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Chapter 16 - The Beat Goes On

CHAPTER 16 APPENDIX RESOURCES:
Appendix 16.1 – Piano Scale Sheets with I-IV-V-I Cadences
Appendix 16.2 – Piano Chords in Inversions
Appendix 16.3 – V7 Chord in Cadences
Appendix 16.4 – Inversion of V7 Chords
Appendix 16.5 – How to Play from a Lead Sheet
Appendix 16.6a – M.A.P. Piano Guidelines (Student Form)
Appendix 16.6b – M.A.P. Piano Guidelines (Evaluator Form)
CHAPTER 16 AUDIO DEMONSTRATIONS BY ERIC DINA:
p. 340 – Fewster (arr. Harold Burgmayer) demonstration of pedaling, first eight bars from Encore piano offertory album
p. 341 – C Scale two hands
p. 343 (1) C Scale in contrary motion
p. 343 (2) Using I-IV-I-V-I in C major
p. 343 (3) Using I-IV-I-V-I in G major
p. 343 (4) The B-I-B-L-E Using I-IV-V-I cadences
p. 343 (5) Jesus Loves Me using I-IV-V-I cadences
p. 344 (1) Play by ear
p. 344 (2) Play by ear
p. 344 (3) Play by ear
p. 345 (1) Play by ear in F
p. 345 (2) Play by ear in G
p. 345 (3) I-IV-V-I
p. 345 (4) Scales expand into triads
p. 346 (1) Sweet Hour of Prayer
p. 346 (2) Scales in thirds
p. 346 (3) Boston
p. 346 (4) Scales in sixths
p. 346 (5) Joy to the World three harmonizations
p. 347 (1) Scale in triads
p. 347 (2) Parallel motion in thirds or tenths
p. 348 (1) Parallel motion in sixths
p. 348 (2) Scales in triads
p. 348 (3) I-IV-I-V-I chord progressions
p. 348 (4) Chords can be inverted
p. 349 (1) Dead weight drops
p. 349 (2) Scale triads in INVERSION
p. 349 (3) Joy to the World parallel thirds
p. 349 (4) Parallel thirds in bass
p. 350 (1) Contrary Motion
p. 350 (2) Common Tones
p. 350 (3) Voices in Contrary Motion
p. 350 (4) Voice – lead by step – in root position
p. 351 (1) Triads
p. 351 (2) Secondary Chords
p. 351 (3) Alternative minor chords
p. 351 (4) Alternative Minor Chords
p. 351 (5) The Well is Deep
p. 351 (6) Old Susannah in traditional harmony
p. 351 (7) Old Susannah in secondary chord substitutions
p. 351 (8) Hyfrodol original tune book version
p. 351 (9) Hyfrodol harmonized using secondary cousin chords
p. 352 Be Thou My Vision
p. 353 Teach me How to Love Thee
p. 354 (1) Resolution of dominant seventh
p. 354 (2) Dominant seventh broken chords and inversions
p. 354 (3) C Major Cadences in three positions
Basic Brass, Winds and Percussion