJ.

'

..

~
~
MAJ. DIM, MAJ. AUG.
L

..

7th ~
MAJ. DOM. MAJ.

,,~

..
,.

t.J

L.

..

'" ~
c;,;

--

t.J

_ J._

J.._

,jojo_

c;.
~

1".

!2.

'I~ j~11 t I ~I II~I II I! ;

1\

"' l.~t.~

L _ _

I
Bb

"

fII.

..

ti"

. ~.

..-:~ _

1\

.. "I

~ 't

'I

Eb

1JOO3A

t.J

" .. '1 'I

"

IJ

- -

~h.

bh. b.

..

i?

't

1 12: ~'& 1 ~#~\\b~ q~ IF i ~ I ~