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In this study book a layman (in terms of music, reading notes, music theory and piano technique) learns the very first BASIS to play the piano via the NOTUS Music Notation. The book is used during the 1st trimester of a school year or for self-study. It is suitable for both purposes. NOTUS differs from the conventional music notation because no keys, sharps, flats or natural signs are used. The basic staff is three-line, the tie is unambiguous, the repeats no longer contain Italian terms, etc. In NOTUS Music Notation, during the first three months of a starting music study, the focus is mainly on learning to read the pitches of ALL notes and playing ALL the corresponding piano keys. In contrast to the conventional notation, these are in NOTUS only 7 notes for the 7 naturals and 10 logically derived notes for the semitones. These are the notes and keys of one octave (octave group). Due to the specific structure of the NOTUS staff (which imitates the sevenfold repetition of the Western octave), this is sufficient to be able to read ALL NOTES and play ALL piano keys. Once this foundation has been laid after the first three-four months, learning to read the pitches is definitely over. The following trimesters and years, the NOTUS teacher and student can focus for 100% on the study of rhythms, piano technique and interpretation because learning the pitch is no longer an obstacle, as in the conventional notation. As a result, a study via NOTUS is therefore faster and quicker and the students see themselves evolving every week with little stress. The pedagogical approach is completely different from the conventional notation. In NOTUS first note E (seven times over a full piano keyboard) is learned, then followf G over the full keyboard and the combinations with E and G. As third note C enters with exercices based on C, E, G over a full keyboard. Then follows all D's and F's simultanously, to end with all A's and B's. When the seven naturals are masterd and played well one goes on learning all black keys and their tones / notes. In this FOUNDATION Textbook only the rhythms and time signatures 2/4, 3/4 and 4/4 are discussed as well as the note and rest values whole, half, quarter and eighth, the dotted note and the tie, the immediate repetition, the dynamic abbreviations and wedges, the articulation marks staccato and accent, the new fermata signs family, the phrase mark/bow and also hand-notation of NOTUS Music Notation. Music theory comprises the basic intervals and basic information about chords, in addition to the concepts of 'chromatic and diatonic distribution of the octave' and the concept of 'enharmonic' semitones. Regarding piano technique one learns the finger numbers, the relaxed hand positions and the first steps in moving the hands all over the piano keyboard. Everything is made clear through clear and logical diagrams. A lot of finger exercises are specific for learning to control the entire keyboard and learning to play with both hands. The book contains a total of 134 exercises and short pieces by well-known music teachers and composers such as Barók, Gurlitt, Rövenstrunck, Kirby-Mason, Sartorio, Burgmüller, Wilton, Hook, Baumfelder, Beethoven, Köhler, Stravinsky, Strauss, Oesten. There is also a DUTCH edition available at www.notus.world.

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NOTUS

the world's

EASIEST

music notation

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ages12 to 1

a production NOTUS& BOOKS& SHEETS

Notus

muzieknotatie

NOTUS

NOTATION

MUSIC

PIANO

FOUNDATION

Go from COMPLETE BEGINNER to being able

to read and play ALL the notes of the piano

keyboard with ease in just three to four

months of stress-free study!

PLAY THE PIANO from the very first lesson.

Learn basic piano technique, basic rhythms and

music theory with the many exercices and short

pieces by famous composers and music experts,

including Bartók, Gurlitt, Köhler, Stravinsky …

MASTER

the PIANO KEYBOARD

and ALL its NOTES.

Quick and easy !

TEXTBOOK

NOTUS

STUDY

edited by Erwin Clauws

PIANO

KEYBOARD

MASTER THE PIANO KEYBOARD

and

ALL ITS NOTES.

PAR007-PDF — NOTUS& BOOKS&SHEETS

introduction

This workbook lays the essential groundwork for your study of the piano, both as a be-

ginner and later as a more advanced pianist. You'll learn three subjects at once: how to

read NOTUS Music Notation, basic piano technique and the foundations of music theory

and rhythm. You'll gain this knowledge step by step with 134 exercises and clear exam-

ples. The exercises are divided into 'activities' and 'repertory activities'. An is

a short exercise for getting to grips with a new concept.

A is a short piece, by a composer or renowned piano teaching REPERTORY

expert, intended to help you develop your sense of musicality and interpretation. All ac-

tivities are of suitable for beginners and designed to present new learning material in dif-

ferent musical contexts. Occasionally a Repertory Activity will introduce new concepts.

You'll begin by learning the notes of the white keys. We'll be placing a lot of focus on

these as they form a crucial foundation for the rest of your musical journey. You'll only

need to learn seven notes in order to be able to play the 52 white keys on a standard pi-

ano. This advantage is unique to NOTUS. With NOTUS Music Notation you'll quickly no-

tice that a lot of your available time is spent on learning to play the piano, rather than

learning to read the notes.

However easy it may be, you'll still need to practice twice a day for 20 to 30 minutes in

order to guarantee a steady improvement in your piano playing. There's no way around

it: learning any instrument takes patience, practice and regularity. After the white keys

you'll find three study intermezzos in which we'll cover music theory fundamentals such

as chords as well as some additional exercises to hone your piano technique. Finally,

you'll learn the specific notations for the black keys, with plenty of Activities and

Repertory Activities to cement the knowledge in your mind.

We'll focus a lot on the positioning of your hands and fingers on the keyboard so that you

start off on the right foot (or hand, in this case). Remember: are music words in BLUE

terms that are important for communicating clearly about music and should be learnt by

heart. We hope that by the time you've completed this workbook you'll find yourself bit-

ten by the piano bug. But enough talking, this book is all about DOING, so

— 4 —

let's dive in

ACTIVITY

contents

• Structure of the piano and keyboard. p. 9

. High and low sounds. p. 9

. Standard piano and keyboards. p. 10

. Octave group. p. 10

. Octave group numbers. p. 11

. Activity 1 p. 11

• The tones of the white keys p. 12

. C – D – E – F – G – A – B p. 12

• Tones, notes and the NOTUS staff. p. 13

. Octave anchor. p. 13

. Octave group number and octave group. p. 14

• E natural p. 15

. . Finger numbers (With which finger do you play E?) p. 15

. Notes for the left hand and notes for the right hand. p. 16

. Activity 2 p. 16

. The positioning of your body and hands with respect to the keyboard. p. 17

. Activity 3 p. 18

. Octave segment. p. 18

. Narrow octave segment. p. 20

. Activity 4a, 4b p. 20

. Activity 5 (learning to shift hands by visualizing) p. 21

. How long do you hold down a key to play a quarter note? p. 22

. Tempo. p. 22

. Activity 6 p. 22

. The quarter rest. p. 23

. Activity 7 p. 23

. The staff with two octave anchors. p. 23

. Activity 8a, 8b p. 24

. REPERTORY ACTIVITIES p. 25

. Repertory Activity 9 p. 25

• G natural p. 26

. Activity 10a, 10b p. 26

. The half note, half rest, whole note and whole rest. p. 27

. Beats. p. 28

— 5 —

. Actie 11a, 11b, 11c, 11d, 11e, 11f, 11g, 11h pp. 28-29

. Actie 12a, 12b, 12c, 12d, 12e p. 30

• C natural p. 31

p. 31 . The C notehead.

. Activity 13 p. 31

. notating C without an octave segment? p. 32

. Activity 14a, 14b p. 32

. Pulse — accent — bar line — measure — meter. p. 33

. Two-four time — Three-four time — Four-four time pp. 33-34

. Activity 15a, 15b, 15c p. 34

. Activity 16a, 16b, 16c, 16d, 16e, 16f, 16g p. 35

. Legato, the default when playing piano. p. 36

. Activity 17a, 17b, 17c, 17d pp. 36-37

. Repertory Activity 18 — Window Shopping — E. Clauws p. 37

• D natural and F natural p. 38

. Activity 19 p. 38

. Finger exercises and finger numbers. pp. 39-40

. Activity 20a, 20b, 20c, 20d p. 41

. Activity 21a, 21b, 21c, 21d p. 42

. Whole rest and dotted note. p. 43

. Activity 22a, 22b, 22c, 22d, 22e, 22f, 22g, 22h pp. 43-45

. Repertory Activity 23 — Dancing Dragonflies — E. Clauws p. 46

. Repertory Activity 24 — Stroller — E. Clauws p. 46

• A natural and B natural p. 47

. Activity 25 p. 48

. Activity 26a, 26b, 26c, 26d, 26e, 26f, 26g, 26h, 26i, 26j pp. 48-49

. Repertory Activity 27 — Parallelepiped — E. Clauws p. 50

. Repertory Activity 28 — Mikrokosmos n° 16 — B. Bartók p. 50

. Activity 29a, 29b, 29c, 29d, 29e, 29f, 29g, 29h pp. 51-52

• PRIMO INTERMEZZO p. 53

. Ties. p. 53

. ties — bold ties p. 54

. The time signature. pp. 55–56

. Activity 30a, 30b p. 57

. Activity 31a, 31b, 31c, 31d pp. 57-58

. Repertory Activity 32 — Der Erste Vortrag, opus 210, n° 1 — C. Gurlitt p. 59

. slur / legato p. 59

— 6 —

. Repertory Activity 33 — A little bit sad ... — E. Clauws p. 60

. Dynamics abbreviations and wedges. p. 60

. crescendo, decrescendo, diminuendo. p. 60

. Activity 34 p. 61

. Repertory Activity 35 — Study — J. Rövenstrunck p. 62

• SECONDO INTERMEZZO p. 63

. INTERVALS. p. 63

. melodic and harmonic intervals. p. 64

. ascending and descending intervals. p. 64

. prime — second p. 65

. third fourth — — fifth — sixth p. 66

. seventh — octave p. 67

. Activity 36 p. 67

. CHORDS. p. 68

. Broken chords as an introduction to harmonic chords. p. 69

. The naming of chords. p. 69

. Activity 37a, 37b, 37c, 37d p. 70

. Activity 38a, 38b, 38c, 38d, 38e, 38f, 38g, 38h pp. 71-72

. Repertory Activity 39 — Waltz in C — Barbara Kirby-Mason p. 73

. REPEAT SIGN:

immediate repeat of a number of measures. p. 73

. Fermata. p. 73

• TERZO INTERMEZZO p. 74

. Eighth note and eighth rest. p. 74

. Activity 40a (L. Köhler), 40b (A. Sartorio), 40c pp. 75-76

. staccato and staccato dot. p. 75

• REPERTORY INTERMEZZO p. 77

. Repertory Activity 41 — When the Saints go marching in. p. 77

. Repertory Activity 42 — A Study on Phrasing —

based on a Friedrich Burgmüller composition p. 78

. Repertory Activity 43 — Little Sonata — C.H. Wilton p. 78

. Repertory Activity 44 — Tell me, little quail, where are you nesting? p. 79

[original: Dis moi m'amour la caille, oú t'as ton nid?]

. Repertory Activity 45 — Minuet — J. Hook p. 79

. Repertory Activity 46 — Pianissimo study — E.Clauws p. 80

. Repertory Activity 47 — n°. 6 — B. Bartók. First Term at the Piano p. 80

[original: Kezdök zongoramuzsikája n°6]

• Hand-written notation p. 81

— 7 —

• aha!! ... The Black Keys ... p. 83

. SHARP- and FLATnotehead and note values. p. 83-84

. Chromatic and diatonic distribution of the octave. p. 85

• Five black piano keys in the octave group. p. 86

. semitone C-sharp = D-flat pp. 86-87

. semitone D-sharp = E-flat p. 87

. Activity 49a, 49b p. 88

. semitone F-sharp = G-flat p. 89

. Activity 50 p. 89

. semitone G-sharp = A-flat p. 90

. semitone A-sharp = B-flat p. 90

. Activity 51a (F. Baumfelder), 51b (L. van Beethoven) p. 91

. Activity 52 p. 92

. REPEAT SIGN: immediate repeat of a note or chord. p. 92

. Activity 53 (C. Gurlitt) p. 93

. Activity 54 (L. Köhler) p. 94

. Activity 55 p. 95

. Hand-written notation of FLAT- and SHARPnotehead, C and Cs noteheads,

tie, dynamic wedge. p. 96

• FINALE Repertory p. 97

. Repertory Activity 56 — n° 3 — B. Bartók First Term at the Piano p. 97

[original: Kezdök zongoramuzsikája n°6]

. Repertory Activity 57 — Tomorrow? — E. Clauws p. 97

. Repertory Activity 58 — The Bear — I. Stravinsky p. 98

. ostinato. p. 98

. Repertory Activity 59 — Mikrokosmos n° 14 — B. Bartók p. 99

. change of dynamic upon repeat. p. 99

. marcato sign. p. 99

. Repertory Activity 60 — Also sprach Zarathustra — R. Strauss p. 100

. Repertory Activity 61 — Dolly's Dreaming & Awakening, part one: Cradle Song —

T. Oesten p. 101

. REPEAT SIGN: immediate repeat of a full measure. p. 101

. accent sign. p. 101

• index p. 103

— 8 —

A standard, modern-day piano has , each producing a 52 white keys and 36 black keys

unique sound. That's 88 sounds in total. If your piano has fewer keys, it may be very old

or you may be playing on a keyboard with fewer sounds than the standard piano. Even if

your piano doesn't allow you to play all the Activities in this book, you'll still be able to

learn how to read all the notes of the standard 88-key piano. It might seem like we're get-

ting ahead of ourselves already, but this is one of the advantages of studying music with

NOTUS. With NOTUS, you only need to learn the notes for twelve keys to be able to play

the piano, regardless of whether it's a small one with just 49 keys, a concert piano with

88, or even a Bösendorfer Imperial piano with 97.

Middle C: your orientation point on any piano.

The key marked with the red circle below is called . It can be found on every middle C

piano, always with the same sound or . pitch

Ready at the piano? Book on the stand?

Great! Then we're ready to begin the first day of study.

High and low sounds.

If you press on some random keys you'll soon notice that the low, deep sounds are pro-

duced on the left side of the piano and the high sounds on the right. So, if you move your

hands to the left you'll be playing lower sounds and shifting to the right will result in in-

creasingly higher sounds.

— 9 —

structure of the piano and keyboard

moving to the right = progressively higher sounds

moving to the left = progressively lower sounds

Standardpiano and keyboards.

Below are the most common keyboards. The middle C of each keyboard is indicated

neatly one under the other for ease of comparison.

— 10 —

the 88 keys of the piano or 88-key keyboard

the 76 keys of a 76-key keyboard

the 61 keys of a 61-key keyboard

the 49 keys of 49-key keyboard

middle C

Octave group.

The black keys create a visual repeating pattern across the piano keyboard. This pattern

is shown below. The pattern consists of groups of 12 keys. 7 white and 5 black. Within

each group, the black keys are in turn divided into groups of two and three. Such a group

of 12 keys is called an . octave group

octave group

At the start and end of the keyboard are keys from incomplete octave groups. On the

right side is the first key of the highest-sounding octave group, and on the left are the

last three keys of the lowest-sounding octave group.

— 11 —

IM PORTANT

• there are seven complete octave groups that are likewise composed of

seven white and five black keys. The black keys are divided into groups of

two and three;

• from left to right, each octave group sounds twice as high as the preceding

group;

• an octave group always starts with the white key to the left of the group of

two black keys. In the middle group this white key is 'middle C'・.

0 1 2 3

octave group

2 13

4 4

Octave group numbers.

Each octave group has its own specific . The octave group in the octave group number

middle of the piano, beginning with middle C, is octave group 0. The progressively

higher-sounding groups to the right of octave group 0 are numbered 1, 2, and 3. The

progressively lower-sounding groups to its left are numbered –1, –2, and –3. On the far

left and far right of the keyboard are octave groups 4 and –4, respectively.

32 10 1 2 3

Using Post-it s or similar, label your piano keyboard to indicate the octave group num-

bers and the keys where the octave groups begin and end. This will help you to identify

the octave groups in your first lessons.

Keyboard users can use the diagram on page 10 to determine the number of octave

groups available to them.

octave group octave group octave group octave group octave group octave group

ACTIVITY

the tones of the white keys

The sounds played using the white keys are known as naturals. In each octave group

there are just , which repeat in the same order across the keyboard. Each seven naturals

group of tones sounds twice as high as the last.

The names of the naturals.

Below you can see the order and names of the seven naturals in every octave group.

— 12 —

The natural played by the first white key in an octave group is C. Then it's D natural,

followed by E natural, F natural, G natural, A natural and ending with B natural. The names

of the naturals correspond with the first seven letters of the alphabet . A–B–C–D–E–F–G

Every octave group begins with the note C, however, the third letter. The first two letters of

the alphabet follow G, like so: A–B C–D–E–F–G– – . A B

This order is internationally recognized and arises out of developments in music history.

It is the cornerstone of Western music. You should be able to follow this order, back and

forth, no matter which note you start from.

The naturals of the different octave groups.

An octave group number is notated before the name of the natural to indicate which oc-

tave group it's from. For example: 1E. This tells us that we are talking about E natural

from octave group 1.

The naturals from the middle octave group are the exception; we don't need to write

'0(zero)E' – we just assume that E on its own is middle E.

VERY

IMP ORTAN T !

–3 –2 –1 0 1 2 3

FC D E G A B

Every tone can be notated. That's music notation. A notated tone is called a note. There

are different kinds of notes. The most common note is depicted as an oval with notehead

a black attached to its right side. This is called a . stem quarter note

Octave anchor.

The NOTUS octave anchor consists of two parts:

1) the black on the left, containing the relevant octave octave group number box

number in white. Attached to the bottom right of the octave group number box is a

short staff line. This is the . C line

2) to the right of the octave group number box there are that span the three staff lines

width of the page. The notes for only the octave group in question – the one

indicated by the octave group number – can be notated on and between these three

lines. The staff lines are numbered 1, 2 and 3 from bottom to top.

A indicates the end of an exercise or composition. This sign final double bar line

consists of two vertical lines, one thick and one thin, connecting the three staff lines.

notehead

note between two staff linesnote on the staff line

stem

Notes are notated on and between black, horizontal lines separated by a gap equal to

the height of one notehead. These lines are called . Altogether the lines are re- staff lines

ferred to as the . In NOTUS the (see below) is the foundation of the staff octave anchor

staff.

staff line 3

staff line 1

staff line 2

octave group number box

octave number

C line

the most well-known note: the quarter note

tones, notes and the NOTUS staff

a final double bar line is

notated at the end of a piece

— 13 —

Octave group number and octave group.

By observing the octave group number at the head of the staff in combination with the

labels you've stuck to your piano, you can see immediately which group of keys you

should use to play the notes on the octave anchor. In the first example below a note is

notated on the bottom staff line. In the following chapters you'll become familiar with

this note: E natural. This note is always played with the white key to the right of the

group of two black keys. The octave group number indicated at the head of the octave

anchor (on the top example this is 2) tells us that we should be using the key of octave

group 2 (marked by the red key).

32 1 0 1 2 3

Now compare the notation below with the previous notation. Only the octave group

number at the start has been changed. So here you would be playing E (the white key

to the right of the two black ones) from octave group –1 (marked by the red key).

32 1 0 1 2 3

–1E

— 14 —

With NOTUS, we don't learn the naturals in the order C, D, E, F, G, A and B. This is to

avoid giving the impression that there is some order of importance between the 7 natu-

rals. All the naturals are equally important. The first tone you'll be learning in NOTUS is

E natural. You'll already be familiar with it from the previous pages.

Reminder: the tone and note for E natural correspond to the white key to the right of the

two black keys.

The note for E natural is notated on the bottom (first) staff line, regardless of the octave

group.

E natural

Finger numbers (with which finger do you play E?)

Of course, it's possible to play any key with any finger. Tones, notes and piano keys don't

correspond to specific fingers.

The finger you use will depend on the notes that are notated before and after the note.

You'll understand this as you continue through the Activities with the aid of two hints (for

beginners).

The first hint is the . The same finger numbers apply to the fingers of both finger number

hands: The thumb is 1, the index finger 2, the middle finger 3, the ring finger 4 and the

little finger 5. A finger number is notated close to the note it relates to, showing the fin-

ger best used to play the note in question.

left hand (LH) right hand (RH)

52 4 5

— 15 —

AC T IVITY

A finger number is never notated after a note. In the example above, for instance, you

would play the note E using your thumb. But which hand?

Notes for the left hand and notes for the right hand.

The low-sounding octave groups –4, –3, –2 and –1 are played with the left hand (LH)

and the high-sounding octave groups 1, 2, 3, and 4 with the right hand (RH). The mid-

dle octave group 0 and the octave groups –1 and 1 can be played with either LH or RH.

In NOTUS beginners can see which hand to use based on whether the note stem is to

the left or right of the notehead.

This is the second hint. Notes with the stem on the left side are for LH and notes with

the stem on the right are for RH. The stem can also be pointed up or down. In texts

about finger numbers and fingering, the finger number is added to the abbreviations LH

or RH, for example RH1 = thumb of the right hand.

Below you can see the four variations of the quarter note. The circled ones are the most

common.

LH = stem on the left RH = stem on the right

The combination of finger number and note stem orientation tells us which finger and

hand to use. Later, when you are more familiar with the piano and reading notes, this

rule will be less important.

Play the E notes in the correct octave group and using the correct finger. A finger number

remains valid until a new one appears in the notation for the note in question. Here you

would simply play the four notes with the same finger.

? ?

— 16 —

C natural

C natural is the first and lowest tone in any given octave group. As such, C is played us-

ing the first key in an octave group. It is found to the left of the group of two black keys.

C natural has a special notehead that is notated under and separately from the bottom

staff line of the octave anchor or octave segment.

The C notehead.

A always has a thick, slanted line going through it, regardless of its note C notehead

value. When C is notated on the octave anchor, the horizontal center of the notehead

aligns with the little line at the bottom of the octave number box. This is the C line.

This unique C notehead is immediately recognizable alongside other notes. For this

reason it is often used as a point of orientation on the staff. Below you can see the

unique C noteheads as a quarter note, half note and whole note, going from left to

right.

There are 8 C tones on the piano, from –3C on the far left of the keyboard to 4C on the

far right. C of octave group 0 is known as . middle C

Play the 8 C tones, naming them out loud each time. Use the thumbs of LH and RH.

C line C: quarter note C: half note C: whole note

C below the octave segment

0 1 2 4

2 1

43 3

–3C –2C –1C C 1C 2C 3C 4C

— 31 —

AC T IVITY

=60

THREE BEATS PER MEASURE: three-four time — waltz rhythm

=60 1

FOUR BEATS PER MEASURE: four-four time — pop/rock rhythm

=60

The third beat gets a weak accent. If it's too tricky, play it without an accent at first.

ONE two

TWO BEATS PER MEASURE: two-four time — marching rhythm

— 34 —

15 a

15b

15-c

ONE two ONE two ONE two ONE two ONE two

ONE two ONE two ONE two ONE two ONE two ONE two

ONE two three ONE two three ONE two three ONE two three

ONE two three four ONE two three four ONE two three four

AC T IVITY

— 36 —

Playing piano = playing legato.

Legato is an Italian term meaning 'tied' or 'bound'. This is the default approach to play-

ing the piano. You're playing legato when you transition from one key to another gently,

lifting the finger on the first key only when you have almost fully pressed down the next

key. This then causes the tones of both keys to flow together. Play like this from now on.

One exception is of course when playing the same note twice, since then you have to

press the same key twice in succession. In that case, don't fully release the key before

pressing it the second time.

Practice playing legato on Activities 17a and 17b. And remember to keep your fingers

over the keys, even when they are not immediately required.

=60

17a

17b

=60

17c The most challenging piece so far. Thankfully there's some regularity to it. Every mea-

sure in the LH is identical, with the exception of the last. For RH, measures 3 and 5 are

identical to measure 1, and measure 4 is identical to measure 2.

AC T IVITY

— 50 —

REPERTORY 27 Parallellepiped — E. Clauws

=75

REPERTORY 28 Mikrokosmos n° 16 — Béla Bartók

AC T IVITY

=104*

* : indicated by Bartók in the context of his specific didactic system 'Microcosmos'. You may of course play slower here

because this value is piano technically too high at this time in your study. Try to go as fast as you can.

REPERTORY

— 78 —

=70

(4)

(2)

REPERTORY 43 Little Sonata — Charles Henry Wilton

42 A Study on Phrasing — after Friedrich Burgmüller

(1)

(3)

(1) R

AC T IVITY

The third black key = F sharp = G flat

The third black key is the first in the group of three black keys. This is F sharp

(F natural raised by a semitone) G flat (G natural lowered , which sounds the same as

by a semitone). F sharp is abbreviated as Fs and G flat as Gf. Fs is the enharmonic

equivalent of Gf and vice versa. Below you can see the notation of Fs and Gf on the

octave anchor and octave segment, as well as the naturals F and G.

The rectangles of the SHARPnotehead for Fs and the FLATnotehead for Gf both occupy

the same position under the middle staff line (see red line).

Fs Gf F G

(–1) Gf (–1)F (–1)Fs (–1)G

FGf

Fs G (+1)Gf (+1)G(+1)F (+1)Fs

— 89 —

=70

(2)

semitone/note Fs

AC T IVITY

— 103 —

49-key keyboard: 10

61-key keyboard: 10

76-key keyboard: 10

88-key keyboard: 10

accent (articulation): 101

ascending interval: see interval

Also sprach Zarathustra: 100

A Study on Phrasing: 78

A little bit sad: 60

Bartók, Béla: 50, 80, 97, 99

bar line: 33

Baumfelder, Friedrich: 91

beam: 74

Bear: 98

beat / beat: 22, 27-28, 33, 55

half a beat: 74

blank staff template: 81-82

broken chord: 68

Burgmüller, Friedrich: 78

C notehead: 31

handwritten notation: 81

without octave segment: 34

C line: 11, 31

C–D–E–F–G–A–B: 12

chord: 68

consonant: 68

dissonant: 68

broken chord: 68

chromatic: 85

Clauws, Erwin: 37, 46, 50, 60, 80, 97

consonant chord: 68

crescendo: 61

damper/sustain pedal: 100

Dancing Dragonflies: 46

decrescendo: 61

Der Erste Vortrag: 59

descending interval: see interval

Dialogue between two hands: 93

diatonic: 85

diminuendo: 61

Dis-moi m'amour la caille ...: 79

index

dissonant chord: 68

Dolly's Dreaming and awakening: 101

dot after a note: 43

dotted note: 43

dotted half note: 43

dotted whole note: 43

dotted quarter note: 75

dotted tied note: 54

dotted rest: 43

downbeat: 33

dyad: 68

dynamics: 61

abbreviations: pp / p / mp / mf / f / ff : 61

wedges: 61

handwritten notation dynamic wedge: 96

eighth note: 74

eighth rest: 74

elbow line (tie): 54

bold tie: 54

enharmonic: 86, 87, 89, 90

fermata: 73

final double bar line: 13, 24

finger number: 15, 29-30, 39-40

between brackets: 40

finger exercices: 39

flag to stem: 74

FLATnote(head): 83-84

forte: 61

fortissimo: 61

four-four time (4/4): 34

gray elbow line: 53, 96

gray note: 53, 96

gray wedge: 61, 96

Gurlitt, Cornelius: 57, 59, 93

half note: 27-28

half rust: 27-28, 43

hallf tone: 83-90

C -sharp (Cs) – D-flat (Df): 86, 87, 88, 93, 95

D-sharp (Ds) – E-flat (Ef): 87, 88, 93

F-sharp (Fs) – G-flat (Gf): 89, 91, 94

G-sharp (Gs) – A-flat (Af): 90

A-sharp (As) – B-flat (Bf): 90, 91, 95

handwritten notation of half tones: 96

hand position: 17

relaxed: 17

handwritten notation: 81, 96

Hook, James: 79

intermezzo: primo: 53; secundo: 63; terzo: 74

interval: 63-67

prime: 65

second: 65

third: 66, 68

fourth: 66

fifth: 66

sixth: 66

seventh: 67

octave: 67

harmonic interval: 64

melodic interval: 64

ascending interval: 64

descending interval: 64

Kezdök zongoramuzsikája: 80, 97

(also known as First term at the piano)

nr. 6 (also known as n° 10): 80

nr. 3 (also known as n° 4): 97

Kirby-Mason, Barbara: 73

Köhler, Louis: 75, 94

left hand notes: 20

legato (piano technic): 36, 39

legato bow: 59

line: 18

Little Sonata: 78

Lullaby: 91, 101

marcato: 99

marching rhythm: 34

measure: 33, 43

whole: 43

measure rest: 43

medium strong beat: 33

melodically played chord: see chord,

broken chord

melodic interval: see interval

meter: 33-34

metronome: 22

metronome value: 22

mezzo forte: 61

mezzo piano: 61

Microcosmos: 50, 99

n° 14: 99

n° 16: 50

middle C: 9, 10, 11, 15, 31

middle octave group: 16

Minuet: 79

music theory: 63

natural: 12, 19, 83-87, 89-90

C: 12, 31-37

D: 12, 38-46

E: 12, 14-25

F: 12, 38-46

G: 12, 26-30

A: 12, 47-52

B: 12, 47-52

navel: 17

notehead: 13

note value: 22

octave anchor: 13-14, 18-20, 55

handwritten notation: 81

octave group: 10-16, 18-20

octave number: 11-14, 18

handwritten: 81

octave number box: 13

handwritten: 81

octave segment: 18-20, 32

smal: 20, 32

without (C notehead): 32

handwritten: 81

Ode an die Freude: 91

Oesten, Theodore: 101

off-beat: 33

opposite movement (of notes): 51, 52

parallel movement (of notes): 51, 52

Parallellepiped: 50

pedal: 17

phrase: 59

phrasing mark: 59

pianissimo: 61

Pianissimo Practice: 80

piano (dynamics): 61

— 104 —

ResearchGate has not been able to resolve any citations for this publication.

ResearchGate has not been able to resolve any references for this publication.

Posted by: replacewater.blogspot.com

Source: https://www.researchgate.net/publication/340917162_NOTUS_PIANO_Textbooks_-_PIANO_FOUNDATION_Textbook_'MASTER_the_PIANO_KEYBOARD_and_ALL_its_NOTES_Quick_and_Easy'

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