Theory, technique, sight-reading, repertoire, harmonization, improvisation and ensemble activities are taught thoroughly and consistently throughout the text. Both Second Editions incorporate updates inspired by recommendations from group piano teachers and students. Book 1 is pages and Book 2 is pages. Playing Keyboard is organized into five units, each including varied progressive activities, as well as options for students who move at different paces.
Based on a strong chord approach, other concepts are integrated, such as improvisation, syncopation, and theme and variation. Ensemble experience is provided, as well as assignments for using multimedia and the internet to extend learning outside of the classroom. Five bonus pieces have been added: Also included is a CD containing the piano part and an engaging accompaniment for each of the 60 musical examples.
Lancaster, Morton Manus, and Willard A. Carol Matz Designed to be used in conjunction with Piano , Pop Books 1 and 2 reinforce concepts from each unit of the book, beginning with Unit 4 in Book 1. Produced through the cooperative effort of the International Suzuki Piano Committee, the volumes are available three different ways: Volumes 2 and 3 include new Romantic and 20th-Century pieces. Text is in English with translations in French, German and Spanish. French Edition Book 1. Activities Book Time to Begin. Steve Betts, Craig Sale Recordings: David Carr Glover Supplemental Contributors: Lancaster, Martha Mier, June C.
Montgomery and Martha Mier Level 1. We start 5 and 6 year olds playing major and pentatonic scales in C and E flat and then all the other keys over the next two years so they have a concept of composition from the get go for piano, guitar, and violin.
Dan's coordinated method books compliment "playing simple things well" in all keys rather than complicated things played poorly in one or two keys. Keith Knighton and Dan have children sing their names with an up or down melody so they can recognize pitches. Children that start in this program early don't think that making music is hard, because it isn't. A solid knowledge of I, V7 chord progressions in all 12 keys brings chordal efficiency to a peak very early in the musical instrument experience. JavaScript seems to be disabled in your browser.
No one logged in. Theory Workbook -- Lessons four and five. Pre-A Schaum Do page 14, omit preparatory drill. Omit page 15 -- can teach it later. Page 16, omit preparatory drill. Page I usually write 3 vertical lines up by the keyboard picture and print F to left, B to right of the three black keys. Have student find F's up and down the keyboard, then B's. Play G and A solid with 2nd and 3rd fingers up and down the keyboard.
It usually takes the student longer to learn this grouping than the names of the white keys of the two black key grouping. This may have to be repeated for several lessons, as they should be able to find any of these white keys easily without thinking backward from middle C.
Omit explanation of dotted half note. I explain only that the dot makes the note longer. Flash cards - Add bass G and treble F. Theory Workbook -- Lesson six. Pre-A Schaum Page 18, omit preparatory drill. Point out that we are not always going to start on middle C. Repeat information on names of the white keys that are with the three black keys.
Teaching Little Fingers to Play Do page You lift the wrist forward and make a slight break between the slurs. I usually write a sixteenth rest to show the breath. I explain the slur means to play legato and that we always play legato unless it is marked otherwise. Flash Cards - Nine flash cards. Theory Workbook Lessons seven and eight. Don't write RH and LH in for the clefs. Use Treble and Bass. Pre-A Schaum Page omit drill. Point out that in going from middle C to the first line line to line a space note is skipped, a key is skipped, and a finger is skipped. I also explains it is a third - there are three letter names.
Explain what an interval is when the subject comes up in the Theory Workbook, Lesson Teaching Little Fingers Page 15 - Watch the phrasing. Explain it is musical punctuation. I have previously explained there are 88 keys on the keyboard but we have only 10 fingers. I make a joke of I'm glad we don't have 88 fingers as I couldn't watch all of them. I sit next to them on the piano bench.
Emphasize thinking the letter name first then the finger number.
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Page 16 - if you wish - or omit if it's not the holiday season. Schaum - Schaum Pub. Large notes and a minimum of finger numbers are used. Oblong format which brings the music closer to the eye - level of the child helps make music reading easier. A student with just six to eight weeks study will be able to start working on this album. Page 17 - I omit the rest box. Page 18 explains LH crosses over to octave C in the treble clef. Explain what an interval is. Basic Flash Cards - Add octave C in the treble clef. Theory Workbook - lessons nine and ten.
Pre-A Schaum Omit p. Instead I teach page 20 in Teaching Little Fingers. Just let the key up so there is no sound but don't lose the key. P 23 - Watch phrasing. Omit whole rest explaination. Teaching Little Fingers to Play Page 19, 20 - black notes quarter notes are slow or walking, notes with bar eighth notes are smooth.
Flash Cards - Add second line G and octave C in the treble. Theory Workbook -- lesson eleven and twelve. Page 25 - I omit explaining starting on 4th count and introducing eighth note. The black notes quarter notes are slow and the ones with a beam eighth notes are smooth. Page 26 explain the C is octave C in the bass clef. Teaching Little Fingers to Play Page 21, explain there are seven letters in the musical alphabet but there are only five different black keys, so it is possible to have white key sharps.
A sharp is a half step up, which is the next key to the right. Point out a whole step skips a key--black or white. Flash Cards - Add octave C in the bass. Theory Workbook Lesson thirteen. I use the explanation that an interval is the distance between two tones. Pre-A Schaum Page 27 - Cross out box explanation of a. Page explain key signature.
Point out 1 is always F and the key signature affects the entire keyboard. I do not teach scales at this point. Page 24 point out key signature; write 1 is F. Flash Cards Review Theory Workbook - lesson fourteen. Explain playing both hands together. Teaching Little Fingers to Play Page Point out starting on the octave C's and moving stepwise by second up and down the keyboard.
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I omit page 26 can teach it later. Flash Cards Review Theory Workbook - lesson fifteen. Pre-A Schaum Page 31 - Explain ties. Page 32 - Point out both hands together. Black notes are slow, the ones with the bar are smooth, the white one is held and the circle is a big one.
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I teach actual time values later. Teaching Little Fingers to Play Page Flash Cards - Add D and E in the bass. Theory Workbook - lesson sixteen. I omit lessons seventeen and eighteen depending on the age of the student. I prefer to teach this later or in piano solos. Then do lessons nineteen and twenty. Pre-A Schaum Page Teaching Little Fingers to Play Page 28 - watch phrasing and the two hands together. Explain sharps, flats and naturals are accidentals. The sharp is a half step up, the flat a half step down and the natural means no sharp or flat.
Pre-A Schaum Can omit P. Explain an accidental affects only the same notes in that measure, not the octaves above or below. A key signature affects the entire keyboard. Teaching Little Fingers to Play Omit pages 30 and I think it is too difficult for this age. Flash Cards Octave C in the bass to octave C in the treble. Theory Workbook I omit lessons twenty-three and twenty-four depending on age of student.
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I prefer to teach this later in a piano solo. I teach sharps are a half step up, flats are a half step down. Sometimes they are white keys but usually they are black keys. Pre-A Schaum Page 37 - explain key signature again. Delete A sharp is a black key. Pre-A Schaum Omit page 38 - can teach later.
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Do page 39 - use Preparatory Note. I will teach this later in a piano solo. I am emphasizing correct notes, fingering, legato, phrasing, tone and hand position. Pre-A Schaum Page 41 - I often teach this sooner - as the students all think it's fun.
I explain we have two basic touches, legato and staccato. Legato means to connect and staccato to separate not play faster. It is like a note with a rest in between. Page 42 - I cross out middle C 8va and write the note octave C in as I think that's better. Have student cross hands nicely, making an arc. Pre-A Schaum Page 43 - explain accent and preparatory note.
I have student put the LH thumb on F ; I think it's more comfortable. Position the RH fingers over the keys to be played. Position LH fingers over the keys to be played. Point out that the hands don't move, only the fingers do. I prefer to teach this in a piece. This lesson could be done sooner. Pre-A Schaum Page 44 - could do pieces previously omitted if so desired. Teaching Little Fingers to Play Could do pieces previously omitted if so desired. I spend one or two lessons on each solo.
I use these as a review and to reinforce the concepts we have been learning. I often have the student do it "on their own" - no help from me or the parent. The weaknesses of the student will show up. The solos can be purchased separately. Several march tempos, accidentals, 2-note accompaniment , a few triads. This workbook presents Level One music theory. The musical alphabet is used as the basis for note reading because it is easily recognized even by a young child. Melodic and harmonic interval reading are emphasized because of their importance for note reading and for training the sense of touch.
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The student should become accustomed to the feeling between the fingers to form the space needed to play each interval. For most students, one workbook page can be assigned each lesson; in some cases two pages can be assigned together. I give the young student a new piece of sheet music every three or four weeks depending upon their ability and advancement.
I play two or three solos and let the student pick the one they like. I often let the student do a piece in a sight playing book "on their own" as we have covered most or all of the things they will see. I use these solos for review and to reinforce concepts already learned. I usually spend only one or two lessons on these. I keep the sight playing on a lower level than the sheet music. Can do more if student's age, ability and interest warrant it. Lessons 3 I omit this for very young, ages 4, 5, and 6.
I omit Lessons 11 and 12 for very young students. Use Lessons 13 and Omit Lesson 15 - I teach later. Omit Lesson 16 completely - I prefer Lesson 15 horizontal view of the scale concept. Use Lessons 19, 20, and Omit Lesson 22 - teach in a composition.
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Lesson 27 - we probably have had triads in their other study but I might go into a more detailed explanation or review it if we've had it previously. Omit Lesson 31 - can do this later at the teacher's discretion. Big notes, single note hand to hand melodic line. Based on the blues scale, the hands stay in the same position throughout this solo. The melody is shared between hands with rhythms of half, quarter, and whole notes.
The cool words will make you want to sing the blues! Big notes, cute words. A single note melody is shared between hands in the middle C position. Rhythms consist of quarter, half notes and quarter rests. Hands shift octaves in the coda. At end of piece don't cross over, use L. Big notes, words, musical, staccato. This is in Piano Recital Solos Bk. Late primer solo in Middle C position uses hand crossing and position changes at the end. Has eighth notes, staccato and legato phrasing.
Ending both hands in the bass clef. Staccato and legato touches, accidentals and slurs. Key of F Major, 44, with spirit. A simple and cleverly written boogie with thumbs on middle C. Single note melody is shared between hands and the Eb gives it a "bluesy" sound. This solo, with words, is written in the middle C position with the melody shared between the hands.
It uses dynamics, a few eighth notes and accidentals to express feelings about the teddy bear. Single melodic line between the hands. This solo is in the middle C position. Very little hands together playing as the melody is shared between the hands. It uses lots of phrasing and dynamics in this descriptive solo with words. This solo is in the C major, five finger position. Using a flatted third gives it a minor sound.