A ee Keyboard Study Volume Four A COMPREHENSIVE PROGRAMMED KEYBOARD METHOD IN FOUR VOLUMES James ProgrisForeword ‘The Berklee Keyboard Program provides controlled, progressive instruction in the fundamentals of keyboard technique. All musical examples are original. They have been composed to achieve specific goals: 1, the ability to read at sight 2, the development of technical facility 3. an awareness of musical structure 4. a knowledge of the principles of harmonic motion, effective chord voicing, and patterns of contemporary chord progression. ‘The Music Education Supplement, available with each book of this series, Pere San SST nsposition, accompaniment technique, the reading of open score, and the mastery of standard public school repertory. ‘The harmonic materials of the Music Education Supplement are in accordance with the predominately adie FSS tea be roque and Early Classical styles. The following classifications are used to control the sight-reading materials in Book I of this Program: GROUP I MATERIALS GROUP I MATERIALS 1, Time Signatures inf only 1, Time signatures in a h R 2, No key signatures ~ all 2, Key signatures used accidentals interpolated 3. Varied metronome setting as 3. No change in metronome setting sight-reading stimulus 4, Emphasis on variations of 4, No variations used original example 5. All examples concentrate on 5. Combined keyboard areas one keyboard area are usedTable of Contents Page LESSONI.....-- Technical studies: hand expansion (RH ascending); whole- step scale exercises (LH descending); chromatic octave studies (RH ascending); arpeggio studies (LH) and chro- matic scales (RH ascending); preparatory scale exercises, G flat major. Reading material: chromatic scale and alteration studies; idiomatic keyboard patterns; time signa- ture studies; chorale studies. Modern chord studies: basic Blues progression; Latin rhythms (Beguine, Mambo); stage band score reading exercises and jazz improvisa~ tions. LESSONS Ie st ee ers - Technical studies: hand expansion (LH descending); whole- step scale exercises (RH ascending); chromatic octave studles (LH ascending); arpeggio studies (RH) and chro- matic scales (LH descending); scale study in G flat major. Reading material: continuation of studies begun in Lesson I Modern chord studies: Blues progression with raised IV passing diminished and secondary dominants; Latin rhythms (Cha-Cha-Cha, Bossa Nova); stage band score reading exercises and jazz improvisations, LESSON Il. ....--.-- Technical studies: hand expansion (RH descending); whole~ step scale exercises (LH ascending); chromatic octave studies (RH descending); arpeggios (LH) and chromatic scales (RH descending); preparatory scale exercises, B flat minor. Reading material: continuation of previous studies. Modern chord studies: Blues progression with additional passing diminished chords; Latin rhythms (Samba, Calypso); continued score reading and jazz improvisations. LESSON IV... eee ee eee ee 40) Technical studies: hand expansion (LH ascending); whole- step scale exercises (RH descending); chromatic octave studies (LH descending); arpeggios (RH) and chromatic scales (LH ascending); scale study in B flat minor. Read- ing material: continuation of previous studies. Modern chord studies: Blues progression with chromatic passing chords and substitute dominants; Latin rhythms (Merengue, Afro-Cuban);continued score reading and jazz improvisa~ tions.TTESSON) Vee eee 65) Technical studies: diminished seventh arpeggios on Ci whole-step scale exercises; preparatory scale exercises, E flat minor. Reading material: continuation of previous studies. Modern chord studies: Latin Blues; Latin dance rhythms (Beguine variation and Cha-Cha variation); con- tinued score reading and jazz improvisations. LESSON VI....--- Technical studies: diminished seventh arpeggios on C, D; whole-step scale exercises; scale study in E flat minor. Reading material: continuation of previous studies. Modern chord studies: Blues progression with extended dominant motion; Latin rhythms (Mambo, Bolero); continued score reading and jazz. improvisations. Be eee ee ace) LESSON VID. see ee eee eee eee eee teens + 2 Technical studies: diminished seventh arpeggios on D, D flat; whole-step scale exercises. Reading material. Modern chord studies: Blues in minor; Latin rhythms (Cha-Cha-Cha Montuno, Paso-Doble); score reading and jazz improvisation. LESSON VUl..... BaqG00c0dcGcn00G0Gu. hy Technical studies: diminished seventh arpeggios on D flat; whole~step scale exercises. Reading material. Modern chord studies: Blues progression with change of tonality; Latin rhythms (Bossa Nova, Afro-Cuban); score reading and jazz improvisations.LESSON 1 TECHNICAL STUDIES EX. 1 dere Jeon Jeise 1 2 9 4 5 4 3 2 1 (var. )EX. 2 Jee0 d= 100 J = 120 (var.) d= 120 aN oY >> _—. Ste of == ot aS Tao4 8452 7 Sie Sasre dzoe dais de 3 EX. == > — ==EX. 4 dzo0 Jas Am7 FMAJ7 Dm7 = Bm7(b5)_— G7 Em7 CMAJ7 > (var.) (var. ) (b5) he (b5) (b5) | (b5) (b5) (b5) F Am7 > m7 Dm7 Bm7 Gm7 Em7 C&m7 i S = (var. ) AbMAJ7 FMAJ7 = DbMAJ7 BbMAJ7 GbMAJ7 EbMAJ7 © CMAJ7 > 4 + = i See i 4EX. 5 4512 (For All Variations) (esiejaigiaststslslasisisisceeatats aon 2 2 93 42 ot (var. ) aes (var) (var. )EX, 6 dere dees J=02 J= 120 (a) (b) te2at24 02 ~~ (ec)READING MATERIAL CHROMATIC SCALE STUDY J an CHROMATIC ALTERATION STUDY eeIDIOMATIC KEYBOARD PATTERNS EXPLANATION OF LARGE BRACKETS Certain passing chords or harmonies which are primarily the result of linear motion, are placed in brackets { ] . These structures are: 1. often incomplete, or 2, the chord root may not be clearly defined, or 3. as indicated by the bracket, the need for a specific chord symbol is optional. EX. 1 d= 06 pmmas{]p+7 [y] rhe? FE? Am([7)Fam7F7 Em FT - yu (b5) BmF, C#7Dm FT E7 ee E EX, 2 J 00 846EX. 3 Joe c CMAJ? BbMAJ7 AT Dm pm7__ [cmagz7] 57 == EX. 4 d= 00 (65) Ebm Bb7——___— fbn Em? B97 ee mtBeEX, 5 4 108 D G Az D ATD 10TIME SIGNATURE STUDIES EX. 1 d= 06 i v val HP Att Hey BRFOUR PART CHORALE STUDIES 4 = 0 (Minimum Tempo To Be Mastered) EX. 1 B p#7Gtmc#7 Fe F#7B B7 E G#7CchmFe B a Pa! 14 EX. 2 (b5) (65) BbmGm7Cm7Db+ BbmF BbmAb Db Ab BbmF Bbm wMODERN CHORD STUDIES ‘The following examples are intended to acquaint students with the application of chord patterns to specific styles associated with the professional field. Included are: Blues, with "walking bass”. Latin rhythms. Stage band score-reading exercises. Jazz improvisation. Pee EX, 1 d= 120 Bbe Eb? Bb6 Bb7 Eb7 Bobo F7 Eb7 Bb6 FT 3EX, 2 d= ee BEGUINE (MEDIUM TEMPO) c co CMAJ? Ab7(9) (613) D-7 G7(b9) cé —Bb7(9) ce EX, 3 d= 120 MAMBO (FAST TEMPO) G-7 c7 FMAJ7 Fo -7 cz F7(13)_Eb7(13) F7(13) : = = +e == - | : : : SSSEX. 4 Jen All staves are to be played Tpt. 15EX. 5 += 00 c Bb (b9) MAJ7(9)C6 Ab-7 — G-7 Db°7 C-7 F7(b9)MAJ7 (9) Bb6FHR-7 F-7 B°7Bb-7Eb7 Ab Ab (69) (b9) c F-(9) MAJ7(9) Ab6OMAJ7 —-A-7D7 D-7G7 MAJ7 MAJ7F-6 CMAJ7 a < 3 16LESSON 2 TECHNICAL STUDIES EX, 1 dere Jeon Je isaEX. 2 d= 00 J= 100 J= 120 (var.) J s20EX. 3 dere dor JeuEX. 4 deoo J (65) CMAJ7 Em7 a7 Bm7 Dm? FMAJ7—s Am? r4a25 t (var.) (var.) (b5) —(b5) (b5)—(b5) (>5) (>5) (b5) Cm? Em7 Gm? Bm7 Dm? Fm7 Am7 raat 1 = (var.) CMAJ7 EMAJ7 GMAJ7 BMAJ7 DMAJ7 FMAJ7 AMAJ7 1425 1 ca 2012 (For All Variations) (var. ) (var. ) (var.) a1EX. 6 se “= —_—— potfasizet fedioiSaiteaisaiie 2 Aoeps2pesrisrisisersoareores 4 aees Oe 22READING MATERIAL CHROMATIC SCALE STUDY 4 = 100 CHROMATIC ALTERATION STUDY dan 23IDIOMATIC KEYBOARD PATTERNS EX. 1 J = 108 EX, 2 doe F A7(b5) Dm ET Bb D7 Gm7 GT 24EX. 3 denEX. 5 d= ea (b5' (MAJ7) (MAJ7) Ebm EA Ebm Eb+ E> Eb+ Cm Cm = = Cm7 A Fm (b5) Dm (MAJ7)Dm7 Eb Gm Eb Ped, Bb7 Bb7 Eb EX. 6 dre 26TIME SIGNATURE STUDIES 27FOUR PART CHORALE STUDIES 4 = 60 (Minimum Tempo To Be Mastered) EX, 1 Db F7 BbmEb7 Ab C7 FmDb7 Gb BbTEbmAb7T Db on oO a ? es EX, 2 (bs) Bm E7 F#7) Bm F# Bm Gkm7 F#Bm FR7 Bm a ad 28MODERN CHORD STUDIES EX. 1 Eb6 = -Eb7 Abo | ACT Eb6 Eb7 AbT a Eb6 D9) Db7(9)_ €7(9) F-7(9) Bb7(9) Eb6 — C7(b9) F-7 — Bb7(9) 29EX, 2 dee CHA-CHA-CHA (MEDIUM SLOW TEMPO) D- Eb EX, 3 d=12 BOSSA NOVA (MEDIUM TEMPO) (9) (Sus. 4) (65) (Sus, 4) (b5) GMAJ7 Gé c7 c7(9) FMAJ7 Fe Bb7 Bb7( 9) (9) (9) (9) (>5) EbMAJ7 Eb6 Eb-7 ‘AbT GMAJ7 Ab7(_ 9) GMAJ7 30EX. 4 31oo Je 08 (b5) (b9) a 7 D7 GMaAg7 == fe = z 32LESSON 3 TECHNICAL STUDIES EX.1 dere deo dese sais 5 4 2 123 (var.)EX. 2 deo d= 100 J = 120 (var. ) 4 120 34EX, 3 dere dsond= a2 st (var. ) d. = 9 38EX. 4 dso d= (For All Variations) CMAJ? Em7 a7 Bm7(b5) Dm? FMAJ7. Amz fe > Fo241 75 (var.) (var. ) C#m7(b5)Em7(b5) — Gm7(b5) Bm7(b5) — Dm7(b5) F#m7(b5) Am7(b5) 5 Bea 8 (var. ) CMAJ7 EbMAJ7 GbMAJ7 BbMAJ7 DbMAJ7 FMAJ7_ AbMAJT, 36EX. 5 den (For All Variations) (var. ) (var.) 37EX. 6 dere d= ae d= 02 b= 120 (b) 204 Boy i Sass SS Eo EX, 7 dere dees Jeo d= 120 (c) 38READING MATERIAL CHROMATIC SCALE STUDY CHROMATIC ALTERATION STUDY 39IDIOMATIC KEYBOARD PATTERNS EX. 1 d= 0 b5) (b5)(59. (b5) Dm7 ] Pee AmC phat m7E7JAmC7 F C°7Dm7Gb Ped.c7 F C#7 a a y 5) eas Dm_E°? Dmp#7 0 EmF#® EmG#7 Am C Fa#m7Bb E7 a Ped. Ped. G D7 G D7 GprG 40108 EX, 3 41EX. 5 J sae EX. 6 Fm cu Fm c7 Fm Bbm Fm 42TIME SIGNATURE STUDIESFOUR PART CHORALE STUDIES 4 = 60 (Minimum Tempo To Be Mastered) EX. 1 (5) Gb Eb7AbmDb7 = Gb Bb7Ebm D7 Db Gb Gb7 cbDb7Gb Oo a mn od gd | ded Sed adi iid y v EX. 2 Fam C#7F#m CR F#m C#7 Bem? A ETA G® Fam c# Fem didd a2 izi i? y y 44MODERN CHORD STUDIES EX. 1 J 120 PRT G-7 G7 Fé Bb6 BT F7(9) Bb7(9) Eb7 F6 G-7 A-7 Abe7 45Ex. 2 d= 120 SAMBA (MEDIUM BRIGHT TEMPO) (85) (85) (#5) (85) c c Ccé c ccé D- D- G7 D- D- G7 (85) (85) (45) ec c cé Cc c cé D- D- G7 c EX. 3 d= 120 CALYPSO (MEDIUM BRIGHT TEMPO) Eb Ab Bb7 Eb Bb7Eb 46EX. 4 Js 100 47EX, 5 J 108 Bb7(9) F7(13) Bb7(9) F7(13) F A See ae be abe [ptf at bes ei tei err = te Db7(9)C7(9) Bb7(9) F7(13) Sas oe 48LESSON 4 TECHNICAL STUDIES EX, 1 dene d= oe Jeane (var.)EX. 2 d= 0 d= 100 J = 120 4 ve 2 12 3 ve 50EX, 3 Jer dsoe dea (war. ) d= 60 51EX, 4 dsoo Je as Am7 FMAJ7 Dm7 = Bm7(b5)_— G7 Em7 CMAJT7 S52 44 = > > (var.) c7 (var.) (b5) (b5) (b5) (b5) (b5) (b5) (b5) Am7 = Fm7 Dm? Bm7 Gm7 Em? Cm7 Saar (var.) AMAJ7 FMAJ7 DMAJ7 BMAJ7 GMAJ7 EMAJ7 CMAJ7 Saat g ‘fet? = 52EX, 5 J = 12 (For All Variations) (var. ) (var. ) 53EX. 6 dem dees Jeez Bb NATURAL MINOR — — Goi me atezaizoar teats start Sel fooi sai + + a Bb HARMONIC MINOR Continue same fingering i ae Continue same fingering Bb MELODIC MINOR (TRADITIONAL) a < - a rr na 54READING MATERIAL CHROMATIC SCALE STUDY CHROMATIC ALTERATION STUDY 55IDIOMATIC KEYBOARD PATTERNS EX, 1 d= oe Dm AT? Dm c#7pm Gm D7 Gm7c? F Dm AT Dm AT Dm AT Dm EX, 2 dees (b5) (>5) Gm D Gm? Em? Am? D7 Gm 56EX, 3 denEX. 5 4 100 Fm c c7 Fm = —— # Z SSS eee P Ka + > Ba & om 7 58TIME SIGNATURE STUDIESFOUR PART CHORALE STUDIES 4 = 60 (Minimum Tempo To Be Mastered) EX. 1 CR ER? Agmp#7? «GR BR7E#mC#7 FR As7DKmGR7 CB Oo Oo |e feare lea Ebm E7 BbmEb7 AbmDb7 Gb Cb7 Fb Bb7 Ebm a ti 4 60MODERN CHORD STUDIES EX, 1 Jeu C#-7(b5) C-7 B-7(>5) Bb? A-7 Ab7(b5) G7 ALA MG ALA A 79) C#-7(b5) FR7 B-7(b5) E7(b9) 61EX, 2 dei MERENGUE (BRIGHT TEMPO) Bb F7 EX, 3 4 = 108 AFRO-CUBAN (MEDIUM SLOW TEMPO) 6 G7(b5) C-6(9) ( == im tet ts G7(b5) === =e fae és egal— o = == 63 J 100 EX, 4EX. 5 d= 100 E-7(55) Eb-7 p-7 Db7(b5) =~ (#11) (au F7( 9) F7,B>(MAJ7) Bb6(MAJ7) SE ta He | ga # E = =f —_— + AbT, 64LESSON 5 TECHNICAL STUDIES EX. 1 deo2 dei d= 192 1203 4 43 2 EX. 2 dso2 d= d= 102EX. 3 Jeo d= 100 J = 120 (var.) + 120 66EX. 4 dene dees dees d= 120 (a) pando A a = oi ®) 41 2 8 2 4 fo) a <> = ee eee => () a a ee ===F SS SSS =] @ m - eS = EX. 5 dere dees de 02 d= 120 {a) a a Bas = = (b) oO oO SS eS (c) Oo oO Es = SSS (a) 67READING MATERIAL CHROMATIC SCALE STUDY dea CHROMATIC ALTERATION STUDYIDIOMATIC KEYBOARD PATTERNS EX, 1 d= s0 Gm Eb Fm Dp Eb AbmEb Bb7 Eb Bb D°7 Ebm F°— Gb+ Ebm Ped. Ped. Abm Ped, bm 23.4 SS =o j mp | i } 4 | — dea qed mi + + J 4 ss Ss es P__. RR_ RP__ RR_RP_RP__RP. RP__RP__RP__ RP. Abm Bb?) Ebm Abm Bb7 Ebm RP. RP RP. 69Ge? Am = D#7 Am Am He — | bse == SS = =i Fr 2LESSON 7 TECHNICAL STUDIES EX. 1 d= oe d= se d= 102 ai a 2 Vox 12,3 4 EX, 2 Jeon dai d= 02 oot es 12a 4 5EX, 3 dso2 J=s2 d= 192 EX. 4 doe Jer Js 102 93EX. 5 Jse0 d= 100 Js 120 (war. Js 120 94READING MATERIAL CHROMATIC SCALE STUDY J 120 =r ” >= ™p CHROMATIC ALTERATION STUDY 95IDIOMATIC KEYBOARD PATTERNS EX. 1 dee as — a a (wasitl c (masic#7 Bbm = Ebm ae Bbm Ebm Bbm i 8 fet Gt Gs ees RP. P. RP_________R P_R P__R 96EX. 3 Jen Dm A7(b9) pm [p] Gm D7(9) Gm D7(b9) Gm AT Dm Ss SE 7EX. 4 Gm lem Gm Cm Gm v) Gm G7 cm Cm cm Gm Cm Gm Ped. Gm Ped. Gm D7 Gm 98TIME SIGNATURE STUDIES EX. 2 De ius 99FOUR PART CHORALE STUDIES 460 (Minimum Tempo To Be Mastered) EX. 1 CB E#7AfmDe7 «Ge Ga? c# cH? FR AR7DRmGR CH a ; ; a el T ; i aa adit tigits|-= —E —— co] : uv EX. 2 Bm F#7Bm FF Bm F#7 Bm A7 D A7TD Ch BmF# Bm a a TT 100MODERN CHORD STUDIES c-6 D-=7(b5) G7(b9) C=6 G-7(b5) C7 (13) F- F-7 D-7(b5) Db7(9) cH6 Ab7( 9) (69) D-7(b5) G7(b13) CH6 B79) = -Ab7(9)-G7(9) 101EX.2 d= 60 CHA-CHA-CHA (VARIATION-MONTUNO) (SLOW TEMPO) Bb-7 Eb? ADMAJ7 Ab6 Bb-7 Eb? AbMAJ7 Ab6 Ss * (59) A SS Bb-7 Eb7 AbMAJT F7(b13) Bb-7_—-EbT Abo EX, 3 PASO-DOBLE (BRIGHT TEMPO) D? G 102EX. 4 dees 103EX, 5 den Fv Bb7 Eb6(9) Eb-7 Ab7 = DbMAJ7Db6 aa aa, (9) D-7 G7(b13) C6 F-7 Bb7(b5)( 5) Eb(MAJ7) : ota i ry er iat = $ as. a T SF 104LESSON 8 TECHNICAL STUDIES EX. 1 doe Jesse J = 102 Ree ts ek Be EX. 2 deer dease d= sae 105EX. 3 4 100 d= 120 (var.) Js 120 106READING MATERIAL CHROMATIC SCALE STUDY CHROMATIC ALTERATION STUDY = 100 107IDIOMATIC KEYBOARD PATTERNS cm F7 Bbm Eb7 Ab Cptn an — Les : Cp FT Bbm Eb7 Ab Eb? Ab 108EX, 3 d= os F es) (6] FR? Gm (7) c7 P__RP_RP__ RP. R P__RP_RP___R [c#7] Dm a? G7 c7 Pee RP eRe R Poe RP RP F [¥) (6) re7 om [#J [e][7] 7 RP. R P__RP_R P. RP___RP__RPR_R em [7] [cq F — + i # £ f fi i : = 109 V (t P__RP_RP-EX. 4 d= 66 Bb FT Bb b Bb F7 Bb [aj — Gm D7 GmG7 Cm G Cm F7 Bb F7 Bb Eb F7 Bb F7 Bb —_~_ 7s renle Ci BA noTIME SIGNATURE STUDIES EX. 1 de ise BX, 2 de io mFOUR PART CHORALE STUDIES 60 (Minimum Tempo To Be Mastered) EX. 1 Db Db+Gb ab7 Db F7 Bbm Eb7 Ab C7 Fm Bb7 EbmAb7 Db a a a aid dd q b5) Chm = FR7GHT Cama# cfm adet ctctmats Cém a Malad nzMODERN CHORD STUDIES EX. 1 J+ 06 CMAJ7(9) C6 B-7(b5) E7(b9) A-(MAJ7)A~6 G-7(9) C7(9) (9) (9) (9) F719) FT F-7(9) Bb7(9) EbMAJ7 Eb6 Eb-7 Ab7 (9) (a) (13) DbMAJ7 Db6 D-7 G7(9) cé G7 $e = = : : + 13EX. 2 den BOSSA NOVA (MEDIUM TEMPO) G-7 C7(b5) FMAJ7 3 = i 4 # eee aE re eed z ee é u4EX. 3 J = 28 AFRO-CUBAN (MEDIUM SLOW TEMPO) usEX. 5 Jean 69) (9) Bb7(13) Eb(MAJ7) ee Ab7(13) (9) (9) (13) (9) D-7(9) G7(b13) CMAJ? -F7 CMAJ7 uy