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 CThat's the ascending patttern. And, it continues, up-wards:
B A A G G F F DAnd, descending, the pattern is :
C A A G G F F Eand, 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 Band, 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 FThe 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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