HOVLAND THE CONSERVATORY PIANO COURSE 1 Piano by Mary … · 2019. 12. 6. · means the player...

THECONSERVATORYPIANO COURSEby Mary Hovland

LEVEL 1MUSIC BOOK

COPYRIGHT © 2019 by THE CONSERVATORY MUSIC COMPANY, INC.P.O. BOX 203, STILLWATER MN 55028

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M1 MY MELODY

M2 KEEP A STEADY BEAT

M3 WHOLE ARM DROP JUMPING OCTAVES

M4 WHOLE ARE DROP TWO MELODIES

F G A B C D E F G

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KEYS ABOVE AND BELOW MIDDLE C

NOTES ABOVE AND BELOW MIDDLE C

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K E Y S A N D N O T E SLook down at the keys and find these white keys in the three black keys:• F is to the left of the three black keys.• G is to the left of the middle black key.• A is to the right of the middle black key.• B is to the right of the three black keys.

Find these white keys in the two black keys:• C is to the left of the two black keys.• D is in the middle of the two black keys.• E is to the right of the two black keys.

M o s t I m p o r t a n t N o t e sThere are seven letters that name the keys and matching notes. There are three most important notes. Middle C is on the short line in the middle. The F clef (bass clef) sits on the second line belowmiddle C, giving it the name F. The G clef(treble clef) sits on the second line above middle C,giving it the name G. • Name all the notes from F to G on the diagram.• Name the important notes F C and G on the staff.• Point to the important keys F C and G on the keys.

Theory Example: Course 1 - Lesson 1

G A B D E F

M Y M E L O D Y• Look down at the keys. Play by memory.

Ptn1: Place L1 on middle C and R1 on treble C. Play hands together with fingering: 1 2 3 4 5 4 3 2. Play legato. Ptn 2: Right away play fingering: 1 3 5 3 skipping keys. Play legato.Psge: Look at the RH, not at your LH. Play all gradually faster at each lesson.

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Memory Pattern: Course 1 - Lesson 1

Pattern 1 HT Pattern 2 HT

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Technical Directions ____________________________________________________________________________________PULL IN CLOSED POSITION - The first skill learned when playing sports such as golf, tennis, or baseball is how to grip a club, racket, or bat. Likewise, the first skill in piano playing is learning how to grip the keys. Place one finger on each key and pull like a cat to get ready. Bend the thumb to keep it resting on the keys. Hook the pinkie to play on its tip. This gripping action strengthens the finger joints, brings the wrist into a naturally raised position and prevents the hand from collapsing. Pulling does more, it activates the brain and is one of the first signs of concentration.

LIFT FINGERS - To strike the keys, lift the fingers independently from the knuckle like little hammers and land on the fingertips; don’t push, poke, flatten, collapse, wobble, or hoist the lower joint to avoid lifting. Play legato, hold each key down to connect one to the other.

HANDS TOGETHER CONTRARY - Play the same fingering in both hands. Coach the fingering to pace a steady beat, that is not too slow or too fast. Pull to keep the unused fingers close to the keys, not flying up. Next, coach the fingering skipping keys the same way. Lastly, add the LH alone on the ending. Say “C B C.”

RH one octave higher

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D i d Y o u K n o w ? This French folk song probably originated in French-speaking Canada. It is usually sung in French by children around the world. Alouette means lark. A lark is a type of song bird.

Pattern 1 RH

K E E P A S T E A D Y B E A T• Name the first note and fingering.

Ptn1: Get ready. Pull like a cat and lift like a hammer. Follow my pencil as I tap the note’s value over the notehead. Ptn2: Get both hands ready. Legato the RH and then whole arm drop L4 on G, just like Bugles.Psge: Look up, never down. Play gradually faster at each lesson.

T H E B E A TBeats are divided equally into measures by a bar line. The number of beats per measure is indicated by a time signature. The time signature with a top number of 4 means 4 beats per measure.

The number of beats a note is held is its value. A quarter note is usually one beat. A half note is two beats. A dotted half note is three beats. The longest value is a whole note. A whole note is four beats.• Name the notes values, longest to shortest.

VALUES LONG TO SHORT


D . C . a l F i n eDa Capo (D.C.) means to repeat from the beginning. Fine (fe-neh) means the end. The abbreviation D.C. al Fine means to repeat from the beginning and play to the Fine.You will see this sign used in the song “Alouette”.

Select Piece Passage: Course 1 - Lesson 2

ALO UE TTE : A1

Technical Directions ____________________________________________________________________________________FOLLOW EXACT POINTING - Students should follow along as you point note-by-note. Point directly at the notehead. Be certain not to point to the stem. Gently tap the notehead once on the quarter note, tap twice on the half note, and tap three time on the dotted half note. Tap with a steady beat, don’t let the student rush ahead of your tapping. Don’t count aloud. Counting aloud will only confuse students and prevent them from feeling the beat. Don’t clap along, sing along, or write the counting in the music to duplicate the musical notation.

LOOK UP, NEVER DOWN - Of primary importance in learning to read piano music is looking up at the music book and never down at the keys. Looking up and down at the keys is the single most harmful habit that prevents students from learning to read music. Reading music is tactile, which means the player learns to recognize a note and simultaneously feels where to play it on the keys. Players who look up and down at the keys or who memorize to avoid reading will not learn this skill and never be fluent readers. Try it sometime. Read a book looking up and down or around on every word or moving your head up and down on every word. Notice the disorientation and comprehension problems that students experience when looking up and down as they play. Look at the keys only if the music is intended to be played by memory. Or, glance at the keys with your eyes if it is necessary to jump or cross hands.

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W H O L E A R M D R O P J U M P I N G O C T A V E S• Name the first LH note and fingering. Name the note values.

Ptn1: Get the LH ready. Whole arm drop L1 and connect C and G. Whole arm drop on the repeating G’s.Ptn2: Jump an octave lower to bass C and play the same way.Psge: Use your eyes to glance, don’t move your head. Play gradually faster at each lesson.

One octave Two octaves

Famous Piece Passage: Course 1 - Lesson 3

THE F ID DLER : R5

M O R E M A R K S

Pattern 1 LHPattern 2 LH

Technical Directions ____________________________________________________________________________________WHOLE ARM DROP - To whole arm drop, lift the whole arm as one unit from the shoulder like a robot with the wrist and elbow still. On this passage, pull L1 and L4 to land strong on their tips, not flat or collapsing. Pull like a cat in the air to prevent moving your fingers to reach for the keys or flying up on the landing. Accent L1 and jump in time, don’t hesitate or stop. Glance to jump don’t move your head.

TEACH READING LIKE THIS - First, before playing, students should look at the staff and name the starting note and fingering aloud. Name other notes as needed to recall them. Use the most important notes for help. Second, students must find the starting note on the keys without help. Never, use the popular hint of hand position to help students get ready. Third, never look down at the keys while playing, which is a habit that will prevent students from learning to read. Fourth, students must follow as the teacher points note-by-note on the first reading to help them concentrate and play accurately. As needed, students may say the note names aloud, but the teacher should never say note names or finger numbers for them. Fifth, play gradually faster for comprehension. While playing fast, the teacher may occasionally name a note, fingering, or direction to help the student think fast and not stop or hesitate. Finally, drill the fingering until it is easy. Sometimes students need physical help to train fast reflexes, because no one can read what their fingers can not do. Teachers or parents should not write in the name of the notes or misuse finger numbers to duplicate the music.

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O t t a v aOttava is the Italian word for octave. An octave is eight keys. Two octaves is fifteen keys. When the octave sign is placed above a note or group of notes it means to play an octave higher than written. When placed below it means to play an octave lower. • With R2, point to and count eight keys from middle C to treble C.• Count fifteen keys from middle C to low C.

A c c e n t sNotes marked by an accent are played louder than the surrounding notes.

Accent middle C with a whole arm drop. • Place L1 on middle C and pull your thumb bent

towards your palm. Whole arm drop and land L1 at an angle on its tip, not flat. Pull the unused fingers like a cat so they don’t fly up on the landing.

This mark is a tenuto. It means to hold the note down for its full value, which creates a slight accent.

M3.

Accents

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W H O L E A R M D R O P T W O M E L O D I E S• Name the accented notes in the LH.

Ptn1: Place L1 on middle C and R1 on middle D. Whole arm drop both thumbs together. Land at angle, not flat.Ptn2: Whole arm drop skipping keys on fingers, 1 3 5 3. Grip like holding a ball or bat, don’t reach for the keys.Psge: Look up, never down. Play gradually faster at each lesson.

Technical Exercise Passage: Course 1 - Lesson 4

TWO ME LO D IES : E 4

PARALLEL MOTION

CONTRARY MOTION

T W O M E L O D I E S

When hands play together each hand is a part moving in the same direction or different directions. Parts moving in the same direction are in parallel motion. Parts moving in opposite directions are in contrary motion. • What direction are the notes moving in the first diagram,

parallel or contrary?• What direction are the notes moving in the second

diagram, parallel or contrary?

E i g h t h N o t e sAn eighth note is a quarter note with a flag. Two or more eighth notes are connected by a beam. Two eighth notes are the same value as one quarter note and are played faster.• Which note is faster, the quarter note or eighth note?• Which note is held longer, the quarter note or eighth note?

Pattern 2 HT

Pattern 1 HT

Technical Directions ____________________________________________________________________________________WHOLE ARM DROP HANDS TOGETHER - Place L1 on middle C and R1 on middle D. Pull your thumbs bent and pull your fingers under your palm so they don’t fly up. Whole arm drop both thumbs together and land at an angle on their tips, don’t flatten.

WHOLE ARM DROP SKIPPING FINGERS - Lift the whole arm hands together skipping on fingers 1 3 5 3. Accent the thumb and tap fingers 3 and 5 light. Pull and grip like holding a ball or a bat for a strong hand and an accurate landing, don’t fly up or reach for the keys. Next, whole arm drop L1 and R1 moving down, down, and up together. Look at the accent in each measure to follow along, don’t look at the keys.

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B L A C K K E Y S T R E T C H• Look at the keys. Play by memory.

Ptn1: Stretch over the black keys. Keep this open position. Play the keys in order, bottom to top and back. Ptn2: Keep both hands open. Slide up a key and play the same way.Psge: Look at the RH, not at your LH. Play all gradually faster at each lesson.

C O U R S E 2U n i s o n F i n g e r i n g • S i g n s a n d T e r m s

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Continue starting on each of the three black keys.

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T W O A N D T H R E E B L A C K K E Y S

Each octave consists of two and three black keys.• Count the black keys in this diagram.

Place one finger on each black key.• Place your LH first, then your RH. Stretch over

the keys holding this position for a moment.

Pattern 1 HT

Pattern 2 HT

Technical Directions ____________________________________________________________________________________STRETCH FINGERING - Stretch the LH and RH over 2 and 3 black keys. Start at the bottom and play up and back, one at a time. Grip fingers 1 and 5 at the edge of the keys. For small hands, fingers 2, 3, and 4 may lay flat. Larger hands should grip fingers 2, 3, and 4 and play legato. Glue your fingers to the keys and play one key at a time, up and back. Then, keep open position and slide up to the next black key. Play starting on the two black keys and continue starting on each of the three black keys. It is natural that the your muscle may hurt until the they become more flexible and can stretch comfortably.

BLACK KEYS ABOVE BASS C AND MIDDLE C.


This mark is a fermata. It means to hold the note value “a little more.”


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T W O M E L O D I E S I N U N I S O N• Place R1 on middle C. Place the LH in unison.

Ptn1: Pull to get ready in unison. Play repeating notes finger action. Legato moving notes with finger action.Ptn2: Start on D and whole arm drop the repeating D. Legato moving notes with finger action.Psge: Look up, never down. Play gradually faster at each lesson.


D OWN B Y TH E S TAT IO N: R1 0

U N I S O N F I N G E R I N G

Unison is two tones of the same pitch played together, one or more octaves apart.

Place your hands in unison with R1 on middle C and L5 on bass C. Look at the diagram to learn unison fingering, don’t look down at your hands.• Play hands together skipping keys:

bottom, middle, and top. • Play the same keys again by their letter

names: C and C, E and E, G and G.• Add fingers 2 and 4 and play in order:

bottom, next, middle, next, top.

Stay ready in unison and play the unison example. Read the RH notes and let your LH play along in unison. • Play up and down in unison.

Pattern 2 HTPattern 1 HT

Technical Directions ____________________________________________________________________________________UNISON HANDS TOGETHER - Playing in unison should always be done hands together. Look at the notes in the RH and let the LH follow along, not reading. In this passage, play the repeating notes lifting from the knuckle, not with a whole arm drop. Except, whole arm drop the repeating D, Play rhythmic in long and short values.


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These LH notes are played in unison and not read.

The basic position of the hand should be held up in closed position and the key struck with a “finger action” that lifts from the knuckle and lands on the fingertip, not flat or collapsing.

T A P T H E B L A C K K E Y S• Name the notes marked by a sharp, natural, and flat.

Ptn1: Place R2 on D and L2 on B natural. Tap each note with a low whole arm drop. Tap slow.Ptn2: Place R2 on D natural and L2 on Bb. Tap the quarter notes slow. Hold the half note.Psge: Look up, never down. Play gradually faster at each lesson.

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IN HALL O F MO UNTA IN K ING: A5


D i d Y o u K n o w ? This famous melody, was written by the Norwegian composer, Edward Grieg. It depicts the story of a boy named Peter attempting to sneak out of a mountain cave occupied by trolls. Trolls are pretend characters that live in the underground caves of Norway. In the story, the trolls see Peter and chase him faster and faster; but stop in a loud crash as Peter escapes the cave.

Db AND D ON THE KEYS

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Theory Example: Course 2 - Lesson 3A C C I D E N T A L S

An accidental is a sharp, flat or natural sign placed before the note to raise or lower its pitch. A sharp raises the note one key to the right. A flat lowers the note one key to the left. A natural cancels the sharp or flat. (An accidental applies to notes of the same pitch in the measure, and is cancelled at the bar line.)• Look down at the keys. Point to and play D natural.

Point to D flat. Point to D sharp.

A sharp sign raises the note one key to the right. It is usually black.

A flat sign lowers the note one key to the left. It is usually black.

The natural sign cancels the sharp or flat and returns the note to its natural pitch.

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Technical Directions ____________________________________________________________________________________TAP LIGHT - Pull like a cat ready on the black keys. Lift your whole arm low and tap the keys light. Land on your fingertips, don’t flatten or collapse. Tap light like sneaking out of the mountain cave, but not weak or shallow. The keys must go down to the key bottom.

TEACH BY COACHING - There are many similarities in piano playing that are the same as athletics or dance. In sports and dance the hands, wrists and arms are used all the time and the eyes are trained where to focus. These movements are the same ones needed to train pianists. The strength of the hand, the lift of the fingers, the swing of the arm, the landing of heavy or light, and the control of head and eyes have everything to do with having a fun musical experience and giving students the foundation for continuing progress.

M7.

I T A L I A N T E R M S

Many musical ideas and inventions come from the country of Italy, and musical terms are usually in the Italian language.

F I N G E R I N G U N I S O N A N D E X C H A N G E• Name the notes in line 1.

Ptn1: Place your hands in unison. Pull and lift with legato finger action. Play legato, bottom to top. Ptn2: In measure 2, low whole arm to exchange fingering on C. Hold long and think before exchanging. Psge: Look up, never down. Play gradually faster at each lesson.

Technical Exercise: Course 2 - Lesson 4

UNISON AND EXCHANG E: E7


Technical Directions ____________________________________________________________________________________PLAY UNISON - Play unison bottom to top and repeat the measure in a continuous legato. Pull and lift each finger from the knuckle. Coach fingering in order, “Bottom, next, middle, next, and top.” Students must look up to feel the keys in unison. Cover the hands as needed to prevent looking down.

EXCHANGE FINGERING - Low whole arm drop to exchange fingering on bass C and middle C. Coach in order, “Bottom, next, middle, next, and top.” Grip strong and hold the landing taking your time to concentrate on each exchange. In piano playing, the fingers exchange all the time. Cover the hands as needed to prevent looking down.


Soft is piano (). Very soft is pianissimo (). As soft as possible is pianississimo ().

Loud is forte (). Very loud is fortissimo ( ). As loud as possible is fortississimo ( ). Mezzo before piano () and forte () is the Italian word for moderately loud or soft.

Tempo is the speed of the beat. The Italian terms describe a general speed at which to play a piece. The tempo is indicated on the top left of the music. • Listen as I pronounce these Italian terms for speed.

Largo - Very slow, crawling Andante - Walking Allegro - Running

Adagio - Slow Moderato - Fast walk Presto - Fast run

Dynamics is the loudness or softness of the tone. In Italian, piano means soft, and forte means loud. Play piano with a light touch. Play forte with a heavy touch. The piano’s full name is piano-forte, which means soft-loud. • Listen as I pronounce these Italian terms for soft and loud.

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D O U B L E N O T E D R O P• Look at the keys. Play by memory.

Ptn1: Get L1 ready on bass E and R1 on middle C. Grip strong. Whole arm drop double notes with fingers 1 and 3. Ptn2: Stay in the middle octave and exchange fingering 2 and 4 on C and E. Whole arm drop again. Psge: Look at the RH, not at your LH. Play all gradually faster at each lesson.

C O U R S E 3D o u b l e N o t e D r o p • R e a d D o u b l e N o t e s

DOUBLE NOTES ON THE STAFF

M9.

D O U B L E N O T E S

Single notes are written horizontally on the staff and sound alone. Double notes are two note sounding together in one hand. Double notes are written vertically on the staff and usually named bottom to top, lowest to highest. • In the diagram, name the RH double notes bottom

to top.• Name the LH double notes bottom to top.

Pattern 1 HT

Pattern 2 HT

Technical Directions ____________________________________________________________________________________WHOLE ARM DROP DOUBLE NOTES - Place fingers 1 and 3, hands together on C and E an octave apart. Pull to make your fingers strong in closed position. Pull unused fingers towards the palm so they don’t fly up in the air or on the landing. Effortlessly whole arm drop both hands about 4 inches above the keys. Whole arm drop the eighth notes light and hold the tenuto long. Repeat the pattern to the octave higher. At the top, exchange double note fingering and play descending on fingers 2 and 4.



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F U N M E L O D Y I N T H E L E F T H A N D• Name the double notes.

Ptn1: Get both hands ready. Pull to stand on your fingertips. Whole arm drop high and hold long. Ptn2: Whole arm drop followed by the LH legato. Pull and lift the LH finger action deliberately high. Psge: Look up, never down. Play gradually faster at each lesson.

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THE HO KE Y PO KE Y : R1 2

M E L O D Y A N D A C C O M P A N I M E N T

Melody is the rhythmic arrangement of single tones that make musical sense. A melody can be sung or played on its own. The accompaniment supports the melody and cannot stand alone. Most instruments can play only a single note and the accompaniment is played by others. The piano is different because the player can play both the melody and the accompaniment. Double notes are examples of accompaniment. • Name the RH double notes.• Hold the LH down. Whole arm drop the RH double notes high. Change fingering.

Pattern 1 HTPattern 2 HT

D i d Y o u K n o w ? The Hokey Pokey is a traditional dance that is popular around the world. It is not always called Hokey Pokey. In England it is known as the “Hokey Cokey”. In New Zealand it is usually called “Hokey Tokey”. In the Phillipines the dance is known as the “Boogie Boogie”.


READ DOUBLE NOTES IN THE RH

T i e A tie is a curved line that connects two notes of the same pitch. Hold the key down to tie the note for its combined value.

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Technical Directions ____________________________________________________________________________________MELODY IN THE LH - Pull L4 and L3 way back. Lift very high deliberately from the knuckle and play legato. Land strong on your fingertips, don’t wobble or collapse. Concentrate on the LH melody, the RH double notes should take care of themselves.

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J U M P T H E L E F T H A N D I N T I M E• Name the LH double notes. Name the LH note and fingering in measure 3.

Ptn1: Place the RH melody. Place the LH an octave lower. Whole arm drop. Hold the LH and tap the RH.Ptn2: Legato the RH with a high finger action. Keep the RH legato as you whole arm drop the LH double note.Psge: Glance for octaves. Play gradually faster at each lesson.

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PAPE R O F P INS : A9


D i d Y o u K n o w ? This melody is an old folk song from Northern Ireland. Folk songs are created by regular people and have no known composer. Folk songs are passed down generation by generation in the country of their origin, and they are also sung all over the world. Folk songs bring us together with people from other places and times.

C and G ON THE KEYS

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L5 L1

D O U B L E N O T E O N C A N D GA double note separated by five keys is easy to find because the keys are five fingers apart. Play the diagram.• Place L5 on bass C and L1 on bass G. Grip strong and

whole arm drop the double notes together. • Next, play the row of notes. Hold the LH double notes

for their full value while playing the RH repeating quarter notes.


DOUBLE NOTE FINGERING ON C AND G

Technical Directions ____________________________________________________________________________________DOUBLE NOTES IN THE LH - Grip in closed position to bring the LH wrist raised and the fingers strong. Whole arm drop the LH double notes and land on your fingertips, don’t flatten the thumb or collapse the pinkie. Hold the LH double notes down for their full value. Glance to jump in time from low C to bass C, don’t hesitate or stop. In measure 3, keep closed position to jump L2 back to B. (For now, don’t explain double notes as intervals).

MELODY IN THE RH - In the pickup, hook R5 and lift high. Hold R5 down and connect to the first complete measure. In measure 1, whole arm drop the RH repeating notes while holding the LH double note. In measure 2, legato the RH while lifting the LH double notes.

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S T E P L I K E T R O T T I N G• Name the first LH double note and fingering. Name the first RH note and fingering.

Ptn1: Place the RH melody. Play legato with a high finger action, stepping like trotting horses. Play legato.Ptn2: Whole arm drop the LH. Pull unused fingers back and land fingers 2 and 4 on their fingertips. Psge: Look up, never down. Play gradually faster at each lesson.


TROTT ING: E1 0

Pattern 2 LHPattern 1 RH

M E L O D Y W I T H L E F T H A N D A C C O M P A N I M E N T

The melody is usually played in the RH and the accompaniment with the LH. In the LH, pull like a cat and grip your hand as if holding a ball. Whole arm drop and land fingers 2 and 4 in the center portion of the white keys.• In the example, name the double notes.• Play the LH double notes changing one key down and back with a whole arm drop. Hold the RH.


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READ DOUBLE NOTES IN THE LH

Technical Directions ____________________________________________________________________________________SWING THE DOUBLE NOTE DROP- Swing the LH whole arm effortlessly back and forth on the double notes so it is relaxed. Imagine the clip clop of horses trotting. When played with a swinging action the keys will go down to the key bottom without effort and not pounding. Play the LH as a duet before trying hands together.

BALANCE TOUCH - Pull way back and play the RH melody lifting high from the knuckle just as horses step high to lift their legs when trotting. Keep the thumb resting on the keys and play legato. Practice the RH part until it is strong and stays legato when the LH is added non legato. Play hands together, “Two RH notes against one LH note.” Play the RH legato lifting from the knuckles. Play the LH non legato lifting the whole arm.

PHYSICALLY HELP - While working on a task such as changing double notes, physically help as needed to train the muscle movement. When the muscle movement is felt, stop helping and say, “Now you try.” Make sure students start right away without stopping to maintain the momentum that was started.

M12.

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W A L K , R U N A N D S T O M P• Look at the keys. Play by memory.

Ptn1: Get ready in unison. Pull and lift with a high finger action. Walk up four keys ending on F. Play legato.Ptn2: Start on G and run to the bottom and stop. Accent and hold the bottom. Next, add the LH stomp. Psge: Look at the RH, not at your LH. Play all gradually faster at each lesson.


Look at the C octaves on the staff above and below middle C. Bass C and low C are below middle C.Treble C and high C are above middle C.

S t a r t i n g P o i n t o f F C a n d GClef line F, middle C, and clef line G are the most important notes that serve as starting points from which to name other notes on the staff. The C octaves are also starting points. • Name the C octaves on the staff lowest to highest.

C O U R S E 4C h a n g e O c t a v e s • N a m e F i v e C ’ s o n t h e S t a f f

C I N F I V E O C T A V E S O N T H E S T A F F Theory Example: Course 4 - Lesson 1


M13.

Technical Directions ____________________________________________________________________________________PLAY FIVE-FINGERS PERFECT - Pull and lift each finger straight up and high from the knuckle like little hammers. Strike on your fingertips, don’t collapse or wobble. Pull the thumb bent resting on the keys. It must never hang below the keys or fly up. Walk up four keys slow and steady. Run down five keys fast and hold the bottom note down. Next, whole arm drop to stomp and hold the LH.

Theory Example: Course 4 - Lesson 2B A S S C A N D M I D D L E C S T A R T I N G P O I N T S

Any one of the the C octaves can serve as a starting point for reading the staff alphabetically, line to space. Notes above middle C are in the middleoctave. The starting point is middle C: C D E F G.

Notes above bass C are in the bass octave. The starting point is bass C: C D E F G.• On the diagram, name the notes in the bass octave.• Name one note above bass E. One note below bass E.

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R U N A N D S T O P L I K E D A N C I N G• Name the first RH note and fingering.

Ptn1: Place the RH melody. Whole arm drop followed by a high legato finger action. Whole arm drop to repeat F. Ptn2: In measure 3, whole arm drop in unison to start legato. Whole arm drop the repeating G. Psge: Look up, never down. Play gradually faster at each lesson.

D i d Y o u K n o w ? Folk dances, like folk songs, are created by regular people having fun; and passed down generation to generation. Imitate dancing with your fingers and lift high from the knuckle. Dance smoothly changing directions like twirling.


FO LK D ANCE: R1 4

Pattern 1 RH Pattern 2 HT

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Bass: C D E F G

Technical Directions ____________________________________________________________________________________PLAY LIKE DANCING - Pull and lift all fingers like dancing on “your toes” and change directions legato without hesitating or stumbling. Whole arm drop to start and on the repeated notes to propel the motion of the notes following.

REPETITIONS - Every student is a good student and every lesson is a good lesson when short patterns and passages are played at the lesson in repetitions until they are good. However, one should not fall into the habit of aimless repetitions. Each repeat must have a definite objective, and the objective must be reached to feel successful. The repetitions are a means to an end and not drudgery, anymore than shooting baskets over and over in basketball is a drudgery. Make repetitions fun by physically helping, coaching reminders as students play, and giving positive and encouraging comments until improvement is noticed.

A GOOD LESSON - A good lesson is created by the teacher, regardless of what kind of mood in which the student arrives or what level of preparation was done at home. A good lesson is spent playing the majority of the time and focusing on a goal. In the studio, students are in a different world in which the teacher guides them to play their music in a professional-like manner and not child-like. The benefits of this experience are profound as students learn to control their mind and muscles musically during the lesson. Playing in this way brings students into a zone that is apart from their feelings, temperament or experiences of the day; and the differences in students disappear.

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O P E N P O S I T I O N I N O C T A V E S

The octave is generally played with fingers 1 and 5 in open position. Anchor R1 on treble C and reach with R5 to the octave higher. Lay fingers 2, 3, and 5 flat. For small hands play on the edge of the keys. (The parenthesis are the option of trying R4.)• Name the whole note in the RH. Name the quarter notes. Get ready in open position. Hold R1 and tap R5. • Name the whole note in the LH. Name the quarter notes. Get ready in open position. Hold L1 and tap L5.

O P E N A N D C L O S E D P O S I T I O N S• Name the C’s by octave. In measure 3, name the first RH note.

Ptn1: Get the RH ready in open position. Stretch as far as possible and gently tap the octave. Ptn1: Pull the RH in closed position. Strike with a high finger action in long and short values. Play legato.Psge: Play gradually faster at each lesson.

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THE CUCKO O CLOCK: A1 0

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Technical Directions ____________________________________________________________________________________CLOSED POSITION - Lift the RH deliberately high from the knuckle and strike strong. Whole arm drop the LH double notes and hold down to sound like a gong. Keep the RH legato, don’t release to copy the LH whole arm drop.

OPEN POSITION - Students are now ready to try to reach the octave for short periods of time. Play measures 1 - 2 in open position and make the sound of a clock ticking. To play open, anchor R1 and stretch to the octave higher with R5. Lay fingers 2, 3, and 4 flat and resting on the keys. Keep open position and tap the RH octaves light. Small hands should play on the edge of the key to help make this reach. Regardless of how difficult it is to reach, it is important to gradually stretch the finger muscles to play octaves, in the same way the leg muscles gradually stretch to do the splits.

Pattern 1 RH


REACHING OCTAVES

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J U M P O C T A V E S S L I D I N G• Name all the C’s by their octave name.

Ptn1: Get ready in unison. Pull and lift with a high finger action like little hammers. Repeat without breaks. Ptn2: Stop R2 on D and hold it down while sliding the LH an octave lower to keep a continuous legato.Psge: Glance for octaves. Play gradually faster at each lesson.

Pattern 1 HT

Technical Directions ____________________________________________________________________________________LATERAL - Lateral is moving the hand sideways across the keys. While moving your hand laterally, slide to feel the keys under your fingers. Grip the hand in closed position as you slide. Glance to jump in octaves without moving your head.

CONNECT THE JUMP - Pull in closed position like carrying a ball. Play five fingers ascending and descending at one quarter note per second. Stop R2 on D and hold it down to keep a continuous legato while sliding the LH to low C or back to bass C. (When playing all, you will stop L4 on D and hold it down to keep a continuous legato while sliding the RH to change octaves.)

MEMORIZE THREE LINES - Memorize three lines above and below middle C and use them for help naming notes that are unfamiliar. For example, to help name bass C, say the memorized lines, “A F D.” Next, “Name the space below D.” Take advantage of the student’s ability to memorize the lines, don’t add the confusing sayings that are frequently used. Also, don’t name a hand position for reading, such as C position or G position. Only use the term position to describe open position or closed position. Or later, the wrist position raised and level, or the position of chord inversions.

Pattern 2 HT

Low Bass Middle Treble High

C D E F G A B C D E F G A B C D E F G A B C D E F G A B C

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Recognize the notes spanning four octaves alphabetically line to space from low C to high C.

Low C is two short lines below the bass staff. High C is two short lines above the treble staff.• Name the lowest note by name and octave.• Name the highest note by name and octave.

Any one of the C octaves can serve as a starting point for reading the staff alphabetically, line to space. On the diagram, name these notes: • Name low C to low G, and back to low C.• Bass C to bass G, and back to bass C.• Middle C to middle G, and back to middle C.• Treble C to treble G, and back to treble C.

M e m o r i z e T h r e e L i n e sMemorize three lines of the staff above and below middle C. Say them aloud fast, not looking at the keys or the staff. • Say three lines above middle C: E G B.• Say three lines below middle C: A F D.

R E A D F R O M C I N F I V E O C T A V E S Theory Example: Course 4 - Lesson 4

M16.


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C O U R S E 5A r m s C r o s s i n g • T i m e S i g n a t u r e s a n d N e w F i n g e r i n g

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S T R E T C H A R M S C R O S S I N G• Look at the keys. Play by memory.

Ptn1: Get R5 ready on middle C. Lift R5 high and strike strong on its tip. Next, play L5 the same. Ptn2: Hold L5 down and cross R3 over to gently slide in steps low C and back. Slide with no finger action.Psge: Play all gradually faster at each lesson.


Pattern 1 LH

Pattern 1 RH

Pattern 2 HT

C O U N T S E V E N O N T H E K E Y B O A R DThe keys are named by seven letters of the alphabet: C D E F G A B. The keyboard is seven complete octaves. • Name the seven octaves: bottom, low, bass, middle, treble, high, and top.• Name the seven keys between each octave: C D E F G A B.

Technical Directions ____________________________________________________________________________________RAISE FINGER FIVE - Hook L5 and lift high from the knuckle. Land strong on its tip to accent middle C. Keep holding L5 down and rest the unused fingers over the keys like holding a ball. If you strike middle C strong enough and hold it down, you will hear the tone ringing. Next, hook and hold R5 the same way.

CROSS ARMS - Cross R3 over the LH to play below middle C in steps ending on low C and back. Pull in closed position like carrying a ball and gently play each key touching the key surface. Smoothly slide across the keys and grip with no finger action, don’t lift, poke, or pound the keys. Stretch your arms to reach low, don’t slide on the bench. Next, change hands and cross L3 over the RH and play the same way.


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T H I N K I N N O T E - G R O U P S• Name the first RH note and fingering.

Ptn1: Get ready in unison. Whole arm drop to start the fast note-group. Accent E. Whole arm drop the repeating E.Ptn2: Whole arm drop high to accent beat 1. Smoothly tap the whole arm lighter and lower on the repeating notes. Psge: Look up, never down. Play gradually faster at each lesson.

D i d Y o u K n o w ? Polly Wolly Doodle was first published in a song book called “Students’ Songs” which was compiled in 1880 with the purpose of preserving a variety of songs for students to learn how to sing. It worked! We are still singing them today.


PO LLY WOLLY D O OD LE : R1 5


EXAMPLES OF TIME SIGNATURES

() () ()Upper:

Lower:

T I M E S I G N A T U R E S

A measure is the space between two bar lines. Beats are divided equally into measures.

The arrangement of numbers after the clef is called a time signature. The bottom number ‘4’ stands for quarter note. The top number is the number of quarter notes per measure. The top number ‘2’ means 2 quarter notes per measure. The top number ‘3’ means 3 quarter notes per measure. The top number ‘4’ means 4 quarter notes per measure.

N a t u r a l A c c e n tBeat 1 of each measures is a natural accent. A natural accent occurs without an accent mark. In the examples below, count the quarter notes per measure with an accent on beat 1.• Count the quarter notes per measure.

QUARTER NOTES PER MEASURE


Technical Directions ____________________________________________________________________________________NOTE-GROUPS - Read slowly note-by-note to play accurately. Then, play in note-groups fast without hesitating. In a note-group think about the first note and play fast to the top or bottom. Fingering played in order is easy to play fast without any need to think about the notes in between. Other groups of notes are those naturally grouped into measures or groups of measures called phrases. Think ahead, ready to emphasize beat one of the next measure or the next phrase. This is chasing the beat. Chasing the beat will help you play in time.

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F I N G E R I N G I N M U S I CInstruments such as the flute and clarinet have one key for each finger and the fingering never changes. The piano has 88 keys and the fingering changes all the time. • Name the types of fingering marked in this example.

Fast fingering

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N E W U N I S O N F I N G E R I N G• Name the first LH and RH note and fingering.

Ptn1: Get both hands ready. High whole arm drop to accent beat 1. Tap the repeating eighth notes low and light. Ptn2: Get ready on A. Run in a fast note-group legato and stop on F. Lift from the knuckle and play gracefully.Psge: Look up, never down. Play gradually faster at each lesson.


FANFARE M INUET : A1 1


D i d Y o u K n o w ? William Duncombe wrote this music long ago about the time of Mozart. A minuet is a slow and stately dance in triple time, three beats per measure. Minuets were popular dances in Duncombe’s day and danced with pointing toes.


Technical Directions ____________________________________________________________________________________NEW FINGERING - Place the fingering in this passage and wait a moment to feel the keys. The notes are familiar but the new unison fingering may be confusing. To play accurately, carefully follow the notes repeating or moving alphabetically one note up or down. Think about the movement of the notes, don’t think about the finger number or note names. Don’t take away from the notes by writing fingering in the music to follow instead.

FINGER NUMBERS - Fingering is not needed when the hand stays in one place. Never misuse finger numbers or note names by writing them in the music as a hint for reading notes. Finger numbers should only be written in the music on the first note and when the hand moves. Fingers numbers are needed to cross fingering. Cross and bring the hand into position over the new notes. Finger numbers or special stem directions are needed to cross hands. Finger numbers indicate to exchange or substitute fingering. To exchange fingering, release and change fingers fast. Substitute fingering is slower and shares the key before releasing. Practice fingering to learn it in the reflexes, don’t circle the finger number in the music.

ANCHOR FINGER - An anchor finger stays on its key while another finger moves, just as the anchor of a boat stays in one place while the boat moves freely around it. If the anchor finger releases prematurely there is no reference from which to find the next key, forcing the player to look down. Always keep an anchor to reach or cross fingering.

First fingering Cross fingering Cross fingering

Reach Exchange Substitute

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D i d Y o u K n o w ? All songs have lyrics. Lyrics are the words of a poem set to music. The words of a song can help you interpret how to play it. These are the lyrics to this song: “Oh, how lovely is the evening, is the evening. When the bells are sweetly ringing, sweetly ringing. Ding, dong, ding, dong, ding.”

C R O S S A R M S• Name the C’s in this piece by octave. Name the notes in measures 4 - 5.

Ptn1: Anchor R3 and reach R5 to play A and G back and forth. Next, lift 5 4 3 legato in a deliberate finger action.Ptn2: Get the LH ready on the double notes. Accent to sound like a gong. Cross over to sound like a little bell. Glance.Psge: Look up, to play the RH. Glance for LH crossing. Play gradually faster at each lesson.

Technical Exercise Passage: Course 5 - Lesson 4

LO V E LY E VE N ING: E 1 7

Pattern 2 LH Pattern 1 RH

T H E P E D A L

Most pianos have three pedals that are played with your feet. The pedal to the left is the soft pedal (una corda). The middle pedal is the sostenuto pedal used to sustain the bass. It can also be a practice pedal.The pedal to the right is the sustain pedal (damper). When you push the sustain pedal the strings vibrate longer.The sustain pedal is played with the right foot. Press the pedal down and up with your foot. As you pump, keep your foot touching the pedal and your heel on the floor. • Place your right foot on the right pedal. Practice pumping up and

down. Keep your heel on the floor as you pump.• Play the example. Hold the RH as you pump the pedal.


UP-DOWN-HOLD

PEDAL MARKS

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Technical Directions ____________________________________________________________________________________CROSS OVER THE RH - To cross freely, sit at a distance from the keys so your arms are slightly extended. This provides free movement of the arms and a peripheral vision of the keys for glancing. Pull the LH in closed position and whole arm drop the double notes on low C. To cross the LH, pull like carrying a ball and arch high in the shape of a rainbow. Tap on high C light to sound like a little bell. Keep the LH suspended and cross back just in time to land on low C again as the arm falls without pausing in mid-air. Land heavy to sound like a gong. Glance to cross, don’t move your head.

RH LEGATO - Play the middle staff legato with the RH. Keep legato while tossing the LH over and back.

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T H E L I T T L E H E D G E H O G N o n l e g a t o h a n d s t o g e t h e r w i t h a l o w a n d l i g h t w h o l e a r m d r o p . P l a c e a c c e n t s .

E5.

E4.

Dmitry Kabalevsky O p . 8 9 N o . 8

COURSE 1

T W O M E L O D I E SP l a c e L 1 o n m i d d l e C a n d R 1 o n m i d d l e C . W h o l e a r m d r o p h a n d s t o g e t h e r .

Allegro

Allegro

E X C H A N G E F I N G E R SP l a c e L 5 o n b a s s C a n d e x c h a n g e . P l a c e R 5 o n m i d d l e G a n d e x c h a n g e .

U N I S O N A N D E X C H A N G EP l a c e h a n d s i n u n i s o n . P l a y b o t t o m t o t o p a n d t o p t o b o t t o m .

E6.

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F I R S T P I E C E I N U N I S O NR e a d t h e t r e b l e s t a f f a n d p l a y t h e L H a l o n g i n u n i s o n .

E8.

COURSE 2

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E7.

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M U L E R I D EC o n t r a s t p a r t s , L H l e g a t o a n d R H w h o l e a r m d r o p .

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T R O T T I N GC o n t r a s t p a r t s , L H w h o l e a r m d r o p a n d R H l e g a t o .

E9.

E10.

Repeat as many times as needed. Trot not stopping until it feels smooth and easy.

COURSE 3

Andante

Moderato

F I R S T P I E C E W I T H A C C O M P A N I M E N TC o n t r a s t p a r t s , L H l e g a t o a n d R H w h o l e a r m d r o p .

E11.

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COURSE 3

Andante

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A J O L L Y D A N C EW h o l e a r m d r o p L H d o u b l e n o t e s . W h o l e a r m d r o p R H a c c e n t s .

E12.

Alexander Goldenweiser(Excerpt)

COURSE 3

Allegro

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B U G L E C A L LL i f t f r o m t h e k n u c k l e . L i f t a c c e n t h i g h e r . K e e p R H l e g a t o .

C H A N G E O C T A V E S I N U N I S O NH o l d D t o k e e p a c o n t i n u o u s l e g a t o w h i l e s l i d i n g t o c h a n g e o c t a v e s .

E14.

E13.

COURSE 4

Daniel Butterfield

Moderato

Presto

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B24

COURSE 4

E15.

T H E W H I T E C O C K A D EG l a n c e t o c r o s s h a n d . K e e p t h e R H l e g a t o .

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S T U C K I N T H E M U DF o l l o w t h e d i r e c t i o n o f n o t e s m o v i n g u p o r d o w n .

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E16.

COURSE 5

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COURSE 5

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E17.

L O V E L Y E V E N I N GG l a n c e t o c r o s s h a n d s . K e e p t h e R H l e g a t o .

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IZ202

Johann N. Hummel

É C O S S A I S E

O r i g i n a l

É C O S S A I S E

S t u d e n t

Johann N. Hummel

1 3 1 3 5 3 1 4 1 - - -

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Bèla Bártok

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P I E C EL i t t l e P i e c e s f o r C h i l d r e n , V o l u m e 1 , N o . 1

O r i g i n a l

P I E C EL i t t l e P i e c e s f o r C h i l d r e n , V o l u m e 1 , N o . 1

S t u d e n t

Bèla Bártok

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E T U D E

O r i g i n a l

Ludvig Schytte

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G E R M A N D A N C E

O r i g i n a l

Wolfgang Amadeus Mozart

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Wolfgang Amadeus Mozart

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Cornelius Gurlitt

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S t u d e n t

Cornelius Gurlitt•Place L1 and R1 on A.

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R1 YANKEE DOODLE

R2 ROW, ROW, ROW YOUR BOAT

R3 THREE LITTLE KITTENS

R4 OATS, PEAS, BEANS AND BARLEY GROW

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Y A N K E E D O O D L E

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1. Yankee Doodle went to town A-riding on a pony Stuck a feather in his hat And called it macaroni. Yankee Doodle, keep it up Yankee Doodle dandy Mind the music and the step And with the girls be handy.

2. Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Yankee Doodle, keep it up Yankee Doodle dandy Mind the music and the step And with the girls be handy.

3. There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million. Yankee Doodle, keep it up Yankee Doodle dandy Mind the music and the step And with the girls be handy.

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Row, row, row your boat, gently down the stream,Merrily, merrily, merrily, merrily, life is but a dream.

Three little kittens they lost their mittens, And they began to cry. Meow, Meow, Meow, Meow, Meow, Meow, Meow, Meow.

R O W , R O W , R O W Y O U R B O A T

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T H R E E L I T T L E K I T T E N S

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Oats, peas, beans and barley grow; Oats, peas, beans and barley grow;Can you or I or anyone knowhow oats, peas, beans and barley grow?

First, the farmer sows his seed.Then, he stands and takes his ease,Stamps his foot and claps his hands,And turns around to view his land.

Oats, peas, beans, and barley grow.Oats, peas, beans, and barley grow.Do you or I or anyone know,How oats, peas, beans, and barley grow?

Next, the farmer waters the seed.Then, he stands and takes his ease,Stamps his foot and claps his hands,And turns around to view his land.

O A T S , P E A S , B E A N S A N D B A R L E Y G R O W

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R4.


Next, the farmer hoes the weeds.Then, he stands and takes his ease,Stamps his foot and claps his hands,And turns around to view his land.


Last, the farmer harvests his seed.Then, he stands and takes his ease,Stamps his foot and claps his hands,And turns around to view his land.

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O r i g i n a l v e r s i o n

Bela Bartok

R6.

• RH on treble C.• LH on bass C.

American

O L D M A C D O N A L D

Old MacDonald had a farm, E-I-E-I-O!And on his farm he had some chicks, E-I-E-I-O!With a chick, chick here, and a chick, chick there,Here a chick, there a chick, ev’rywhere a chick, chick.Old MacDonald had a farm, E-I-E-I-O!

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I ’ M A L I T T L E T E A P O T

O V E R I N T H E M E A D O W

R8.

R9.

1. I’m a little teapot, short and stout Here is my handle, here is my spout When I get all steamed up, hear me shout Just tip me over and pour me out!

2. I’m a clever teapot, yes it’s true Here’s an example of what I can do I can change my handle to my spout Just tip me over and pour me out

George SandersClarence Kelly

British

Over in the meadow, In the sand in the sun, lived an Old mother turtle and her Little turtle one. “Dig,” said the mother, “I dig,” said the one, and they Dug all day in the sand in the sun.

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D O W N B Y T H E S T A T I O N

Traditional

Down by the station, early in the morning,See the little puffer bellies all in a row.See the station master pull the little handle,Chug, chug, Choo, choo, off we go!

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R11.

Euphemia Allen

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R12.

T H E H O K E Y P O K E Y

Traditional

1. You put your right hand in, You put your right hand out, You put your right hand in, And you shake it all about, You do the hokey pokey and you turn yourself around That what it’s all about.

2. You put your left hand in, You put your left hand out, You put your left hand in, And you shake it all about, You do the hokey pokey and you turn yourself around That what it’s all about.

3. You put your right foot in, You put your right foot out, You put your right foot in, And you shake it all about, You do the hokey pokey and you turn yourself around That what it’s all about.

4. You put your left foot in...

5. You put your head in...

6. You put your backside in...

7. You put your whole self in...

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&?43

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P O L L Y W O L L Y D O O D L E

R15.

Oh, I went down South For to see my SalSing Polly wolly doodle all the dayMy Sal, she is A spunky galSing Polly wolly doodle all the day

Fare thee well, fare thee wellFare thee well, my fairy FayFor I’m off to Louisiana, for to see my Susy AnnaSing, “Polly wolly doodle” all the day.

American

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L I T T L E I N V E N T I O NF i r s t T e r m a t t h e P i a n o , N o . 2

Bela Bartok

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Alouette, gentille AlouetteAlouette je te plumeraiAlouette, gentille AlouetteAlouette je te plumeraiJe te plumerai la têteJe te plumerai la têteEt la tête, et la têteAlouette, AlouetteO-o-o-o-ohAlouette, gentille AlouetteAlouette je te plumerai

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Franz Joseph Haydn

A3.

E C O S S A I S E

A4.

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F R O G R O U N D

A P A P E R O F P I N S

Hear the lively song of the frogs in yonder pond.Kirk, Kirk, Kirk, Kirk, Kirk, Kirk, Burr, um.

I give to you a paper of pins,For that’s the way true love beginsIf you will marry me, if you will marry me.

A8.

A9.

Traditional

English

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T H E C U C K O O C L O C K

A10.

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D.C. al Fine

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F A N F A R E M I N U E T

William Duncombe

A11.

Moderato

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15

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A16

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Ludwig van Beethoven

F A N F A R E R O N D E A Uf r o m S i n f o n i e d e F a n f a r e s

Jean-Joseph Mouret

A12.

R U S S I A N F O L K S O N G

A13.

Adagio

Moderato

&?43

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W E W I S H Y O U A M E R R Y C H R I S T M A S

English

A14.

1. We wish you a Merry Christmas; We wish you a Marry Christmas; We wish you a Merry Christmas and a Happy New Year. Good tidings we bring to you and your kin; Good tidings for Christmas and a Happy New Year.

2. Oh, bring us a figgy pudding; Oh, bring us a figgy pudding; Oh, bring us a figgy pudding and a cup of good cheer. Good tidings we bring to you and your kin; Good tidings for Christmas and a Happy New Year.

3. We won’t go until we get some; We won’t go until we get some; We won’t go until we get some, so bring some out here. Good tidings we bring to you and your kin; Good tidings for Christmas and a Happy New Year.

4. We wish you a Merry Christmas; We wish you a Marry Christmas; We wish you a Merry Christmas and a Happy New Year. Good tidings we bring to you and your kin; Good tidings for Christmas and a Happy New Year.

Allegro

&?43

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O C H R I S T M A S T R E E

O Christmas Tree, O Christmas Tree, O tree most fair and lovely! O Christmas Tree, O Christmas Tree, O tree most fair and lovely!The Sight of you at Christ time, spreads hope and gladness far and wide. O Christmas tree, O Christmas tree, O tree most fair and lovely!

A15.

German

Andante

&?44

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J I N G L E B E L L S

A16.

James Lord Pierpont

Jingle bells! Jingle bells! Jingle all the way!Oh, what fun it is to ride in a one horse open sleigh!Jingle bells! Jingle bells! Jingle all the way!Oh, what fun it is to ride in a one horse open sleigh!

continues as duetAllegro

HOVLAND THE CONSERVATORY PIANO COURSE 1 Piano by Mary … · 2019. 12. 6. · means the player...

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