Hands together in simple textures, eighth notes and key signatures, your first two-voice pieces, and harmonizing a melody with I and V.
Level 1 closes with a Level check. It asks for:
Study Le Couppey’s Melody in C. Count two even eighth notes to each quarter-note beat and read the tempo word before you set the pulse. Revisit the familiar C five-finger warm-up before the full scale two lessons later.
Study Gurlitt’s The Chase in C, left hand only from the pickup through bar 4. Count the pickup silently before entering on the first strong beat, keep the short chords light, and hold the tied bass notes across the bar line. Climb the tempo ladder: slow and correct first, then faster. Also play Lantern Walk’s right-hand melody from its upbeat to the end; its one-sharp key signature never touches an F, so it is played on white keys (the key of G comes at the end of the level).
Study Köhler’s little study Op. 190 No. 22 in C. Its left hand moves by step and by broken chord inside the lower half of the scale, between C and G, under the right hand’s held notes. Then use the major-scale card to join C–D–E–F and G–A–B–C into the whole scale, and play the C-major scale with the thumb passing under, hands separately, and the mirror scale in contrary motion.
Study Czerny Op. 599 No. 13 in C. Read the right-hand eighth-note figures and the left hand’s two-note intervals by size from the note before, instead of naming every note.
Study Köhler’s Melody in F, Op. 190 No. 27. Find B flat in the key signature, keep it in every bar and tell it apart from written accidentals; G major’s F sharp works the same way. Hear where the bass rests on F, the tonic, and where it moves to C, the dominant.
Study Gurlitt’s Allegretto grazioso, Op. 117 No. 6, in C. Read the F sharp in bar 7 and the A flats of bars 10–15 inside each bar: an accidental lasts until the bar line. Then play the chromatic scale, every semitone in turn, with the third finger on each black key.
Study Purcell’s Song Tune in C, ZT 694. The score has three voices: in bars 1–8, play the right-hand line slowly while following or singing the middle line above the bass through its rests and ties. Practise in short chunks; the separate keyboard task practises two-line coordination. The small ornament signs are optional for now; ornaments are taught at Level 4.
Study Reinagle’s Allegretto in C, Op. 1 No. 5. Follow its two repeated sections and compare how each one ends: the first on the dominant, G (bar 8), the second home on C (bar 16). In the separate keyboard model, compare a half cadence ending on V with an authentic cadence V–I, then listen for each kind of arrival in the score.
Study Czerny Op. 599 No. 14 in C. Find the short figure it is built from, mark each return, and shape every repetition so the listener hears the motive come back.
Study Czerny Op. 599 No. 12 in C. Its left hand moves between C–E–G and the dominant shapes B–D–G and B–F–G: learn the close-position I–V7–I first, then keep the right-hand eighth notes even above it. Afterwards read the separate F-major keyboard melody and accompany it with I and V7: the app listens to your chords; sing the tune if you like.
Study Blue Steps, an original piece in C (not a twelve-bar blues). Compare E flat and E natural by sound and by notation. The left hand holds open fifths on I and V (C–G, G–D) and the fourth-and-fifth F–C of IV in bars 3 and 6: learn each change alone. Play the opening right-hand C–D–E flat–D over the held C, keep the written straight quarters rather than swinging them, then join the phrase and invent a short answering phrase.
Play Garden Gate in G, written for this lesson: the right hand stays in the G five-finger position and then climbs the upper tetrachord D–E–F sharp–G. Find F sharp in the key signature and play it on every F. Hear where the bass rests on G, the tonic, and where it moves to D, the dominant. In bar 12 a fermata holds the D that ends the high phrase: wait on it, breathe, then bring the tune home. Türk’s Hans ohne Sorgen, also in G, shows the same key signature beside written accidentals.
12 Musicianship units, one beside each lesson and in the same order. A unit is done when its theory questions are answered right and its ear, rhythm and keyboard tasks have passed; the reading test and unseen pieces are the Reading part.
Tap back rhythms with eighth notes, read two eighths in a beat, and play even eighths at the keyboard.
Echo four notes from the tonic or the dominant, read a lead into the downbeat, and play upbeats and ties.
Hear each note of the position above its tonic, read two beats in a bar, and play I–V7–I in C.
Tap back rhythms in 4/4 and 3/4, read eighths and quarter rests, and play written intervals.
Echo a short melody in F or C major, read eighths in three, and play I–V7–I in F.
Hear seconds and thirds up or down, read running eighths, and play I–V7–I.
Echo five-note melodies with eighths, read a right-hand rhythm over a steady left hand, and play one line while singing the other.
Hear whether a chord is the tonic or the dominant, read ties across the barline, and play half and authentic cadences.
Hear intervals up to a fifth, up or down, read a start after a quarter rest, and play written intervals.
Hear the tonic and the dominant seventh in its keyboard shape, read a melody rhythm over held chords, and harmonise in F.
Echo a melody in a major or a minor position, read ties, eighths and rests, and play written intervals.
Tap back rhythms with eighths and rests, read Level 1's rhythms together, and play I–V7–I in G.
Also in the guide: the repertoire, the technique ladder and the glossary.
In Musalea each lesson runs step by step, and after every run the app tells you what to fix: the bar, the hand and how to practise it.
14 practice days · everything unlocked · no card