First Songs — Level 5
D, A, E, or E♭ major, and B minor
written notes stay the same — sounding as alto
Night Ferry
The new figure is an eighth then two sixteenths inside one beat, and its mirror — two sixteenths then an eighth; the ferry sinks to a held B3 below the staff, breathes there, and climbs back up to G5 in bar seven.
D Major · 4/4 · B3–G5 · whole notes, half notes, quarter notes, paired eighths, sixteenth runs, rests
Chrome and Glass
A major polished all the way up: bar five stacks A, C♯ and E, and bar six reaches one palm-key D6 held for a half note — set that palm key early, then let the line glitter back down to a final A5.
A Major · 4/4 · A4–D6 · whole notes, half notes, quarter notes, paired eighths, sixteenth runs, rests
Skyline
Four sharps, and a climb by terraces: each bar tops out a step above the last — F♯5, G♯5, A5, B5 — before bar five reaches over them all to D♯6, the one palm-key note, held half a bar; after that it unwinds by step alone, save the third onto the final E5.
E Major · 4/4 · B4–D♯6 · whole notes, half notes, quarter notes, paired eighths, sixteenth runs, rests
Velvet Rope
E♭ major reaches its high G5 early, in bar three, then walks the scale straight down without a single leap — take the quarter rest that ends bar four as your big breath, then sound the low B♭3 for a half note and use the half rest after to reset.
E♭ Major · 4/4 · B♭3–G5 · whole notes, half notes, quarter notes, paired eighths, sixteenth runs, rests
Blue Hour
Natural B minor in three: it peaks in bar two on F♯5, then eases down for six bars, and the one note outside the scale is the A♯4 in bar seven — the raised leading tone that makes the final B4 sound like home.
B Minor · 3/4 · G4–F♯5 · dotted half notes, half notes, quarter notes, paired eighths, sixteenth runs, rests