Play scales, and chords more creatively
Scale and chord drills designed to be more fun to practice and more relevant to actual music through improvisation.

Practice scales more logically

Become more ?chord fluent?

Combine scales and chords creatively

Download includes a studio license authorizing you to print as many copies as required for you and/or your current students? use.

Revised and expanded
How does a pianist move from practicing alone to playing in a jazz band? This PDF explains the skills needed to play in the rhythm section of a large jazz ensemble including how to voice chords, what scales to play when improvising, and stock accompaniments and grooves for the main jazz styles.

50 pages
Level: Late intermediate and up

Download includes a studio license authorizing you to print as many copies as required for you and/or your current students? use.

Wellspring of Repertoire, an Original and Bountiful Source of Piano Music, for Beginning and Returning Students, Volume 3, Early Intermediate to Early Advanced, by Dennis Frayne, contains 120 Folk Songs, Children's Songs, Spirituals, Nursery Rhymes, Parlor Songs, Lullabies, Scales, Chords, and Technical Exercises for Piano, all in a Classical Style.

Perfect for teachers of early students who prefer not to use method books, for students returning to play after a long time away from the piano, for sight reading practice, to practice singing while playing the piano (includes lyrics and solfege syllables on most songs and exercises), for recitals and performances, and for fun in learning good, old-fashioned, time-honored folk songs, children?s songs, and more!

This rousing arrangement of ?Christ the Lord Is Risen Today? begins with a fanfare-like intro followed by a bell-like entrance of the main melody. The tune continues to dance around the treble registers of the piano until a modulation from D major to A major introduces the tune in the left hand with hushed anticipation. Orchestrally inspired counterpoint and another fanfare-like transition return the piece to D major and a majestic tutti statement of the hymn, both hands playing octaves or full octave-based chords. Clever reharmonizations and brilliant scales and arpeggios bring the arrangement to an uplifting and celebratory climactic ending.

Unlike the highly virtuoso Etudes d'execution transcendante by Franz Liszt,
these etudes by Wilhelm Killmayer are written 'in a deliberately anti-virtuoso
manner, without chroma, i.e. with seven tones and largely in two parts'. (Wilhelm Killmayer)

Each of the twelve pieces focusses on a single compositional or technical aspect. Diatonic scales, parallel thirds and major chords are combined with some technically very tricky passages.

Killmayer makes great demands on the pianist's concentration, subtly coloured performance and differentiated articulation. The seventh etude is given the title 'Im Schumann-Ton' - unforced heartfelt music, always somehow "absent" and unpredictable in its modulations.