6/26/2019 0 Comments Minuet In G TremoloAdagio In G Minor Classical Guitar Sheet Music D Minor Transcription Opera Music Videos Ears Guitars Music Albinoni - Adagio in G Minor (Guitar Transcription in D minor) Vickie Huff. The Minuet in G major is a keyboard piece included in the 1725 Notebook for Anna Magdalena Bach. For a while, it was attributed to Johann Sebastian Bach (BWV Anh. 114), but it is now universally attributed to Christian Petzold.[1][2][3] It is a 32-measure piece primarily in the key of G major. Provenance[edit]
Minuet in G Major
Minuet in G minor
![]() The Minuet in G major is found in the 1725 Notebook for Anna Magdalena Bach, where it appears with its companion piece, Minuet in G minor (BWV Anh. 115), as a pair to be performed da capo. The notebook in question, which belonged to Johann Sebastian Bach's second wife Anna Magdalena, is a compilation of music by various composers of the late 17th and early 18th century, including François Couperin, Georg Böhm, Johann Sebastian Bach himself, and possibly some of his sons (e.g., Carl Philipp Emanuel Bach). Most of the entries in the 1725 notebook were made by Anna Magdalena herself, and a few were contributed by Johann Sebastian and various friends of the Bach family. Only a few composers are identified in the notebook. The Minuet in G major and its companion are two of the many anonymous works included. In the 1970s, the Minuet in G major was identified as a piece from a harpsichord suite by Dresden organist Christian Petzold.[4] In popular culture[edit]The melody from the 1965 pop song 'A Lover's Concerto', written by American songwriters Sandy Linzer and Denny Randell, was based on the Minuet in G major. The song was recorded by the girl groupThe Toys and reached number 2 in the US Billboard Hot 100 and number 5 in the UK Singles Chart. 'A Lover's Concerto' sold more than two million copies and was awarded gold record certification by the R.I.A.A..[5] Minuet in G major is the music you can hear playing inside the giant 'fly agaric' mushrooms in the theme park the Efteling. They are located in the Sprookjesbos, or Enchanted forest, since 1952. The piece is played on a harpsichord. Willie Nelson recorded a version in 1975 during the 'Red Headed Stranger' sessions, but this version was not released for a long time. In the 1984 film Electric Dreams, the piece is the basis for a duet, or a friendly musical duel, between cellist Madeline and Edgar, the computer. This song from the movie soundtrack, titled 'The Duel,' was composed and performed by Giorgio Moroder. The 1995 film Mr. Holland's Opus has a scene in which the title character, a high school music teacher, explains to his students the connection between 'A Lover's Concerto' and the Minuet in G major. He incorrectly identifies the piece as written by Bach, which is appropriate given the scene is set in 1965 when the public still believed the tune to be written by Bach. Joshua Redman plays the beginning of the minuet on saxophone in the episode My Music Rules of the childrenâs television show Arthur.The 1986 animated movie The Adventures of the American Rabbit features this song as one of the characters plays this song for a piano lesson. In the 2017 Thai movie Bad Genius, Lynn devises a system of hand signals for cheating tests, which are based on certain piano pieces. One of the pieces is the first five notes of Minuet in G major. References[edit]
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THE COMPLETE PIANO PLAYER STYLE BOOK
'Bv the end of this book vou will be pitting all your piano-pLying skills to work in a number of fascinating new styles. You will be playing 22 popular songs, including: Bdge Over T d e d Watec BaZZade Pour AdeZihe, Money, Money, Moneyy and The James Bond Theme.' Kenneth Baker Wise Publications London/New YorMSydney/Cologne Exclusive Distributors: Music Sales Limited F 9 Frith Street, London W1V 512, England Music Sales Pty. Limited 120 Rothschild Avenue, Rosebery, NSW 2018, Australia This book @Copyright 1984 by Wise Publications UK ISBN 0.7119.0461.8 UK Order No. AM35338 Designed by Howard Brown Photography by Peter Wood Arranged by Kenneth Baker Music Sales complete catalogue lists thousands of titles and is free from your local music book shop, or dired from Music Sales Limited. Please send £1.75 (cheque) for postage to Music Sales Limited, 8/9 k i t h Street, London WlV 5TZ. Unauthorised reproduction of any part of this publication by any means including photocopying is an infringement of copyright. Printed in England by Halstan & Co. Limited, Amersham, Bucks. About this book, 5 SONGS LESSONS New notes: Low F, G, A, and B for lefi hand, 6 Four in a bar and eight in a bar pop style, 6 Brubeck style, 10 Off beat style, 12 Boogie woogie style, 14 The tremolo again, 16 Rock 'n' roll style, 18 Minuet style, 20 Modem blues style, 22 Moving semitone chord style, 24 Percussive style, 26 Richard Clayderrnan style, 28 Country style, 30 Block chord style, 32 Unison octave stvle. 36 Fast Latin style, 38 Novelty piano style, 40 Contemporary folk style, 42 Rock boogie style, 44 Ballade Pour Adeline, 28 Blue Suede Shoes, 18 Bridge Over Troubled Water, 42 Cecilia, 7 Don't Blame Me, 32 ., Get Back, 15 It's All In The Game, 30 James Bond Theme (The), 26 Lady Madonna, 44 Like Young, 22 Lullaby Of Birdland, 34 Maria Elena, 36 Minuet (fiom String Quartet), Boccherini, 21 Minuet In G, Beethoven,20 Money, Money, Money, 8 Mrs Robinson, 38 Night Train, 16 Nola, 40 One Note Samba, 24 Stardust, l2 Take Five, 10 Wedding Day At Troldhaugen, 46 J Last word, 46 ' ABOUT THIS BOOK This is the last book in 'The Complete Piano Player' series. To help you become a complete, allround player, it has been arranged as a series of piano styles. You will learn Boogie Style, Block Chord Style, Country Style, Modem Blues Style, Unison Octave Style, and so on. As usual, you will be working with popular standards and famous hit songs, interspersed with a few tuneful classics. You need not play every piece in the exact order given. For example, although the three Boogie Woogie pieces are placed together for convenience, you could insert a slower number, such as 'Stardust', or one of the two Minuets in between, as light relief Don't lose touch with Books One to Five of the series. Most of your basic information is there, and will need revising fiom time to time. To build your repertoire further, look at 'The Complete Piano Player Songbooks'. These are available at various levels of difficulty. Good luck with your piano playing. NEW NOTES: I Low F, G, A, and B for lefi hand. F G A B FOUR IN A BAR AND EIGHT IN A BAR POP STYLE 2 In this simple but effective style your left hand plays a chord, or octave, on every beat of the bar: CECILIA (p.7) . With energy r( = 126 (etc) > > > > > > > < > > > > (no pedal) For variation your left hand can play twice as many chords - one chord on each quaver &the bar: Bar 7 (I Work all night, I work MONEY MONEY MONEY (p.8) all day to I Although the left hand seems simple enough, this style usually involves a good deal of syncopation in the right hand. As pay the bills Bar 8 I have to pay 1 (etc) with all syncopated pieces, keep your left hand rock-steady throughout. CECILIA '.tcl-ds & 1Iusic: Paul Simon With energy Cel - J = 126 ia, You're (break-ing my heart- ~ o u ' r e shak l - ing my con - fi - dence I (no pedal) dai - ly Oh, Ce Bb i I - 1969. 1970 cil - ia, I'm ( down f a c e when I lcorneback to Paul Simon. All rights reserved. Internat~onalcopvr~ghtsecured on my C7 F wash my -..-A. -1 bed- some-one's 1 tak - en knees- F mv dace.- D. C. el Fine II MONEY, MONEY, MONEY Words & Alusic: Benny Andersson & Bjorn Ulvaeus Strong 8 to the bar rhythm J = 120 i > >> P P f Am 1Work all I pay the bills I Bar 7 night, I work all day to , And I a I Am Bar 8 ) *> P have to I pay In my 1 dreams Ain't it I 1 have a plan I If I aot me I aeal- thy man I would-n't have to work at all I'd fool a - round and have a ball- cresc. I I E7 mo-ney, m I Mo-ney, - ffl - - -y I o - n e y ' a must be fun n Mo.-ney, mo-ney, mo-ney /I I In the riLh man's r ' world- I 0. C. el Fine - . . - r-.-fE; - ---2. 1076 bv Union Son s AB. Stockholm. Sweden for the World. Bocu Music Ltd. 1 Wvndham Yard. Wvndham Place, London Wl '---a!> and Elre. All r&s reserved. ~nternationalcopyrighr secured. BRUBECK STYLE 3 The Dave Brubeck Quartet was well known in the '50s for its own particular brand of Modem Jazz. The following piece, n k e Five, was written by the group's alto saxophonist: Paul Desmond. The Time Signature is unusual: five crotchets (quarter notes) in a bar. Think of these as three crotchets followed bv two. The basic left hand figure, which appears in Bar 1, will give you the feel of the rhvthm. TAKE FIVE By Paul Desmond Bar 1 D, Gm Gm - - Dm Gm Dm to Coda -- -.rmnhr 1960 & 1961 by Deny Music Co, USA. Controlled bv Valentine Music Group Ltd, for the world (excluding USA, Canada. Japan, Germany, .=-2 -:-r< .4ilrrrdasia, Scandinavia, Finland, Iceland, France. Benelux, Italv, Republic of South Africa & Rhodesia). r~ren.ed.International copyright secured. D.S. a/ Coda OFF BEAT STYLE 4 - right hand while vour lefi hand plan melody notes on -the beat (see~ a 1&and 2, for example). Plaving on the 'off beat' means playing in bebeen the main beats of a piece. In Hoagv Carmichael's famous Shzrdmt, vou genkrate a nice rhythmic flow by playing 'off beat' chords with Your In Bars 11and 12 the situation is reversed: Your left hand Dlavs offbeat 'G's' rn-Me ;our right hand piays the melody ion the beat). ⢠STARDUST Words: Mitchell Parish. Music: Hoagy Carrnichael Bar 2 Bar 1 Freely, with expression Some-times I Fsus2 won - der Fm(maj7) i I a P P - mel night song. - - O in - dy gale - haunts my re - ve rie, 1 tells his fair- y tale When our Tho' I I love was new* I - and I am once a gain with of pa ra dise where ro - ses - - and each kiss an ins - pir - my con i - so - la the star-dust of a allargando ' dream in vain. If cresc. I 1-a-3 I 1 1 I F#msus4 A - B7 a tempo F 'Broadening - decreasing the speed. - - - -P' 1929 bv Mills MUSICInc, USA Lawrence Wnght MUSICCo Ltd. 19 Upper Brook Street. London. WI for UK. Brltlsh Cornrnonwealrh -- - :Canada k Australaslal, Elre, Cont~nentalEurope (excluding Latln roilnrnes & Suqrzerland) All nghm resensed Inrernat~onalcopr~ghtsecured BOOGIE WOOGIE STYLE 5 Boogie If'oogie is a piano style which developed out of the 'Blues'. Based on the same harmonies as the Blues, Boogie Woogie tends to be more lively and outgoing. Its most characteristic feature is its repeating bass patterns. In the three Boogie-style pieces which follow you will have-a chance to practise three tfpical lefi hand Boogie patterns: - 1. GET BACK (p. 15) 1 I 2 4 5 4 I Bar 1 1 II 1 1 5' , w A t I I I I A m m 1 1 - A .- A w j (no pedal) Play all these quavers evenly. 2. NIGHT TRAIN (p. 16) Bar 1 left hand: (etc) alternative fingering: 1 (no pedal) Here the quavers are NOT even. Play these lefi hand figures with a 'lilt', like this: NIGHT TRAIN kt4 left hand: (no pedal) 3. BLUE SUEDE SHOES Bar 5 Bar 6 left hand: (et, (no pedal) Play these octave figures with a lilt, as in Ntght Train. Remember:When playing Boogie Woogie your touch must be firm and your rhythm rock-steady. GET BACK . - -5 3 Y Iusic:John Lennon & Paul McCartney - Medium Boogie .. G J =I26 Bar 1 I he knew lt could - n't i i - - for - - some Cal i nia g u * - - -GetrbackLuZi Get back - r to where vou once 1 - 4 be ? Copvright 1969 Northern Songs Lirnired. 19 Upper Brook Street, London W I . All rights reserved. International copvright recured. - lo&.- I +L I - 1 I ff THE TREMOLO AGAIN 6 Train (and elsewhere In Bar 2 of in the same piece), you will see an alternative way of writing a 'tremolo': Turn back to page 42 in Book Fh-e of CompZete P~iznoP/qw and read again about how to do 'tremolos'. 77.y NIGHT TRAIN (Bar 2) Tremolo Tremolo Words: Oscar Washington and Lewis C. Simpkins. Music:Jimmy Forrest Groovin' J = 1 16 Bb 1 I Tra/n Tram- that took pleasebring my ba 'my ba - - by so by back far a home to - me (no pedal) E b9 - took brine: my ba mv ba - - far a bv so bv back home to I the 1 - love w I c me her more and more ev-'ry *d Tell She's 4 her gone I My V list - ened. I mo - ther said I I'd lose her if f Now mp I ibt I ev - a-buse her, should have er did have learned my less - on, my I sweet 3 rn '5 Y f I I D.C. a1 Coda i @ coon blues she left st won't set me free. O Copvright 1952 bv Pamlee Music Co. Assigned 1955 to Hill & Range Songs Inc, now Chappel]& Co Inc, New York. USA. Carlin Music Corporation, 14 New Burlington Street. London W1 X 2LR for the United Kingdom, British Commonwealth (excluding Canada and Australasia). rFle Republic of Ireland and Israel. All nghts reserved. International copvright secured. ROCK 'N' ROLL STYLE Blup Suede Shoes, recorded by Elvis Presley 7 in 1956, is one of the most famous rock 'n' roll songs. This arrangement uses the most active of our three Boogie Woogie bass patterns. When practising it, stress the left hand fifth fmger notes. BLUE SUEDE SHOES Words & Music: Carl Lee Perkins J Lively = 132 Well it's go, cat, 1 F one go, for the mo - ney, ]two for the show, l ~ h r e e to get but step I Shoes. You can 1 on my do an- y va bassa off of my B1 Suede Shoes. * Play one octave (eight notes) lower than written. loco (play i n the normal place) read -y now 1 Blue - thing, --- -- but lay I I knock me down. Step in my face. I~lan-der my name all I o - ver uh, off of my shoes. step I Shoes. You can I do 7 the place ho on my Blue -y - thing an - ney, lay but lay Bb 7 off of my Blu (loco) O Copvright 1956 bv Hi-Lo Music all rights assigned to Hill & Range Songs Inqadministered bv Unicha pel1 Music Inc, New Yorlr, USA. Carlin Music Corporation, 14 New Burlington Streer, London WIX 2LR for the territor). of United ~ i n ~ &ofmGreat Britain & Northern Ireland, Eire, Islael, and the Bntish Dominions, Colonies, Overseas Territories & Dependencies (excluding Canada, Australia & New Zealand) (also excluding: South Africa). 411 rights reserved. International copvright secured. u I MINUET STYLE The Minuet, a gracehl dance of French origin, was popular in the 17th and 18th Centuries. It is in % ~ i r n e . Here are two famous Minuets. one written specially for the piano bv Beethoven, the other taken from a strin~ quartet by Boccherini. MINUET IN G By: Ludwig Van Beethoven Allegretto = 92 d (no pedal) O Copvright 1984, Dorsey Brothers Music Ltd, London WI. All rights reserved. International copyright secured. 20 77 Luiqi Boccherini Tempo di Minuetto J = 92 'Trill, or shake. An ornament consisting of the rapid alternation of the written note and the note directly above it. For the first trill (above) use F# and G #, for the second trill (above) use B and C 1. O Copyright 1984. D o n w Brothers Music Ltd, London W1. All right9 reserved. International copy~ightsecured M O D E R N BLUES STYLE 9 Manv of the original Blues songs and insbumental solos were based on a simple 12-bar harmonic sequence. You have already played two pieces of this type: Swinph'[email protected] Blue3 (Book Five, page 14), and N&ht Train (Book Six, page 16). LIKE YOUNG By: Andre' Previn Medium Blues Tempo Bb (no pedal) J = 96 The next piece, Lide Young bv Andre Previn, is a blues written in a - ~ o d e r n Jazz style. In addition to the usual twelve bars based on blues harmonies, there are eight extra bars inserted into the middle for contrast These 'middle 8' bars modulate skiblly through the keys of G, A flat, and A, before returning to the original key of B flat for a repeat of the main theme. Am7 to Coda F7 @ D.C. a1 Coda 0 Co vright 1958, 1959 Robbins Music Corp. USA. Administerrd by Big 3 Music Ltd. 37/41 Monimer Street, London W1 for the U K & Eire All rig%$ reserved. International copright secured. MOVING SEMITONE C H O R D STYLE A semitone, or half step, is the distance between anv piano kev and the next nearest key -(blackor white): -C# D# I C D E F I L-l I examples of semitones example), but is occasionally upwards (Bars 19, 20,23). In the next piece: One Note Samba,you play a full chord style in which the chords move almost continuously in semitones. This semitone movement is usually downwards (Bars'1-15, for Study each hand separately and note carefully where the semitone movements OCCUT. on Music: Antonio CarlosJobirn. Orignal Words: N. Mendonca. English ~ ~ r i c :Hendricks Bright Bossa Nova d = 96 i P P P P to Coda e / - I'm lbound to As I (I There's so ma un I- be the a - ny peo ple who - - can void - 'ble I I talk and talk and talk and just say a I P * * P con have used - se up - quence all the scale at the end I'vecome to no I P P you. I I I P Bar 23 know and of - thing, D.S. a1 Cod8 or - near ly no - I 1 * P O Copvright 1961, 1962, 1964 Antonio CarlosJobim and Mrs. N. Mendonca, Brazil. MCA MUSIC Lrd, 139 Piccadillv, London WI for the British Commonwealth (excluding Canada). All rights reserved, International copyright secured thing. V * This v' is PERCUSSIVE STYLE II The J m e s Bond 7 2 m e relies for its effect on a hard, percussive style of playing. The ~ i e c estarts dramaticallv with a ~egatbleft hand counter mdody which has become famous. As well as playing this counter melody, your left hand repeated bass E's, staccato, to keep the, rhythm going. Above this your right hand plays off beat chords (see Off-Beat Style, page 12). The main theme begins at Bar 5, with splky, repeated chords in the right hand. The Middle Section of the piece (marked 'swingy'), is driven along by a solid 4-to-a-bar lefi hand, moving mainly in semitones. In the Coda both hands play the same notes, so simply copy your right hand with your lefi. Observe the phrasing here. The piece ends with a discordant twohanded tremolo, played very loudly. THE JAMESBOND THEME By John Bany With a strong rhythm i J = 120 5frfr r r r r (no pedal) Bar 5 Em+5 f f f f r f f r n y ~ cresc. Em6 4::: - f ' Am6 Em6 I D.c.SI Coda Am6 I I I 7 I d I I l I I 1 . * ' I I I I rl -1 h I @ Copyright 1962 United Artists Music Ltd. 37/41 Monimer Street London W1. All nghts re.cerved. Inremational copwight secured. n I I t . RICHARD CLAYDERMAN STYLE 12 Richard Clavderman is a young pianist who brings b classical piano style to ar - ~ o ~ u lmusic. For much of B a l d e Pour Adelrite your left hand plays an 'open broken chord' type of accompaniment (see Book Five, page 46). L I Notice the solitary Z ear (13ar 14) in amongst the 2 bars. Think of this as an incomplete bar. Count 1,2, then c a m on again &om '1: as if nothing had happened. A 'wrist staccato' technique (see Book Two, page 44) is called for in the right hand in Bars 2, 5, 6, and elsewhere. BALLADE POUR ADELINE Composer: Paul de Senneville Gently flowing P C J = 84 P P Bar 5 Dm Bar 6 *Play one octave (eight notes) higher than written. 0 Copyri ht 1977 TremplinIDelphine Editions for the World. Zomba Music Publishers Ltd, 165/167 Willesden High Road. London NWlO for the UK & Eire. ~ u t h o r n s efor i sale In the UK & Eire onl'. All rights reserved. International copvrlght secured. COUNTRY STYLE 13 This is an American popular music style, notable for its simple harmonies and uncomplicated rhythms. Originally country music was played on fietted stringed instruments such as guitar, banjo, and mandolin. Country style piano playing tends to imitate these instruments in some respects. One of the most common characteristics of the style is the 'hammer on' technique, common in guitar playing. Here the guitarist plucks an open string, then quickly places his finger on the same string, causing the note to rise (usually to the next highest note) : IT'S ALL IN THE GAME (Bar 2) with an upper note added: hammering on Another device borrowed fiom fi-etted instrument players is 'finger-picking'. This is where the guitarist (or banjoist) alternates in his right hand between the thumb and other fingers. You will find examples of this technique adapted to the piano in Bars 8 and 13 (right hand). IT'S ALL IN THE GAME Music: Charles G. Dawes. Words: Carl Sigman All i 30 P P in - the won- der ful P P P words kiss with your him I I I 1 1 4 5 P dim, but - ing fin - ger I I I I I I I -1 I I look I l i I I I I I I L 1 O Copvright 1912 Gamble Hinged Music Co. USA. Renewed and assigned 1940 to Remick Music Corp, USA. Lyric version O Copyright 1951 Remick Music Corp, USA. Renewed and assigned 1979 to Major Songs Co, USA. Copvright revrned and assiped 1981 to Memory Lane Music Ltd, London, England. All rights reserved. International copyright sccured I - L I 3; / I hearts b A - a I I 9 And your P * rise ing I P your heart can - 1 4 tip?, mf ture's 1 T I rn wait these things 1 1 your - fu P - I cresc. - your I 4 P ress 1 I I I 9 and I I I I f2 will I BLOCK C H O R D STYLE 14 This stvle was developed for the piano by ~ e o r &Shearing in the late '40s. The two main elements of the stvle are: 1. The right hand plays the meloby in chords. 2. The left hand doubles the melody in single notes only, one octave lower. In Bars 9-18 of Don't Bhme Me, I have changed fiom block chord style to open chord style for the sake of contrast DON'T BLAME ME Words & Music:Jimmy McHugh and Dorothy Fields fall you - . ing do in the , - I P love things 3 with you - I you. If I --- I 1 un P P P - der your can't con 2 P 32 P I P P 1 ceal the I -- * P I I but - - Bar 9 -5 spell, 4 I I I 1 P P P P if that dog - gone makes I s w e e t P me as a kiss P I I can moon a need some be-. - one And P P - ( I bove I like I blame all * you. I to your charms P P O Co Might 1933 MGM Gorp, USA. Assiped to Robbins Music Corp. USA. Reproduced b' permission of Campbell, Connellv & Co Ltd, London. A l l rlR!ts reserved. lnternat~onalcopyr~ghrsecured. that I Lt~Ilab,!ofBid7and is George Shearing's own &omposition. The Middle Section (Bars 11-18) is written in.Block Chord style. To make this part easier to play, quite a few s h z ' e notes have been used in the right hami. This is common practice when plaving block chords in faster pieces. LULLABY OF BIRDLAND Music: George Shearing. Words George David Weiss Swingy J = 100 I I 7,?!pLul Have - la - by you ev a1 - ways bill and q:g 2*: - hearcoo n I w I Y-I n UI I 1 of er heard lwhen when you they sighlove? h 1-1. I 2 E am. 3 r i I two - 1 l'-*Y t. g that's tur I - tle Ne - ver in That's the kind 1 I - I doves myword of mag o ,- - landic - YI I 5 I I E9 Bar 11 E7-9 Am7 f - real ow Lul ? kiss me sweet- And - la -by we'll go- - lv knows how to of Bird - land- I crv whis - per Fly - in' high in Bird Copvri~ht1952. 1953 & 1954 Adam R Lew & Father Ent Inc. Planetaw-Nom (London) Lrd. 97 Soho Square, London W1 for the British Commonwealth excluding Canada, Australasia and British ~ f s c a ntenitories) and Elre. ~ $ ~ r o d u c ebr d Permission. All rights reserved. International copyright secured. low- - land, 15 This is a brilliant and impressive solo style for piano, but it does involve a lot of jumping about The melody is played by both hands in unison, two octaves apart. In between playing melody notes both hands travel down the keyboard to add accompanying chords. As with Cymnape'dieNo I, in Book Five (page 22), you must get used to finding your place in the music after looking down at the keyboard. MARIA ELENA Music: Lorenzo Barcelata. English lyric: S.K. Russell With emphasis .( = 88 Em7 Dm will A 1 love , like mine is 1 great - ver e-nough for C Am7 P , ne P P P O Co wight 1933 & 1941 Peer International Corporation. Latin-American Music Publishing Co. Ltd. 8 Denmark Street, London WC2 AII ri$k reserved. International copyright secured. P I I art, I two A bmaj7Dbmaj7 Cmaj7 P P P * FAST LATIN STYLE 16 In Mrs Robimon your left hand plays the basic Bossa Nova rhythm pattern given in Book Four, page 44: 1 I h I , I but with variations: MRS ROBINSON Bar 1 1 Bar 1 2 Bar 1 5 Bar 1 6 MRS ROBINSON Words & Music: Paul Simon Bright d Gm = 96 P Bb Hea P P P Gm - ven for those- who '2 God bless G Bar 1 1 Bar 1 2 4 you - - [email protected] to Coda hey, hey, hey Bar 15 G7 like to Bar 16 know a lit w ( - tle bit a - b o u ; all Look a-round you you you for our see are - Stroll ti1 you feel at h o m e ] And Cop~right1968 Paul Simon. All rights reserved. International copyright secured here's to I sym - pa a - round I @ CODA D.S. a1 Coda I! f i l w - G II - the the- tic eyesi grounds un - I NOVELTY P I A N O STYLE 17 Noveltv piano solos were popular in the '20s, and bevond. They were usually based on '&ing' piano styles, the basic accompaniments of which consisted of: NOLA By: Felix Amdt Moderato J = 120 'bass note, chord, bass note, chord', and SO on. One of the best of these novelty pieces is Noh: D.C. el Fine, then jump to INTERLUDE INTERLUDE Y G II ' T I b 8 '31 .a L I I n~ I -- Copyright 1915 & 1942 by Sam Fox Publishing Company Inc, New York, N.Y. 7 1 sarran ement OCopynght 1984 by Sam Fox Publishing Co. Inc, SantaMariqCA. 1 sed by hfuric sales Corporation by permission.All rights mewed. International mpyright secured. Made in USA. CONTEMPORARY FOLK STYLE 18 In this stvle modem musical techniques (such as new rhythms, the use of amplified instrukents, etc), are applied to traditional style songs. In Bn*e Ova- TmubZed Watq a huge success for Sirnonand Gahnkel in 1970, a Bossa Nova bass line has been added to the song in order to give it a modem style rhythm. BRIDGE OVER TROUBLED WATER IVords & Music: Paul Simon Peacefully J = 80 Eb P when i tears P P are 1'11 your And P P P P friends just P P ( can't Eb(on Bb) trou bridge 1 found. be - bled C7sus4 wa o - C7 ver 1 bridge a G7 I ter - Like I trou - bled will wa lay - ter me - o Cm E b7 I down, like I I Eb(on Bb) will lay 1 ver I a me I Bb7 i P P P 1 P P P *Molt0 Rallentando: much slowing down 0 Copyright 1969 Paul Simon. All rights reserved. International copyright secured. P P P * ROCK BOOGIE STYLE This is a mixture of a modem rock style tune with a boogie woogie bass line. In Lady Madonna, one of The Beatles' later recordhgs, there is a fine, varied 8 to the bar bass line, which combines boogie patterns with a walking bass. The climax of the piece comes in Bars 15 and 16, where the bass movement stops, temporarily The theme and boogie bass then pick up again and we go out comparatively quietly LADY MADONNA Words & Music:John Lennon and Paul McCartney Medium Rock J = 108 A La A D - dy Ma - don - (child - ren na D at your feet I (no pedal) I Won- der how you manage to make- when you pay the rent, I / Fri - day night ar-rives with-out a ends meet - w h o finds I id you think that mon-ey was 1 suit - case hea I - the mon- ey ven sent- Sun-day morning creep in like a I I I w - nun- !I See Mon day's child has learned to tie how they'll Ba - by at your breast La - dy Ma-don- na I run. I La - his boot Ma dy w o n - der how you man - aged to I - lace- - don - I na I the rest - feed( lis - ten to the mu - sic play 0 Copyright 1968 Northern Songs Limited, 19 Upper Brook Street, London W1.All ri~htsresewed. International copyright secured. - ing LAST WORD This is the end of The Complete Piano Plaver Stvle Book, the last book in The ~ o h ~ l ePiano t e Plaver series .You can now consider vourself a good, all-round pianist. But vou do need to enlarge your repertoire. For fhis,use The Complete Piano Player Songbooks. They contain fabulous new pieces at all levels, written in the style of The Complete Piano Player books. We end this book on piano styles with a classical piece by one of the greatest stylists in music: Edvard Grieg. WEDDING DAY AT TROLDHAUGEN By: Edvard Grieg Tempo di marcia un poco vivace' D (Both hands8va2nd time) *March tempo, but a little more lively J = 108 (Both hands loco) 'Play 16 notes (2 octaves) higher than written. 0 Copvright 1984, Dorsev Brothers Music Ltd. London WI.All rights reserved. International copyright secured: 48 Tt IZCOL II-LETE PIAii3 PLAYER STYLE BOOK I nis style book is designed to help you become a complete, all-round pianist. It can be used by anyone who has followed The Complete Piano Player or a course of similar standard. Based on famous hit songs, popular standards and light classics, it t e a c h e ~ Book 4 I THE COMPLETE I I HA'O-P_LAER bmII-.-dl_-.---.----.- -...- i C -,-..-',&.. '. ..-- - . v ~ ~ x ~ . r ~ . - C C ~ C C C C I ^. -&?--'--' Book 2 ~ right and left hands. Chord s y m b o l s Book 5 m in music. ~ o ~ Phrasin again. New 1 hand rhythm pattern. Plus 20 more popular tunes including House Of The W1g Ssu . Panther Them. d Two tunes with one hana. Plus 22 popular turn.including HardDqSNight . GkeMc Himu Comtry Road. . . . .. - .. f Book 3 Chord pyramids. I hynnxupattem. More left hand me odyplaying. Plus 22 popular tunes including Rkndrvpsfiep &id&#'O* My Head. . Somewhere My Love . . . Itucination. Kenneth Baker, who wrote thisW a t i n g course, is m e ofthe country's leading authorities on keyboard layin . Hrs many books are stanchd works and ave so d millions afcopies world wide, in English and other langu .They are used in both school and colleges. Complete piano Player aims at making you an accomplished pianist in the shortest possible time. i' f % Nothing has been overlooked in making this course easy, enjoyable and rewarding. Its aim is to teach you to make interesting music on the iano in the shortest possible time. Based throughout on today's popular songs an on fvnous light classics, it assumes no knowledge of either the piano or of music. Yct from the be8innhg you will be playhg songs such as Annie's Song . . . Can't Buy Me Love . . . Smgin' In The Rain. Among the modem songwriters whose music you will find yourself playing with ease ate: The Beatles . . .Elton John . . . and many more: while classical composers are represented by such gre;t names as ~eethokenand Mozut. Step by . asy step, the programme lays a solid musical foundation. You ac uire sound tachni ue and learn to lay in any style with confidence. By the end o the course you have a wonder& gift -the ability to play the kind of music you like best. d' 1 A - - ; - - Wkpubkhm c a d d k . A M a --- -- -- - -.
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