I hope you don’t think Beyer is easy. I know that the last exercises were not very complex to deal with. But now it’s time to face the n. 52-53 and the troublemaker n. 54.
N.52 has the original element to be in 6/8 time. In the lesson about simple and compound times,we have talked about 6/8 without going deep into it.. The 6/8 time is divided in 2 beats or movements, composed of 6 eights. In each movement we will have to play 3 notes of an eight:the rhythmic reading of the left hand, for example, is (ta-ta-ta) (ta-ta-ta). (in the case of 4/4 the corresponding figure would be the triplet). The important thing would be to play the three notes of the left hand each time the metronome beats. Essential is to play it SLOWLY.
N.53 is short but quite hard, in particular for the left hand that has to drop after the 4th beat in G to the middle C from the standard position . The right hand has no tricks or technical problems.
N.54 will give you an hard time. Apart the movements of the left hand, the right in the final bar makes a change of an octave… and the bass clef is introduced.
The bass clef is represented graphically by an inverted 6 (originally the F, the F of FA) with 2 i is used to indicate the lowest notes and simplify the reading. The notes that go down from the middle C can be identified thanks to this symbol.The 2 points (:) indicate the position of F. The piano sheet juxtapose the treble clef to the bass clef, the first related to the right hand, the second to the left. The picture is very clear and usefull to understand how the middle C is in common, whereas the highest notes are linked to the treble clef, and the lowest ones to the bass clef.
The fourth and the fifth bar of the exercise show how the same notes can be represented in 2 different clefs. The left hand plays G, B, D both in the 4th and the 5th bar, and always in the same position!In the sixth we will have G,C, E, in the 7th G, A, B and finlly C.
Clear? become friendly with the bass clef and go to these sites for further study and exercises: