4--

z C
.....•~ The C Major Scale
:,
r- 2 new notes --,
C 5-finger scale A B
G C
E F

TJf!~~
C D

--e
n
0
n
-0- 0 I leading tonn i nic
dominant
tomc
I •
step 5 step 7 step 1
step 1

The C major scale is the C 5-finger scale plus two added notes-A and B.
• Are all seven letters of the musical alphabet used in a major scale?

In the Key of C:
The Ist tone, C, is the tonic.
The 5th tone, G, is the dominant.
The 6th tone, A, is a whole step above the dominant.
The 7th tone, B, is the leading tone. It is a half-step
below C and pulls to C, the tonic.

• Play the tonic, dominant, and leading tone on the piano.

I. Key of C Roadmap
• Play and sing with your teacher.
Rather slowly / ift repeat softly!

• Jffi) r r r
,,
5

t Jj__!_!J)
' ,"' 0
1
Ton - ic up to dom - nant and lead - ing tone to C.
f-p 0 11 repeat

• Play hands alone, then hands together.

2. Traveling Thumb
Contrary Motion
Steady ( J= 112-132)
thumb cross
2 J under (D shift 5

3
thumb (j'I shift 2
under "!..J 5

Dlh[T
L
Your
" teacher may ask you' "I n th e key of C ma· I . .
or play a low dominant note,, .. JOr, P ay a high tome note,"
1
See how quickly you can play' orh p ay the leading tone," etc.
eac one on the piano.
20
 ,
• Memorize the fi ngeri ng! 3. One Hand - 8 Fingers
Smooth a nd steady
ll , . I 2 3 CD 2 0
,.- ....,
3, 4 2 I 2 I

-
5 4 31

I
11

-... - ... - - - -
'
"
@,)
.,
...
mf Cross - ing
..
un - der,
-

shift
,...
I I
,...
I
-_, - -- • -c).

-· ,.
so smooth - ly, step - ping down a nd cross to C.

-
, ,
- • • -r -
- -
IT]
I
-,
"
- - - -
@)
Step - ping up now cross 3 0 - ver un - der thumb, shift back to C.
mf
.. - - ,...- - - •
I

( -u , •
-
,...
#
I
• - - -
,...
- -
,... u
I

5 14 13 2
0 2 2 3 CD 2 13 14 5

Optional: J = 80 J = 104 J= 138_

4. The illtimate C Scale Warm-up

• Play seven C scales on seven different C's, 4. Switch to R.H. on Middle C.
ascending and descending! Continue this pattern up the keys !
M
I
D
D Keep the
L
E R.H. going!
R.H. 1 2 3 (j) 2 3 4 5

3. Lift and repeat with the

L.H. on the next higher C.
5 4 3 2 1 @2 1

2. L.H. lifts to repeat higher C.

Play the scale up and down.
L.H. 5 4 3 2 1 @ 2 1
-
I . With the L.H., begin on the LOWEST
C and pl ay a C scale up and down.
L.H. 5 4 13 2 1 @ 2 1 Listen for steady, even fi ngers!
-UP----~'\
. __ _ _ DOWN __,/

FF!08-J
t>"~ Theory p. l 0-11 21
 ~-----
D.C. al Fine '
Da Capo means ''the beginning," and is abbreviated D.C. r/j 6
Fine means "the end." ,
D.C. al Fine means return to the beginning and p!ay to Fine. f \\
• Circle Fin e and D.C. al Fine in this piece. •
Jumpin' Jazz Cat
Key of C Major

Allegro ( J = 120-132) 3
I
>

mf

3
3

OJ 4
2
jump!
>

Teacher Duet: (Student plays J octave higher)

J •I
r

22 ~0• CD 22-23 _,_ P Theory pp. 12 , 13 ?~Tech pp · 12 ' 13 ; _• Perl pp.8-9 :.z / ' Si ght pp.32-35
 ms
-
fl
::·
I I I 7 I 3
_, >
( - - - - _,

<
- • ... - ,.-.._---=-
...
J

.,,.,, ... - J
--..
-I -J ---
3 3
IT]
> Fine

prepare L. H.

3 2

fi

-
y
----,:
I -

---- -
''
'
mp

... -
( r ~,
,
5
- ...J
- - - I"'
,..
----=

I
I I
- -
- -- ------------
I 1
[ill

mp

3
[E]
D.C. al Fine

2
4

0 15
'l,_\,E•' Jf you can easily play this piece at J = 132, your teacher may ask you to begin the
.... first movement of Classic Sonatina on p. 34 in the 2B Performance Book.

23
 I and V7 Chords in the Key of C
In your earlier lessons you played a 2-note V7 chord in the key of C. .
To play a 3-note V7 chord, add the leading ton e (a half step below the tome).

• Practice and memorize these I and V7 chords.

2-note 3-note 2-note 3-note

I V7 V7 I V7 V7 I

II l; f_~,e,1i.ds t.
. ~o .
"\e,\J.dS t. ~-,,---....,.,._o
Iead mg tone tome leading tone tonic

,
Down by the Bay
Brightly ( J = 116-132) Traditional

I -
fl 4

-.
I
,
- . -...
,
-- -... -•
'
'-' J - -_.
' - - - -
<
mf.Down by the bay, where the wa • ter - mel - ons
r.,., r.,., p
L.

-
..-
- , ---, -
- · ,
17'1
- - - --- --- ---
;
-- -... -
I• 3
I I I

0
----
,,,--
-·'-'
fi 3

-...
I

-
- - - -
'

grow, back to

~----
my home
.:..---
-, .. ;... -
- -,_,.. -: - ,_ -... - -: -
tc - •
., - :__...---
...
\.
,_
'
I
2
s

24 ,o, CD 24-25 > ~ Theory pp . 14, 15 Tech p . 14 6V"°Sight pp.3 6 .39

 -- '-- - - - -
,.,
'
@)
'

I
-

----------
.. --- - -
'
--- - '-
u -
2
-

)~--.~.. .
I I I
I dare not go. But if I
---.
' -- _-
- -- -- -l- - -

I I I I

[ill
,., - I

- .-
"' '
- - -- -- - 4 --- '
----
,,
......... ~- -

)... -- -,_ .
@} I

- - ..--- ---
do, my moth-er will say,
', - t---..
r ' •
-
-
I
-- .- -
5 I
l r l

[ill

I .
..,
Ii
-
I
r - - --- '
,,-
--- '
,. - *,. - ,. - - ff-. -
~-

t.l #
" Did you
...J

ev - er
ll

see a goose
---=r

kiss - ing 3 - - moose}

,. -
' " Did you ev - er see a whale wag-ging his- - tail

{ " •
-r; - - - ~-
- - -- _- .,

1. I2.

-----
jump! ii
'
I I I

- '-- - '--
I '
@.
- ,. ... '-".
# -
>-
down by the bay?" Down by the bay?"

-- --" -- - - -
'
,~ .
---- ~·. -,_ - . - '

--I
--~
TC: .

I I I >

DI AC Elf
Can you and your teacher sing the melody while you accompany yourself
' by playing only the L.H. o fth"1s piece
. ?.

°F I084
25
 The Waltz Chord Pattern - Play each example four times as a daily warm-up.

I Chord
V7 Chord
V7 Chord (light, light)
(light, light) (light, light)

5
,---... .
I r -11
l
:1=2 wsr
5 I
2

The Ice Skaters* Emile Waldteufel

(1837-1915, France)
arranged
Gliding along ( J= 116-132)
,.., I 3 I I
I

-
- ,, . ., .
"
@) mp
,.._, . -
-:;;J

) ... . ---."I"
-:· :..
(play light

·----·....- I
- ly )

-
I
-
(play

-
I
-
,,----- .
lighr

-
I
-
ly, play

-- - -
I
lighr
,,----- .
ly)

4 2

[I]
,., 2

~.
,
---- '
.,
- -
5

-. -
--
(prepare)
r

) .. - - -
@J I I I

- - --
,,,--.-..
- - - --
I ,,--.-.•

-
-
I I I I
I 5

[I]

-5
-----------
,..,
-- -
4 I I 4 3 2
-
-
- - - - - _,
,. -
7 I I I - -
) ~~.- mf
- - ------- --
I 2
-
I
- - --------
I4
-
I
-

I
@]
,..,
..~ - _, _
in e /":'I
-- -
- --
I I
-
3

" -0 · -0 " -
_,
-
@J

) -·~.
_ 1-----
p
-. ,,---_, r.- ___
- -- - -- --
I"':'. I"':'.
I , . . - - - _.;.

_, - - -- r ""-::::::::::
- --=----
I I I I
' 5
• orig inal French utle
. Le Pa ri11e11rs
s

Ii}
••~ CD 26-27 ,., #'Theory pp . l 6, 17 ..:) Tech pp . 15, 16-17 _:,;_ Perl pp . 10-11 ~ Sight pp .40-45
26
 On the repeat, plar R H Bra
,.
L'...'...J
1 4 2 4
·
I
· · HIGHER.

----
4 2 I 2
( -'If

- - - - - - --
I 3
'
u p
- _,
'
·_

- I- --
J
-
I I I

( - ..
(play light ly, play light - ly )
' •
;· •
- - -
---, r
., .
I I
-- - -,

,. I 5 2 5
I -
."' .,..-
- - 1- --
-
I 5 2

-l - -- -
-
I
-
2
-
I

- -
4
.,..-
I l l I
-

l I I I I I -
_,
I I -
J - •
mp (play
I I
light ly, play light ly)
.. -
-.. -- -•
' , ,
.~ -
I
'
,_

I I
-- -- -•
\.

I I I

@] I 4 2 2 I
j~ 2

- - - - - - -- - - - - -:. .
3
I "7'
_,
---
- I-- -
J
---::,
-
'
,1
J

I I I

~... .
-'"' -- -- -... ,.- -
---n . r
-,-, '
a ---n-:
I I I
I I I I

,. ~ C . a!Fine
I - - - - - - ------ - .
.,
"' 3 ----
-
--..,
-- - - - • - - -
- - _,
u I I
-
mJ rit.
__
-..
r '
--,
•
- '
-.
...
-.,-_
"',Mi:.::
.l.11
'

1' -
-
-'"' - ,
,_

12 I

Reading Chord Symbols •}

With your L.H., play these chords in the key of C. Repeat using a waltz chord pa
I I v1 V7 I V7 I I

'F I084
27
 The G Major Scale
,-- 2 new notes ---,
G 5-ftnger scale Fl G
D

• .Jc\S lo
"".,,----.,.; .
leading tone ro111c
dominant step 7 step I
tonic step 5
step I

In the Key of G:
The 1st tone. G. is the tonic.
The 5th tone, D. is the dominant.
The 6th tone. E. is a whole step above the dominant.
The 7th tone. Fi. is the leading tone. It is a half-step
below G and pulls to G. the tonic.

• Play the tonic. dominant. and leading tone

in the key of G.

1. Key of G Roadmap
• Play and sing with your teacher.
5
Rath~rs~ shift

tt
5 0 0

R.H- ~ + µt t f
Ton - ic up to dom i - nant
E I ~t
and
t
lead - ing tone to
G.
-II

f -p 0 11 repeat

2. Traveling ThUlllh
• Play hands alone, then hands together.
Contrary Motion
Steady ( J= 112-132) cross

.
thumb
fl 3 under (D shift ;, I o \'er 0 2,
I

I I I

I
3 t/111m/J
0
I shift s 1
1 cross
orer
I

0
under

See how qui ckl

. y yo u can play !he tonic ' domin·mt• • ·111d
' lead"
• mg tone .111 the
key of G maJor as your teacher drills yo u on them.

28
 Memorize the fingering! 3. One Hand - 8 Fingers
S moot h a nd steady

0
.ll : - 0
,
-
2, 3 2 2, I

- -
I 3 ll !. • 3
- -
2 I
'
- - M~ ,-
-
±-•
4
-L-o-
I I I I
mj'Cross - ing un - der, shift so smooth - ly, step - ping down and cross to G.
--
- - - - -
[I]
-j -
Iftl\
- -
111.f
,I t) Step - pin g up now cross vcr un - der thumb, shift back to G.
.- - .- -
3 0

..
-..
I

-
-
I

--• '
- -- - I
-

@2
I
M~
M~

I
,:
0
I I 2
-
3
-
4
_,
5

Optional: J = 80 J = 104 J = 138

4-. The Ultimate G Scale Warm-up

• Play six G scales on six different G's, 4. Switch to R.H. on the next higher G.
ascending and descending! Continue with R.H. scales up the keys!

L.J ~J1321 '@ 1

3. Lift and repeat again
with the L.H. on the
next higher G.

111!ml~1H]'~
[I 2. L.H. lifts to the next higher G.
Play the G scale up and down.

I 5 j 4 13 J1
I UTITI 1
L.H. 2 1 ~J

1. Wi.h "" L.H., b,g;o oa th, LOWEST

l.ijU±[ 3 2 I, @ [,_[ I I ~;:,:: ::',;,~,;::'.::rr.::::t"
-up---+
+~---DOWN:.)
• " Theory p. 18 29
 The Key Signature
Review: T he G major scale has an F#.

New: A piece in the key of G major will also use Fl , instead of a "plai n F."
A shllllJ is not written before every F. Instead, an Fl is shown at the
beginning of each staff. This is called the key signature.

Key signature These sharps mean

for G major to play all F's as F#.

Key Signature Warm-up

• Starti ng at measu re 5, trace the F sharps
at the beginning of each line of music.
Vive la France!
French Folk Song

.- . --·.
,.., .. i.
Cheerfully (

C
5
.
J = 108- 120)
• 4
-
-- - - - .
.,
Th ink: Vi - ve la, vi . ve la, vi - ve la France!
f P..· -
. . . -' ... f!F "·
.,.

-
, · • 1..i,

-
a•

5
3

[I]
I - ~,. I cross 3 over ' I

J .

@.) I I I I I I p

) .. - __ ..
11if
a_ .
,_.
I
P..·
~.
o, · ~-
5

Teacher Duet: (Student plays / octa ve higher )

t WtI
r. i
r t ====-
• I
4 p ;--r-'

l 30 CD 28-29 ,> '' Theory pp . 19, 20 &::::,Tech p. 18 ;{ Perf pp . 12-13 ~ Sight pp.46-49
ff\ [
 I I
-- :,
I
I
I nif

• ... 0

- ---
[ill
13 move!

.,
I .;-··
~· 2,

- -- - ----- 2,

- -- - --
-
-
r

I
I
I I I I I
t p nif
..
.... - • #
-- - #
= • ... ,a
:,
,
...·· -
[ill 5
,-(, = - - -
I 3

-- - - -
'

--
7 I
ti
f rit. p

, ..;. ·
~,., .: -'4:
., .
# ... -'4:
., .
r

Dl ~ C IIT Remember that transposition means playing the same music in a different key.
Can you tran spose this piece to the key of C major?
Reading the intervals and listening to the sound will help you transpose.

cresc.

31
 I and V7 Chords in the Key of G
2-note 3-note 2-note 3-note

tH i ifif :j .; I
Notice the leading tone to tonic is marked in red .
II
I V7 V7 I

II

Two Spirituals
1. I've Got Peace Like a River

Moderately ( J = 100-112) African-American Spiritual

4 4

peace like a riv-er,_ I've got peace like a

.0... e--

peace like a
e--

Other verses include: j oy like a fo untain , love like an ocean, strength like a mountain.

32 <i) CD 30-31 frf'Theory p.21 Ff! Os-1

Accidentals
r!ats or sharps that are written in the music but
:ire ,101 in the key signature are called accidentals.
A natural is also an accidental.

, Circle the accidental in measure 6.

2. Deep River
Slowly, expressively ( J = 56-63)
African-American Spiritual

riv er, my
====-
I]
ri jj, 3, cross (Dover
-
2___._ I I
I
,.
..

-\
I
'
..,
I !.) (count: 3 + 4 +) I

home is 0 ver Jor dan. Oh,

...
H-
f
.,,--.....,,_
====--
3

[D

riv er,
-
Lord, _ _ _
mJ

2
4

0 4 3

rit.
to cross
ground. p

st-loved spiritual." The word

Deep River has been called ''perhaps the bes t known
. an d beth "r and worship, freedom in
· th'is
•campground" has various meanings: camp m~~rope
life, and Heaven in the afterlife.

~ , CD 32-33 .> v Theory pp.22, 23 ,;:;:; Tech p.19 33

 Musical Form
Musical fonn is a way of organizing or structu ring music.
The simplest musical form is one section of music followed by another:
section A followed by section B.
Each section usually has a repeat sign.
This two-part form , called AB form, can be shown Like this:

Ii: A :\If B :\I

section section

• Label the sections in the blue boxes. •

Section
Allegro Modc.-ato (
_;,:_
J = 100-116)
___________ _
Horse-Drawn Carriage

(nm - 11i11g, run - ning, run - ning, run - 11ing,

[I]
4.
,,,.----
."' fl lo!
- - -
- - - -
·_
....
- -
' I I I
@.)
,rnlk. ll'alk. walk. walk, hop, hop, hop) mp
p j,_
#
- ..·-
-
.0...
.-' ....
I

Teacher Duel: (Student plays / octa1•e higher)

Play the A Section 4 times.

/UI.

IFr I 2

••• CD 34-3 5 , "'Theory pp.24, 25 Tech pp.20-21 0""!/'Sight pp.50-55

34 ._J
 r ..o._
p

_Section
[2J

DI ~ ( ' IIY Play this chord pattern in the keys o~ G and C with
. each hand: I V7 I V7 I
Then transpose Horse-Drawn Carnage to the key of C. ___.,,.. :\_

0 BSeclt~ ~ l•~ a 11 2. I

~ pr r IF J2 J rdt¢1Fltf7
l·f- 1084
mp.po11repeat j F'
35
 More About the Damper Pedal
The piano has 2 or 3 pedals.

i,ua
The pedal on the right is called the damper pedal.

It is called the damper pedal because it lifts the felts

(called dampers) off the strings. This allows the strings
to continue to vibrate, which makes the sound ring.
'
t damper
pedal

Three Rules for Pedaling

I. Use your right foot. 2. Always keep your HEEL ON THE FLOOR.

3. The toes and ball of your right foot should rest comfortably on the pedal.
(Your teacher may wish to demonstrate.)

Pedal Warm-ups
1. Say the words aloud as you pedal this preparatory exercise. Remember the three rules!

foot
motion: Up Down Hold it, Up Down Hold it, Up Down Hold it, etc.

2. In music, the same foot motion is shown with these pedal marks. J
The _A_ tells you to lift the damper pedal, then depress it again.
foot
motion: Up Down Hold it, Up Down Hold it, Up Down Hold it, etc.

36 (i:::; Tech p.3 (Pedal Pushers) Ff l08-l

 - - - - - - - - - - - -~ .
Four Practice Hints: RINGING
1. First play the R.H. without pedal. t,\t--lEC.TED
2. '-l ow add pedal and say the words aloud a c.,O

l
. S~p~ 1
Notice the pedal goes down AFTER the ch d
or .
3. Prepare the next R.H. chord during beats 3 and _
4
4. Lisren carefully for a smooth, connected sound.

Moderately ( J = 100-120) Pedal Power

s s
3
f) 1 3

\ .
3

-
11
,,
-
11
,
r rr
'":II:

- --- - ..I -
i
" '
'V r
Say: .. p- d own (move hand)
up - down (move hand)
mp up - down (move hand) up - down (move hand)
-,,..
....... - -
r. - -

----
f)

-- - -
,.)I f)
,r ,
,,,
'
' - ,
-
u I I I I

' up - down (mo ve hand) up - down (move hand) up - down (move hand) up - down (move hand)"
....
I
, - - - -

D '.Ll,11
II y
Play Pedal Power hands together (L.H. plays the same chord 1 octave lower).

3---------------
Teacher Duet: (Student plays as written)
8'• higher thro11gho111

Er r r Ir r r It tfr r N7?r
~en
mp
0 2 ~
3

j 1r 1?r It U f E If p II

0 CD 36-37 Tech p.22 37

 New Note - Ledger Line A
line - space - line

Notice this A is one

ledger line lower
@JJJ -e- J.
than Middle C. /
• Cover up the notes to the left and
quiz yourself by naming these notes.
• Say and play these 3 notes on the piano.

R.H. Warm-up

·~ t
,· ~
i
F G

• Listen for smooth, connected pedaling!

Moderately ( J = 88-100)
=~= Beach Party
C Am F

.
8J G C
I
Am
Ii
I
_,
'
- -
..J
- -I ... =
-
_,

R.l~J
@)

-, ...
}
- J
- J
-
I -
- ..
~

l 38 (.,0~1CD 3 8-39 ,_;p)Theory pp.26-27 F J Tech p.23 Gt/'Sight pp.56-59

Ff lOSi
 [I] F

- fl G
C
I
;
- _,

Im.
'"'
@J - -=i
--
J

11
~-
... -..
} R. H.
J )
]ITT 1
J

--- -
u
- ·~
[ill Am F G

[ill C 5 5

.
3 3
j I 1, I
I
.""'
---,,
,.~ -=
,1
_, -
•-
..,
.., ---- --
----:::

I rir.
---
I
--""'-
I
7"'11,

mp f
,~ .
---,
.. .....
"
s-e-

Cl ~ IYI
I. Make up your own version of Beach Party. OR .. .
2. Play Beach Party slowly using only the L.H.! (Omit the last L.H. note.)

Teacher Duet: (Student plays as written )

8" higher throughout 0
L-- ---
iffl F1f Fl
5 5 5
R.H.

mp
r f r 1r r f It tr r f
[TI
rm
r1 ,rtrrf r ,~rrr f
5
3/ . 3 1 "'

IGE}J F If j
s
3
[ill 3 4 5
3
l~ , _J
5

1s r 1 ,o
I I

r r ,r
- 4

If rit.
f

......___ 39
 More About Musical Form
Remember, musical form is a way of organizing music.
This piece has three parts: the A section, B section,
and the return of the A section.
This form can be shown like this:

AB A
Note: If only part of the A section returns,
or the return of the A section is slightly changed,
it can be labeled A 1•

• Label the sections in the blue boxes.

Riding the Wind
Freely, with expression ( J = 104-132)
ri .. 2 on ? 2
...- - -
-'- '
JI

J ...

p
-

~•"i-•
-
- -
-----.:.--
- .. . - - - -
Count: I + 2 + I + 2 +

-
,.. -
...- - -- -
£. - · ••
"-
,.. If
I

II!)
3 3~
L.H. cross over

IT]

I
"
ri
.-- - -- - ,..-
4 ~ 3
- ,..- - -
,.. -
I
----------
-
,..
I
'
u
J

mf

-..
ri =-·
.
-
." -
)I

I
I\

• 3
- - - 2 3
- -
- (J
(p repare L.H. )
4

[I]
2 2

-...
ri
)I
- -
- - -
-------
-
I I\
•r /_

p
"i- -, "i- -,
--
<

.
- -
-
3-------
&

( - ..
-
...- - -- -
L. ,.. ,.. If -
I
,q,
II!)

Qr Ffl o,J
40 (-!:1CD 40--4 1 / Theory pp.28-29 .f.:)Tech pp.24-25 .x,_ Perl pp.14- 15
41
 The Eighth Rest 91
eighth note j) = one half beat
eighth rest ., = one half beat

• Tap this rhythm with your teacher while counting aloud.

Notice that each beat is divided into two equal parts.

111=
Count: 1
n and 2 and 1 and
J
2 and
=11

• Now tap the rhythm at these metronome speeds: J = 80 J = 96 J = 112

• Listen as your teacher demonstrates

measures 5-6 at J = 132. Pumpkin Boogie
Traditional (adapted)
Jiving along ( J = 112-132) repeat! 3
I 2

- -
fl
-
, ,1 J
.....•
-
... ,_
V _.
,_

• ..
,_

< mf P,

..--
- ,-· ..
I

r,
,_
,, - r,
3 - " '"v -
2 4

L
ffll'
i)
42 0 CD 42-43 ., Y Theory pp.30-31 .,:_')Tech pp.26, 27 ;:. Perf pp. 16-17 W'°'Sight pp .60-63
 0 cross over

..
~-11
fl I 2
-
-
I

I =t1t, -
11/1'
• p

~, - -- ,,_
- -- -
I

- --
-I-
( - • • I
7

I 14 13 2 -
5 I

[ill

.
3
/1
.-'
.
I
I

I ,,,
,,
•• --
<
tl
mf
-,J v -G--
f •- ..
--
V -
•
-,.. - . h. L_
I
'-' '
...
r - .-..'
•
-- V ,-

-
3 I
3
cross under

. .
fl

.
3
JI I 2

I I\
-~
- -
• ...
..
t.. ~
@) ,_ ,_
V
• V -
• V ..

-
L '

f-----_ / ~
.. • ,
• h.-
-- I_ -
V -

-
mf
,
I

V -
I 3 I 3
(mo ve quickly)

.-
3
I fl\ ,-.._,_
-
I

-
I 2

I ,-, - - - - -
-' -
-
..·- -
- - 1 -i
,_
ti • V -

mp
I I
- I

~
-,,--..
I

-
,
- v - ,-~
-
--
-'
3

@] 8'• - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .,
3
I I (I\
-
I~ 2

- - - - ...- -
-
-L
..u. -, -, - IU - ,
-
,, "
tJ I I -' I I
'

p f

-- -
I I

-
i--..__. .
I c---Jr •
- -"
r -
I
V -

-- 3~
>
8 1,'Q .J

Boogie lmprov Duet - Pl ay this piece as written while your teacher improv ises in
the highest octave usi ng the C minor 5-finger scale. Then reverse and you improvise!

43