Beethoven: Fur Elise - Neil Miller Analyzed Editions

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The Piano Lessons Book, Nov 28, 2007 - 32 pages
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The Neil Miller Editions of Analyzed Music are designed to assist piano students with the difficult task of memorizing music for confident performing. Successful memorization requires an understanding of the elements that composers use to create music. The Neil Miller Editions of Analyzed Music are not intended to be your primary source for practicing the composition. There are well-edited editions of the great music you want to play, with the editor's markings for phrasing, fingering, pedaling, dynamics, touches and tempo. Add to that what you are learning from the Analyzed Music edition and instruction from The Piano Lessons Book, and you'll be prepared for comprehensive memorization. Soon you'll be able to apply the same analytical procedures to any music you want to memorize. In addition, you'll be able to perform from any printed score with ease because of your understanding of how music is put together.
 

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Page 145 - ... Scale (also known as the Natural Minor Scale). Other times they make changes to it: A Normal Minor COMPARED TO NORMAL MINOR SCALE A Harmonic Minor ^ , , I 2 1 S IL* l l * II ! (5) Harmonic Minor Scale Note 7 raised a half-step Comparing the A Normal Minor Scale to the A Harmonic Minor Scale, Note 7 is raised a half-step, so the G becomes a G#. This returns Note 7 to the same tone as Note 7 of the A Major Scale. A Melodic Minor II 2 1 U8 1 Ц8 LL 1 (5) Melodic Minor Scale Notes 6 and 7 raised...
Page 19 - ... Modes 1 and 6 have been so well-liked by composers — in a way they are the yin and yang (most positive and most negative) of musical language. RELATIVE MAJOR SCALE (Note 1 to Note 1 ) С Major G Major D Major A Major E Major В Major / Q, Major FO Major / GI, Major Ц Major / DI, Major A), Major EI, Major B[, Major F Major RELATIVE MINOR SCALE (Note 6 to Note 6) A Minor E Minor В Minor Ft Minor tt С Minor ft GO Minor /Ai, Minor DO Minor/ EI, Minor АО Minor/ B|, Minor F Minor С Minor...
Page 150 - ... type of scale (such as a major scale or a minor scale) is formulated with half-steps, whole-steps, and sometimes IVz-steps occurring in the same order. As you learned in the chapter "Scales And Key Signatures" ... All major scales go: Whole Whole Half Whole Whole Whole Half 1 to 2 2 to 3 3 to 4 4 to 5 5 to 6 6 to 7 7 to 8 Therefore, the same chord function (major, minor, diminished, augmented and any extensions) will be generated for the same numerical starting point in every scale of a particular...
Page 153 - SUMMARY OF MODULATIONS Now that you've studied some compositions and seen demonstrations of modulations, here is a summary of the most typical changes that occur in music: 1) From the Tonic Scale to a neighbor in the Circle of Fifths. Examples: a) A piece in the key of С Major would modulate to G Major (F|S would appear) or F Major (B[,s would appear). b) Other possibilities of this type of change include both keys being minor or one being major and one being minor. c) Also a change could be to...
Page 152 - ... because of the raised 6th and/or 7th steps. NORMAL MINOR SCALE CHORD FUNCTIONS TRIADS Im Ildim III IVm Vm VI VII A Normal Minor Am Bdim С Dm Em F G 4-NOTE CHORDS Ini7 A Normal Minor Am7 IIImaj7 IVm7 Vm7 VImaj7 VII7 Cmaj7 Dm7 Em7 Fmaj7 G7 TRIADS С Major I С Urn Dm Him Em IV F V G Vim Am Vlldim Bdim HARMONIC MINOR SCALE CHORD FUNCTIONS 4-NOTE TRIADS A Harmonic Minor CHORDS Im Am Im(maj7) Ildim Bdim llml\,5 Illaug Caug IIIaug(maj7) IVm Dm IVm7 VE V7 VI F VImaj7 Vlldim Gttdim VIIdim7 A Harmonic...
Page 150 - ... indicate the step of the scale from which you start playing every other note to form the Triad, and add the same Extension that regular chord symbols use. So if the music is presently in the key of С ... instead of writing Crnaj? you would write Imaj7 Notice that if you take every other note in the С Scale starting on the first note and collect 4 notes, you get the notes of a Crnaj? Chord. And if you take every other note in the С Scale starting on the second note and collect 4 notes, you...
Page 154 - ... notice the melody sounding sad on notes 1 through 4 and happy on notes 5 through 8 instead of happy on notes 1 through 8; iii) the melody would resolve on the note A instead of the note C; iv) the principal chords would likely be the I Chord, IV Chord and V Chord for the A...
Page 153 - Major. No new accidentals would appear, though you would notice — i) The melody sounding happy instead of sad; ii) The melody would resolve (sound concluded) on the note...
Page 150 - THE FAMILY OF CHORDS Another notation, that can be very helpful in understanding how music is constructed, uses Roman Numerals from I to VII. The Roman Numerals indicate the step of the scale from which you start playing every other note to form the Triad, and add the same Extension that regular chord symbols use. So if the music is presently in the key of С ... instead of writing Crnaj?
Page 145 - ... Comparing the A Normal Minor Scale to the A Melodic Minor Scale, Notes 6 and 7 are raised a half-step, so the F becomes an F# and the G becomes a G#. This returns Notes 6 and 7 to the same tones as Notes 6 and 7 of the A Major Scale. f\_ RH vu tJ i 1 i i J 2 i i * 7 2 3 * i 1 2 1 — JW • mw 4 ,1, 8 2 J V 1' J i i J i i J л 0 г Г i • F г THE MINOR SCALES G Normal Minor 4 3 2 1 :5) G Harmonie Minor G Melodie Minor С Harmonie Minor С Melodie Minor I5l l (5) D Normal Minor...

About the author (2007)

Neil Miller lives and works in Ramona, California, about 40 miles outside of San Diego. He has been teaching piano privately since 1983 and maintains a roster of about 25 students, making him one of the most successful teachers in the area. His formal studies were with concert pianists and noted teachers Melody Lord and Alan Swain in Chicago, and Florence Stephenson in San Diego. Among his many students who have gone on to successful performing and composing careers are jazz pianist Virgil Benton, pianist-classical composer Brian Curry, and pianist-new age composer Josh Turov."I'm a good piano teacher because I have a bad memory." Neil Miller realized at a young age that memorizing did not come easy, and this hampered his desire to perform the way concert pianists perform - playing from memory. As a result, he relentlessly investigated and researched, finding the answers to how someone with an ordinary memory could capably memorize music. "I was astounded at the empty answers I got from some teachers - they were ignorant of how an understanding of scales and chords is the cornerstone of memorization. Once I got that behind me, I learned more about memorization methods and became a successful performer. The understanding of music construction became my teaching specialty, along with finding the music's dramatic and emotional content, and employing effective practicing methods."Neil Miller has been a regular performer in the San Diego area. From 1984 to 1990, his jazz-rock trio Beyond entertained at nightclubs and parties. In the 1980s he gave a series of chamber music concerts with varied instrumentalists; he also lectured and performed in piano recitals on various classical music topics. Since 1997, he has given a weekly performance of classical music and jazz standards at Ramona's San Vicente Inn.

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