KLAVARSCORE BEYER PIANO COURSE
Contents:
- Scale of F Major
- Explanation of minor scales
- Czerny Exercise 4
- Czerny Exercise 5
- Czerny Exercise 6
- Additional Song Polka
Additional information for Lesson 90-99
Music Vocabulary
Ritard. Ritardando = slower by degrees.
Rit. Ritenuto = holding back, slower
a tempo In regular tempo (the end of Ritard. or Rit.)
Scale of 
F Major
The scale of F major begins at the note "F".
But as explained at Page 60-60 the same intervals (distances between the notes) should be kept: we need the folowing notes:
Note: F G A Bb C D E F
No.: 1 2 3 4 5 6 7 8 (=1)
Distance: 1 - 1 - ½ - 1 - 1 - 1 - ½
In Words: w - w - h - w - w - w - h
Notice that a half step up from "A" is A# (A-Sharp), but in the scale of F Major we call it a Bb (B-flat) because we already have an A in the scale and if we called in an A# the scale would be missing a B.
Minor Scales
There are three types of minor scales in common use: Natural minor, Harmonic minor and Melodic minor. These are illustrated using the A minor scale below. The scale patterns are as follows: (notice that melodic minor has a different pattern going up than going down).
Natural minor scale
The A Natural minor scale uses only white keys.
Note: A B C D E F G A
No.: 1 2 3 4 5 6 7 8(=1)
Distance: 1 - ½ - 1 - 1 - ½ - 1 - 1
In words: w h w w h w w
Harmonic minor:
The same as Natural minor but with a raised 7th scale degree represented below by ↑
Note: A B C D E F G# A
No.: 1 2 3 4 5 6 ↑7 8(=1)
Distance: 1 - ½ - 1 - 1 - ½ - 1½ - ½
In words: w h w w h 3h h
UP Melodic minor scale (raised 6th and 7th scale degrees)
Note: A B C D E F# G# A (A Melodic minor)
No.: 1 2 3 4 5 ↑6 ↑7 8(=1)
Distance: 1 - ½ - 1 - 1 - 1 - 1 - ½
In words: w h w w w w h
DOWN Melodic minor scale (same as natural minor)
Note: A G F E D C B A (= A natural minor)
No.: 8(=1) 7 6 5 4 3 2 1
Distance: 1 - 1 - ½ - 1 - 1 - ½ - 1
In words: w w h w w h w
Melodic minor is the form commonly used in classical music. Notice how going down the Melodic minor scale (from 7 to 1) is no different than going down the Natural minor scale.
To illustrate how these three different minor scales sound when used as the basis for music, listen to Example A, B and C on the right a couple times each.
A Melodic minor
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B Harmonic minor
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C Natural minor
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The examples are the opening phrase from a piece by Johann Sebastian Bach.
There is a reason why Example A sounds more like a well rounded musical phrase and the others may not sound quite as pleasant and that has to do with better use of tension and resolution. In Melodic minor, the 6th scale degree is raised along with the 7th so there isn't such a big jump between the 6th and 7th scale degrees (as compared to Harmonic minor) to more smoothly connect them. The raised 7th creates a feeling of more tension which is released at 8. The first scale degree (1), is called the "tonic" (same as 8 at the top of the scale) and musical phrases typically end on this note. When going up the scale, the tonic (8) is typically reached stepwise by way of 7 (known as the "leading tone"). For this reason, this is where you want the greatest amount of tension to be felt and released going up the scale. On the other hand, going down the scale, the tonic (1) is typically reached stepwise by way of 2 and so this is where you want a greater amount of tension felt and released. This is why the 6th and 7th scale degrees are not raised going down the scale to end a musical phrase in Melodic minor.
In Klavarscore a minor key is indicated by this sign on the first note of the scale:
Supplementary exercises by Carl Czerny (Opus 453) to complement the Beyer course
These pieces are transcribed from "One Hundred and Ten Easy and Progessive Exercises, Opus 453".
We have provided the scores in C and C# major according to Czerny's instructions: "The pupil should practice the first fourteen exercises transposed into C#, employing the same fingering even in places where some difficulty is encountered by doing so."
Exercise 4
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Exercise 5
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Exercise 6
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Additional Song
"Polka - Polca"
No. 5 from "Six short pieces for Recreation" in the Scharfenberg edition of the Beyer piano lessons, composed by the pianist and composer Anselm Ehmant (1832-1895).
Tempo 130 BPM
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Tablet format: click here
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Audio file: click here
Right Hand Audio file: click here
Left Hand Audio file: click here
Because the Right Hand and the Left Hand do not begin at the same time, COUNTING IS VERY IMPORTANT!
For practicing start the Video first, then the Audio.
This piece is in 3/4 measure, it has no upbeat: 3 ticks in advance.
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Right Hand, you play the Left Hand: Javascript is required for the audio players, but it is not enabled in your browser. You can still download the file:
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Left Hand, you play the Right Hand: Javascript is required for the audio players, but it is not enabled in your browser. You can still download the file:
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