One approach to developing technique/facility with a piano keyboard is to play (repeating patterns of) one pitch at a time.
I remember being introduced to the Hanon exercises book when I was 11 years old.
I particularly used the first exercise #1 (all white keys) - which improved my command of my fingers (improved my facility and fluency).
A
G G
F F
E E
C
That's the ascending patttern. And, it continues, up-wards:
B
A A
G G
F F
D
And, descending, the pattern is :
C
A A
G G
F F
E
and, continuing ...
B
G G
F F
E E
D
Note the gap between the first and second notes in each iteration of the phrase/pattern. Most steps (adjacent notes are one step apart, whereas that is a "third" interval.
Actually, to harmonically match the chord that is implied by the beginning (when first ascending), start with 'G' at top , when beginning to descend :
G
E E
D D
C C
B
and, continuing ...
F
D D
C C
B B
A
You don't need to purchase the book of exercises, in-print -- just visit: http://www.hanon-online.com/.
A student of mine has benefitted from the following simple repeating modal patterns which I call "Modal 'Hanon's"
I made Presentation slides, which you can view, right in your web browser
( alternate URL ) : https://drive.google.com/open?id=1x8MnZqj4mI5-pqdLJCg-pi-KcFIsffp-Om-PQrG-RKU There are also some other supplemental materials in this Google Drive folder of mine.
"This is an outstanding exercise."- an adult student of mine, in response to me presenting these to him, which he started practicing every day.
I describe what pitches to play, in terms of numbered scale/mode degrees.
Take just a few notes and play them in a repeating pattern. Some of these patterns are "riffs" , also known as : ostenatos (ostenati) -- used as bass lines or some sort of repeating accompanyment pattern.
The root is '1'
== the Harmonic context / scope / palette ==
Dorian mode has 7 pitches per octave register.
(It's much like the minor scale (Natural Minor) ,
except with a raised 6th (sixth) degree.
Instead of that sixth member of dorian mode being a _minor_sixth above the root pitch,
it is a MAJor-sixth above the root pitch. )
If the tonal centre (root) pitch is 'D' , then that means, all white keys , starting with _D_.
D, E, F, G, A, B (is the sixth -- _not_ B-flat) , C : ||
_____________
Here they are :
ex. 1 :
| 1 , 2 , 3 , 1 , 5 , 1 , 2 , 3 : ||
5
3 3
2 2
1 1 1
Here is another pattern (another modal "Hanon") :
ex. 2 :
| 1 , 2 , 4 , 2 , 3 , 5 : ||
5
4
3
2 2
1
You can modulate that -- modulation means playing same thing, except in a different key (based on a different tonal centre / root pitch).
So, instead of : ,
| D , E , G , E , F , A : ||
Start with :
| A , B , D , B , C , E : ||
Those two can be played together, simultaneously. That's harmony (in this case, particularly, parallel Fourths / Fifths (depending on inversions, point of view) ).
_________
ex. 3 :
Here is an arpeggiated pattern (that outlines chords ) :
G in bass (maybe G5 , which means G + D (and an 8va octave above "G" ) in left hand
+
D , B-flat , A , F , A , B-flat : ||
The right hand pattern goes like this :
------------------------------
D
B-flat B-flat
A A
F
The right hand outlines (the members of) B-flat Major 7
and, together, with bass / left hand , that is actually a
g - minor 9 chord.
_____________________
ex. 4 :
The following pattern requires a span of more than a mere Perfect-Fifth (P5) ( 5 scale degrees ) ,
but instead, one more : 6 scale degrees ( a Major-6th, to be precise) :
| 1 , 5 , 3 , 4 , 6 , 5 , 4 : ||
Perhaps a 2-dimensional (as opposed to 1-d linear) portrayal is more clear:
6
5 5
4 4
3
1
If the tonal centre (key) is 'D', that is all white keys :
B
A A
G G
F
D__
If the key (tonal centre - root pitch / tonic) is , instead, 'A' :
F#
E E
D D
C
A__
And, another key : 'E'
C#
B B
A A
G
E__
ex. 4b :
Back to a span of a mere fifth (P5th) :
| 1 , 3 , 5 , 4 , 3 , 5 , 3 : ||
5 5
4
3 3 3
1
E E
D
C C C
A
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