PG-96 - Grand Staff Prep Series 164 Pages 1406-21

Identities of Traditional GS Notes -- Memory Aids PG-05 v8.
4
1406-07
PG-05
Identities of Grand
Staff Notes -Memory Aids
Violet A thru Orange E
Treble Staff
E
D
C
B
A
G
F
ABOUT THE NOTE COLORS. The

colored notes show which octave group each
note is to be played in.
From the MIW Piano

Student's Workshop
All rights reserved: Copyright 1998-2014 Music Innovators Workshop
Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4
Page is Blank
About This Unit.

This unit exists to help you learn the
names of the traditional grand staff notes.
These names are essential tools for
anyone who has a serious interest in
learning to play the piano or any other
keyboard instrument. Knowing these
names is one of the most basic tools of th
musician and is the most esential tool for
being able to "read music."
This unit points out many note patterns that

relate to the keys on the piano. These
patterns can be helpful in several ways. The
patterns break the problem of remembering
the note names into smaller pieces, which
can be dealt with one at a time. The patterns
can help you remember the names more
easily, because each pattern has some logica
relationships to itself and to the keyboard.
Learning these names well enough so tha

one can instantly recognize any note is
one of the most difficult tasks that faces
the keyboard student. It's not that learning
the names is complicated. There really is
nothing to figure out. You simply must be
able to attach the names to the notes. It's
the MEMORIZING that's so difficult.
The notes in this unit are colored the colors

of the octave groups in which they belong.
This will help you set up a mental map of
where each of the many repetitions of each
letter name belongs on the keyboard. (There
are 8 A's, B's, and C's -- and 7 of each of the
other letter names on the keyboard.) You
need to know not only the name of each note
but must also know WHICH key to play the
Attaching the names to the notes is simply named note on, because there are so many
a matter of remembering which note is
keys that match each letter name.
which. The letter names of the notes are
fixed and not complicated. There are only Students that can learn the names of the
letters of the alphabet to attach: A B C D E notes easily without paying attention to these
F and G.
patterns are welcome to do so. After all, these
patterns are a scaffolding designed to help
Part of the problem of remembering the
the you eventually learn to recognize the
names of the notes is that there are 52
notes names WITHOUT any consicous
white keys on the keyboard, and there is a thinking at all. This scaffolding is to be cast
different note for each of these keys -- so
aside when no longer needed.
there are 52 notes to name. Sharps and
flats add an additional complication to
reading but will be dealt with at another
time.
Treble and Bass Staves With Notes Arranged by Octave Groupings

Middle of the Keyboard
C
B
A
G
Treble Staff
F
E
D
C
B
A
The colors of the notes

and staves in this unit
match the colors of the
octave groups of the
keyboard. (As explained in
the first book of this
series, these are the
seven colors of the
rainbow: red, orange,
yellow, green, blue, indigo,
and violet.)
G
F
E
Middle C
C
B
A
These patterns can help

you learn to name (and
thus, recognize) most of
the notes more easily and
quickly.
E
Middle C
The next few pages will

show you some patterns
formed by these notes on
the staff and on the ledger
lines.
C
B
Bass Staff
A
G
F
E
D
C
B
A
G
F
E
D
C
The Names of the Lines and Spaces of the Traditional 5-line Staff
Note Position
And so on ...
Note Position
Ledger Line 2 (above the staff)

Space 2 (above the staff)
Ledger Line above the staff
Space above the staff
Line 5 (or top line)
Space 4 (or top space)
Line 4
Space 3
Line 3 (or middle line)
Space 2
Line 2
Space 1 (or bottom space)
Line 1 (or bottom line)
Space below the staff
Ledger Line below the staff
Space 2 (below the staff)
Ledger Line 2 (below the staff)
And so on ...
The Five-Line Staff

Piano music is written on two identical 5-line
staves, the treble staff for the right hand and the
bass staff for the left hand. The treble and bass
staves are identical in spacing, even though the
notes on them are named differently. On this
page, we are looking at the structure of this
single 5-line staff, which is the same for either
hand.
The lines of this staff are always evenly spaced.
The notes are round and take up exactly the
amount of space between 2 lines of the staff, as
you can see above.
The lines of the staff are always numbered the
same way: from 1 to 5, starting at the bottom of
the 5 lines.
There are only two places for a musical note, it's
either on a line (straddles the line) or it's in a
space, as the examples above show.
Because the bass and treble staves

together don't provide places for the very
low or very high notes, or for notes
between the bass and treble staves, we
have to add more lines to make places for
these notes.
These extra lines are called "ledger lines."
They are added above or below the staff
only when there are notes requiring them.
Middle C is a note on a ledger line between
the treble and bass staves. It's on the first
ledger line below the treble staff and also
on the first ledger line above the bass
staff. That ledger line appears only when
there is a C to be played, otherwise the
line is not shown.
When a note is on, for example, the third
ledger line above the staff, the two ledger
lines below it also are shown, so that we
can see that it is the third line.
Inside the Treble Staff -- Complete Musical

Alphabet Starting With F
Yellow Low Key
Group -- C, D, E
Treble Staff
E
D
C
B
A
G
F
Green High Key Group -F, G, A, B
See how the inside of the treble staff contains the notes of one
complete musical alphabet of ABCDEFG (starting with F).
See how the notes are arranged so that they start with the
complete high key group of the green octave and end with the
complete low key group of the yellow octave.
Notes Between the Treble Staff

and Bass Staff -- Short Alphabet
Group -- ABCDE
Notes on the Grand Staff
Notes for the Right Hand
D
C
Short Alphabet -- ABCDE
B
A
A
Notes for the Left Hand
See how the notes at the middle of the grand staff with its short
alphabet group, ABCDE, form a visual connecting link between
the bass and treble parts of the staff. The Middle C line is shown
in red for emphasis. Notice that Middle C is at the middle of the
grand staff.
The ABCDE pattern forms a visual connection between the top
line of the bass staff and the bottom line of the treble staff .
Be sure to notice the diagram at the right. You need to know that
THE SAME SET OF KEYS ON THE KEYBOARD is played by both
sets of notes. Can you explain why? Look at the diagram of the
grand staff at the left for the answer.
Inside the Bass Staff -- Complete Alphabet

Starting With A
See how the bass staff contains the notes of one complete music
alphabet starting with the first letter of the alphabet.
Notice that the Blue Low Key Group is at the very center of the
staff, with the miDDle note of the group (D) on the miDDle line of
the staff.
Bass Staff
Blue Low Key

Group -- C, D, E
G
F
E
D
C
B
A
Complete Set of Notes for the

Bass Staff
Notice the interesting symmetrical arrangement of the notes of the
complete key groups in this set:
>> Indigo High Key Group
>> Blue Low Key Group
>> Blue High Key Group
Notice that the complete set begins and ends with lowest and
highest notes touching the outside lines of the staff.
Notice that the Low Key Group is at the very center of the staff,
with the miDDle note (D) of the group on the miDDle line of the
staff.
Bass Staff
Blue High Key
Group -- F, G, A, B
A
G
Blue Low Key

Group -- C, D, E
F
E
D
Indigo High Key
Group -- F, G, A, B
miDDle Line
A
G
F
10
The High Ledger Zone and the Low Ledger

Zone Patterns
High Ledger
Zone
These high and low ledger

zones are on the 3 ledger
lines just above and
below the grand staff.
They provide places for
the most commonly used
notes above and below
the grand staff.
E
D
C
B
A
The Grand Staff is Shown

Notice that they have the
same notes as the
middle zone -- the short
5 note alphabet .
E
D
C
Middle Zone
B
A
E
D
C
B
Low Ledger
Zone
Memorable Symmetrical Patterns Formed

with the Letters ACE
This is a chart. It is not intended to be cut apart like flash cards. For
practice, copy the complete pattern of 5 ACE's onto each blank card.
11
Note Summary with

ACE Patterns
ACE's
The Grand Staff is Shown
D
C
B
A
A
G
F
E
E
D
C
B
A
A
G
F
E
E
D
C
B
A
A
G
F
E
E
D
C
B
A
A
G
F
E
D
C
B
A
12
Grand Staff Prep Exercises - Intervals PG-15a v8.4 1

1404-13
Grand Staff
Prep Exercises Intervals
PG-15a
Interval Colors: Steps - Pink,

Skips - Orange
Jumps to ACEs - Red
From the MIW Piano

Student's Workshop
All rights reserved: Copyright 1998-2014 Music Innovators Workshop LLC
Notes in the Treble, Bass,

and Middle Zones of the
GRAND STAFF
As you play the following exercises,
concentrate on learning and
remembering which notes are A, C,
and E
E
D
Treble Zone
C
B
A
G
F
E
D
C
Middle Zone
B
A
G
F
E
D
C
Bass Zone
B
A
Instructions for the Exercises

ALL NOTES ARE WHITE EXCEPT
THE FOLLOWING:
Pink - Interval is UpStep or DnStep to
the next white key.
Orange - Interval is UpSkip or DnSkip
to the second white key.
Red - Note is a jump to an A, C, or E.
You need to determine which of these 3
note names belongs to the note before
you play it.
You can refer to the chart on the
previous page until you are able to
remember these note names with their
locations.
Note and Key Locations

HOP - Play the same key again. This
repeated note is WHITE for these exercises.
STEP - Play the white key next to the one
you are playing - up or down. The note is
colored PINK for the exercises.
SKIP - Skip over the next white key and play
the following one - up or down. Colored
ORANGE for the exercises. Skipped notes go
from SPACE to SPACE or from LINE to LINE.
JUMP - Plays a white key farther away than a
skip. Letter name of note is shown for jumps
to B, D, F, and G (all notes except A, C, and
E).
Melody in D Minor Middle and Treble Zones -1

Moderately
Dm
4
4
Gm
Dm
A7
Dm
Gm
1
D
Dm
A7
Dm
Gm
Dm
G
D
A7
Dm
A7
Dm

A7
Dm
Gm
Dm
Gm
G
D
A7
Dm
A7
Dm
G
D
E
C
A
E
C
A
E
C
A
Melody in A Minor Treble Zone - 1

Moderately
Am
4
4
Dm
Am
E7
Am
Dm
1
A
Am
E7
Am
Dm
Am
D
E7
Am
E7
Am

E7
Am
Dm
Am
Dm
D
E7
Am
E7
Am
E
C
A
E
C
A
E
C
A
Melody in D Minor Bass Zone - 1

Moderately
Dm
4
4
From this point on, the steps are not colored for you.
Gm
Gm
Dm
D
5
Dm
A7
A7
Dm
Dm
Dm
Gm
G
A7
Dm
A7
Dm

A7
Gm
Dm
Dm
A7
Dm
A7
Gm
G
D
Dm
G
D
E
C
A
E
C
A
E
C
A
Melody in A Minor Bass Zone - 1

Moderately
Am
Dm
Am
E7
Am
Dm
4
5
A
Am
E7
Am
Dm
Am
E7
Am
E7
Am

E7
Dm
Am
Am
Dm
E7
Am
E7
Am
E
C
A
E
C
A
E
C
A
Melody in A Minor Middle Zone - 1

Moderately
(Right Hand)
Dm
Am
Dm
Am
4
4
1
A
Am
E7
E7
Am
Am
Dm
Am
Melody in A Minor Middle Zone - 2

(Left Hand)
E7
Am
E7
D
2
E7
Am
Am
Dm
Am
Dm
D
E7
Am
E7
Am
Notes on the
GRAND STAFF
G
F
E
D
Treble Zone
C
B
A
G
F
E
D
C
Middle Zone
B
A
G
F
E
D
C
Bass Zone
B
A
G
F
Grand Staff Prep Exercises - Group Colors PG-15b v8.4 1

1405-27
Grand Staff Prep

Exercises Based on Group
Patterns
PG-15b
From the MIW Piano

Student's Workshop
Introduction. These exercises are designed to help

you learn to play the notes of the GRAND STAFF by
learning their letter names and matching these names to
the names of the keys of the keyboard.
The Note Patterns on the Grand Staff. The notes on

the grand staff (see the next page) have a very simple
basic pattern. Reading from the bottom to the top of the
staff, the notes for the white keys simply begin with A and
proceed IN ALPHABETICAL ORDER to the top of the staff
(and beyond). The musical alphabet uses only the FIRST 7
LETTERS of the full 26 letter alphabet that you learned in
school. When going up the grand staff with notes in
alphabetical order, you begin again with A as soon as you
reach the end of the musical alphabet, G. The full alphabet
of the notes on the grand staff reads from bottom to top
like this:
ABCDEFGABCDEFGABCDE.
The Patterns of Keys on the Keyboard. The white

keys on the keyboard match this same alphabetical
order, going from left to right, or as we say, "going up."
You have already learned another very important pattern
of keys on the keyboard. This is the pattern of the CDE
"low group" and the FGAB "high group" of each octave
group. The low group is centered on the group of 2
black keys, and the high group is centered on the group
of 3 black keys. Keeping this pattern in mind can help
you learn the names of the notes with the color coding
provided in this unit. In this unit the colored notes are
colored with colors matching their octave group colors.
The Low Group. In this unit, notes for the 3 white keys
(CDE) of each low group are colored with the color of
their octave group. This knowledge will help you match
these notes on the musical staff with the corresponding 3
keys on the keyboard.
The High Group. Notes for the 4 white keys (FGAB) of
each high group remain white in contrast to the colored
notes of the low groups.
Summary. It is suggested that, for each exercise,

students read aloud the names of the notes of each small
group for practice. First, read all of the CDE notes, then
all of the FGAB notes of the exercise. This should be
repeated until the naming of the notes becomes relatively
easy. Many of the songs can be played in 5 finger
positions by placing the left thumb on E and the right
thumb on F. Notice that with the hands in these
positions, the colored notes are played LH, and the white
notes are played RH. Let these exercises help you learn
the names of all of the notes on the grand staff and which
keys they match.
Remember the ACE's. You have already learned how

the ACE patterns can help you learn the names of the
ACE notes. The colored notes in this unit can help you
learn the names of the other notes. Both of these ideas
can be helpful if you will use them!
Note Groups Matching

the Low and High
Groups of Keys on the
Keyboard
Instructions for the Exercises

This unit's main purpose is to help you learn to
match the notes of the grand staff with the keys on
the keyboard. You do this through the note names
and the patterns that they form on the musical
staff. Learn to match these patterns with the low
group (CDE) and the high group (FGAB) patterns
ON THE KEYBOARD.
B
A
Low Groups
G
F
E
High Groups
D
C
B
A
G
F
E
D
C
B
A
G
F
E
D
C
B
A
G
F
E
D
C
Use of Color in the Exercises of this Unit

The notes of the Low Groups (CDE) are colored the colors of the octave groups on
the keyboard - as marked by the key labels of this workshop. The notes of the
High Groups (FGAB) are white in contrast to these low groups.
Descriptions of the Locations of the

Low and High Groups on the Keyboard
Locations of the Low

Groups - CDE
Locations of the High

Groups - FGAB
Yellow Low Group
Yellow High Group
Treble Staff - Spans the top two

spaces. (This is the top 1/2 of
the treble staff.)
Treble Staff - Extends up from

the top line of the staff.
Green Low Group
Green High Group

Middle C. Ends on the bottom
line of the staff.

the bottom space of the staff.
(Spans the bottom 1/2 of the
staff.)
Blue Low Group
Blue High Group
Bass Staff - Spans the MIDDLE

2 spaces of the staff.
Bass Staff - Extends up from

the 4th line, the line identified
as F by the bass clef (the F
clef).
Indigo Low Group
Indigo High Group
Bass Staff - Spans the 2 ledger

lines below the staff.

the first space below the staff.

Moderately
Dm
Gm
Dm
Dm
A7
Dm
Dm
A7
Dm
Gm
A7
Gm
Dm
A7
Dm

A7
Dm
Gm
E
C
Dm
A7
Dm
A7
Dm
E
C
Gm
Green Low Group

Middle C. Ends on the bottom
line of the staff.
Green High Group
C
A
E

the bottom space of the staff.
staff.)
C
A
E
C
A

Moderately
Am
Dm
Am
Am
E7
Am
E7
Am
Dm
E7
Dm
Am
Am
E7
Am

E7
Am
Dm
Am
Dm
E7
Am
E7
Am
Green High Group

Treble Staff - Starts on the
bottom space of the staff.
staff.)
E
C
Yellow Low Group

Treble Staff - Spans the top
two spaces. (This is the top
1/2 of the treble staff.)
A
E
C
A
E
C
A

Moderately
Dm
Gm
Dm
Dm
A7
Dm
A7
Dm
Dm
Gm
A7
Gm
Dm
A7
Dm

A7
Gm
Dm
Dm
A7
Dm
A7
Gm
Blue Low Group

Bass Staff - Spans the MIDDLE
2 spaces of the staff.
Dm
Blue High Group

the 4th line, the line identified
as F by the bass clef (the F
clef).
C
A
C
A
E
C
A

Moderately
Am
Dm
Am
Am
E7
Am
E7
Am
Dm
E7
Dm
Am
Am
E7
Am

E7
Dm
Am
Am
Dm
E7
Am
E7
Am
Indigo High Group

the first space below the staff.
E
C
Blue Low Group

Bass Staff - Spans the
MIDDLE 2 spaces of the staff.
A
E
C
A
E
C
A
Melody in A Minor Blue High Group, Green Low Group - 1

Moderately
(Right Hand)
Dm
Am
Am
E7
E7
Am
Dm
Am
Am
Dm
Am
Melody in A Minor Blue High Group, Green Low Group - 2

(Left Hand)
E7
Am
E7
Am
Am
Dm
E7
Am
Dm
E7
Am
E7
Am
Notes on the
GRAND STAFF
G
F
E
D
Treble Zone
C
B
A
G
F
E
D
Middle Zone
C
B
A
G
F
E
D
C
Bass Zone
B
A
G
F
Favorite Children's Songs - Groups PG-18g v8.4

1406-07
Favorite
Children's
Songs
PG-18g
Notes are colored
to match the
colors of the
octave groups on
the keyboard.
Prep for Grand Staff

Pitch Notation
Groups
From the MIW Piano

Student's Workshop
Contents
Introduction
3
Treble Bass
Ode to Joy
17
At Pierrot's Door
18
Michael Row the Boat Ashore
19
Bingo
20
Home on the Range
21
If You're Happy and You Know It
22
Yankee Doodle
10
23
Down by the Station
11
24
America
12
25
Oh, My Darling Clementine
13
26
Oh, Susanna
14
27
Twinkle, Twinkle, Little Star
15
28

.
INTRODUCTION
This unit is intended primarily for students WHO HAVE LEARNED TO PLAY
MELODIES FROM KEY MAPS and who are now beginning to learn to read
standard notation. It is also suitable for others who have learned to play
the keyboard but have yet to learn how to read standard notation. This unit
is a part of a broader set of materials intended to help with the transition to
reading standard notation. The main focus of this unit is on learning and
remembering the NAMES of the notes on bass and treble staves. It
assumes that the student can readily name the white keys of keyboard.
This unit uses STANDARD PITCH notation, leaving standard RHYTHM
notation for a later time. The rhythm notation in this unit shows the beat
length of each note in the same manner as shown on key maps - except
that the orientation is changed from vertical to horizontal. It is assumed
that students starting this unit already have the ability to play the songs of
this unit on key maps, so this is a venture in converting some of that
knowledge into the ability to read the standard pitch notation.
Sharp and flat notes are marked with the addresses of the keys to be
played. The notes are color coded in a way that matches them with the
colors of the octave groups of the keyboard. The notes for the LOW
GROUPS (CDE) are all colored, and the notes for the HIGH GROUPS
(FGAB) remain white It is intended that these small groups will help
students focus on matching the notes with the small groups of keys on the
keyboard.
It is suggested that, for each song, students read the names of the notes of
each small group aloud for practice. First, read all of the CDE notes, then
all of the FGAB notes of the song. This should be repeated until the
naming of the notes becomes relatively easy. Many of the songs can be
played in 5 finger positions by placing the left thumb on E and the right
thumb on F. Notice that with the hands in these positions, the colored
notes are played LH, and the white notes are played RH.
Each song is presented twice - first with the treble clef, then with the bass
clef. All of the songs are first shown with the treble clef, then all are shown
with the bass clef. Song texts and standard chord symbols are provided
for the songs in the treble clef only.
Ode to Joy
Moderately
4/4
#/b: 0
Ludwig van Beethoven
Am D
Groups
G
C
At Pierrot's Door
Moderately
4/4
#:1
Old French Folk Song

D
D7
Good Pier-rot, I beg you, In the moon-light bright,
Cm
D7
Your quill pen to lend me for I long to write.

A7
D7
Burned out is my can-dle, And my fire's out too;

G
D7
Come, the door please o-pen, Let me in pray do!

Moderately
4/4
#/b: 0
C
Mi-chael, row the boat a-shore, a-leF
Em
lu-ya, Mi-chael, row the boat aDm
G7
shore, a-le-lu-uu-ya.
Groups
Bingo
Traditional Game Song
Brightly
4/4
#: 1
G
There was a far-mer had a dog and Bin-go was his name-o
Em
Am
Am
B-I-N-G-O, B-I-N-G-O, B-I-N-G-O and

D7
Groups
Bin-go was his name-o.
Home on the Range - chorus

Moderately
G
3/4
#: 1
Kelley
D7
Home, home on the range, Where the
Em
A7
D7
3
deer and the An-te-lope play, Where
Cm
3
sel-dom is heard a dis-cour-ag-ing word, and the
D7
3
skies are not cloud-y all day.

Traditional American Game Song
Lively (swing it)
C7
4/4
L. Smith
b: 1
C7
If you're hap-py and you know it, clap your hands. If you're
F
Bb
hap-py and you know it , clap your hands. If you're hap-py and you know it, then you're
C7
face will sure-ly show it, If you're hap-py and you know it, clap your hands.
Groups
Yankee Doodle
Lively
2/4
b: 1
C7
C7
Dad and I went down to camp, A-long with Cap-tain Good-ing and there we saw the
Bb
C7
Bb
men and boys as thick as hast-y pud-ding. Yan-kee Doo-dle keep it up,
F
Bb
C7
5
Yan-kee Doo-dle dan-dy, Mind the mu-sic and the step, and with the girls be
Groups
han-dy.
10
Down by the Station

Lively (swing it)
4/4
b: 1
C7
k5
Down by the sta-tion early in the morn-ing, See the lit-tle puf-fer-bil-lies
C7
C7
all in a row. See the en-gine dri-ver pull the lit-tle han-dle.
C7
Groups
Choo! Choo! Toot! Toot! Off they go.
11
AMERICA
Moderately
3/4 #:1
D7
Em
Am
B Em
3
My coun-try 'tis of thee, Sweet land of lib-er-ty,
Am
D7
3
Of thee I sing; Land where my fa-thers died,
D7
G D
C G Am
Am G
Land of the pil-grims' pride, From ev'-ry moun-tain-side,
D7
Groups
Let free-dom ring.
12

Lively (swing it)
3/4
American Mining Song

Montrose
b: 1
First Verse: In a ca-vern, in a can-yon, ex-ca-vat-ing for a

mine, dwelt a min-er, for-ty-ni-ner, and his daugh-ter Clem-entine.
Chorus: Oh my dar-ling, oh my dar-ling, oh my dar-ling Clem-en-
C7
C7
5
k4
tine. You are lost and gone for-ever, dread-ful sor-ry Clem-en-
Groups
tine.
13
Oh, Susanna
Stephen C. Foster
Lively
2/4
#/b: 0
C
D7
G7
I -- come from Al-a-bam-a with a ban-jo on my knee, I'm -- goin' to Lou'-siD7
an-a my Su-san-na for to see. Oh! Su-san-na, oh

C
G7
G7
don't you cry for me, for I come from Al-a-bam-a with a ban-jo on my
C
Groups
Knee.
14

Moderately
b: 1 4/4
Bb
Twin-kle, twin-kle, lit-tle star, How I won-der
what you are; Up a-bove the world so high,

F
C7
Like a dia-mond in the sky, Twinkle, twinkle,

Bb
lit-tle star, How I won-der what you are.
15

Moderately
#: 4 4/4
1
4

B

E
B7
4
3

A
1
4
16
Ode to Joy
Moderately
4/4
#/b: 0
Groups
17
At Pierrot's Door
Moderately
4/4
#:1
18

Moderately
4/4
#/b: 0
Groups
19
Bingo
Brightly
4/4
#: 1
Groups
20

Moderately
3/4
#: 1
Kelley
RH
21

Lively (swing it)
4/4
L. Smith
b: 1
Groups
22
Yankee Doodle
Lively
2/4
b: 1
Groups
23
Down by the Station

Lively (swing it)
4/4
b: 1
k5
Groups
24
AMERICA
Moderately
3/4 #:1
Groups
25

Lively (swing it)
3/4

Montrose
b: 1
5
k4
Groups
26
Oh, Susanna
Stephen C. Foster
Lively
2/4
#/b: 0
Groups
27

Moderately
b: 1 4/4

28
Favorite Children's Songs PG-18r v8.4

1406-07
Favorite
Children's
Songs
PG-18r

Pitch Notation
Note Colors
White notes are 1 beat long
- or multiples of 1 beat.
Fractional beat notes (and their multiples)
are highlighted with the colors shown
here.The numbers in the notes shown here are
the denominators of the beat fractions.
2
4
From the MIW Piano

Student's Workshop
Contents
Introduction
Ode to Joy
At Pierrot's Door
Bingo
10
Home on the Range
12
If You're Happy and You Know It 14

Yankee Doodle
16
Down by the Station
18
America
20
22
Oh, Susanna
24
26

.
INTRODUCTION
This unit is intended primarily for students WHO HAVE
LEARNED TO PLAY MELODIES FROM KEY MAPS and who
are now beginning to learn to read standard notation. This
unit is a part of a broader set of materials intended to help
with the transition to reading standard notation.
This unit focuses on STANDARD PITCH notation, leaving
standard RHYTHM notation for a later time. The rhythm
notation in this unit shows the beat length of each note in
the same manner as shown on key maps - except that the
orientation is changed from vertical to horizontal. The
rhythm color highlights are the same as the standard colors
on the key maps. It is assumed that students starting this
unit already have the ability to play the songs of this unit on
key maps, so this is a venture in converting some of that
knowledge into the ability to read the standard pitch
notation.
In this unit, most notes can be read as hops, steps, or skips.
For jumps to white keys and for notes at the beginning of
each staff, you will find the letter name on the note. Sharp
and flat notes are marked with the address of the key to be
played.
Each song is presented twice - once on each of two facing
pages. The version on the left page is written for the bass
clef and the version on the right, for the treble clef. For the
versions on the treble clef the song text is shown and
standard chord symbols are provided above the notes for
teachers and for students who have aready learned to play
from chord symbols.
Ode to Joy
Moderately
4/4
#/b: 0
D
G
Ode to Joy
Moderately
4/4
#/b: 0
Am D
D
G
C
At Pierrot's Door
Moderately
4/4
#:1
A
E
At Pierrot's Door
Moderately
4/4
#:1

D
D7
G
Good Pier-rot, I beg you, In the moon-light bright,
Cm
D7
G
Your quill pen to lend me for I long to write.
A7
D7
Burned out is my can-dle, And my fire's out too;

G
D7
G
Come, the door please o-pen, Let me in pray do!

Moderately
4/4
#/b: 0

Moderately
4/4
#/b: 0
C
Mi-chael, row the boat a-shore, a-leF
Em
lu-ya, Mi-chael, row the boat aC
Dm
G7
shore, a-le-lu-uu-ya.
Bingo
Brightly
4/4
#: 1
G
D
3
D
10
Bingo
Brightly
4/4
#: 1
G
G
D
There was a far-mer had a dog and Bin-go was his name-o
Em
Am
Am
B-I-N-G-O, B-I-N-G-O, B-I-N-G-O and

D7
3
D
Bin-go was his name-o.
11

Moderately
3/4
D
#: 1
Kelley
3
D
C
G
B
3
12

Moderately
3/4
#: 1
Kelley
D7
Home, home on the range, Where the
Em
A7
D7
3
D
deer and the An-te-lope play, Where
Cm
C
G
D
sel-dom is heard a dis-cour-ag-ing word, and the
D7
B
3
skies are not cloud-y all day.
13

Lively (swing it)
4/4
L. Smith
b: 1
F
C
5
G
D
14

Lively (swing it)
C7
4/4
L. Smith
b: 1
C7
F
C
If you're hap-py and you know it, clap your hands. If you're
F
Bb
5
G
D
hap-py and you know it , clap your hands. If you're hap-py and you know it, then you're
C7
face will sure-ly show it, If you're hap-py and you know it, clap your hands.
15
Yankee Doodle
Lively
2/4
b: 1
F
C
16
Yankee Doodle
Lively
2/4
b: 1
C7
C7
C
Dad and I went down to camp, A-long with Cap-tain Good-ing and there we saw the
Bb
C7
Bb
men and boys as thick as hast-y pud-ding. Yan-kee Doo-dle keep it up,
F
Bb
C7
F
C
5
Yan-kee Doo-dle dan-dy, Mind the mu-sic and the step, and with the girls be
F
han-dy.
17
Down by the Station

Lively (swing it)
4/4
b: 1
C
A
k5
C
F
18
Down by the Station

Lively (swing it)
4/4
b: 1
C7
F
C
A
k5
C
Down by the sta-tion early in the morn-ing, See the lit-tle puf-fer-bil-lies
C7
C7
all in a row. See the en-gine dri-ver pull the lit-tle han-dle.
C7
C
F
G
Choo! Choo! Toot! Toot! Off they go.
19
AMERICA
Moderately
3/4 #:1
D
A
3
20
AMERICA
Moderately
3/4 #:1
D7
Em
Am
B Em
3
My coun-try 'tis of thee, Sweet land of lib-er-ty,
Am
D7
G
D
A
3
Of thee I sing; Land where my fa-thers died,
D7
G D
C G Am
Am G
Land of the pil-grims' pride, From ev'-ry moun-tain-side,
D7
Let free-dom ring.
21

Lively (swing it)
3/4

Montrose
b: 1
A
F
C
5
k4
C
22

Lively (swing it)
3/4

Montrose
b: 1
First Verse: In a ca-vern, in a can-yon, ex-ca-vat-ing for a

mine, dwelt a min-er, for-ty-ni-ner, and his daugh-ter Clem-entine.
A
F
C
Chorus: Oh my dar-ling, oh my dar-ling, oh my dar-ling Clem-enC7
C7
5
k4
C
tine. You are lost and gone for-ever, dread-ful sor-ry Clem-enF
F
tine.
23
Oh, Susanna
Stephen C. Foster
Lively
2/4
#/b: 0
24
Oh, Susanna
Stephen C. Foster
Lively
2/4
#/b: 0
C
D7
G7
C
I -- come from Al-a-bam-a with a ban-jo on my knee, I'm -- goin' to Lou'-siD7
an-a my Su-san-na for to see. Oh! Su-san-na, oh

C
G7
G7
don't you cry for me, for I come from Al-a-bam-a with a ban-jo on my
C
Knee.
C
25

Moderately
b: 1 4/4
D
5

26

Moderately
b: 1 4/4
Bb

F
C
C
C7
F
C

Bb
D
5
27

Moderately
#: 4 4/4
B
4
B
4
3

E
B7
B
4
3

A
E
1
B
4
28
Great Musical Themes - Bach PG-RC v8.4

1405-20
PG-RC
Great Musical
Themes
J.S. Bach
Colors for RH Notes
White notes are 1 beat long
- or multiples of 1 beat.
2
3
Fractional beat notes (and their multiples)

are highlighted with the colors indicated
here.The numbers in these notes are the
denominators of the indicated fractions.
Colors for Chord Symbols (LH)

Standard AND mapped 3-note chord symbols are
both shown for each chord.
For the mapped chord symbols, the ROOT of
each chord is highlighted in color to indicate the
mode of the chord, as shown here. The other notes of
the chord are white.
4
>4
Major
Minor
Dom 7th
All
IMPORTANT - The pitch and rhythm of the notes on key maps are
completely independent of the highlights indicated above. The
highlight colors are provided to make the maps easier to read and
to enhance the beauty of the notated music.
From the MIW Piano

Student's Workshop
All Rights Reserved: Copyright 1998-2014 Music Innovators Workshop LLC
Contents
Page
3
Bist Du Bei Mir
March in D Major
Bouree
Fugue in C Minor
My Heart Ever Faithful
Brandenburg Concerto - No. 2 1st Mvt
Invention in D Minor
10
Little Fugue in G Minor
11
Prelude, Suite 1 for Cello
Bist Du Bei Mir

J.S. Bach
Gently
b: 3
3/4
F
5
2
4
F
2
C
5
2
4
F
Em7b5
D
5
F
5
2
5
5
2
k2
5
2
March in D Major
from Anna's Notebook
Moderate March Tempo
#: 2
J.S. Bach
4/4
3
3 E
1
A
A
3
D
3
D
E
1
D
B
tr
E
A
3
D
3
D
Bourree
from Suite in E Minor for Lute
Lightly
#: 1
2/2
3
J.S. Bach
2
B
C
3
3
2
B
B
3
C
3
E
A
G
E
Fugue in C Minor
J.S. Bach
from The Well Tempered Clavier Book 1

With Vigor
b: 3
4/4
C
C
G
2
3#
C
2
F
NC
5
G
2
C
2
5
A 5
5
G
2
C
4
F
k2
A
5
G
3
D
2
3#
3#
B
G
4
2
G
2
C
My Heart Ever Faithful

from Contata No. 8 - Orignally for Soprano and Orchestra
Andante con moto
b: 1
4/4
k5
k5
F
C
1#
5
F
k5
C
J.S. Bach
k5
5
D
5
G
5
5
F
5
F
E
C
G
First Movement Theme

from Brandenburg Concerto No. 2
J.S. Bach
Vigorously
b: 1
4/4
5
F
C
5
F
F
C
5
F
5
F
C
F
C
Invention in D Minor
from Two-Part Inventions
Vigorusly
b: 1
3/8
J.S. Bach
5
5
D
# 1
G
D
# 1
A
A
D
A
D
F
5
5
G
G
5
G
tr
5
tr
F
5
F
C
F
C
Little Fugue in G Minor

J.S. Bach
Originally for Organ

With Vigor
b: 2
4/4
Note: Play the pink notes with the left hand.

D
D
5
5
G
3
#
G
D
k5
tr
1#
k5 k5
A
3#
A
E
D
D
1#
1#
k5
1#
G
1#
A
1#
1#
A
10
11
Prelude
J.S. Bach
from The Suite No. 1 for Solo Cello

Briskly
#: 1
4/4
LH - Pink Notes
B
G
D
A
G
G3
B
3
C
B
E
D
3 3
Page is Blank
12
Bible Songs For Kids PG-RC v8.4

1402-18a
PG-RC
Bible Songs
for Kids

Pitch Notation
Notes of One or More Full
Beats are White
Colors for Notes With

Fractional Beats
Color highlights indicate the
denominator of the beat fraction.
2
>4
From the MIW Piano

Student's Workshop
Index
Graded
Contents
Introduction
Deep and Wide
26
Demo - Key of C
Demo - Key of C
Oh How I Love Jesus
Do Lord
22
The B-I-B-L-E
Down in My Heart
32
Jesus Loves Me
10
Father, We Thank Thee
14
Whisper a Prayer
12
Heavenly Sunshine
20
14
Introduction
This Little Light of Mine
16
Jesus Bid Us Shine
28
Praise Him, Praise Him
18
Jesus Loves Me
10
Heavenly Sunshine
20
Jesus Loves the Little Children
24
Do Lord
22
Oh How I Love Jesus
24
18
Deep and Wide
26
Rise and Shine
30
Jesus Bid Us Shine
28
The B-I-B-L-E
Rise and Shine
30
16
Down in My Heart
32
We Fall Down
34
We Fall Down
34
Whisper a Prayer
12
INTRODUCTION
This unit is primarily intended for students WHO HAVE
LEARNED TO PLAY MELODIES FROM KEY MAPS and who
are now beginning to learn to read standard notation. This
unit is a part of a broader set of materials intended to help
with the transition to reading standard notation.
THIS UNIT FOCUSES ON STANDARD PITCH notation,
leaving standard rhythm notation for a later time. The
rhythm notation in this unit shows the beat length of each
note in the same manner as shown on key maps - except
that the orientation is changed from vertical to horizontal. It
is assumed that students starting this unit already have the
ability to play the songs of this unit on key maps, so this is
a venture in converting some of that knowledge into ability
to read the standard pitch notation.
In this unit, a letter name is shown for the note at the
beginning of each staff line. Also, the letter name is given
for each "jump" to the next note. The notes for the black
keys are shown with the addresses of the keys (1, 2, 3, 4, or
5). Thus, the student will be able to read the pitches with
this information and with the already acquired ability to
read the "hop, step, and skip" intervals learned from
previous key map instruction.
Each song is presented twice - once on each of two facing
pages. The version on the left page is written for the bass
clef and the version on the right, for the treble clef. For the
versions on the treble clef the song text is shown and
standard chord symbols are provided above the notes for
teachers and for students who have aready learned to play
from chord symbols.
Oh, How I Love Jesus

Brightly
b: 1
6/8
Frederick Whitfield
5
G
5
G
Oh, How I Love Jesus

Brightly
b: 1
6/8
Frederick Whitfield
Oh, how I love Je-sus,

C7
5
G
Oh, how I love Je-sus ---,
Oh, how I love Je-sus beBb
C7
5
G
cause --- He first loved me.

The B-I-B-L-E
Brightly
#/b: 0
2/4
B
E
The B-I-B-L-E
Brightly
#/b: 0
2/4
F
The B-I-B-L-E, yes that's the book for me, I
G7
B
E
stand a-lone on the word of God, the B-I-B-L-E. The

F
B-I-B-L-E, yes, that's the book for me, I
G7
stand a-lone, The B-I-B-L-E.
Jesus Loves Me
Mark 10:14
Happily
Wm. B. Bradbury
#/b: 0
2/4
G
C
G
C
Jesus Loves Me
Mark 10:14
Happily
C
Wm. B. Bradbury
#/b: 0
G
2/4
C
Je-sus loves me, this I know for the Bi-ble tells me so;
G
G7
G
C
Lit-tle ones to Him be-long, They are weak, but He is strong.

F
F
G7
Yes, Je-sus loves me, Yes, Je-sus loves me,

F
G7
G
C
Yes, Je-sus loves me, The Bi-ble tells me so.

Whisper a Prayer
Reverently
b: 1
6/8
5
A
F
C
5
G
10
Whisper a Prayer
Reverently
F
b: 1
6/8
C7
A
F
C
Whis-per a pray'r in the morn-ing,

F
Whis-per a pray'r at noon, --- ---
Bb
Whis-per a pray'r in the eve-ning, To

Bb
C7
5
G
keep --- your heart in tune.

11

Rebecca J. Weston
Reverently
#: 1
Daniel Batchellor
4/4
B
D
1
B
3
D
G
E
12

Rebecca J. Weston
Reverently
#: 1
Daniel Batchellor
4/4
D
1
Fa- ther, we thank thee for the -- night, And for the pleas-ant
D7
B
3
D
morn -- ing -- light, For rest and food and lov-ing -- care,
C
D7
G
E
And all that makes the -- world so -- fair.
13

Matthew 5:15-16
Brightly
#/b: 0
2/4
14

Matthew 5:15-16
Brightly
#/b: 0
2/4
This lit-tle light of mine, I'm gon-na let it

F
C
shine, This lit-tle light of mine,

C
C
I'm gon-na let it shine, let it shine, let it

G7
shine, let it shine.

15

Brightly
#/b: 0
4/4
F
C
G
E
C
F
C
16

Brightly
#/b: 0
4/4
F
C
Praise Him, praise Him, all the lit-tle chil-dren, God is love,
C
G7
G
E
C
God is love, Praise Him, praise Him, all the lit-tle chil-dren,
F
G7
F
C
God is love, God is love.
17
Heavenly Sunshine
H.J. Zelley
Brightly
George H. Cooke
#/b: 0
3/4
G
D
E
D
18
Heavenly Sunshine
H.J. Zelley
Brightly
George H. Cooke
#/b: 0
3/4
F
G7
G
D
Heav-en-ly sun-shine, heav-en-ly sun-shine, Flood-ing my soul with glo-ry diF
G7
E
D
vine --, Heav-en-ly sun-shine, heav-en-ly sun-shine, Hal-le-lu-jah, Je-sus is
C
mine.
19
Do Lord - Chorus
Brightly
#: 1
2/4
3
D
3
E
20
Do Lord - Chorus
Brightly
#: 1
2/4
3
D
Do Lord, oh, do Lord, oh, do re-mem-ber me, Oh, Lord-y

C
3
E
Do Lord, oh, do Lord, oh, do re-mem-ber me,
Do Lord, oh, do Lord, oh, do re-mem-ber me, Look aD7
way be-yond -- the blue.

21

C.H. Woolston
George F. Root
Bouncy #: 1
4/4
B
G
G
D
3
E
3
D
22

C.H. Woolston
Bouncy #: 1
G
George F. Root
4/4
D7
B
G
Je-sus loves the lit-tle chil-dren, All the chil-dren of the

D7
G
3
D
World, Red and yel-low, black and white, They are pre-cious in sight, Je-sus
C
D7
3
D
loves the lit-tle chil-dren of the world.
23
Deep and Wide

Psalm 36:9
Brightly
b: 2
4/4
5
5
F
F
C
5
F
24
Deep and Wide

Psalm 36:9
Brightly
b: 2
4/4
Bb
Eb
Bb
Deep and wide, deep and wide, There's a foun-tain flow-ing deep and
F7
Bb
Eb
F
C
wide. Deep and wide, deep and wide, There's a

Bb
F7
Bb
5
F
foun-tain flow-ing deep and wide.
25
Jesus Bids Us Shine

Susan B. Warner
Brightly
#: 1
W.E.M. Hackleman
4/4
B
G
3
D
3
D
B
G
D
26
Jesus Bids Us Shine

Susan B. Warner
Brightly
#: 1
W.E.M. Hackleman
4/4
D7
B
G
3
D
Je-sus bids us shine with a clear, pure light, Like a lit-tle can-dle
D
G D G
G7
3
D
burn-ing in the night; In this world of dark-ness, we must shine,

G
G7
D7
B
G
D
You in your small cor-ner, and I in mine.
27
Rise and Shine

Spiritual
Brightly
#/b: 0
4/4
C
A
28
Rise and Shine

Spiritual
Brightly
#/b: 0
4/4
F
E
Rise -- and shine -- and give God the glo-ry, glo-ry, Rise -- and shine -- and
C
A
give God the glo-ry, glo-ry, Rise and shine and give God the glo-ry, glo-ry,
G7
chil-dren of the Lord.---
29
Down in My Heart
Happily
b: 2
4/4
George W. Cooke
5
F
5
5
F
C
5
D
5
30
Down in My Heart
Happily
b: 2
4/4
George W. Cooke
Bb
5
F
5
I have the joy, joy, joy, joy, down in my heart,

F7
Bb
D
5
F
down in my heart, down in my heart, I have the joy, joy, joy, joy,
F7
C
Bb
C
D
5
down in my heart, down in my heart to stay.
31
32
We Fall Down - 1
Power Ballad
4/4
Chris Tomlin
b: 1
Dm7
Bb
5
A
F
We fall down, we lay our crowns at the feet of JeGm7
Dm7
5
G
E
-- sus. The great-ness of mer-cy and love at the feet-Bb
Bb
Bb
A
C
-- of Je -- sus. And we cry, "Ho -- ly, ho -- ly, hoF

Gm7
Bb
F
Gm7
Dm
G
-- ly, And we cry, "Ho -- ly, ho -- ly, ho -- ly, And we cry,
We Fall Down - 2
F
A
Bb
C
Bbma7
Gm7
"Ho -- ly, ho -- ly, ho -- ly!" is the -- -- Lamb!"
33
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Famous Musical Themes PG-RC v8.4

1405-20
Famous Musical
Themes
PG-RC
From Show Tunes

Chord Symbols (LH)
For the chord symbols, the ROOT of each chord is highlighted in color
to indicate the mode of the chord, as shown below.
Major
Minor
Dominant 7th
All Others
Color Highlights for Melody Notes

With Fractional Beats (RH)
Color indicates the denominator of the beat
fraction. (White notes are 1 beat long or
multiples of 1 beat.)
1
From the MIW Piano

Student's Workshop
Index
Contents
Page
Page
Think of Me
All I Ask of You
It's a Small World
Born Free
Some Enchanted Evening
Can You Feel the Love Tonight 19
Born Free
Can't Help Falling in Love
Circle of Life
Climb Every Mountain
The Sound of Music
Do You Know?
13
12
6
7
14
8
Memories
10
Heigh Ho
15
The Lonely Goatherd
11
It Might as Well be Spring
16
All I Ask of You
12
It's a Small World
Do You Know?
13
Memories
10
Circle of Life
14
Raindrops Keep Fallin'
17
Heigh Ho
15
16
The Lonely Goatherd
11
Raindrops Keep Fallin'
17
The Sound of Music
The Way You Look Tonight
18
Can You Feel the Love Tonight 19
Think of Me
18
3
Think of Me
Charles Hart
Quietly
#/b: 0
Think
of me
from PHANTOM OF THE OPERA
Andrew Lloyd Web
4/4
Think
of me
fond- ly
when
we've
said good- bye
Re-
C
G
G
E
G
member me
once
in a
while,
please
pro-
mis
me
you'll try ...

C
E
G
It's a Small World

from Disneyland Parks
Brightly
#: 1
It's
Sherman and Sherman
4/4
small
afworld
ter
all,
It's
small
afworld
ter
all,
3
D
It's
small
afworld
ter
all,
It's
a small,
small,
world ...
B
3
D
A
G
C
3
D

Oscar Hammerstein II
Quietly
#: 0
from SOUTH PACIFIC
Richard Rogers
4/4
Some
ted
en-chaneven-ing,
You see stranmay a

ger.
C
G
C
You see stranmay a

ger
a-
cross a
crowd-ed room.
And some-how...
C
G
F
C
Born Free
Don Black
Majestically
from movie BORN FREE
b/#: 0
4/4
as
Born
John Barry
free,
as
free
wind
the
as
blows
as
free
C
G
F
C
F
C
grass
grows,
free
born
to
fol- your
low
heart ...
G
E
C
the

from movie BLUE HAWAII
Weiss, Peretti and Creatore

can
Thoughtfully
Wise
b: 1
4/4
men
only fools
say
rush
in,
5
F
A
F
F
D
can't
help
falling in love
with
you.
5
D
5
but
5
F
C
5
G
5
F
F
C

Boldly
#: 0
from THE SOUND OF MUSIC
4/4
Climb
ev'-
ry
low
ev'-
mountain,
Search
high
and
low,
3
D
5
5
G
3
D
Fol-
Richard Rogers
F
C
byry
ry
ev'-
way,
path
you
know ...
G
2
C
C
4
F
G
C
The Sound of Music

Broadly
Richard Rogers
b: 1
The
hills
C
4/4
are
a- live
with
mu-
sic, ---
---
with sound
the
of
songs have
they sung
4
E
for thouyears ...

a
sand
5
F
5
F

E
Memories
Bergmans
Quietly
from movie THE WAY WE WERE
#: 0
Mem-
Marvin Hamlisch
4/4
light cor- of
mind.
the ners my
ries
Mist- ter or
y wa- col-
3
E
A
of
mem-
ries
way
the
we
were ...
B
D
F
C
10
The Lonely Goatherd

Brightly
b: 1
High
4/4
a
was
ly
on hill
a loneC
Richard Rogers
goatlay- o-di lay- o-di layee- oo

herd, ee
ee
F
C
Loud the
of lonewas voice the
ly
C
goatlay- o-di lay- o-di

herd, ee
ee
o ...
D
1
F
11
All I Ask of You

Charles Hart
from PHANTOM OF THE OPERA
Thoughtfully
No
b: 1
4/4
talk
more
Andrew Lloyd Webber
ness,
of dark-
wild-eyed
for- get these
fears;
I'm
G
C
F
here,
nocan
you,
thing harm
my words
warm
you.
will
and calm
C
5
2
C
freeyour dom,
Let me be
let
day- light dry your tears.
to
guard
I'm
G
C
F
here,
A
you
side
with
beyou,
5
you,
and to
C
you ...
guide
G
5
G
5
2
C
12
Do You Know?
Gerry Coffin
from Movie MAHOGANY
Thoughtfully
b: 2
4/4
Do know
you
where you're
going to?
F
Michael Masser
Do kike
things
you
the
that life is
2
5
5
3
D
2
C
showing you?
Where
are you going to,
D
5
do
3#
5
G
3
D
know? ...
B
you
13
Circle of Life
Tim Rice
from THE LION KING
Thoughtfully
b/#: 0
Elton John
4/4
From day
on planthe we ar- rive
the -- et
and
blinkining step
to
the
E
G
D
sun,
more
there's
to
see
(Dm7)
can er
than evbe
more
can
er
seen, to do than evbe
C
G
E
5
A
D
(Dm7)
done ...
D
14
Heigh Ho
from SNOW WHITE AND THE SEVEN DWARFS
Larry Morey
Frank Churchill
Vigorously
#: 1
4/4
Heighho,
Heighho.
To
G
C
keep
Just
trouyour bles
go,
make
singon
ing all
day long,
Heighho,
C
3
D
3
D
ho,
G
C
ho,
ho, ...
HeighHeigh-
A
3
D
3
D
Heigh-
15

from STATE FAIR
Agitated
b: 0
Richard Rogers
4/4
I'm rest- as wil- in

windas less a low a
storm.
I'm jump- a
pet a
as y as pup- on
E
C
G
C
string.
i'd
G
C
I
say that had
fevspring
but
it is-
er
n't
even
G
5
B
4
#
5
5
G
F
C
G
C
spring ...
C
16
Raindrops Keep Fallin' on my Head

from BUTCH CASSIDY AND THE SUNDANCE KID
Hal David
Bouncy
b: 1
Burt Bacharach
4/4
Rain- keep in my
drops fall- on head,
just
and
C
this whose too

like guy feet are big for
5
F
no- seems
thin to fit.
bed
These
C
2
Rain- keep in my
They falldrops fall- on head. keep in ...
E
A
A
3
D
3
D
his
5
G
17

Dorothy Fields
Quietly
#: 2
Some-
from SWING TIME
Jerome Kern
4/4
when
I'm
day
awfly low,
when world
the is cold.
fee;
will a
glow think
just ing
1
A
3
A
3
D
A
3
D
of
you,
And way look

the you
to-
night ...
1
A
3
D
3
D
A
1
A
3
D
3
D
18
19
Can You Feel the Love Tonight

Tim Rice
Quietly
3
Bb
from THE LION KING
b: 2
4/4
4
3
I
can
see
what's
hap-
Bb
p'ning
and
Bb
they
don't
have
a
clue.
fall
in
love
and
here's
the
Bb
trio's
down
to
two.
sweet
caress
of
twi-
magic
evrewhere
And
Bb
Dm
bottom
line.
Our
Gm
light;
there's
They'll
Bb
Elton John
with
all
this
romantic
Bb
Eb
The
C
atmosphere,
disaster's
in
the
air...
Page is Blank
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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.

ABOUT THE NOTE COLORS. The

From the MIW Piano

All rights reserved: Copyright 1998-2014 Music Innovators Workshop

Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

All rights reserved: Copyright 1998-2014 Music Innovators Workshop

Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

About This Unit.

This unit points out many note patterns that

Learning these names well enough so tha

The notes in this unit are colored the colors

All rights reserved: Copyright 1998-2014 Music Innovators Workshop

Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Treble and Bass Staves With Notes Arranged by Octave Groupings

The colors of the notes

These patterns can help

The next few pages will

All rights reserved: Copyright 1998-2014 Music Innovators Workshop

Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Ledger Line 2 (above the staff)

The Five-Line Staff

Because the bass and treble staves

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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Inside the Treble Staff -- Complete Musical

Green High Key Group -F, G, A, B

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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Notes Between the Treble Staff

Notes for the Right Hand

Short Alphabet -- ABCDE

Notes for the Left Hand

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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Inside the Bass Staff -- Complete Alphabet

Blue Low Key

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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Complete Set of Notes for the

Blue Low Key

All rights reserved: Copyright 1998-2014 Music Innovators Workshop

Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

The High Ledger Zone and the Low Ledger

These high and low ledger

The Grand Staff is Shown

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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Memorable Symmetrical Patterns Formed

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Identities of Traditional GS Notes -- Memory Aids PG-05 v8.4

Note Summary with

The Grand Staff is Shown

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Grand Staff Prep Exercises - Intervals PG-15a v8.4 1

Interval Colors: Steps - Pink,

From the MIW Piano

All rights reserved: Copyright 1998-2014 Music Innovators Workshop LLC

Grand Staff Prep Exercises - Intervals PG-15a v8.4 2

Notes in the Treble, Bass,

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Grand Staff Prep Exercises - Intervals PG-15a v8.4 3

Instructions for the Exercises

Note and Key Locations