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NOTUS PIANO Textbooks — PIANO FOUNDATION Textbook ‘MASTER the

PIANO KEYBOARD and ALL its NOTES. Quick and Easy!’

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 ®

NOTUS
MUSIC
Notus

muzieknotatie

NOTATION

PIANO
FOUNDATION
TEXTBOOK TUS
NO rld’s
the wo T
EASIEStation
o
m sic n
MASTER
u
112
12 to
for ages

the PIANO KEYBOARD

and ALL its NOTES.
Quick and easy !
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 …

a NOTUS&BOOKS&SHEETS production
 ®

NOTUS
NOTUS
STUDY

PIANO
&
KEYBOARD

MASTER THE PIANO KEYBOARD

and
ALL ITS NOTES.

edited by Erwin Clauws

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 ACTIVITY is
a short exercise for getting to grips with a new concept.
A REPERTORY ACTIVITY is a short piece, by a composer or renowned piano teaching
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: words in BLUE are music
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
let’s dive in

—4—
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
. The C notehead. p. 31
. 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 — First Term at the Piano n°. 6 — B. Bartók. 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 — First Term at the Piano n° 3 — B. Bartók 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—
 structure of the piano and keyboard

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.

moving to the right = progressively higher sounds

moving to the left = progressively lower sounds

A standard, modern-day piano has 52 white keys and 36 black keys, each producing a
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 middle C. It can be found on every
piano, always with the same sound or pitch.

—9—
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.

the 88 keys of the piano or 88-key keyboard

middle C

the 76 keys of a 76-key keyboard

the 61 keys of a 61-key keyboard

the 49 keys of 49-key keyboard

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.

— 10 —
 NT !
I M P O R TA
• 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’・.

Octave group numbers.

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

octave group octave group octave group octave group octave group octave group octave group
4 3 2 1 0 1 2 3 4

ACTIVITY 1

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.

3 2 1 0 1 2 3

— 11 —
 the tones of the white keys

The sounds played using the white keys are known as naturals. In each octave group
there are just seven naturals, which repeat in the same order across the keyboard. Each
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.

V E RY
NT !
I M P O R TA

CDEF GAB

–3 –2 –1 0 1 2 3

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.

— 12 —
 tones, notes and the NOTUS staff

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

stem
notehead
the most well-known note: the quarter note

Notes are notated on and between black, horizontal lines separated by a gap equal to
the height of one notehead. These lines are called staff lines. Altogether the lines are re-
ferred to as the staff. In NOTUS the octave anchor (see below) is the foundation of the
staff.

note on the staff line note between two staff lines

Octave anchor.
The NOTUS octave anchor consists of two parts:
1) the black octave group number box on the left, containing the relevant octave
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 three staff lines that span the
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 final double bar line indicates the end of an exercise or composition. This sign
consists of two vertical lines, one thick and one thin, connecting the three staff lines.

octave group number box

octave number staff line 3

0
staff line 2
C line a final double bar line is
staff line 1 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).

2
2E

3 2 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).

1
–1E

3 2 1 0 1 2 3

— 14 —
 E natural

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.

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

4 32 2
34
5 1 1 5

left hand (LH) right hand (RH)

— 15 —
 1

of
? ?
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.

ACTIVITY 2
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.

2 0
1 1

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

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

C below the octave segment

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.

ACTIVITY 13
Play the 8 C tones, naming them out loud each time. Use the thumbs of LH and RH.

4 3 2 1 0 1 2 3 4

–3C –2C –1C C 1C 2C 3C 4C

— 31 —
 ACTIVITY 15

15a TWO BEATS PER MEASURE: two-four time — marching rhythm

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

=60
0
1

1
1 3

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

15b THREE BEATS PER MEASURE: three-four time — waltz rhythm

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

=60
1 5

2
3

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

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

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

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

=60
0
3

1 1

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

— 34 —
 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.

ACTIVITY 17

Practice playing legato on Activities 17a and 17b. And remember to keep your fingers
over the keys, even when they are not immediately required.
17a
=60

1
1

0
5

17b
=60

0
1

2 1

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.

=60

0
3

2
5

— 36 —
 REPERTORY ACTIVITY 27 Parallellepiped — E. Clauws

=75

2
1

0
5

REPERTORY ACTIVITY 28 Mikrokosmos n° 16 — Béla Bartók

=104*

0 4

1
2

1
2

0 4

1 2

* : 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.

— 50 —
REPERTORY ACTIVITY 42 A Study on Phrasing — after Friedrich Burgmüller

=70

0
4 1

1
4
3 (4)

1
(2)

REPERTORY ACTIVITY 43 Little Sonata — Charles Henry Wilton

1
4 mf 1

1
4
5

1
p (1)
1

1
f (3)
p
1

1
p (1) R
1

— 78 —
 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), which sounds the same as G flat (G natural lowered
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).

F Fs Gf G

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

(–1)F (–1)Fs (–1)Gf (–1)G

ACTIVITY 50
semitone/note Fs

=70
1

0
4f
4
1 1

(2)

0 3

f
1 5

— 89 —
— 102 —
 index

49-key keyboard: 10 dissonant chord: 68

61-key keyboard: 10 Dolly’s Dreaming and awakening: 101
76-key keyboard: 10 dot after a note: 43
88-key keyboard: 10 dotted note: 43
dotted half note: 43
accent (articulation): 101 dotted whole note: 43
ascending interval: see interval dotted quarter note: 75
Also sprach Zarathustra: 100 dotted tied note: 54
A Study on Phrasing: 78 dotted rest: 43
A little bit sad: 60 downbeat: 33
dyad: 68
Bartók, Béla: 50, 80, 97, 99 dynamics: 61
bar line: 33 abbreviations: pp / p / mp / mf / f / ff : 61
Baumfelder, Friedrich: 91 wedges: 61
beam: 74 handwritten notation dynamic wedge: 96
Bear: 98
beat / beat: 22, 27-28, 33, 55 eighth note: 74
half a beat: 74 eighth rest: 74
blank staff template: 81-82 elbow line (tie): 54
broken chord: 68 bold tie: 54
Burgmüller, Friedrich: 78 enharmonic: 86, 87, 89, 90

C notehead: 31 fermata: 73
handwritten notation: 81 final double bar line: 13, 24
without octave segment: 34 finger number: 15, 29-30, 39-40
C line: 11, 31 between brackets: 40
C–D–E–F–G–A–B: 12 finger exercices: 39
chord: 68 flag to stem: 74
consonant: 68 FLATnote(head): 83-84
dissonant: 68 forte: 61
broken chord: 68 fortissimo: 61
chromatic: 85 four-four time (4/4): 34
Clauws, Erwin: 37, 46, 50, 60, 80, 97
consonant chord: 68 gray elbow line: 53, 96
crescendo: 61 gray note: 53, 96
gray wedge: 61, 96
damper/sustain pedal: 100 Gurlitt, Cornelius: 57, 59, 93
Dancing Dragonflies: 46
decrescendo: 61 half note: 27-28
Der Erste Vortrag: 59 half rust: 27-28, 43
descending interval: see interval hallf tone: 83-90
Dialogue between two hands: 93 C-sharp (Cs) – D-flat (Df): 86, 87, 88, 93, 95
diatonic: 85 D-sharp (Ds) – E-flat (Ef): 87, 88, 93
diminuendo: 61 F-sharp (Fs) – G-flat (Gf): 89, 91, 94
Dis-moi m’amour la caille ...: 79 G-sharp (Gs) – A-flat (Af): 90

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 A-sharp (As) – B-flat (Bf): 90, 91, 95 metronome value: 22
handwritten notation of half tones: 96 mezzo forte: 61
hand position: 17 mezzo piano: 61
relaxed: 17 Microcosmos: 50, 99
handwritten notation: 81, 96 n° 14: 99
Hook, James: 79 n° 16: 50
middle C: 9, 10, 11, 15, 31
intermezzo: primo: 53; secundo: 63; terzo: 74 middle octave group: 16
interval: 63-67 Minuet: 79
prime: 65 music theory: 63
second: 65
third: 66, 68 natural: 12, 19, 83-87, 89-90
fourth: 66 C: 12, 31-37
fifth: 66 D: 12, 38-46
sixth: 66 E: 12, 14-25
seventh: 67 F: 12, 38-46
octave: 67 G: 12, 26-30
harmonic interval: 64 A: 12, 47-52
melodic interval: 64 B: 12, 47-52
ascending interval: 64 navel: 17
descending interval: 64 notehead: 13
note value: 22
Kezdök zongoramuzsikája: 80, 97
(also known as First term at the piano) octave anchor: 13-14, 18-20, 55
nr. 6 (also known as n° 10): 80 handwritten notation: 81
nr. 3 (also known as n° 4): 97 octave group: 10-16, 18-20
Kirby-Mason, Barbara: 73 octave number: 11-14, 18
Köhler, Louis: 75, 94 handwritten: 81
octave number box: 13
left hand notes: 20 handwritten: 81
legato (piano technic): 36, 39 octave segment: 18-20, 32
legato bow: 59 smal: 20, 32
line: 18 without (C notehead): 32
Little Sonata: 78 handwritten: 81
Lullaby: 91, 101 Ode an die Freude: 91
Oesten, Theodore: 101
marcato: 99 off-beat: 33
marching rhythm: 34 opposite movement (of notes): 51, 52
measure: 33, 43
whole: 43 parallel movement (of notes): 51, 52
measure rest: 43 Parallellepiped: 50
medium strong beat: 33 pedal: 17
melodically played chord: see chord, phrase: 59
broken chord phrasing mark: 59
melodic interval: see interval pianissimo: 61
meter: 33-34 Pianissimo Practice: 80
metronome: 22 piano (dynamics): 61

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