| 1. p. 214a using broken chords (as indicated)
| In this two-part accompaniment, the left hand plays a broken chord figure while the right hand plays the melody. The inversion of each left-hand broken chord is determined by the figured bass.
- Play through the melody to familiarize yourself with the tune. Note that this melody is restricted to a pentascale position, except for the 1-2-1 finger-cross in m. 12 and in mm. 15-16.
- From the given chord structure, determine the left-hand chords and play them blocked. Drill this until you can play it in tempo with no hesitation between chords. As you do this, you will notice that in all but three measures, there is a single chord.
- Once you are familiar with the sound of the chord progression and can play it without hesitation, play it in broken form. To accommodate the chord change on beat three of mm. 3 and 15, you will play a broken chord figure on beats 1 and 2, but you will also have to play the root of the beat three chord on beat three. This means that on beat three in m. 3, you will need to play "B" and in m. 15, you will have to play "G". In all other measures, the left hand should rest on beat three.
- To accommodate the chord change on beats one and two in m. 14, I suggest an eighth note figure, C - E flat - F - A flat on beats one and two, followed by a rest on beats three.
- Add your right hand melody to the left hand broken chords.
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| 2. p. 214b using a two-handed accompaniment style (as indicated)
| The left hand plays a single note bass line while the right plays blocked chords in closest-chord position. Note that this accompaniment style does not require you to play the melody.
- Play through the melody to familiarize yourself with the tune.
- From the given chord structure, determine the bass line.
- Determine the right hand triads and write in fingering for each. I suggest shifting from a 5-3-1 fingering on the E minor chord in m. 4 to a 4-2-1 fingering for the same chord in m. 5. This fingering shift will enable you to play the subsequent chords with few changes of hand position.
- Drill the right-hand chords and correct fingering until you can play them without hesitation.
- The goal is to play the right hand chords without tempo breaks in between chords. Once this is accomplished, add the bass line and drill the chord changes until you can make them with a consistent tempo throughout.
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| 3. p. 215c using a two-handed strumming style (as indicated)
| The left hand plays the root, then the fifth of each chord and the right hand follows with the third. Note that this accompaniment style does not require you to play the melody.
- Play through the melody to familiarize yourself with the tune.
- From the given chord structure, block the root and fifth of each chord in the left hand and a complete root-position triad in the right..
- Drill both hands blocked until you can play them in tempo with no hesitation between chords. As you do this, you will notice that most of the chords follow a stepwise descending sequence.
- As soon as the blocked chords are reasonably solid try singing the melody along with your accompaniment.
- Finally, break the chords as indicated.
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| 4. p. 216#2a using a waltz style (as indicated)
| The left hand supplies the harmony by playing the root of the chord on beat 1 and the remainder of the chord on beat 2. The right hand plays the melody.
- Play through the melody to familiarize yourself with the tune.
- There are many ways to play the left-hand accompaniment. The easiest is to begin with a root position G minor triad which is fingered 3-2-1. In m. 2, change the G to a D; this new chord will be fingered 5-2-1. In m. 3, shift to the D7/A by playing A-C-D, fingered 2-1 (Strike both C and D with your thumb). Then, move the A to a D in m. 4 to form the D7 chord (fingered 5-1, again striking the C and D with your thumb). Once you are able to do this blocked, break it in the indicated rhythm. Hum the melody as you drill the left hand.
- Finally, add the melody to your left-hand accompaniment.
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