A1. Lesson 1
- Iván Rolón
- Jun 7, 2023
- 25 min read
Updated: Feb 9
Welcome to the first practical lesson of the online piano and music theory course.
I recommend completing the activities in this lesson after the corresponding theory lesson.
To complete the course, I encourage you to watch the provided videos, read the explanations, and do the exercises detailed below. At the end of this lesson, you will find guides for self-correction of the exercises.
Table of Contents
0. Music Theory: Rhythm
Pulse
When listening to or playing music, we can perceive and organize the rhythm through its pulse. When we clap to the beat while listening to music, we are marking the pulse. The pulse is a regular and constant unit of time.
To accurately measure the pulse speed in musical notation, we use a metronome. A metronome is a mechanical or digital device that divides a minute into a specified beat. It is essential to be able to mark the pulse regularly and maintain it throughout the performance, as well as to identify it when listening to music. To practice this, I suggest marking the pulse with the help of a metronome at different speeds. Below, I offer an online metronome for this exercise. Adjust the tempo (speed) to different values, for example, 60, 120, and 180, and mark the pulse precisely, keeping time with the metronome.
I also suggest downloading a metronome app to your phone or tablet (you'll find a wide variety of free apps; any of them will be useful), or buying a digital or mechanical metronome.
Notes and Rests
In musical notation, rhythm is written using notes and rests. These relate to the duration of a sound. However, they don't indicate the absolute duration, but rather its relative, or proportional, duration.
The notes we will use at this level are whole notes, half notes, and quarter notes. These notes have proportional durations of a whole (/1), half (/2), and quarter (/4), respectively. The whole note is written with an oval. The half note with an oval and a stem (which can point up or down, depending on its position on the staff), and the quarter note is written with a filled-in oval and a stem.
The absolute duration of musical notes depends on the tempo (speed of performance). The tempo is indicated by a metronome indication, based on a reference note value per minute. The value of all other notes is derived from this reference note.
Just as notes indicate the proportional duration of sounds, rests indicate the cessation of sound. A whole rest is written with a dash below a line, a half rest with a dash above a line, and a quarter rest is identified by its shape.
To practice identifying notes and rests, I invite you to play the following game:
Repeat the game as many times as you need until you can correctly and quickly identify note values and rests by their name, sign and proportion.
Time Signature
Time signatures are used to organize rhythmic material. Time signatures are units of time that divide music into equal parts and mark the accentuation.
When you listen to music and keep the beat, you can also identify the accentuation and, by doing so, determine whether these accents are distributed regularly every two, three, or four beats, or irregularly in more complex structures. This allows us to identify time signatures and their division into a regular or irregular number of beats. In other words, time signatures mark the time between accents, with the first beat of each measure being the accented beat. The time signatures we will work with at this level are divided into regular intervals of two, three, or four beats.
To indicate the time signature, a fraction is written at the beginning. In this time signature, the numerator (2, 3, or 4) represents the number of beats, while the denominator indicates the note value used as the unit of time (1 whole note, 2 half note, 4 quarter note). At this level, we will use 2/4, 3/4, and 4/4 (or C) time signatures, that is, 2, 3, or 4 quarter notes.
To practice the analytical recognition of simple time signatures, I suggest you play the following game:
Repeat the game as many times as you need until you correctly and quickly relate the time signatures to their division and their time unit.
Rhythmic Notation
To facilitate reading, measures are divided by vertical lines called bar lines. A section change is indicated by a double bar line. At the end of the piece, an end line is used, consisting of a double bar line of varying thickness. Two vertical dots indicate a repeat. When notating only the rhythm, a single line, called the percussion staff, is used, on which the percussion clef is written. A whole-measure rest is indicated by a whole rest, regardless of the time signature.
To practice the analytical recognition of these elements, I invite you to play the following game:
Repeat the game as many times as you need until you can correctly and quickly identify the technical elements of musical notation with their name, sign, and function.
Rhythmic Training
Exercise 1: Rhythmic Reading
I propose you read the following rhythmic exercise with the metronome. You can beat the rhythm, sing it (for instance with the syllable Ta) or play it on the piano on the same note (for instance C4).
To do it, I invite you to take the following video as a guide.
Repeat the exercise until you achieve a correct rhythm execution in time with the metronome. Then, make an audio recording using the metronome and listen to it to self-correct according to the corresponding self-correction guidelines. If you find an error, repeat the exercise until you obtain a correct recording.
Exercise 2: Rhythmic Composition
Next, I propose that you compose an eight-bar rhythmic exercise in 2/4 time using quarter and half notes, using the previous rhythmic exercises as a model. These rhythmic composition exercises will allow you to consolidate the musical elements you've worked on, provide you with additional material to practice sight-reading rhythm, and prepare you to tackle musical composition. You can complete the composition exercises by writing with pencil and paper, or you can use music editing software. For the latter, I invite you to watch the following video tutorial to learn how to use Noteflight, a free online music editing software that you can use from your phone, tablet, or computer, and which also allows for collaborative work.
Once you have created your account, I invite you to create your first score and compose the proposed rhythmic exercise with the help of the following video tutorial:
After writing the exercise, practice it. Record a rhythmic reading of your composition and listen to it to self-correct according to the self-correction guidelines. If you find a mistake, repeat the exercise until you obtain a correct recording.
Exercise 3: Rhythmic Sight-Reading
After reaching the goal proposed in the previous exercise, I suggest you read the following rhythm at first sight.
The purpose of sight-reading exercises is to achieve fluency in resolving rhythmic and melodic difficulties, as well as in piano performance. With this in mind, the goal of these exercises is to achieve accurate and precise execution from the very first reading. To do this, I recommend starting by analyzing the elements contained in each exercise. This exercise consists of eight measures in 2/4 time using quarter and half notes. To begin reading, I suggest setting the metronome to a comfortable speed and tapping the beat on it, mentally performing the exercise until you can do it correctly. Once you have mastered this mental reading, I suggest recording your first reading of this exercise, either by percussing, singing, or playing the piano with the metronome. Finally, listen to the recording to self-correct according to the self-correction guidelines. If you find an error, repeat the exercise until you obtain a correct recording, and then continue practicing composing and sight-reading rhythmic exercises until you can do it flawlessly from the first attempt.
Exercise 4: Rhythmic Dictation
Next, I propose you write the rhythm in the following video from listening:
Listen to the exercise as many times as you like. If needed, you can pause, rewind, fast-forward, and adjust the playback speed. To help you recognize the time signature and note values, the metronome is included to indicate the beat and accents. At the beginning, you will hear a full measure with this metronome marking. Write down the time signature and the corresponding note values until you complete the exercise. Don't forget to include the bar lines and the closing bar line. Once you have written it down, listen to the audio again to check your work. If needed, you can consult the self-correction guides to compare your exercise with the correct solution. Then, sight-read the exercise.
0. Music Theory: Melodic Aspect
Notes
Pitch is determined in musical notation by musical notes. There are seven notes, called: C-D-E-F-G-A-B. These notes are repeated in cycles called octaves (since they occur in intervals of eight notes).
To practice the order of the notes, I invite you to play the following game:
Repeat the game as many times as you need until you can name the notes correctly and quickly in ascending order (from lowest to highest).
Location of the notes on the keyboard
To locate the notes on the keyboard, we will use the arrangement of the black keys as a reference, as shown in the following diagram:
C is located to the left of the group of two black keys.
D is located in the center of the group of two black keys.
E is located to the right of the group of two black keys.
F is located to the left of the group of three black keys.
G is located in the center to the left of the group of three black keys.
A is located in the center to the right of the group of three black keys.
B is located to the right of the group of three black keys.
To practice the location of the notes on the keyboard, I invite you to play the following game:
Repeat this game as many times as you need until you can correctly and quickly locate, identify, and explain the position of the notes on the piano, without needing to count from a reference note.
Acoustic Index
The acoustic index is used to differentiate the notes in their various octaves. According to this index, the notes are grouped into octaves that begin on C, numbered from lowest to highest. Thus, the first C on the keyboard is called C1, and the A below it is called A0. On a standard 88-key keyboard, the notes cover the range between A0 and C8, as shown in the following diagram:
To practice locating notes with their respective acoustic index, I suggest you play the following game:
Repeat this exercise as many times as needed until you can quickly and correctly locate and identify the position of the notes with their corresponding octave on the piano.
Location of Notes on the Staff
Notes are written on the staff. The staff consists of five horizontal lines numbered from bottom to top, as follows:
Notes are written using ovals placed successively on the lines and spaces of the staff. When the staff ends at the top and bottom, notes can continue to be written using ledger spaces and lines.
The following diagram shows the location of the notes on the staff in successive order from the second ledger space below to the first ledger space above:
Abbreviations:
L: line
S: space
l: ledger
b: below
a: above
To practice locating notes on the staff, I invite you to play the following game:
Repeat this exercise as many times as needed until you can correctly and quickly locate, identify, and name the position of the notes on the staff.
Melodic Training
Exercise 5: Note Reading
A piano score uses two staves joined by a brace, indicating that both are played simultaneously. The right hand is written on the upper staff, and the left hand on the lower staff.
To determine the location of the notes on the staff, we use clefs. Clefs place a specific note in a specific position on the staff, from which the position of the other notes is established. In piano notation, two clefs are used: the treble clef (G on the second line, for the upper section) and the bass clef (F on the fourth line, for the lower section).
The treble clef establishes the location of middle G (or G4) on the second line of the staff. From this, the position of the notes C, D and E (which we will practice in this lesson) is fixed in the first lower ledger line, in the first lower ledger space and in the first line, respectively.
The bass clef establishes the location of the note F3 on the fourth line of the staff. From this, the positions of the notes C4, B3, and A3 (which we will practice in this lesson) are fixed on the first ledger line above, the first ledger space above, and the fifth line, respectively.
To practice writing notes in the treble clef and the bass clef, I invite you to copy the following chart by hand onto a staff paper, and write down the notes, octaves and position on the staff (for example: C4 1lLb -first ledger line below in treble clef-).
In the following link I share a sheet of staff paper for you to print, in case you need it to do the exercise:
Once you have completed the exercise, I invite you to consult the self-correction guides.
After completing this exercise, I suggest you practice reading these notes. In piano practice, it is really important to have accurate and fluent reading of notes in treble clef and bass clef. To do this, I recommend practicing identifying a limited number of notes until you recognize them automatically without counting lines and spaces. To help you with this, I invite you to play the following game:
Repeat this exercise as many times as needed until you can correctly and quickly locate, identify, and name the notes in treble clef and bass clef, along with their corresponding octave and position on the staff.
Exercise 6: Melodic Reading
You can practice melodic reading in various ways: 1. note reading without rhythm, 2. note reading with rhythm, 3. singing without rhythm, and 4. singing with rhythm. The first focuses on identifying the written notes. Without rhythm means we won't pay attention to or correct this aspect yet. The second involves fluency in this recognition, allowing its integration with rhythm. The third focuses on training relative ear. The fourth integrates the skills of identification, intonation, and rhythmic performance.
The ear can be developed in two ways. Absolute ear refers to the ability to identify, by listening, and reproduce without external references, absolute values of technical sound elements, such as metronome values or musical notes. Relative ear refers to the ability to identify relationships between musical values, such as the proportion of note durations or intervals between the notes that make up a melody. Absolute pitch is rare and is related to genetic factors and early musical education. The development of relative pitch, on the other hand, is fundamental for musical practice and can be trained at any age.
Below, I propose practicing these four melodic reading techniques using the following exercise:
To do it:
Read the notes until you complete the exercise correctly.
Adjust the metronome to a comfortable speed and read the exercise paying attention to the correct enunciation of the notes and the execution of the rhythm.
Read the exercise with piano accompaniment, paying attention to the correct pronunciation and intonation of the notes. You can begin the exercise on C4 as written, or adjust it to a comfortable vocal range. For male voices, C3 is recommended. In any case, you can also start on any other note that feels comfortable, as long as the melody maintains its intervallic relationship. Once you have mastered the exercise with piano accompaniment, repeat it without instrumental accompaniment until you complete it correctly.
Finally, read the exercise with the help of the following video, paying attention to the correct enunciation and intonation of the notes, as well as the rhythm. Then repeat the exercise without instrumental accompaniment using a metronome. Finally, make an audio recording using the metronome and listen to the recording to correct yourself. If you find an error, repeat the exercise until you obtain a correct recording.
Exercise 7: Melodic Composition
Next, I propose that you compose an eight-bar rhythmic/melodic exercise in 2/4 time using quarter and half notes, and the notes C and D, using the previous rhythmic-melodic exercises as a model. These rhythmic-melodic composition exercises will allow you to consolidate the musical elements you have worked on, provide you with additional material to practice sight-reading rhythmically and melodically, and prepare you to tackle musical composition. To compose your melodic exercise, I invite you to watch the following video tutorial:
After writing the exercise, record a rhythmic-melodic sight-reading of your composition and listen to it to correct yourself. If necessary, repeat the reading until you obtain a correct recording.
Exercise 8: Melodic Sight-Reading
The rhythmic/melodic sight-reading exercises aim to develop fluency in reading melodies, which, among other things, fosters the ability to identify and correct errors in performance, to learn and/or write pieces by listening, and to sing from a score. Therefore, the goal of these exercises is to achieve error-free intonation, with correct note enunciation and rhythmic precision from the first reading of the following rhythmic/melodic exercise:
To begin reading, I suggest you first read the notes mentally without rhythm and then with a steady pulse to smooth out any potential difficulties in this area, and whisper or hum the melody in your mind. Finally, make a recording of your first singing of this exercise without instrumental accompaniment and listen to it to correct yourself. If you find a mistake, repeat the exercise until you have a correct recording.
Exercise 9: Melodic Dictation
Next, I propose you write the rhythm and melody in the following video from listening:
Listen to the exercise as many times as you like. If needed, you can pause, rewind, fast-forward, or adjust the playback speed. To help you recognize the rhythmic elements, the beat and time signatures are marked using a metronome. At the beginning, you will hear a complete measure with this marking to help you identify it. Melodically, this exercise has two notes (C and D), which you can identify by their relative pitch. Write the time signature, the notes, and the corresponding rhythmic figures until you complete the exercise. Don't forget to include the bar lines and the closing bar line. Once you have written it out, read it aloud without instrumental accompaniment to check your work. Finally, read it aloud along with the audio. If needed, you can consult the self-correction guides to compare your work.
Exercise 10: Piano Technique
Training your piano technique is fundamental for playing with fluency, precision, expressiveness, and without injury, and it allows you to tackle works with a progressive increase in complexity. To develop an efficient and healthy piano playing technique, it is essential to observe your seating position, posture, fingering, hand position, articulation, and playing technique.
Regarding seating position, consider the following:
Height: Forearms should be horizontal (parallel to the piano).
Distance: Arms should be slightly inclined forward to allow for free movement.
Regarding posture:
Feet: Firmly planted on the floor in front of the pedals.
Sit bones: Firmly supported on the seat, using the front part of it.
Spine: Upright but without tension.
Relaxed body: Shoulders, arms, elbows, forearms, wrists, hands, and legs relaxed.
To incorporate these technical guidelines, I invite you to watch the following video tutorial:
Next, I suggest you practice the following technical exercises:
The fingering is written with numbers above the notes, where 1 is the thumb, 2 the index finger, 3 the middle finger, 4 the ring finger, and 5 the little finger. Starting with a note and a finger, the hand is placed in a closed position, that is, with the fingers positioned on consecutive notes. In the following example, we have C4 with finger one for the right hand, so the hand position is C4 (1), D4 (2), E4 (3), F4 (4), and G4 (5). For the left hand, we have G3 (1), F3 (2), E3 (3), D3 (4), and C3 (5).
Regarding hand position:
Relaxed position: the hand maintains its natural position at all times, that is, with the fingers slightly flexed, the knuckles high, and the wrist aligned with the forearm.
Active and inactive finger positions: The active fingers (those playing) bear the weight of the arm, resting on the bottom of the key. The inactive fingers (those not playing) are relaxed, resting on the keyboard, without pressing the keys or rising above them.
Regarding articulation:
Identifying written articulation: When a score only shows the written notes, this corresponds to non-legato (non-slurred) articulation. This articulation involves a separation between the notes. This separation is created by an unwritten silence between the notes, called a caesura. In non-legato articulation, the caesura must be shorter than the actual duration of the note. When playing non-legato whole notes, the actual duration of the notes (4 beats) is reduced to 3/4 of its value (three beats), with a caesura of 1/4 (one beat) between them.
Forearm playing technique: The playing technique used affects the articulation and the resulting sound. There are four playing mechanisms: arm, forearm, hand, and finger. Arm technique involves using the arm's weight while playing. In this way, the piano is played with the gravity force. To do this, it is necessary to raise the arm from the shoulder and let it fall onto a support point (active fingers). In forearm technique, the elevation originates from the elbow, and the arm remains relaxed. In hand technique, the lifting mechanism originates from the wrist; the arm remains relaxed, and the forearm is positioned horizontally. In finger technique, the lifting mechanism originates from the knuckles, but as these are lighter than the keys, no sound is produced, so it is not possible to use the force of gravity while playing, and an impulse is required. The natural weakness of the fingers in this case is responsible for the muscular tension produced during the finger execution. To avoid this, I suggest you perform the technical exercises from the forearm. To do this, keep your arm relaxed at all times, raise your forearm from the elbow, and lower it with a controlled movement, directing the corresponding finger (slightly lowered) onto the target key. In addition, keep your hand in its relaxed position at all times, preventing it from deforming upon contact with the key or your wrist from losing its alignment with your forearm. After playing each note, transfer the full weight of your arm onto the active finger to achieve a balanced position. Also, check the inactive positions of your fingers before raising your forearm to play the next note.
Perform the exercises slowly and without rhythm to observe and correct these technical guidelines.
Finally, I suggest you record a video of yourself performing the proposed exercises and watch it, reviewing the guides for self-correction. Repeat the exercise as many times as necessary until you achieve satisfactory execution.
Exercise 11: Instrumental Practice
Next, I propose that you play the following piece on the piano:
To do this, I suggest you address any difficulties through 1) rhythmic reading, 2) note reading, and 3) notes and rhythm reading. Then, I suggest 4) a rhythm-free performance, using non-legato forearm articulation, paying attention to the technical guidelines you have learned. Also, keep in mind the dynamics indicated at the beginning of the piece (mf). Dynamics in music relate to the intensity of the sound. They are indicated in Italian as follows: p (piano, soft), mp (mezzo piano, medium soft), mf (mezzo forte, medium loud), and f (forte, loud). The dynamic mf corresponds to a performance of normal intensity (neither soft nor loud). Once you have achieved a satisfactory rhythm-free performance, I suggest using a metronome at a comfortable tempo to perform 5) a slow performance with rhythm. If your successful performance with rhythm was slower than the target tempo (quarter note 100, moderato), I suggest gradually increasing the tempo by no more than 5%. Increase the tempo each time you achieve a satisfactory performance until you reach a 6) performance a tempo.
Once you have achieved the proposed objectives, I suggest you practice 7) ensemble playing by performing the piece along with the following video tutorial.
In this video, you will hear a 4-bar introduction, followed by a model performance, with my hands at the piano and the synchronized score, over an instrumental accompaniment. Play the piece as many times as you need until your performance matches the model.
Next, I suggest exercise 8) playing the piece while simultaneously counting the beats aloud. This exercise will help you improve rhythmic accuracy, ensemble playing, and avoid developing a dependence on the metronome to maintain a steady pulse. I recommend practicing this with and without a metronome.
I also suggest exercise 9) playing the piece while simultaneously singing the melody using note names. This exercise will help you memorize the location of the notes on the keyboard, their position on the staff, and the relative pitch of the notes while singing. If necessary, you can address note enunciation and intonation separately before integrating the performance.
Once you have achieved the proposed objectives, I suggest you attempt a 10) memory performance. To do this, remove the sheet music and play it from memory. If you forget any part, look the sheet music again. Repeat this process until the piece is completely memorized.
Next, I suggest you make an 11) video recording of your performance and evaluate the recording using the self-correction guidelines. If you find an error, repeat the recording exercise until you achieve the proposed objective.
Once you have memorized the piece, I suggest you practice 12) public performance. You have several options: in a face-to-face class with or alongside your teacher, in front of other students or accompanying family members, or by participating in student concerts.
Furthermore, I suggest you learn additional repertoire at the level of difficulty proposed for this lesson. To help you with this, I've provided an additional score with a video tutorial below, following the sequence outlined above:
Rhythmic reading
Note reading
Notes and rhythm reading
Performance without rhythm
Slow performance with rhythm
Performance a tempo
Ensemble practice (using the video tutorial)
Performance counting aloud
Performance with melody intonation (using note names)
Performance from memory
Recording and self-correction
Public performance
This additional repertoire is offered with double fingering (for the right hand -above-, and for the left hand -below), so as to train both hands separately.
Exercise 12: Musical Analysis
Next, we will analyze the musical form of the works from this lesson. These are eight-bar binary sentences. They are called binary because they contain two parts, called antecedent and consequent, which consist of four bars each.
This antecedent has a suspenseful ending. Because it is suspenseful, this ending does not produce a sense of rest, which invites us to continue. The consequent, on the other hand, has a conclusive ending, which produces a sense of rest. Therefore, we perceive this resolution as having a conclusive character that invites us to finish the piece. This is because:
Both in the suspenseful ending of the antecedent and in the conclusive ending of the consequent, it is possible to find a stop created by the use of a relatively long note, in this case, a half note. This delimits the morphological units of the antecedent and consequent.
This sentence is built on the first and second degrees of the C major scale (C and D). In this scale, the note C, called the tonic, generates a sense of rest, being the lowest note. The use of a note other than C, being higher, does not produce a sense of rest, thus leading to a sense of suspension. Therefore, the antecedent has a suspenseful ending, concluding on a note other than C, while the consequent has a conclusive ending, ending on the tonic.
Furthermore, in this musical sentence, the antecedent is constructed by the repetition of a motif. This motif spans two measures, delimited by the stop in measure 2. Motifs are rhythmic-melodic patterns that constitute the smallest morphological unit from which musical form is derived. We will use letters to indicate motifs and their correspondences. As can be seen, the antecedent of this sentence corresponds to the pattern of motif repetition:
Next, I propose that you perform a morphological analysis of the following melody, identifying the parts (antecedent and consequent), the types of endings, and the motives. You can check your analysis by referring to the guide for solving the exercises at the end of this lesson.
Exercise 13: Composition
The musical analysis allows us to synthesize the musical elements present in the works and extract resources that we can apply to the composition. Based on what was worked on in the previous exercise, I invite you to compose an 8-bar binary sentence, using the works from this lesson as a model: time signature 2/4, using half and quarter notes, and the notes C, D, and E, using the following structure.
You can do this on paper or using music notation software.
If you do it on paper: on a blank staff, write the treble clef and time signature. Then compose a two-bar motif, choosing any notes and rhythms you like. Repeat this motif to conclude the antecedent. Finally, compose a four-bar consequent with new material made up of other notes and rhythms of your choice. Keep in mind that for the ending to be conclusive, it's recommended that the final note be C. It's also advisable to include a stop. Therefore, I recommend using the note C in the eighth bar as a half note in 2/4 time.
If you do it using music notation software, you can watch the following video tutorial for help:
Finally, perform the composed work, make an audio or video recording, and self-correct your composition and performance.
Exercise 14: Sight-Playing
Finally, I suggest you play the following work at first sight on the piano.
To do it, I recommend starting with a musical analysis, indicating the rhythmic, melodic, and morphological elements it exhibits. Then I propose to perform a mental execution with the help of the metronome. If you consider it necessary, you can address the rhythmic, melodic, and fingering elements separately in this mental preparation. Once prepared, I recommend making two video recordings of this exercise and correct it. The goal is to perform a correct and accurate execution from the first reading. If necessary, repeat the exercise. Finally, I invite you to compose and play new sight reading exercises using the elements worked on in this lesson.
Exercise 15: Improvisation
In improvisation, the process of musical composition does not go through a notation instance but develops spontaneously together with the performance. To train the elements worked on in this lesson in improvisation, I propose you improvise a binary sentence of 8 measures, taking as a model, the works from this lesson. To facilitate this task, I provide an 8-bar exercise in 2/4, where the first four bars (which correspond to the antecedent) are empty, and the following bars contain a proposed consequent.
I propose you mentally compose a 2-bar motif using the elements worked on in this lesson. State the notes and values of your motive but do not write it down. The exercise consists of recording the improvisation of the binary sentence with the help of the metronome, building the missing antecedent from the repetition of the predefined motif, and executing the consequent as it is written. Then listen to the recording to self-correct and, if necessary, repeat the exercise with the same motif until you get a correct execution. I also invite you to continue improvising binary sentences using new motifs with the consequent proposed.
Once you have achieved a satisfactory improvisation, I invite you to repeat this process with the following exercise:
In this case, the antecedent is given. What you need to do is improvise a consequent, making sure to end on a C in measure 8, as indicated.
Finally, improvise a complete 8-measure binary sentence following the scheme below:
This exercise concludes lesson 1 of the course.
Guidelines for self-correction:
Analyze the audio recording of the rhythmic reading, taking into account the following guidelines:
Correct execution of the rhythm.
Accuracy in synchronizing with the metronome.
Check the following in the composed exercise:
The correct writing of the clef, time signature, note values, bar lines, and closing bar line.
Following the guidelines: eight measures in 2/4 time using either two quarter notes or one half note in each measure.
Analyze the rhythmic reading's recording of your composition, following the guidelines provided in exercise 1.
Analyze the audio recording of your first rhythmic reading of this exercise, keeping the following guidelines in mind:
Correct rhythm execution.
Accuracy in synchronizing with the metronome.
Correct execution from the first attempt.
If you do not achieve the proposed goals, compose new exercises to practice rhythmic sight-reading until you do.
Compare the rhythm written to dictation with the following graph
In case you find an error, you can continue exercising rhythmic dictation with the elements worked on in this lesson using the audios of your rhythm readings, your sight readings, and your own compositions.
Correct your exercise by comparing it with the following graph
Analyze the recording of the rhythmic-melodic reading taking into account the following guidelines:
Correct execution of the rhythm and precision in the synchronous adjustment with the metronome.
Correct enunciation of the notes.
Correct intonation of notes. To do this, listen to the recording playing simultaneously on the piano to self-correct yourself.
If you find any rhythmic, enunciation or intonation inaccuracy, repeat the exercise until you obtain a satisfactory recording.
Review the following in the composed exercise:
The correct writing of the clef, time signature, note values, bar lines, and the closing bar line.
Following the guidelines: eight measures in 2/4 time using quarter and half notes and the notes C and D.
Analyze the rhythmic-melodic reading's recording of your composition, following the guidelines provided in exercise 6.
Analyze the recording of the rhythmic-melodic reading at first sight taking into account the following guidelines:
Correct execution of the rhythm and precision in the synchronous adjustment with the metronome.
Correct enunciation of the notes.
Correct intonation of notes. To do this, listen to the recording playing simultaneously on the piano to self-correct yourself.
Correct execution from the first attempt.
In case of not achieving the proposed goal, compose new exercises to train rhythmic-melodic reading at first sight until reaching it.
It may take longer to develop singing sight-reading than oral (note-rhythm) sight-reading. To play the piano at first sight without difficulties, oral reading is essential and is therefore established as the minimum objective for melodic training. However, singing sight-reading is equally important for facilitating self-correction in performance, ear training, and singing. Therefore, if you have mastered oral reading but your singing reading is not yet complete, I encourage you to continue with the following lessons in the course, while keep practicing singing reading by composing and singing at first sight exercises at the level of difficulty proposed for this unit until you master it.
Compare the melody written to dictation with the following graph
In case you find an error, you can continue exercising rhythmic-melodic dictation with the elements worked on in this lesson using the audios of your readings, your sight readings, and your own compositions.
Analyze the video recording of the technical exercises, taking into account the following guidelines:
Correct seat position (height and distance).
Correct seated posture (feet flat on the floor, sitting on the front of the seat, spine straight, body relaxed).
Correct fingering technique.
Correct execution of the notes in their corresponding octave.
Hand relaxation and correct active and inactive finger positions.
Correct application of the forearm technique.
If you find an error, practice the exercise again, focusing on correcting the mistake, and record another video for self-correction until you achieve a satisfactory performance.
It is possible that the hand may tense involuntarily in reaction to playing, even when correctly applying all the proposed technical guidelines. This is because the muscles need to strengthen and adapt to playing the instrument. In this case, my minimum goal for these exercises is that, if your hand tenses up after playing each note, you relax it so that it returns to its correct position, without releasing the key, and maintain this balanced position for a while before moving on to the next note. Maintaining this relaxed position with the full weight of your arm resting on an active finger as a point of support strengthens your hand. Conversely, continuing to play without correcting the hand's relaxation can lead to poor sound quality, lack of control, imprecision, muscle fatigue, pain, or restricted mobility. Therefore, if you can relax your hand while playing each note, I encourage you to continue with the following exercises and to keep practicing this until your hand strengthens.
Analyze your video recordings, keeping the following guidelines in mind:
Correct seat position (height and distance).
Correct seated posture (feet flat on the floor, front of the seat, spine straight, body relaxed).
Correct fingering and accurate execution of notes in their corresponding octave.
Hand relaxation and correct active and inactive finger positions.
Correct application of forearm playing technique.
Correct rhythm execution and precise synchronization with the metronome.
Synchronization with the video tutorial.
Correct articulation and dynamics.
Accurate counting of the beats.
Correct enunciation of notes and precise intonation.
Correct performance from memory.
Satisfactory public performance.
If you find an error, practice the exercise again focusing on solving the error, and make another video recording to self-correct, until you achieve a satisfactory execution.
Compare your analysis with the following graph and explanation
The work is in C Major and consists of a binary sentence. It contains two parts. The first one (antecedent) consists of a two-bar motif that is repeated immediately. The second part (consequent) is made up of new material. The work has a conclusive ending, produced through the strategy of resolution in the tonic.
Analyze the composition taking into account the following guidelines:
The work has eight bars.
Its antecedent is made up of the repetition of a two-measure motif
Its consequent concludes on the tonic (C).
Then analyze the audio of the execution of your composition following the self-correction guides of exercise 11.
Analyze the sight-reading recording to self-correct. Consider the following:
Correct note execution.
Accuracy and rhythmic precision with the metronome.
Proper fingering.
Technical accuracy.
Correct execution on the first attempt.
If you don't achieve the set goals, create new exercises to practice sight-reading until you reach them.
Analyze the recording of the improvisation taking into account the following guidelines:
The motif executed corresponds to the stated rhythmic-melodic pattern.
The repetition of the motif is exact.
The consequent corresponds to the proposed model
The overall execution is rhythmically and melodically accurate.
If you don't achieve the set goals, record new improvisations until you reach them.
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