Piano Adventures Catalogue

Teacher’s Desk Reference - 2012
Welcome to
FABER
COMPLETE
CATALOG
Level by Level
Resource Guide
Complete Listing
of Publications and
Song Titles
Tips for Teaching

with Analysis,
® Expression
Creativity,
Pedagogy Articles
for Insights and Applications
2nd Editions
Introducing Levels 2A and 4
PreTime® to BigTime® Library

Updated and better than ever!
FABER
Resources
visit www.PianoAdventures.com
our website has a wide array of teacher support materials
chat Piano Club Discussion Forum

connect with our online community of piano teachers
join Faber Teaching Adventures Club

call 877-322-3741 to join
get new releases, latest news, priority registration for events

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check the Events section of our website for the current schedule
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send us your questions, suggestions, and teaching experiences
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We truly enjoy hearing from you and your students.

FABER
by Nancy and Randall Faber
Index
Welcome to Faber Piano Adventures . . . . . . . . . . 2 – 5
My First Piano Adventure® . . . . . . . . . . . . . 6 – 13
Primer Level. . . . . . . . . . . . . . . . . . . . . . . . . . 14 – 21
Level 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 – 29
Level 2A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 – 37
Level 2B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 – 43
Level 3A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 – 49
Level 3B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 – 55
Level 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 – 63
Level 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 – 69
Accelerated Piano Adventures®. . . . . . . . . . 70 – 73
Adult Piano Adventures® . . . . . . . . . . . . . . . 74 – 75
Piano Literature Collections. . . . . . . . . . . . . 76 – 79
About the Fabers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

OVERVIEW FABER PIANO ADVENTURES
Welcome to Faber Piano Adventures

Piano Adventures® has become the leading piano curriculum across
North America. Why? Because it works... for all ages!
First and foremost, Piano Adventures® is student-centered. The sounds are tailored to each
age group to educate, and also to entertain. This vibrant appeal keeps the student engaged.
And, the pianistic attributes of the repertoire, along with “secrets” from the Technique &
Artistry books, consistently invite expressive playing.
®
My First Piano Adventure
Ages 5 - 6
After completing Book C, students are

ready for Level 1 of Piano Adventures®.
Book A Book B Book C
®
Piano Adventures
Ages 6 - 11
Primer Level Level 1 Level 2A Level 2B Level 3A Level 3B Level 4 Level 5
®
Accelerated Piano Adventures
Ages 11 - 17
After completing Accelerated

Piano Adventures® Book 2,
students are ready for Level 3A
of Piano Adventures®.
Book 1 Book 2
®
Adult Piano Adventures
Adult
After completing Adult Piano Adventures® Book 2,

students are ready for Level 3A of Piano Adventures®.
Book 1 Book 2
2
OVERVIEW FABER PIANO ADVENTURES
Approach to Reading enthusiasm were discarded and replaced, until the method
met the standards and musical taste of both piano student
The ability to read music is developed by effectively
and teacher.
integrating three skills: 1) discrete note recognition,
2) intervallic reading, and 3) a multi-key understanding. Supplementary Library
These are carefully sequenced and reinforced in
The PreTime® to BigTime® Piano Supplementary Library
Piano Adventures® to...
correlates with Piano Adventures® to provide a broad
n Prevent the student from equating a particular selection of music to meet each individual student’s
note to a particular finger. interest—at the precise level of difficulty. With styles that
n Teach the precise relationship between a note include Popular, Classics, Rock ‘n Roll, Jazz & Blues,
and the keyboard. Kids’ Songs, Ragtime & Marches, and Hymns, the
n Allow for a free and balanced drop of the arm and teacher can choose the style that motivates the student and
hand into the finger. be assured that it is arranged to meet the pedagogical
demands of the level.
n Avoid the overuse of two thumbs on C.
n Reduce the dependence on preset hand positions. Teacher Support
Faber Piano Adventures is dedicated to supporting piano
Pianistic Music teachers by offering a wide array of teacher support
Pianistic arranging is one of the hallmarks of the Fabers’ materials:
material. All of the music in Piano Adventures® is
n Online resources at www.PianoAdventures.com.
specifically written or arranged for the piano.
n Piano Club Discussion Forum provides an online
n The pieces feel right and sound right at the piano.
community for Piano Adventures® teachers.
n Easy and effective use of the damper pedal opens up
n New, pioneering Primer Teacher Guide is a one-of-a-
the rich sonority of the instrument.
kind resource for piano teachers. This guide features
n The pieces incorporate essential pianistic gestures— lessons plans, pedagogy pointers, duets for
the motions and phrases that are integral to playing improvisation and a comprehensive DVD of model
the piano. teaching for each piece in the Primer Lesson Book.
n Pianistic pieces develop fluent piano technique by n Faber Piano workshops and clinics on musical artistry
encouraging freedom at the keyboard, promoting a and talent development inspire audiences of music
relaxed wrist, and introducing gestures that carry the educators around the world.
hand across the full range of the instrument n A-C-E™ Instructional Theory: Analysis, Creativity,
Artistic Music and Expression comprise a model of artistry with
implications for our teaching. In upcoming pages,
The pieces included in Piano Adventures® are eminently we’ve included specific tips for each level.
musical. The course combines technique and artistry
which bring out maximum expression in the student’s We hope these ideas may assist in developing the personal
playing. Parents notice the musicality…students thrive on artistry of your students, as you help
it…and teachers appreciate the artistic results. each one become a “piano ace.”
The Technique & Artistry books are unparalleled in
teaching technical gesture for artistic playing. “Technique
Secrets” and exercises deliver the pianistic tools to play
with ease and expression. The “Artistry Hint” and
“Artistry Piece” that conclude each unit heighten student
awareness of sound and musicality.
Student Appeal
Students are attracted to the pieces and sounds of Piano
Adventures®. Ten years of painstaking pilot testing has
ensured that the method has wide student appeal. Over
one hundred pieces that did not pass the test of student
PreTime® to BigTime® Piano Supplementary Library
Motivation at Your Fingertips

The right piece at the right time makes all the difference!
It creates a magical moment when student motivation,
hard work, accomplishment, and fun come together in
a remarkable way.
The right piece means:
n A style that appeals to the student

n Correct leveling for progress
n A well-crafted arrangement “ I Just Can’t Wait
to Be King
”
n The pride of peer approval
Almost every student loves a particular style of

music. When a teacher finds that style and connects
the student with appropriately-leveled repertoire,
the student’s intrinsic motivation is captivated.
The PreTime® to BigTime® Piano Library

PreTime® PlayTime® S
contains a wealth of exciting selections to challenge Primer Level Level 1
and motivate students of all ages and abilities. A
variety of musical styles are offered at six levels—
making it possible for teachers to offer engaging
material for every student.
“ Sleeping
Beauty Waltz
”
Popular
Classics
Kids’ Songs
Favorites
Rock ’n Roll
Jazz & Blues
Ragtime & Marches
Hymns
Christmas
Teachers are sometimes tempted to march students
quickly up the levels, always playing pieces of
increasing difficulty. Often, however, students need
more time to play the notes and patterns at a
particular level. This solidifies the students’ reading
fluency and pattern recognition at that level. Adding
the appropriate supplementary material also allows
the student and teacher to focus on expression and
the pure enjoyment of music.
Visit www.PianoAdventures.com/video for a video

tour of the PreTime® to BigTime® Piano Library.
4
PreTime® to BigTime® Piano Supplementary Library
NEW!! NEW!! NEW!!
®
ShowTime® ChordTime® FunTime® BigTime®
Level 2A Level 2B Level 3A & 3B Level 4
”
“ You’ve Got
a Friend in Me
”
“ ”Twist
and Shout!
“ ”Take the
A Train
MY FIRST PIANO ADVENTURE ®
for the young beginner (ages 5-6)
THE “A” BOOKS

Pre-Reading
The LESSON BOOK and WRITING BOOK include:
five musical “friends at the piano” directional pre-reading notation
basic rhythms ( Œ , Ó , „ ) technique through games and songs
white key names: A B C D E F G folk, blues, and classical sounds
creative discovery at the keyboard eye-training and ear-training
About the CD
The CD for this book offers a unique listening experience with outstanding
orchestrations and vocals. The recordings demonstrate a key principle of
the course: when children listen, sing, tap, and move to their music, they
play more musically.
Writing Book A
FF1620 00420260 $6.95
Lesson Book A
FF1619 00420259 $9.95
Christmas Book A
Treat your pre-reading students to an adventurous first
Christmas book! Young players will be delighted with familiar
carols such as “O Christmas Tree” as well as new favorites
like “Rudolph’s Little Brother.” First players will benefit from
the clean presentation of pre-reading notation and festive
teacher duets. The Christmas Music Calendar encourages
students to count down the days until Christmas!
Christmas Book A
FF3001 00001471 $4.95
6
A look inside the “A” Books . . .

Songs Technique Improvisation
Catchy pre-reading songs move hands Technique is developed with chants, Students improvise from the first
around the keyboard. games, and songs. lessons.
Eye-training Ear-training
Blinker, the owl, loves to Tucker, the dog, loves to LISTEN

LOOK and leads the eye-training. and leads the ear-training.
New!
The Little Yellow Practice Book

FF3009 00420330 $3.50
Young students will be delighted with
their first practice book featuring the
“friends at the piano.”
7
THE “B” BOOKS
for the young beginner
THESteps
“B” BOOKS
on the Staff

“friends at the piano” return step-wise reading on the staff
notes from Bass C to Treble G technique through games and songs
composer friends, Beethoven and Mozart classic themes, pop, and jazz sounds
music history Fun Facts and Games ear-training and eye-training
About the CD
The CDs for the A and B Books are a hallmark of the series. The child
may listen to the CD from beginning to end at home or in the car. After a
piece is learned, the CD track may be used as an optional play-along
accompaniment. Enjoy!
Writing Book B
FF1622 00420262 $6.95
Lesson Book B
FF1621 00420261 $9.95
Christmas Book B
Join the My First Piano Adventure® “friends” as they play
Christmas songs on the grand staff. Students celebrate
with merry melodies such as “A Ten-Foot Icicle,” “Jingle
Bells,” the hit song “Must Be Santa,” and carols from
around the world.
Christmas Book B
FF3002 00001472 $5.50
8
THE “B” BOOKS
A look inside the “B” Books . . .

Songs Technique Music History
Beethoven’s
A Note from Mozart:
Treble Clef D My sister Nannerl and I loved to play Hide-and-Seek.
Fun Facts and Game

Help Nannerl hide by playing “thumb whispers.”
& w
Treble D looks a little like
Middle C—except there’s no whisker! Thumb Whispers:
Is D a LINE or SPACE note?
1. Tap your L.H. thumb quickly and lightly 8 times on your
• head • shoulder • knee
Beethoven’s Message: Game: Number the pictures 1 2 3 to show Fun Fact: By the time Beethoven
At the keyboard: Beethoven growing up. was 12, he was earning a living
f and p signs.
“There are a thousand princes;
2. Play and notice the there is only one Beethoven.” for his family by composing and
Hide-and-Seek
M playing the organ.
I 3. Use a “whisper thumb” at measures 5-7. 40
D What are some of the ways you
D Circle each letter in Beethoven’s help your family. (Your teacher or
L Thumb Whispers name that is a note in music.
Wolfgang Amadeus Mozart parent can help you write.)
E Bright and happy Ex.
4
(from Sonata for Four Hands, K19d)
C D WOLFGANG’S PART
&4
L U D W I G
Tips from Katie:
V A N
f
T ECHNIQ UE GAME :
? 44 ˙ .
1. Your teacher will make up a rhythm(s) on treble clef D.
œ ˙ ˙ ˙. œ
Copy it back. Now do one for your teacher. Shout, (2 - 3) “I’ll find you!” Shout, (2 - 3) “I’ll find you!”
˙ ˙
B E E T H O V E N
2. Play and sing letter names, then words. 7
Tub Time! (write)
Fun Fact: Macaroni and cheese was

Brightly repeated notes 1 on Can you say the chant ? 3 5
one of Beethoven’s favorite foods.
1 2 __?
& œ d ˙ œ œ ˙ œ œ œ œ ˙
5 NANNERL’S PART Shhh!
play 31 together
What is one of your favorite foods? (write)
p œ
2 3 5
& œ œ w
?
Tuck - er dog, where are you? You’re hid - ing from me. Woof!
p
w Fun Fact: Beethoven composed his
œ œ œ œ œ œ œ œ œ
greatest music after he had gone
?
Whis - per soft - ly, whis - per soft - ly, “Hid - ing is so fun!” (2 - 3 - 4)
deaf. Over twenty thousand people
fF
came to his funeral.
Prepare L.H. finger 3 on the LOWEST F. Play the LOWEST F
on the piano. Would you like to learn more music
of Mr. Beethoven?
3 1 (write)
18 |WRITING BOOK 14 -15 FF1621 72 |WRITING BOOK 52-53 FF1621 FF1622 |LESSON 12 9
New notes are introduced systematically Technique Games like “Silent Jumps” and Music history about Mozart and
with appealing songs. “Star Crossing Over” make technique fun! Beethoven is taught with Fun Facts
and Games.
Eye-training Ear-training
LOOK
CLAP for Sightreading LISTEN
Apples or Oranges
The word sightreading means to play
Ear-training: Hearing Same or Different
through a piece for the first time. Your teacher will play two short melodies.
Listen! If they are the same, circle the two apples.
Follow these 4 steps.
Eye-training: — Count If they are different, circle the apple and orange.
1. COUNT and clap the rhythm.

— Look 1. 2. 3.
2. LOOK at the first note. Is it on a line or space?

Find it on the piano.
— Attention
3. ATTENTION on what’s next!
Up, down, or same?
4. PL AY. To begin, set a steady beat — Play 4. 5. 6.

by saying “1-2-3 GO.”
Hint: Keep your eyes on the music. Notice the forte sign!
& œ œ ˙
1 on __?
..
œ œ ˙ œ œ œ œ œ œ ˙
F o r Te a c he r Us e Onl y : ( The e x a mp l e s ma y b e p l a y e d i n a ny o r d e r. The t e a c he r ma y c r e a t e mo r e “ s a me ” o r “ d i f f e r e nt ” e x a mp l e s f o r t he s t u d e nt . )
? 4 Œ œ- œ- œ- b w- ? 4 >œ œœ œ>œ œœ œ >œ > >œ . .

& 43 œ œ œ œ œ œ 4 & 43 œ ˙ .
?4
& 4 œ. œ. œ. œ. œ œ ˙ 4 œ. œ. œ. œ. œ œ. œ
4 5
f 4 4
1
1 ? ..
F
or
f
or
f
or
f 1
or
f
or
p 5
or
3 ? 44 Œ œ- œ- œ- b w- 4 ? 44 >œ œ œ œ œ. œ 3 >œ > >
& 4 œ œ ˙. ? 44 .
& 4 œ. œ. œ. œ. œ œ ˙ œ. œ. œ. œ. œ
4 5
& 4 œœœ œœœ

5
.
F f f f 1 f p 5
20 |LESSON 24 FF1622 FF1622 | LESSON 47 39
Blinker, the owl, loves to LOOK Tucker, the dog, loves to LISTEN.
and presents CLAP for SIghtreading - Enjoy “Same or Different,”
Count-Look-Attention-Play! “Playback,” and more activities.

FF3009 00420330 $3.50
The Little Blue Manuscript Book

FF3010 00420331 $3.50
(To Be Released)
9
THE “C” BOOKS
THESkips
“C” BOOKS
on the Staff

“friends at the piano” are growing up C and G 5-finger scales
skips: line-line and space-space continuation of Technique Games
music history Fun Facts and Games classic themes, pop, and jazz sounds
composer friends: Beethoven, Haydn, ear-training and eye-training
Mozart, Tchaikovsky, Brahms
Writing Book C
FF1624 00420264 $6.95
Lesson Book C
FF1623 00420263 $7.95
Christmas Book C
It is an exciting time for the “musical friends” in Christmas Book C! Students play joyful
melodies such as “Dance around the Christmas Tree” and “Hark! The Herald Angels Sing”
as they continue to build pianistic skill and a love of music. Teacher duets expose students
to more sophisticated rhythms and harmonies.
Christmas Book C
FF3003 00001482 $5.50
Primer Gold Star Performance

Supplement the C books with the Primer Gold Star Performance
book. The Gold Star CD has children’s vocals and orchestrations,
as well as solo piano recordings. Delightful!
Book with CD
FF1602 00420255 $7.95
10
THE “C” BOOKS
A look inside the “C” Books . . .

Songs Technique Improvisation
Find these keys!
Fall Rockin’ with Skips!
i ng E
L.H. R.H. What is the heaviest thing you can imagine?
M
an elephant? L.H. Improvisation with F-A-C
leph
I
D
D
a tuba?
ant
L a big truck?
E
E B C E F G A B improvise — to make up
5 1 1 2 3 4 5 (your idea)
Tips from Millie and Marta:
Let’s rock,
Tips from your friends: 1. First, set L.H. fingers 5-3-1 over these keys.
everybody.
Listen and feel the beat of the teacher duet.
1. Name and find the first note. Feel the beat!
Hint: Think of the name of the little mouse! 2. Now improvise an F-A-C tune with the duet.
Use the keys in any order!
Falling elephant
2. Notice the opening leap from fingers 1 to 5.
Leap for the Piñata

3. To end, play a long note on F, A, or C.
F A C
4
With energy
..
Repeat!
&4 œ œ œ œ ˙
5 5
œ œ œ œ Œ
1 1 3 4 1
T e chn iqu e Ga me :
˙ >œ >œ >œ

L.H. 5 3 1
f >b >œ >œ

Te a c h e r D u e t : ( S t u d e n t p l a y s L .H. o n a Hi gH e r F - A- C .)
Leap for the pi - ña - ta, Hap - py, hap - py, hap - py day!
? 44
Treats in the pi - ña - ta,
e œ œ
5
..
5
Œ
3
3
? 4 Œ b œœœ œœœ Ó Œ b œœœ œœœ Ó Œ b œœœ œœœ Ó Œ b œœœ œœœ Ó b œ n œ œ b œ n œ œ b œ n œ œ œ b œ bn œœœ ˙˙˙
2 3 5 2 2 5 1 2 1
1
R.H.
b4 œ Œ
1
5
L.H.
F
œ œ bœ nœ œ Œ œ œ bœ nœ œ Œ œ œ bœ nœ œ Œ œ œ bœ œ œ Œ œ Œ œ Œ œ œ bœ n œ
1 1
5 3 2 3 5 3 2
Te a c h e r D ue t : ( S t ude n t pla y s 1 o c ta v e h i gh er.) 5 4 5 5
w » bw .
2
>. >. >. œ œ œ bœ nœ

1. Hold your LeFt arm straight in front of you. 3. Did you feel the weight of your arm come
. . . .
3 3
. # œœœ œœœ œœœ œ œœœ œœœ œœœ œ # œœœ œœœ œœœ œ b œ >
1
.
2 1 2
Œ
5
Pretend you are holding an elephant! falling down?
? œ
1 4 1
œœ œœ œœ œœ œœ œœ œœ
1
œ Aœ bœ
3 4 3
?4 Œ
R.H.
Œ Œ Œ Œ œœ Œ œœ Œ Fine
.. 2. When you can’t hold the elephant any longer, 4. repeat Falling Elephant with your rIGHt arm. b œ
Œ œ Œ œ Œ œ Œ œ Œ Ó œ A œ b œ œœ ˙˙
.
4 œ œ œ œ œ œ œ œ œ œ œœ œœ œœ let your arm drop freely into your lap.
w
. . . . œ .
œ .
Œ 1
F. . . . >. >. >. >

>.
5
L.H.
>.
1 1 2 3
1 5
5
5 5
FF1624
30  | WRITING BOOK 30–31 FF1623 48 FF1623 35
For a firm foundation in note-reading, Technique is developed with games such Improvising with F-A-C skips is
the pieces move the hands around the as “Falling Elephant,” “Fingertaps,” and celebrated with a rock-blues duet.
keyboard. “Mouse House.”
Rhythm Theory
Unit 1
Musical Form:
Time for Rhythms A metronome
clicks at different speeds
Music is made up of different sections.
and helps us feel a 1. First, play this song and notice the words.
steady beat. Try
it out! 2. Now, above measure 1, draw a square
1. Tap these rhythms on the closed keyboard. with an A inside it. This is section A.
Count aloud!
3. Where does section B start? The music changes.
The Next Step...

Draw a circle and write B inside.
4. Where does section A return? Label it! A Song with Form
&4
4 1 on __?
R.H.
up-stems 44 œ œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙ ˙ ˙ ˙ f This
œ œ œ œ
is sec - tion
w
A. (2 - 3 - 4)
œ œ œ œ
This is sec - tion A. (2 - 3 - 4)
p
˙ ˙
Sec - tion
˙ ˙
B will
? 44 w
After completing the “C” books
L.H.
down-stems
1 on
__?
students are ready to start

2. Your teacher may ask you to tap to the steady tick of the metronome. 7
1
& ˙ ˙
Draw a “happy face” to show you did it!
ritardando
q = 76 q = 100 w fœ œ œ œ w œ œ œ œ w
Piano Adventures® Level 1.
change, you see! (2 - 3 - 4) Can you name the form? (2 - 3 - 4) Can you name the form? (2 - 3 - 4)
?
1
The form is
4 |Lesson 4–5 FF1624

36 |Lesson 36–37 FF1624
Young students explore the metronome Students learn about A B A form while
while tapping rhythms. reinforcing skips.

FF3009 00420330 $3.50
The Little Blue Manuscript Book

FF3010 00420331 $3.50
(To Be Released)
11
MY FIRST PIANO ADVENTURE® COURSE
The Young Beginner: Keys for Connecting

As piano teachers, we’re quite adept at bridging our adult is auditory, yet with emotion. Next, make it tactile. Feel
world to that of the typical seven- or eight-year-old beginner. the keys; listen to the sounds. Smile and sing. Engage the
It requires only modest effort because most 1st and 2nd grade senses, and engage the child with a playfulness of spirit.
students also try to bridge their world to ours. The attempt
to “bridge worlds” is two-way, so teaching and learning are
fluid and reasonably predictable. Wendy the Whale 17
Playing L.H. Fingers 2-3-4
It is a different matter, however, when we work with children 4

3
2
at ages 4 and 5. Not only is this young beginner’s world 4 3 2
L.H.
substantially different than the adult world and qualitatively
different than ages 7-8, the young beginner does not “meet N o te: T h e teach er m ay p ed al
as th e stu d en t p l ays.
us halfway.” 4-5 year olds require us to find and enter their Start on a
MIDDLE
world. The young beginner is not inclined to adapt to us, so 3-black-key group. play
together
we must adapt to the world of the young beginner. f

L.H. 2 2 2 2
3 Move DOWN to
4 next lower group.
Wen - dy the whale
Spirit of Play 2 2 2 2
3
4
2 2 2 2
What is this world of the young beginner? It is fun, fantasy moves her big tail 3
4
and exploration. Seriousness? Teacher-driven rules? Tight 30

deep, down, and low.
FF1619
control? These close down a young learner’s intrinsic

interest. Playfulness? Creativity? Adventure? These drive the Wendy the Whale moves her big tail, then dives lower and lower.
youngster’s learning. And the multi-sensory world of music
makes a perfect context for such a playful adventure. We Attention
take the child into a musical “playground” that engages the
We’ve all heard of the young child’s short attention span.
emotions and the senses. In this world, we explore, we hear,
While this is a valid characteristic to which we adapt, let’s
we look, we learn. To be fully effective, we combine visual,
be equally impressed with the young child’s tenacity when
auditory and kinesthetic (feel/touch) experiences with a spirit
emotionally engaged. Have you heard a youngster say,
of play, including playmates—the “friends at the piano” of
“Again! Again!” prodding far beyond our own point of
My First Piano Adventure®.
tedium? (What might this say about our own attention span?)
The student’s “musical friends” pose a new adventure with So, the capacity for sustained attention is there, even in
each piece: swimming with a whale, climbing a treehouse, the young child. We simply must recognize when attention
dreaming of the Tooth Fairy. Engage with each page as a is engaged and when it is not. If attention wanes during a
new encounter, a new surprise. Take in the visual; catch the visual activity, shift to an auditory or kinesthetic action. And
emotion. Hear what the child says about the context. This when attention is wholly captivated, reap all the rewards of
adds personal meaning that engages attention and primes this “teachable moment.”
memory. Then listen to the CD track. Now the engagement
Activity-based learning—this is key. Each student responds
with personal favorites, which makes this level such a joy
to teach. The antidote to a short attention span is
to get off the bench: move to the table, sit on
the floor, move to the board, back to the bench.
Activity-based teaching allows adaptation,
repetition, and variation. Not every page is
essential, but having the student’s attention
is. Celebrate student favorites and repeat
them from week to week to glean all their
capacity for musical development. Use
creative variations for fun and challenge.
12
MY FIRST PIANO ADVENTURE® COURSE
FF1621•print.wb_ FF1621•print 3/8/10 10:53 AM Page 46
Technique Treble Clef F

Noodle fingers, small hands, no coordination… maybe we & w
should wait until the child is older? This fallacy is remedied M
I
by recognizing that a child will never “grow” a pianistic D

D
L
E
hand. A pianistic hand is developed through guidance and C D E F G

Tip from Tucker:
practice. So the undeveloped hand physique of the youngster “Walk up” to the F and balance on a firm fingertip.
Your hand should be round like a scoop of ice cream!
21
Ice Cream Dog
is ripe for guidance and presents an ideal time to start 3
Merrily
&4 ˙. ˙.
1 4 1
on technique. We just need to adapt our teaching routine œ œ œ œ œ œ

f p
?3
Let’s get a cone! (2 - 3) Let’s get a cone! (2 - 3)
and introduce activities that appropriately guide physical 4

development of the hand. 5
& œ œ œ œ ˙. ..
As a priority for this age, we want to develop the hand œ œ œ œ œ
f Let’s get a dou - ble - dip straw - ber - ry cone!
?
(2 - 3)
structure. (Teaching a floppy wrist and relaxation would Let’s get a tri - ple - dip choc - o - late cone! (2 - 3)
..
be an unproductive starting point.) We need a physical 46 ! |WRITING BOOK 38 FF1621
framework that is sorely lacking in the undeveloped hand.

The use of braced finger 3, with a relaxed wrist and a free- Stepping up to finger 4, then checking for a firm fingertip.
fall drop (arm weight) is perfect because it models the hand “Is the hand round like a scoop of ice cream?”
structure and alignment of finger, wrist and arm. Unique and
effective, “Stone on the Mountain” introduces sophisticated rhythm mascot. “Tap” introduces the Monster Bus Driver
aspects of piano technique. Then we work on the fingertip (for imitating rhythms), Dancing Feet and Band Practice
166% enlargement
with Cookie Dough (pushing chocolate chips into imaginary (for tracking the and
view at 60% beat120%
and rhythm notation) and the
cookie dough), which sets up the next several pages for using repeating, notated rhythm patterns of Monsieur Mouse
only a braced finger 3 (Dipping L.H. and R.H. Donuts, and and Mouse Rhythms.
150% enlargement
Twinkle, Twinkle Little Star). The tunes
view atand
67%audio recordings also emphasize pitch.
and 134%
Student voices—girl and boy alike—are carried from
“chants,” which open the book, to singing of melodies,
including famous classical themes of Beethoven and Mozart
in Book B. (Haydn, Brahms and Tchaikovsky in Book C.)
Special emphasis is placed on the hearing of tonality and the
expressive power of music.
An upward (and/or forward) wrist motion that drives the Summary

“bridge” over the fingers is practiced in Mitsy’s Cat Back. The joy and reward of teaching young students more
This wrist motion is then developed into an expressive than offset the challenges. And the challenges are readily
“rainbow” gesture that carries that hand across the keyboard. addressed with the right curriculum and the right attitude.
My First Piano Adventure® provides the curriculum. The
Rhythm and Pitch teaching attitude is—keep it fun! The child’s life at this age
While it is exciting to see the child develop good technique revolves around fun for good reason. Fun motivates play,
habits at a young age, it is even more exciting to observe the and play is the child’s “magic formula”
young student’s development of rhythm and pitch perception. for learning.
These perceptual skills develop most effectively with early-
age exposure, so My First Piano Adventure® puts special My First Piano Adventure® allows you to
focus on this aspect of brain development with the enclosed step into the child’s world and, together,
audio CD. explore the joy, challenge, and beauty of
music. With fun as your watchword, seek
For rhythm, we emphasize feeling the steady beat in the to draw out your student’s full attention
body. We are going for a kinesthetic response, as in Roll Call, and vibrant spirit. The child just may give
which introduces the Friends. “Tap,” the music firefly, is the the same gift back to you.
13
PRIMER FABER PIANO ADVENTURES
PRIMER LEVEL
Primer Level Lesson Book CD
Audio & MIDI
Teacher Guide Sightreading
New!
New! Flashcards
Lesson
Re
New! No
th
Book
T
Technique Theory
& Artistry
I Can Read Music
PreTime Piano
®
Book 1
Performance Primer Supplementary Series
Popular
Gold Star
Performance Ar
A
th
1
Popular Christmas Classics Favorites Rock ’n Roll

Repertoire
Achievement
Solo & Duet Sheets DuetTime® Jazz & Blues Hymns Kids’ Songs
Bluebird on My Shoulder (duet) Christmas
Jesus Is My Friend
Once I Caught a Fish
Particularly Pleasing Piano Piece
Pete, the Repeat Bird
Pony Express
Wee Small Bear Christmas Pre-Reading Christmas
Zoom, Zoom, Witch’s Broom
14
Primer Concepts
hand position and finger numbers staff notes: Bass C to Treble G
note values ( Œ , Ó , Ó˘ , „ ) ®√ and ´√ time signatures
key names: A B C D E F G the quarter rest
steps and skips on the staff the tie
Teach with...Analysis
Always look for patterns! From the earliest lessons, encourage
the student to think beyond the notes. Be “music detectives.”
Allegro Give clues to build musical awareness.
lian
is the Ita .)
(Allegro lively
fast and
word for
Readin
Notice
g Chec
k:
begins
the R.h. ps UP.
and ski
with
Mauro
Giulian
i
9, Italy)
(1781–182 adapted
“David, pretend you work for the Allegro Detective Agency.
the thumb
. als o be
The l.h and skips DOW
the thumb
gin s with
N.
Draw one big circle around measures 1 and 2. Next, investigate
˙ œ ˙ ˙ the notes and circle the same pattern again. Good!”
œ œ
d lively
œ œ œ
Fast an
4 ˙
3
1 on __?
&4 œ œ w
fw 3
? 44
1
1 on __
?
˙ œ œ œ ˙
Teach with...Creativity
˙ œ œ œ œ œ
5
& œ œ
1
Beginning students are especially
pw
w
? k over the bar
lines! receptive to creative activities at More Abo
get to loo ut Skips
. . . Œ their piano lessons. These can add
Don’t for
ce. Hint: Review:
Œ œ œ œ ˙˙
1
this pie A skip
skips in NEw: is from
Œ œ œ œ œ œ œ œ œ Ó Œ œ.
least 8 A skip a
is also fro lINE to the
O V E
R Y
Circle at
Œ œœ œœ œ œ Œ œ Œ . Œ
D I S C next lI
5 skip up m a SP
.
delight and reinforce important
ACE to NE.
.
her)
. œ
the next
Œ œœœ œ œ Œ . .
ave hig 53
w w
skip do
ys 1 oct
œ
23 SPACE.
œ œ Œœ œ œ œÓ œ Œ œ Ó
pla wn
. Œ . w w
Duet: (St
udent 37
œ œ Œœ œ œ œœ
Teacher CD 64-65
R.H. Œ œ œ œ
4
Œ . p
4 Œ . concepts.
space -
?4 œ œ Œ . Œ .
space
. Œ .
space -
& 44
Merrily space
2 on
P
L.H. 2
?
FF1075
“Did you know that an elephant can weigh up to 16,000 F When you’re œ œ œ œ Elephan
?4 œ œ ˙ t Ride
4
on
œ œ
an
pounds? Let’s try the song very low, starting on the el - e - ph

w
œ œ
ant
you
5 4 on sit real -
? ly
lowest G. Play slowly on firm fingertips. Imagine the &

high.
œ œ œ œ œ œ
elephant’s heavy, 2-ton legs.” ? œ œ
And you’ll
have
œ œ
œ
the
fin -
est
w
view
while
on
œ
D I S C
O V E your
R Y jun -
gle
Circle the ride!
measures
Teach with...Expression
Teacher that ma
Duet: (St tch measu
udent pla re 1. Fo
?R.H4 . ww
4
. ys. 1 octave higher)
5
r fun, pla
y LOW
œ œ
, s-l-o-w-
4 œ œ#
1 3
œ œ œœœ œœœ ˙˙˙˙ ww

2 l-y, and
forte. (Pl
ay duet
œ
high.)
Œ
Expression begins with listening. Sharing a . . œ œ #œ œ w œ œ œ w . .
L.H.
CD 66-67 P
5 5
w
54
1
œœ œœœ ˙
œ
œ ˙
1
38 ?22 œ # œ œ œ œ ˙˙ œ
2
œ ˙
, 23
conversation that personalizes the piece can enhance 54-57 . . w ˙œ # œ ˙

24
˙
listening and musical expression. FF1075
“Olivia, have you ever seen a beautiful sunset?

Where were you? Let’s pretend that
each E for the R.H. is the sunset color
fading from brilliant forte to soft
Artist
ry Ma
g ic!
play on
e hand
forte an
d piano. Use your arm weight to drop
tistry can
A pianis
the oth
t with ar
er ha nd piano
.
name of
each dy
na mic mark
in the
into the the key. Use less arm weight
say the
unset
g.
1. First, ud befor
e playin te, and
fu l S
piece alo
d listen
for forte,
mezzo for
Pea ce as the sound fades to piano. Keep
´
No w play an the ke yboard!
2. nds at
piano sou 3
next hig
her E
right-foo
t pedal
(damper
pedal)
down
next hig
her E
E
3
listening!”
Hold the t the piece.
ou
˙
through
p
F
slowly
Rather
˙
Listen!
f
4
3 on __?
p
&4 ˙ p
f ˙˙
f ˙˙
? 44
tly.
Lift gen
3
w
1 on __
?
5 on __
?
˙ ˙ as softly
œ ww
1 ble
as possi
5
œ ˙˙
&
œ
1
5 29
p œ
)
at Britain
œ
lls of Gre
67 (Be
? œ  Lesson p.
5
FF1096
15
Welcome to the Second Edition of the Primer Level!

This new edition is a progressive evolution of the time-tested Primer Level. The Piano Adventures®
hallmarks have been retained and enhanced with these exciting new highlights:
The Lesson Book opens with a progress chart for quick reference and easy lesson planning.
A new reading strategy is introduced with new pieces for learning Bass C-D-E-F-G notes.
The Theory Book tightly parallels the artwork, subject, and pedagogy of the Lesson Book, offering
more cohesive teaching and learning.
New improvisation activities in the Theory Book help guide musical exploration and encourage
student creativity.
More pages with new repertoire—pieces which are destined to become student favorites!
Ne w! Primer Level Lesson Book CD

Teachers and students will be delighted by newly orchestrated background
accompaniments for the pieces in the 2nd Edition Primer Lesson Book, featuring new
improvisation opportunities and a variety of musical textures.
Each selection in the book is played twice: first at a slow practice tempo and then at
performance tempo.
The Enhanced CD includes both the audio files and standard MIDI files. When used
Primer CD with software, electronic keyboard, or synthesizer, the MIDI files allow users to adjust
Audio & MIDI tempos, isolate track playbacks, and transpose to different keys.
CD1001 00420068 As a special bonus, MIDI files for the Primer Performance and Technique & Artistry
$10.95 books are also included on this CD.
New!
based on Lesson Book p. 41

# SightreaDing Primer Sightreading Book
Day 6: My Invention This inventive sightreading course uses sets
of exercises based on melodic and rhythmic
& 44
5
˙˙ ˙˙ œœ œœ ˙˙
1
patterns from the Primer Lesson Book.

f
? 44 ˙ œ œ œ œ œ œ
Guess what hap -pened then? That in - ven - tion saved the day!
Students play one exercise a day, completing

5
2
one set per week. After completing each
& œœ œœ œœ œœ w .. exercise, students are encouraged to draw a
w large X over the music. This instruction and Primer Sightreading Book
? œ œ œ œ œ œ œ œ
Joined our soc - cer team and helped us win the game. Hoo - ray!
.. the “Don’t Practice This” motto are so out of FF3006 00420328

the ordinary that students find it immensely $6.95
satisfying to mark their progress in this way.
Entertaining musical art helps guide the sightreading process.

Penny Piano, Freddy Forte, Little Treble, Little Bass, and the
other characters captivate the beginning reader with musical
questions, antics and requests. Each page presents a new
“learning vignette” in a spirit of fun.
33
16
New!
Primer Teacher Guide

This pioneering Teacher Guide for the Primer Lesson Book
is a one-of-a-kind resource. Written in collaboration with Note
Nam
es &
respected pedagogue Marienne Uszler, the guide presents
Mu
Inte
s
Both ician
skil s read
Rec ls c
om note n rval
Con
ogn bin
e fo ames
a systematic approach to teaching beginning students
n Pr izin
gN
tour
ovid
es ke ote r m and
n Pr yboa Nam usic th
omot es al fl e inte
Y
es co rd or
n Fr
nfid ient uen rv
cy. al co
ees atio
at ence n
using the Fabers’ student-centered philosophy.

tent
n Es ion nto
P H
But
tabl
ishe for
mus Rea
din
ur.
sm ical
re
unm ading usic ity gb
usic al lit n Pr y In
al, noby note erac
y
omot
es ex terv
te-b name n Ex
pres allic
Up y-no
te de alone of
pand
s pe sive Con
or D , mus tou
S O
codi ten n En rc
Ask ow ng. lead gage ep tion ic al sh r
:W n? s to n In s pa
ttern to se apin
hich vite vera g
The dire s flu reco l no
ctio But gniti tes
of a interval n? U re
may ading
id ey
e-tra on at on
ce
This guide for “Teaching Piano Adventures” covers

we third (s of a se p, do ckin

ea ki wn, emba lead to by inte g
note sily fo p) are cond (s
O
or sa rras di rval
s at
the
cus
on so pr
tep) me? smen sorient withou
Prim ly on ominenand the t. atio
n, in t note
er Le steps t in Ste accu reco
, sk in mus terval po
I L
vel. racy gniti
ips,
and ic that r Sk , or on
the full curriculum as presented in the Second

Then
FF3007 00420327
repe ask: ip?
ated Are
the
note
s step
P H
ping
or sk
$39.95 Edition Primer Lesson Book. It includes...

Wh ippi
ng?
im h ic
na port is
or min ant more
int read g n ,
erva ing otes
ls?
Bo
ne th a
Complete lesson plans for each piece in the book. The lesson ces re
sar
y.
plans offer steps for introducing each piece to the student, tips for 86
reinforcing concepts and skills, and interesting ideas for creative

exploration.
Summary of correlating pages in the other Piano Adventures books, and
suggestions for enrichment activities.
Pedagogy pointers which help teachers better understand the pedagogical foundations for
each concept and skill, and how these relate to future activities.
Duets for student improvisation offer the option of creative exploration, based on the
sounds and patterns in each Lesson Book piece.
A comprehensive DVD of model teaching for each piece. The videos feature Nancy Faber
working with her students, offering teachers a glimpse into the creative techniques and activities
used in her studio.
The Primer Teacher Guide is a valuable resource for experienced teachers, pedagogy students and
new teachers alike. Refresh your teaching and enhance your own personal, creative style.
17
The Opposite Song

Rain, Rain, Go Away
New!
Rex, the Tyrannosaurus
School Bell Is Ringing!
Shepherd’s Flute FF3007, 00420327
A Song About Cats $39.95
Train’s A-Comin’ Lesson Plans
Trumpet Song Pedagogy Pointers
Lesson Book Theory Twinkle, Twinkle Little Star Duets for Improvisation
FF1075, 00420168 FF1076, 00420169 Wind in the Trees Comprehensive DVD
of Model Teaching
$6.95 $6.50
All My Friends Writing Games
Allegro Eye Training
Alouette Ear Training
Balloons Improvisation New!
Bells of Great Britain
Best Friends
The Bugle Boys
C-D-E-F-G March
Come on, Tigers!
Come See the Parade! Primer CD
Copy Cat
New!
CD1001, 00420068
The Dance Band
Driving in the G Clef Sightreading $10.95
(accompaniments in two tempos plus
Elephant Ride Technique & Artistry FF3006, 00420328 Gold Star MIDI files for Lesson, Performance,
Technique & Artistry books)
The Escalator FF1096, 00420189 $6.95 Performance - with CD
Football Game $6.50 Melody Patterns FF1602, 00420255 Other Background
Frogs on Logs Technique Secrets Rhythm Patterns $7.95 Accompaniments
Gorilla in the Tree Artistry Magic Pieces: Entertaining Musical Art Bluebird on My Shoulder Popular Repertoire CD
Grandmother All the Stars Are Shining (Duet)
Hey, Hey, Look at Me! CD1017, 00420084 $10.95
Canoeing Upstream Cartoon Stories Popular Repertoire MIDI
Hey, Mr. Half Note Dot! Catch Me If You Can!
NFMC
Chugging Choo-Choo CHOICE GM1013, 00420275 $10.95
I Hear the Echo Finger Hops Eternally Music
The I Like Song Leading the Parade French Cathedrals
Into the Cave Peaceful Sunset Hello to the Drum
A Joke for You A Special Ending for I Found a Penny
Lemonade Stand Alouette NFMC
I Love Rain! CHOICE
Let’s Play Ball! Wheels Going ‘Round Popular Repertoire A Particularly Pleasing
Magic Rhyme for Bass D FF1256, 00420234 Piano Piece
March on D-E-F Pony Express
$6.95
Men from Mars Pterodactyls, Really Neat
Catch a Falling Star
Merrily We Roll Along A Rainbow Is a Smile
Happy Birthday to You (Turned Upside Down)
Middle C March
I Got Rhythm Roller Skate Ride
Mister Bluebird
I’d Like to Teach the World Squinchy-Pinchy Shoes
My Invention to Sing I Can Read Music,
Octavius the Octopus Theme and Variations
Lean on Me
Zoom, Zoom, Witch’s
Book 1
Ode to Joy Performance The Lion Sleeps Tonight Broom FF1048, 00420157
The Old Clock FF1077, 00420170 The Planets (Animaniacs) $5.50
Old MacDonald Had a $6.50 The Rose
Song Beginning note speller
Are You Sleeping? Star Wars (Main Theme)
Petite Minuet
Banana Split Activity Pages
Princess or Monster?
Chimes!
Rodeo
Classical March
Russian Folk Song
Cowboy Joe
Sea Story
Dancing with Frankenstein
Ten-Second Song
Donkeys Love Carrots Christmas
Three Little Kittens
The Doorbell
Tightrope Walker FF1137, 00420205
The Happy Stream
Two Black Ants
Horseback Riding $3.95
Two Blackbirds Away in a Manger
Walking Song
Hot Cross Buns Flashcards
Go, Tell It on the Mountain
Yankee Doodle
I Like Roller Skating FF1168, 00420218 Good King Wenceslas
In the Jungle $6.95 Jingle Bells
Inchworm 80 color flashcards
Jolly Old Saint Nicholas PracticeTime
Let’s Boogie! Note drilling Assignment Book
Listen to the Drums We Wish You a Merry
Intervallic reading Christmas FF1167, 00420217
Lullaby and Goodnight
Sightreading Activities $5.50
18
PreTime® Piano - Primer Level Supplementary Series Solos/Duets

O, How I Love Jesus
Praise God, from Whom
All Blessings Flow
Praise Him, Praise Him
Rejoice in the Lord Always
Whisper a Prayer
PreTime® Popular PreTime® Favorites PreTime® Hymns MIDI Disk

FF1042, 00420151 FF1012, 00420121 Jazz & Blues GM1030, 00420291 $9.95
$4.95 $4.95 FF1047, 00420156
The Candy Man Alouette $4.95 Achievement Solo
(Willie Wonka and the Baa! Baa! Black Sheep Cool Breeze Waltz & Duet Sheets
Chocolate Factory)
Hush, Little Baby Dinosaur Stomp Bluebird on My Shoulder
Groove Tune
London Bridge A Fishy Story (Duet)
I Just Can’t Wait to Be AD3002, 00420001 $2.50
King (The Lion King) On the Bridge Hound Dog Blues
NFMC
Pop! Goes the Weasel CHOICE Ice Cream Blues Jesus Is My Friend
If I Only Had a Brain ASA7006, 00420021 $2.50
(The Wizard of Oz) Row, Row, Row Your Boat Jazz Man
Shoo, Fly Once I Caught a Fish!
It’s a Small World Jazz Walk PreTime® A2033, 00420060 $2.50
The Merry-Go-Round Ten Little Indians CHOICE
NFMC
King of Hearts
Broke Down The Muffin Man
Christmas A Particularly Pleasing
Penguin Blues Piano Piece
Oompa-Loompa Wheels on the Bus So Many Toys
FF1015, 00420124
A2003, 00420032 $2.50
Doompadee-Doo (Willie Yankee Doodle $4.95 Pete, the Repeat Bird
Wonka and the Chocolate
Factory) Away in a Manger A2037, 00420063 $2.50
Part of Your World Good King Wenceslas Pony Express
(The Little Mermaid) I Saw Three Ships A2019, 00420046 $2.50
The Pirates Who Don’t Do Jingle Bells Wee Small Bear
Anything (Veggie Tales) Jolly Old Saint Nicholas A2032, 00420059 $2.50
Scooby Doo Main Title Over the River and Zoom, Zoom,
Through the Woods Witch’s Broom
Silent Night A2024, 00420051 $2.50
PreTime® Up on the Housetop

PreTime®
We Three Kings of
Rock ’n Roll Kids’ Songs Orient Are
FF1107, 00420198 FF1032, 00420141
$4.95 $4.95
Celebrate with Rock ‘n A-Tisket, A-Tasket
Roll! Bingo
PreTime® Classics Engine Number Nine The Dwarfs’ Yodel Song
Hard Rock Candy (The Silly Song)
FF1017, 00420126
$4.95
Old MacDonald Had to
Rock
Happy Birthday to You DuetTime®
Bridal Chorus Pebbles, Stones, and Rocks
Mail Myself to You Christmas, Primer
Mickey Mouse March FF1025, 00420134
The Can-Can Recess Rock On Top of Spaghetti Pre-Reading
Horn Call Rockin’ in Your Socks $4.95
The Train Song Christmas
A Little Night Music Rockin’ on the Soccer Field Winnie the Pooh Good King Wenceslas
(Eine Kleine Nachtmusik) Stegosaur Rock FF1050, 00420159 Jolly Old Saint Nicholas
Morning $5.50 Jingle Bells
Ode to Joy Away in a Manger O Come, Little Children
Shepherd’s Song Counting the Days Go, Tell It on the Mountain
Theme from the “London” Deck the Halls God Rest Ye Merry,
Symphony Good King Wenceslas Gentlemen
Trumpet Voluntary Jingle Bells We Wish You a Merry
Jolly Old Saint Nicholas Christmas
Merry Christmas to You
Ring the Bells! New!
PreTime® Hymns The Perfect Christmas Tree
FF1028, 00420137 The Little Yellow
The Tree Hunt
$4.95 Practice Book
FF3009 00420330
The B•I•B•L•E
Practice & Progress Deep and Wide
$3.50
Lesson Notebook God Is So Good
FF1024, 00420133 I’ve Got the Joy, Joy, Joy
$5.95 Jesus Wants Me for a
Sunbeam
19
Synergy at the Primer Level

There is much to share with our beginning students. With Arm Weight
limited lesson time, how do we maximize our results? The Primer Technique & Artistry Book introduces arm weight
Fortunately, the Primer Level presents three elements of as Technique Secret 4, using an exercise called Heavy Wet
pedagogy that have exponential value when taught Ropes. The student experiences the feeling of heavy arms by
in combination: imagining them as waterlogged ropes. The release of heavy
n introducing new notes with varied fingerings to develop arms into the lap gives the sense of dead weight.
note-reading skill The ability to release the weight of the arm into the keyboard
n utilizing arm weight for tone production and technique is essential. Failure to use arm weight in piano playing places
development excessive burden on the fingers. Instead of over-taxing the
n using a braced third finger for rounded hand shape and finger muscles and tendons (with the risk of inuring physical
firm fingertip problems like tendinitis), the pianist should use gravity
efficiently to overcome the weight of the key. The weight
While each element has a unique function, the three concepts of the arm can be dropped, thrust, tossed, balanced on the
reinforce each other in synergistic fashion when the teacher fingertips, and transferred finger to finger. This effective
conscientiously integrates them. handling of arm weight forms the basis for good tone
production and an effortless, virtuoso technique.
Varied Fingering There is ample opportunity to apply the concept of arm
One of the hallmark features of Piano Adventures® is the weight in the Primer Lesson book, beginning with the
introduction of new notes using varied fingerings. This pre-reading pieces that traverse the range of the keyboard.
allows us to teach a specified set of notes without a fixed, In each of these, a brief Black keys are in groups of
preset hand position. Middle C March, for example, pattern is initiated with 2’s 3’s Two Black Ants
and .
introduces Middle C as played by fingers 1, 2, then 3. a drop of arm weight, On the KEYBOARD
3 2
• Count all the groups of TWO. _____ groups 3 2
Consequently, the student does not equate Middle C with and is finished with • Count all the groups of THREE. _____ groups L.H.
finger 1. a lift of the hand that

Start in the
MIDDlE
of the piano.
• Use left hand fingers 2 and 3.
Play on the 2-black-key groups.
Your teacher will demonstrate.
initiates a new drop 2 2

3 3
play
together
Move down to next
lOwER group.
2
into the next octave.
Two black ants
2
3 3
dig - ging down
2 2
The Old Clock is 3 3 g

o
i
n
2 g to their home 2
l 3 3
played using a steady,
o
w
e in the ground.
r
lOw
rhythmic drop of arm
D I S C O V E R Y
A short musical pattern begins this piece. How many times does the pattern appear?
weight into alternating 10 ? 5

Can you memorize this piece?
FF1075
arms: right-left right-left. This delivers a strong sense of

pulse and puts the student in touch with the larger motions of
piano playing. All the Stars Are Shining in the Technique and
Artistry book explores arm weight applied to a grand gesture
and the implications of arm weight for dynamic change.
In discussing varied fingering, we observed the frequent use
Treble G, the next note introduced, is played with finger 3
of finger 3 for a given note. Finger 3 invites a drop of arm
as often as with finger 5. Similarly, Bass F is played by LH
weight. In contrast, fingers 1 and 5 tend to tense the hand and
finger 3 in upcoming songs, as well as with finger 5. Using
pull the wrist down. Finger 3 also promotes a tall knuckle,
this varied fingering enhances note recognition and prevents
which itself carries the weight of the arm. Contrast this to
equating a finger number with a given note. In addition,
fixed hand positions, which foster tension and minimize
varied fingering has technical value when related to the
coordinated involvement of the arm.
concept of arm weight.
20
Braced Finger 3 collapsed knuckle and collapsed wrist. The finishing touch
The thumb can be a useful brace for a flattened fingertip. is to align a tall knuckle over the playing finger to provide
Placed behind the tip of an offending finger, just below the a platform for balancing the arm.
last knuckle, the bracing thumb rounds the hand and firms a If this sounds esoteric, don’t be dismayed. The braced
potentially collapsing fingertip. The student’s first activity at fingertip and/or Making O’s handle the issue of alignment
the keyboard occurs in the Lesson Book with The Pecking beautifully. And it can be done on the keyboard—right when
Hen and The Pecking Rooster. Here the braced finger 3 the problem occurs. If a fingertip collapses or the finger
is used to round the hand as the student explores pitch and arm appear out of alignment, ask the student to “Make
direction—pecking higher, then lower, up and down an O” with the finger still on its key. Making an O not only
the keyboard. curves the errant fingertip, but it brings the arm, wrist, hand,
knuckle, and finger into alignment, restoring a balanced
platform for arm weight.
We have seen that bracing finger 3 implicitly aligns the
finger, hand, and arm. Thus a braced finger 3 is ideal for
experiencing a drop of arm weight into the key. At the
same time, the concept of varied fingering provides ample
opportunity to use a braced finger 3. Notice the value, for
example, of using finger 3 to kick off the downbeats in
My Invention and The Dance Band. A braced finger 3 can
be used here to ensure alignment and to increase the
sensation of arm weight.
In the Technique & Artistry Book, the bracing technique is

hinted at in Making O’s, the exercise for Technique Secret
“Right” from the Beginning
It takes effort and concentration for the student to recognize
3—firm fingertips. This drill accentuates a firm fingertip by
and associate a note with its corresponding key—but much
bringing the thumb and each fingertip together, then looking
less effort than having to erase learned finger-number
for the “O.” With just a slight adjustment of the thumb,
associations. It also takes effort and concentration to help
Making O’s becomes effectively synonymous with the braced
a student balance arm, wrist, and finger in coordinated
finger technique of The Pecking Hen. Making O’s and the
fashion—but much less effort than having to undo years of
braced finger 3 reinforce each other to make the concepts of
practiced tension. The creative combination of pedagogical
rounded hand shape and firm fingertip more vivid and the
elements in the Primer Level will help your students “get it
exercises more effective.
right” the first time.
Integration
While varied fingering, use of arm weight, and the braced
fingertip are each effective in individual context, these three
concepts work together for great results.
To understand this integration, we need to explore the
Online Teacher Resources
concept of alignment. When the arm, hand, and playing
finger are in a straight line, arm weight can flow directly www.PianoAdventures.com
into the fingertip. If the playing finger and forearm show an
angle at the wrist, there is a misalignment which breaks the
distribution of arm weight. The tall knuckle and rounded
hand shape facilitate use of arm weight by preventing a
21
LEVEL 1 FABER PIANO ADVENTURES
LEVEL 1
Level 1 Lesson Book CD
Audio & MIDI
Sightreading
New!
New! Flashcards
Lesson
Book
Achievement Technique Theory I Can Read Music

Skill Sheet #1 Book 1
Major 5-finger & Artistry
patterns
(challenging)
PlayTime Piano ®
Performance Level 1 Supplementary Series
Gold Star
Performance Classics
Popular
Popular Christmas
Favorites Rock ’n Roll Jazz & Blues
Repertoire
Achievement
Solo & Duet Sheets
The Bunny With No Name
Happiness Runs (Duet)
I’m Ready!
Look What I Can Do! Hymns Kids’ Songs Christmas
DuetTime® Once Upon Plurals!
Christmas a Rainbow Prayer at the Piano
Book 1 Shout Boo!
22
Level 1 Concepts
reading across the grand staff legato and staccato touches
2nd, 3rd, 4th, and 5th, and octave quarter, half, and whole rests
half steps, sharps and flats C and G 5-finger scales
tonic and dominant notes I and V7 chords in C and G
ble
The Bub 5-Finge
r Scale
Begin pieces with an analysis of various musical elements. The student
_____
an
tire piece, nds? al Bowm
y this en king at your ha by Cryst
˙. Œ
n you pla loo Words
e c k : Ca asure, without
might name the 5-finger scale used, find a rhythm pattern, or discover
1
Eye Ch
œ œ œ œ
me
the last
œ
except
œ ˙
3
itement
˙. œ
5
With exc 1 on 2
œ
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It
why a forte dynamic makes musical sense. Begin to use the word
__? day.
4 Œ ˙ ˙
-
gum to
&4
chew- ing
while
bub - ble
∑
great big
F Iœ “analyze” at lessons and compliment students for good thinking!

1
blew a 3
∑
? 44
1
Œ
˙.
1 on
œ œ œ œ œ œ “Michael, can you discover the 5-finger scale used for this piece?”
œ œ
__?
œ œ œ ˙.
5 say.
˙ Œ
to
˙
pleased
& œ
real - ly
I’m
popped,
fore it
stretched
out wid
e be
-
∑ “Emily, let’s analyze. Does the L.H. begin on the tonic

? ∑ Œ
œ ˙. or the dominant note?”
œ œ œ œ
œ ˙.
Differen
˙˙.. pPF
t DYNA
œ œ œ
9 hair. MICS (
nose an
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In this pie
f
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&
in my can choo lp to ma
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and se the dy ke a pie
• First, ce intere
cheeks, namics. sting.
Œ
read the
my words a
P w
on • Then nd play
got write dy
w
Gum namic m th e music.
• Now
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play the arks in th
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piece an e boxes
given.
œ #œ œ œ
d enjoy y 9
1 our vers
5 ion of Le
&
5 4 gend of
the Buffa
œ œ œ œ Creative activities engage students and bring

1
lo!
˙ . Pœ
4 My
care.
œ œ œ œ
13 With spi
fœ # œ œ œ
did - n’t rit
& 44 w
4 I
? œ
oh,
& Legend o
t
pink bu
smiles. Short creative forays at the lesson allow œ œ œ ldœsto
3 on __? A Cheye
œ œ œ œ
look - ing
f the Bu e chi nn
s
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F œ œ œ œ
Ev - ery
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ffalo
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4
2
? the student’s personality to emerge, reinforce

2
œ w
1 5
4 œ œ œ œœ œ. œ. œ. rd of. buffalo run.

Th 1 N. Faber
FF1078 3
œ œ œ œœ 13
theory skills, and are fun to do!

2
. &
Œ œœ ˙˙
1 on __?
38-40 5 5 on __?
?38-39
CD 92-93
47-48
& w
? œ
60
“David, will you read the words as I demonstrate the piece? w

? œœ. œ. Thœe. souœnd. echoes from the hil œ œ œ œ œ œ
4
œ w œ œ
œ œ œ œ. œ. œ. ls.. 2
Then choose your own dynamic marks to write in the boxes.” œ œ œ œœ 3

4
.
Œ œœ ˙˙
17
Teache
& w
r Duet: 3
Note: Fol (Student
“Megan, will you write the last sentence of Legend of the

low the plays as
dynamic written)
? 4
marks cho
w
1 5
b 4 .. ˙
sen by the
? œœ. œ. A œdu. st cloœ. ud rises as the buffa

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5
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Ligh tly
2
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Teach with...Expression ? œ œ w
17 2-1 4
b ˙. w œ œ ˙ œ œ
p. 35
2
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>. >œ. >˙
Œ œ
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21 1
5
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20 1
Use technique secrets with imaginative similes œ œ œ

4
œ Ó ˙ œ œ œ
1
ww œ
3
˙
to draw students into the music. 2
5 2
Spaces
FF1097
e Treble
2 C
E
face th staff spe
ll the wo
rd face.
“Patrick, imagine your left hand is
treble
tes on the
A
T
UNIT
ce no r
F
The spa
M
i
d
e
b
l
e
weightless—as if it was in outer space! -2-
´
E
d
l
C
A Let it float up and over your right hand
Ç
e
F
C
NEW
ÏÅ
NEW
for the final E.”

& w “Melissa, pretend your fingers are
le C.
ove Midd C E.
y just ab tes F A
• Find t
he F ke
nd say t
he treble
• Play a step or skip?
u
space no
astronauts skipping over the craters.
Did yo
ce Keep firm fingertips as you travel.”

in Spa ˙.
Skippinyg ˙.
3
Stead
˙. ____
(2 - 3)
& 4 ˙.
(2 - 3)
1
____
(2 - 3)
____
(2 - 3)
F
Name ____
each
? 34
note.
˙.
er to E.
L.H. 2 ov
œ
œ œ œ
n
Pedal dow
œ œ œ œ
5 ____
____
____
& œ
____
____
____
____
____
____
____
Pedal up
? er to A?
To C?
to F? Cross-ov FF1078
. cross-over
with a L.H
s piece
V E u play thi
C R E
A T I
Can yo
?12
10
18 CD 18-19
23
Welcome to the Second Edition of Level 1!

More and more students now move into Level 1 after completing the My First Piano Adventure® series.
Many of the Second Edition updates help smooth that transition, and enhance the learning experience
for all students.
The Lesson Book opens with “E-G-B Mouse” (from My First Piano Adventure®)
for very effective review and a head-start orientation to smart notes on the bass clef.
These pages may be revisited regularly to ensure “mission accomplished.”
The completely revised Theory Book offers creative thematic tie-in with the
Lesson Book. For example, after playing Dinosaur Stomp in the Lesson Book, the
student improvises a Dinosaur Dance in the Theory Book, for review of the
G 5-finger scale.
New improvisation pieces and exercises throughout the book foster creativity
and increase the joy of playing.
Exciting new pieces! Selections from the great composers—Mozart, Beethoven,
and Haydn—introduce students to the lives of these composers through fun facts
and activities. Seven new pieces in the Performance Book also offer engaging
new repertoire.
New transposition exercises are presented. Firefly, the much-loved review
piece, offers an opportunity for students to transpose the piece using a
G 5-finger scale. Students have fun chasing the firefly in another key!
A new Challenge Section at the end of the Lesson Book offers flexibility to
further explore transposition and other creative activities. This offers the option
of introducing 5-finger scales in D, A, E and F, taught “off-the-staff.”
New! Level 1 Lesson Book CD

Teachers and students alike will be delighted by the newly orchestrated
background accompaniments for each piece in the Level 1 Lesson Book.
The Enhanced CD features new improvisation opportunities and a variety
of musical textures.
Each selection in the book is played twice: first at a slow practice
tempo and then at performance tempo. The piano part is muted on the
performance track, allowing the student to be the featured performer.
Level 1 Lesson Book CD The Enhanced CD includes both the audio files and standard MIDI
Audio & MIDI files. The audio files can be played on a CD player or computer.
CD1002 00420069
$10.95 When used with software, electronic keyboard, or synthesizer, the
MIDI files allow users to adjust tempos, isolate track playbacks, and
transpose to different keys.
Special bonus: The MIDI files for the Level 1 Performance and
Technique & Artistry books are also included on this CD.
24
New!
Level 1 Sightreading Book
Boost reading skills with this inventive series based on melodic and rhythmic
variations of the Level 1 Lesson Book pieces. Students play an exercise a day while
enjoying the entertaining, instructional art that reinforces Level 1 reading concepts.
Chord Guy, Penny Piano, Freddy Forte and their friends turn each page into a
sightreading adventure.
The Level 1 Sightreading Book is carefully written to match the Level 1
difficulty and to provide appropriate challenge. It builds confident readers through
recognition of individual notes and perception of note patterns.
The book is organized into sets of 5 exercises, for 5 days of practice. Level 1 Sightreading
FF3013 00420338
Students play one exercise a day, drawing a large X over each completed $6.95
exercise. This instruction is so out of the ordinary that students find it immensely
satisfying to mark their progress in this way.
The “Don’t Practice This!” motto captures students’ attention and reminds
them that sightreading is indeed “the first time through.”
Entertaining, instructional art guides student progress, making it fun and productive. Chord Guy,
Penny Piano, Freddy Forte and their friends turn each page into a fun-filled sightreading adventure!
Sightreading based on Lesson Book p. 39 Sightreading based on Lesson Book p. 54
daY 1: Grumpy Old Troll daY 1: Shepherd’s Song
4 3
3
&4 œ œ œ œ œ. œ ˙ œ. œ ˙ &4 ∑ ∑
1 4 1
œ œ ˙ . .
˙˙ .. ˙˙ ..
f p
? 44 œ. œ. ? 34 œ œ œ œ œ œ
Who is walk - ing down the street? Grump - y troll, grump - y troll.
∑ ∑ Ó Œ œ Ó Œ œ ∑ ∑
1 5
4
optional pedal
5 5
∑ ∑ . ..
œ œ ˙ . & ˙.
3
& œ. œ œ œ ˙.
4
. ˙. ˙.
P
? œ œ œ œ œ œ
Shep - herds watch - ing.
? œ œ œ œ ..
Stomp - ing on his grump - y feet, grump - y troll is march - ing home.
œ œ ˙ ∑ ∑ .. ∑ ∑
5
5
58 82
25
I’m a Fine Musician

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Level 1 Theory The San Francisco Trolley Gold Star Plurals!
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Ear Training Two Little Marches Canoe Song
Bongo Drummers
Improvisation Chinese Painting
Boogie on Broadway
Colorful Sonatina
Boy on a Bicycle
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Broken Chord Study
Haiku CHOICE
NFMC
The Bubble
Happiness Runs (Duet)
C’s Rock
Little Bunny Foo Foo
Chords in G
Monster’s Midnight March
Classic Dance
Most of All I Like
Dinosaur Stomp Rainbows
The Dreydl Song Mouses or Meese
Ferris Wheel Three Pirates CHOICE
NFMC
Firefly
Flute of the Andes Once Upon a
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Technique & Artistry New! Rainbow - Book 1
Girl on a Bicycle
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26
PlayTime® Piano - Level 1 Supplementary Series
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27
Articulation and the Wrist

Articulation and the Wrist n Height of the wrist This is established at the Primer
An essential concept of Level 1 is beginning articulation, Level with the Technique & Artistry secret called “Thumb
specifically legato and staccato. These terms are so Perch.” Playing on the side tip of the thumb (instead of a
familiar to us as music teachers that we might overlook the horizontal thumb) eliminates a sagging wrist, which is so
importance of these touches in developing technique and common at this level.
musical expression.
Perhaps you have noticed that there are no articulation marks
at the Primer Level—no slurs and no staccato marks. We
delay teaching legato to ensure that a modicum of finger
independence develops before insisting on connected touch.
When a student’s finger and small muscle coordination
is undeveloped (common, and not a cause for concern), n Range of wrist motion “Relaxed Wrist,” the Level
an insistence on legato playing can cause tension in the One Technique & Artistry Secret No. 2, establishes the range
hand. This happens when pressure is maintained against of motion for the wrist in the exercise “Wrist Float-Off.”
the keybed. In most cases, the playing of a key should With hands on the closed keyboard lid, an imaginary balloon
be followed by immediate relaxation, maintaining only pulls the wrist upward until only the tip of finger 3 is in
sufficient balance of the hand and arm to keep the contact. This precludes a locked wrist and models the gesture
key depressed. for a phrase ending.
We commonly hear young primer-level students play all
notes detached, poking at each key with a pump of the wrist
or a stab with the elbow. While we want to minimize (but
not necessarily eliminate) the wrist pumping, this non-legato
touch inserts a relaxation between each note, which can be
beneficial. The student is naturally building coordination
by practicing a relaxation response after each finger plays.
Granted, it doesn’t sound good to a musician’s ear, but it does
seem to improve coordination (and rhythm as well).
Wrist Gesture n The wrist gesture At Level 2A (Technique & Artistry

What does it mean to play legato? Yes, it is a connected Secret No. 5), the exercise “Moon Walk” applies the Wrist
touch, but—more importantly—it is the playing of several Float-Off to playing keys across the keyboard.
notes in a single gesture. It is initiating a phrase with a drop
of arm weight and passing (transferring or “rippling”) that
weight from finger to finger.
In Piano Adventures®, the component parts of the legato
touch are isolated and sequenced over several levels in the
Technique and Artistry books, so that each element can
become an automatic skill. This spiral approach offers both
review of a previously learned skill and expansion of the n The slur gesture The drop and release of arm weight
technical concept, polishing the gesture and practicing its through several notes is specifically practiced at Level 2B
applications over advancing levels. with the Technique & Artistry exercise called “Painter’s
Brush Stroke.” Here the student perfects the “down-and-up”
motion of the slur gesture.
n The tapered ending At Level 3A, the focus is on

“rounding off” the phrase ending. The wrist gesture carries
the weight off the key to soften the last note of the slur.
28
Legato and the Wrist This is possible because of the technique acquired early
So what do we expect of the student at Level One? We in the level (and the compositional placement of the
want a flexible, relaxed wrist that freely moves up within accompanying chords on beats where the melody is
an established range of motion. We don’t focus on down sustained, not played).
motions of the wrist here, as these tend to collapse the
fingertip and lock the wrist low. We do focus on the up
motion. It is the flip side of the arm-weight drop. The student
drops into the phrase with arm weight and releases the
weight with the Wrist Float-Off. This needn’t be complex.
We simply encourage the student to apply the wrist float-off
at certain points in the music.
Summary
In summary, the Wrist Float-Off and the Light Hand Bounce
constitute essential wrist gestures that derive from their
There are countless applications when we look beyond just counterparts—legato and staccato. These gestures provide a
phrase endings. The Wrist Float-Off is tremendously valuable technical foundation on which more refined technique can
for preparation. The rising wrist can carry the hand to its new be developed. And, importantly, whether through shaping
placement in crossovers, octave leaps, and position changes. a phrase, softening an accompaniment, or adding elegance
It also lends grace to closing chords. And, long-held notes to an ending, these gestures add a great degree of musical
come alive by replacing a static hand with a wrist that slowly artistry . . . which is especially appreciated at this early level.
rises through the duration of the note.
Staccato and the Wrist

There is no single way to play staccato. Staccato playing
is always contextual—that is, the execution of the staccato
depends on the musical context. For this early level we
choose the wrist staccato (Secret No. 3, “Light Hand
Bounce”), a technique that essentially dribbles the hand from
a slightly elevated wrist. Notice how well this complements
the Level 1 theme of relaxing the wrist and finding its
appropriate range of motion. With the exercise Woodpecker
Taps, this staccato technique applies fittingly to the repeated
notes and repeated intervals that characterize much of the
repertoire at this level. This gentle hand bounce not only
relaxes the wrist, but also provides a technique for playing
soft, accompanying chords.
This has big payoff at Unit 8 where chords are first
introduced. Instead of loud, clunky chords that overwhelm
the melody, the left hand effectively plays soft, staccato
chords in the first pieces with block chord accompaniment.
29
LEVEL 2A FABER PIANO ADVENTURES
LEVEL 2A
Achievement
Skill Sheet #1
Major 5-Finger
Patterns Flashcards
Lesson
Book
Developing Technique Theory I Can Read Music

Book 1 (remedial)
Artist
Preparatory & Artistry
Piano
Literature
(challenging)
ShowTime Piano ®
Performance Level 2A Supplementary Series
Gold Star New!

Performance
(challenging)
Popular Rock ’n Roll
Popular Christmas Achievement Favorites Classics Jazz & Blues

Repertoire Solo & Duet Sheets
Home Run Harry
Lullaby for a
Grizzly Bear
There’s Nothing
Like a Circus
They’ll Be Back
DuetTime® Toytown Kids’ Songs Hymns Christmas
Christmas Walk in a Rainbow
30
Level 2A Concepts
8th-note rhythm patterns 5-finger transposition
crescendo and diminuendo the phrase and phrase mark
whole step: W-W-H-W D and A major 5-finger scales
Cm, Gm, Dm, Am 5-finger scales andante, moderato, allegro
Silver H
ammer
The Elf__’s__ 5-Finger Scale
treble clef.
repeat!
.. Analysis comes from the Greek word analyein, “to loosen up” or “to
. . œ.
n in the
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24 œ œ
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& F ˙ understand how these parts relate to form the whole. We loosen up,
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19
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3
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14
Lesson p.2
31
Introducing the Second Edition of Level 2A!

We are delighted to present the 2nd edition of Piano Adventures® Level 2A!
This new edition is a progressive evolution of the time-tested Level 2A books.
The following hallmarks of Piano Adventures® have been enhanced for exciting musical outcomes:
A systematic approach to music reading and transposition
Pianistic repertoire that invites technical gestures
Varied styles from jazz to classical
Engaging pieces with teacher duets
Increased opportunities for exploration through Creative and Discovery questions.
Books from the previous edition can easily be interchanged with books from the new edition.
For tips and correlation charts, please visit: www.PianoAdventures.com/secondedition
Level 2A Lesson Book

The Lesson Book opens with a progress chart that includes full page-by-page correlations of the four core
books. Sixteen added pages allow for a smoother sequence.
Students make an easier transition into Level 2A with the new Note Reading
Note Reading Guide Guide and new review piece, When the Saints Go Marching In.
The Adventures of E-G-B Mouse
Additional pieces include well-known classics from the great composers
Remember me?
My name is
E-G-B-D-F.
I love to FACE a
challenge—like
including Bach, Brahms, Haydn, Beethoven, and Vivaldi. Teachers and students
will also enjoy a new duet by Beyer.
reading space notes!
wÏ
& ´w˝wıwÎ
Jazz Blast, a student favorite, now offers opportunity to improvise
cool new sounds.
M
The concept of a lead sheet is explored.

i
d
d
l
e
C E F G A b C d E F
Students are introduced to chord studies and drills: blocked and broken in
Mouse Mission #1 by Memory
• Say the LINE notes quickly 3 times.
Mouse Mission #2
• Play E-G-B-D-F’s name on the piano 2 times.
the keys of D, A, Cm, Gm, Dm, and Am.
• Say the SPACE notes quickly 3 times. • Play the F-A-C-E spaces on the piano 2 times.
Mouse Mission #3 Mouse Mission #4

• Your teacher will say, “Line 2,” or “Line 5,” • Darken the LINE notes to hide the letters.
etc. How fast can you play and say the note? • Your teacher will point to any LINE or
• Repeat with space notes. For example, SPACE note. Play and say it on the piano.
“Space 2,” or “Space 4,” etc.
CH A LLENG E SECTION The D, A, and E chords are all
teacher note: The 12 major 5-finger scales shown below may be introduced throughout Level 2A. white-black-white.
A final goal might be to play the “Adventure Warm-up” chromatically up the keys.
teacher note: Do these reading activities throughout this level. Regular review will develop confident note readers.
6 FF1081
For Adventurers D 5-Finger Scale A 5-Finger Scale E 5-Finger Scale
• Use the “Adventure Warm-up” below to explore each scale. F≥ C≥ F≥ G≥

• Circle the keyboard for each scale learned.
d E G A A b d E E A b
• Transpose pieces from the book to these adventurous keys.
“Adventure Warm-up” in C The D≤, A≤, and E≤ chords are all

Moderately black-white-black.
& 44 œ œ œ œ œ œ œ œ œ œ œ œ
1 5 1 3 5 3 1
w
f
D≤ 5-Finger Scale A≤ 5-Finger Scale E≤ 5-Finger Scale
? 44 œ œ œ œ œ œ œ œ œ œ œ œ w D≤ E≤ G≤ A≤ A≤ B≤ D≤ E≤ E≤ A≤ B≤
5 1 5 3 1 3 5
A new Challenge Section at the 5 5 5

F C F G
& Ó Ó Ó
3 5 3
˙˙˙ ˙˙ ˙˙˙ w
1 4 1
end of the book offers teachers w

w
P i V7 i
? ˙˙˙ ˙˙ ˙˙˙ w
The F≥ (or G≤), B≤, and B chords are all different!
the flexibility to introduce all Ó Ó Ó w
w B≤ 5-Finger Scale
twelve major 5-finger scales, 1

3
5
1
2 1
3
5
F≥ 5-Finger Scale
B≤ E≤
and invites the student to explore The C, G, and F chords are all F≥
G≤
G≥
A≤
A≥ B
B≤ C≤
C≥
D≤
C d F
transposition of favorite pieces

white-white-white.
Ex. B 5-Finger Scale
to many keys. C 5-Finger Scale G 5-Finger Scale F 5-Finger Scale

or G≤ 5-Finger Scale C≥ D≥ F≥
B≤ b E
C d E F G G A b C d F G A C
D I S C O V E R Y
On a separate sheet of paper, draw black and white mountaintops
to illustrate the F≥ (or G≤), B≤, and B chords.
62 FF1081 FF1081 63
32
Level 2A Theory Book Two bands, “The MINOR Jazz Blasts” and “The MAJOR Jazz Blasts” are
competing in a Battle of the Bands contest.
Their fans are sitting in major or minor chairs.
1. Draw a line connecting each chair below to the drummer in the correct band.
This completely revised Theory Book now offers Hint: You may try each message on the piano to help you decide.
2. Would you like to play with The Minor Jazz Blasts or The Major Jazz Blasts?
thematic tie-in with the Lesson Book.

w
&# w
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Entertaining new theory activities engage
w
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students with eighth notes, phrases, transposition, &# w
w & wwwww w
? w w# w w w
and major and minor 5-finger scales. & wwwww w
&# w
w w
& wwwww ?
w wb w w w ? w w# w w w
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New improvisation pages invite students to w

? w w# w w w ?b w
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w
& wwwww
create sounds of Moon Shadows, Whirling ?
w wb w w w & wwwww
w
&# w
w ?w ? w w# w w w
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Leaves, and The Snake Charmer’s Party. ?
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? w w# w w &w w w w w
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? wwww w
WWHW & wwwww &# w
?w
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2 and 3
A B C≥ D E ? w w# w w w ?
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w
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www
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Lesson Book pieces.
The third note of Half step between
the scale is E≤ ABCDE WHWW
the scale is B. 3 and 4
Lesson p.54 (Jazz Blast)

w
?b w
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w ? w w# w w w ?w
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38 FF1082 FF1082 39
w
?w
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R E F E R E N C E S E C T I O N &
11 Note to Teacher: These pages present the 12 major 5-finger scales and 7 white-key minor 5-finger scales.
They may be taught after p. 26 in the 2A Lesson Book, or earlier if the teacher prefers.
?w
w
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1 w
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Major 5-Finger Scales www

Whole step - Whole step - Half step - Whole step
Level 2A Technique & Artistry Book & ww
Hint: The C, g, and F major. chords are all Write your initials in each blank when you have
.
white-white-white.. .
The five effective technique secrets are used as warm-ups
learned and memorized these positions.
& 44 œ1 œ 11œ œ œ œ œ œ œ œ œ œ œ œœœ3 33 .. 5 55

3 5
4
1
44 f-44p on1repeat œ œœœœ œœœ œœœ œœœœœ œœœ œ œ œœœœœ3 . œœœ5 .

C Major
&?&
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&
œ œœ œœ œ œ œ œ œ œ . œ œœœ œœœ œœœœœœœ .... throughout the Technique & Artistry Book. At the end of each
C D E F G
f- pf-f-œonpprepeat œ œ œ œœ
??4 4 f-p on œrepeatœœ œœœ œ œ œ œœœ œ œœœœœœ ..
WW H W
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?
on repeat
œœœ ... unit, a special Artistry Magic piece invites artistic expression
C
C D
D E
E F
F G
5 3 1
G Write your initials when memorized! your initials: _____
C D E F G
WW H W
WW H W
& 44 œ5 œ Write
5œ œ œ œ œ œ œ œ œœœ3 33 .. 1 11your initials: _____
œ œmemorized!
G Major
œ when
1
WW H W 5 3 5
Write
5
f- p onWrite
your initials
your initials when memorized!
repeat your initials when memorized!
œ œ
3 1your initials: _____
your initials: _____
œ your initials: _____ using technical gesture. A useful Reference Section presents
? 44 œ1 œ 11œ œ œ œ œ œ œ œ œ œœ 3 .. 5
&44 4444œ œ œœ œœœ œœœœ œœœœ œœœ œœœ œœ œ œœœœœœœ
G A B C D
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œ œœœ œœœœ œœœ œœœœ œœœœ the twelve major and seven white key minor 5-finger scales,
G
GgMajor
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&&
W W H W 3 3 55
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G Major
& 4 f-œ pœon repeat
5 1 3 1
3 5
f- pf-œonpprepeat œ
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œ œœœ
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?444 444œœ f- œœœ œœœ œœœœœœœ œ œœ œœœ œœœœœœ .. œ œœœ œœœœ ...
?4 f-44pœ œ œ œ œ
on repeat
&?
3 5
?
F Major
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1
G A
G A BB CC D
D
GWAWBHB¯CWD
..
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on repeat
W W H W 5 3 1
4
WF W H WC
G A 5 5
WW H W
5
5 3 1
your initials:
_____
&4 4444 œœ œœœ bœœœ bbb œœœœ œœ œ œœ œœ œœ œ œ ...

3 5
F
F Major
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30 Major 1
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3 3 5 5 FF1746
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your initials:
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30
30
your FF1746
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30
34 Lesson pp.56-63 FF1746
FF1098
Level 2A 2 TRANS POSITION

Dear Student: The music here is mainly for your teacher. Listen carefully as your teacher plays.
The words, rhythm, and keyboards will help you learn each musical pattern.
10
& œ œ œ œ ˙
R.H. 3 4
√
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˙
R.H. 2 3 4
4
3
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UNIT
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Performance Book The Storm and the Rainbow 2
F sun f
L.H. 3 2 L.H. 3 2 3
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Hold the damper pedal down for the entire piece. is com - ing out, rain - bow in the sky!
3 2
Moderately slow (Œ = 80-96)
Two new pieces enhance the & 44 ∑

(prepare R.H.) ∑ ∑ ∑ R.H.
Performance Book. Look for ? 44 f p

ww ww 1 2 3 5
The Storm and the Rainbow, ˙˙ ˙˙ ˙˙ ˙˙

S-l-o-w-i-n-g d-o-w-n
2
3
2
3
13
(still √)
√ √3
2 2 2 2
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 5 3 2 1 5 3 2 1 5 3 2 1 5 3 2 1
Dance Theme and Variation, R.H.
P
and several added teacher duets. 5
1 2 3 5
?
Rain is stop - ping, rain
∑
is stop - ping, rain is stop - ping, rain
∑
is stop - ping.
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 3 2 1 5 3 2 1 5 3 2 1 5 3 2 1
This new edition promises to

P
refresh and inspire your ?
Rain is fall - ing, rain is fall - ing, rain is fall - ing, rain is fall - ing.
∑ L.H.
student recitals.
(prepare L.H.)
L.H. L.H. R.H. √5 5 5 Hold and let

15 3 3 3
3 2
˙˙˙˙* ˙˙˙˙ w
2 2 2 the sound ring!
& ww
w
1 1 1
f F p
7
3 2
U 3 2 2 3 4
& ∑ ∑ π
(Was that thunder?) The rainbow shimmers!
? ∑ ∑
Students explore the full range ww
Sun is com - ing out,
p P ˙
œ œ œ œ
3 4
? U
R.H. 2
ww
*Optional: Students may divide the chord between the hands:
of the keyboard and a wide

2
√
3
˙˙ ˙˙
L.H. 3-2 on F and G; R.H. 1-3 on A and C.
variety of dynamics through

L.H. 3 2
2 2 D I S C O V E R Y Can you transpose this piece up a half step and play it on the black keys?
√
3 3
Your teacher will help you.
this new composition. 10 Lesson p.22 (The Clock Strikes Thirteen!) FF1083 FF1083 11
33
Level 2A Theory Performance I Can Read Music

Gold Star
Lesson Book FF1082, 00420175 FF1083, 00420176 Performance - with CD FF1048, 00420157
FF1081, 00420174 $6.50 $6.50 FF1604, 00420257 $5.50
$6.95 Writing Games Coconut Shuffle
$7.95 Note speller
Aardvark Boogie Eye Training Dance of the Irish Beginning reading level
Concert Sonatina
Changing Moods Ear Training Dance Theme and Variation
First Snowflake of Winter
Clock Strikes Thirteen! Improvisation Green Frog Hop
Five-Note Sonatina
Elf’s Silver Hammer Home on the Range
Grandpa Leprechaun
Famous People Horseman’s Night Ride
Home Run Harry
Go Tell Aunt Rhody Italian Children’s Game
Hunters’ Chorus
I Am the King Juggler
I Love the Mountains
Ice Cream Loch Ness Monster
Little Ghost’s Recital
In an Old Castle March of the English
Guard Morning Has Broken
Jazz Blast (Duet)
Kitch-iti-kipi Mr. McGill’s Boop Sha-
Bop! Snappin’ Harriet
Leftover Popcorn There’s Nothing Like a
Pachyderm Caravan
Minuet for Mr. Bach’s Circus
Children Rhino in the Mud
Toy Town
Moonlight Melody Rocky Mountain Train
Snow Fort Hideout Achievement Skill
More Ice Cream
Storm and the Rainbow Sheet #1: Major
Mr. Brahms’ Famous Technique & Artistry 5-finger Patterns
Lullaby
Mr. Haydn’s Theme
FF1098, 00420191 AS5001, 00420022
My Daydream $6.50 $2.95
Ode to Joy Technique Secrets
Our Detective Agency Artistry Magic Pieces:
Peter Pan’s Flight Colorful Sunset
Pirate of the North Sea Hummingbird Wings
Puppet Show Malagueña
Queen’s Royal Entrance Race Car Rag
Skip to My Lou The Riddle Song
Snake Charmer Spotlight on the Left Hand
Spring, Vivaldi Spotlight on the Right
Hand Christmas
Storms on Saturn
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Go, Tell It on the Mountain Achievement Solo
Marching In Jingle Bells
Whirling Leaves Accompaniments (Meet) The Flintstones & Duet Sheets
O Christmas Tree
Merrily We Roll Along Home Run Harry
Pat-a-Pan A2020, 00420047 $2.50
Merry Old Land of Oz
Silent Night Lullaby for a Grizzly Bear
Splish, Splash
Lesson Book We Wish You a Merry A2008, 00420037 $2.50
Enhanced CD Tiger Rag (Hold That Christmas
CD1003, 00420070 $10.95 Tiger) There’s Nothing Like a
(accompaniments in two tempos plus Tomorrow Sightreading Activities Circus
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Will You Be There
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GM1015, 00420277 $10.95 Walk in a Rainbow
$5.50
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34
ShowTime® Piano - Level 2A Supplementary Series
ShowTime® Popular ShowTime® ShowTime® Hymns ShowTime® DuetTime®

FF1043, 00420152 Favorites FF1036, 00420145 Kids’ Songs Christmas, Level 2
$5.50 FF1035, 00420144 $5.50 FF1040, 00420149 FF1038, 00420147
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Hedwig’s Theme (Harry The Ash Grove Come Thou Long-Expected Bling-Blang (Build a Angels We Have Heard
Potter) Bill Groggin’s Goat Jesus House) on High
I Just Can’t Wait to Be Boom Boom! Dona Nobis Pacem Chim Chim Cher-ee French Carol
King (The Lion King) Ezekiel Saw the Wheel The Hokey-Pokey Fum, Fum, Fum
Centipede and the Frog
It’s a Small World Jesus Tender Shepherd, Jig Along Home Jingle Bells
Give My Regards to Broadway
La Bamba Hear Me Mail Myself to You O Christmas Tree
Go Tell Aunt Rhody
Olympic Fanfare Little David, Play on Your Oompa-Loompa There’s Something Under
Irish Washerwoman Harp
Over the Rainbow Doompadee Doo the Christmas Tree
Li’l Liza Jane Lord, Speak to Me, That I
Part of Your World (The The Pirates Who Don’t We Three Kings of
Little Mermaid) Michael Finnegan May Speak Do Anything Orient Are
Perfect Nanny (Mary Music Alone Shall Live Michael, Row the Boat Shaggy Dog Bop We Wish You a
Poppins) My Ma Gave Me a Nickel Ashore Merry Christmas
Tomorrow
Off to Bed, Now Praise God, from Whom
All Blessings Flow What Do Witches Eat?
The Old Gray Mare
Old King Cole Rock-a My Soul
Peter, Peter Send the Light
Shave and a Haircut Simple Gifts
The Three Doughs This Is the Day
Wasn’t That a Band?
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Coventry Carol Circle Dance, Beyer
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35
Pattern Recognition and Five-Finger Scales

Pattern Recognition n Level 1 introduces five-finger tonality in C and G, with
Why are five-finger positions a necessary part of piano emphasis on tonic and dominant scale steps.
pedagogy? Because our hands have five fingers. So the n Level 2A addresses multi-key playing with transpositions
relevance of five-finger patterns applies at virtually any to D, A, and to minor five-finger patterns.
level of piano playing.
n Level 2B adds meaning to triad recognition with
Major and minor five-finger patterns are taught in Level
awareness of key, key signature, the full major scale, and
2A of Piano Adventures®—after the basics of reading are
recognition of primary chord functions—I, IV, and V7.
acquired in the Primer and Level 1. With the fundamentals
of note recognition and intervallic reading firmly in place, n Level 3A reinforces and expands recognition of chord
this multi-key approach can take hold without liability. names and chord function.
After students learn the basics of reading, we can use five-
finger positions to enhance reading skill by eliciting visual, n Level 3B introduces chord inversions and minor
kinesthetic, and aural pattern recognition. tonalities.
n Level 4 reinforces these minor key patterns with special

Contour and Context focus on the V7 in root position, and reviews chord inversion
A student who reads only note-by-note misses the musical recognition.
picture. Why? Because music is coded in contour and
context. Contour of musical line depicts phrasing and the n Level 5 introduces new flat-key patterns and recognition
expressiveness of changing pitch. Contour is decoded of I, IV, and V chords in any inversion and any key.
through recognition of pitch direction and interval.
Context suggests another level of pattern recognition. Intervallic Reading
Context provides harmonic meaning through recognition of Decoding contour requires recognition of direction (up,
chords, key, tonic/dominant relationships, and so on. Context down, same) and interval span (step, skip, fourth, fifth,
provides artistic meaning through recognition of form and and so on). This reading skill is not a substitute for note
motivic relationships, as well as more subtle relationships recognition, but a skill to be learned concurrent with note
found through conscientious study of the score. naming. For this reason, the Primer level merges note-name
recognition with intervallic/directional reading. These skills
From the standpoint of artistry, understanding of contour go hand-in-hand.
and context can reduce a dense score to relative simplicity,
and thus provide musical meaning that leads to expressive Note-name recognition is essential for student confidence.
playing. From the standpoint of reading skill, an ability to Yet, directional/intervallic reading is not of secondary
grasp contour and context simplifies the reading process by importance. It is essential for grasping musical contour
allowing visual information to be processed in “chunks” and for fluent sightreading. Intervallic reading is pattern
through recognition of familiar patterns. recognition in its most elemental form, and rests on a
foundation of note recognition.
Piano Adventures® systematically builds skill in pattern
recognition:
n The Primer introduces intervallic reading and Level 1

reinforces it.
36
Five-Finger Scales of black and white, which is visual. We also stress the feel
The importance of major and minor five-finger patterns may of the pattern. The pairing of D and A Major highlights both
be obvious, but let’s cite three reasons: their visual and kinesthetic similarities.
n Major and minor five-finger patterns (pentascales)

reinforce recognition of major and minor triads.
n Major and minor five-finger patterns prepare the student

for major and minor scales.
n Major and minor five-finger patterns highlight the tonic

and dominant notes.
Because five-finger patterns lie stepwise under the hand, this
context is ideal for reinforcement of intervallic reading and
for transposition. Many pieces at Levels 1 and 2A require
moving the hand between familiar positions. This movement Rhythmic “Chunking”
between positions sharpens the student’s reading, mitigates Eighth notes are not presented in Piano Adventures®
position dependence, and invites motion that can prevent a until Level 2A. This allows the student to be at ease with
locked wrist. rhythm at the Primer and Level 1. The beat can be quite
fast, unhampered by intruding eighth notes. This promotes
a rhythmic fluency based on meter, instead of a slow,
interrupted beat. Teachers readily recognize the increase in
musicality.
By not yet subdividing the beat, these early levels present a
limited set of rhythmic values which the student can readily
“chunk” into macro patterns, such as 1 1 1-2 or 1-2 1-2.
When eighth notes are introduced at the beginning of Level
2A, they are presented in rhythmic groupings.
Thus the student is led to read eighth notes, not as individual

There are three modalities involved with five-finger pattern counts or sub-counts, but in the context of a meaningful
recognition: rhythmic pattern that is felt kinesthetically, not just
intellectually.
n Staff recognition is visual
n Keyboard topography is kinesthetic Summary

Repetition of predictable patterns leads to recognition of
n Aural perception of five-note tonality is auditory these patterns. We can’t assume that random occurrence of
Since music making involves these modalities in principal patterns will lead to recognition. We need to equip
combination, the pedagogical use of five-finger scales students with tools of pattern recognition through systematic
provides a playing field for exploring the integration of presentation of patterns and a matching repertoire.
elementary patterns—visual, kinesthetic, and auditory. Through transposition, “question and answer,”
Occasionally, it’s helpful to spotlight a specific modality. harmonization, ear training, and a carefully conceived
For instance, the shift from major to minor (or vice versa) is repertoire, five-finger patterns lay a foundation of pattern
aurally striking. We introduce five-finger patterns in terms recognition that ultimately leads to a keen sense of tonality
and intelligent, fluent music reading. ❙
37
LEVEL 2B FABER PIANO ADVENTURES
LEVEL 2B
Achievement
Achievement Skill Sheet #7:
Skill Sheet #2: Elementary I-V-I
Minor 5-Finger Cadences
Patterns (challenging)
Flashcards
Developing
Artist
Preparatory
Piano
Literature Lesson
Book
I Can Read Music
Book 2
Developing Artist
Piano Literature
Technique Theory
Book 1 (challenging) & Artistry
Discover
Beginning
Improvisation
ChordTime Piano
®
Performance Level 2B Supplementary Series
Gold Star
Performance
(challenging) Classics
Popular
Popular Christmas Favorites Rock ’n Roll Jazz & Blues Ragtime & Marches
Repertoire
Achievement
Solo & Duet Sheets
Cat Prowl
Classic Sonatina
Jazz Pizzazz
Land of Dreams
Once Upon Little Tin Soldier (Duet) Hymns Kids’ Songs Christmas Jewish Favorites
a Rainbow The Notorious Pirate
Book 2
38
Level 2B Concepts
five Cs across the grand staff cross-hand arpeggios
interval of a 6th C, G, and F major scales
connected pedaling I, IV, and V7 chords in C, G, and F
eighth rest, dotted quarter note Musical form (AB and ABA coda)
Teach to make the students’ grasp of a new concept (ex. major scale)
flexible so that they can both understand the idea and apply it to a
variety of contexts.
C
b
a
f
g “Katie, let’s play Twinkle, Twinkle by ear. How are tonic and dominant
e
C
d notes used at the beginning of the tune?”
“Bryan, let’s make up a L.H. accompaniment pattern
that uses the tonic note moving DOWN to the
dominant note.
10
r y p.
Theo
Children grow musically with short creative

D I S C
O V E
R Y
encounters that relate to the larger concepts FF1084
being taught. Each new musical concept is an

14
opportunity for a creative encounter.
“Philip, will you play your G major scale from memory and
say the letter names? Now, let’s complete this melody that is
built from the G scale. Tell me, does the B section end on the
tonic or dominant?”
“Patrick, could you harmonize your G scale melody with
I and V7 chords?”
b for eac
h of the
following
.) Teach with...Expression
Artistry
Quiz: (C
ulation
ircle a or
refers to (a) the dyna

(b) the
slurs,
mics
sta cca tos, and
accents
music
Full understanding of terms and concepts
1. Artic s in the
2. Dyna
mics ref
ers to (a)
(b) the
sharps
an d sof t sound als
the loud , flats, and natur
sit ating at
each ba
r line
sical flo
w
such as articulation, dynamics, and
heavily,
he notes; mu
playing ion of the
3. Forw
ar d mo tion ref
ers to (a)
(b) the forwa
rd direct
forward motion is an ongoing
process. Students move from
shallow to deeper knowledge
Practic
e Warm-
ctice s-l
up:
for
-o-w-l-y namics.
Winte r Wind through their exposure to
First pra and dy r)
ulation, (C mino
artistic teaching and expressive
, ar tic
notes
all en ge: N. Fab
er
Wind Ch a howling ward motion.
Winter mood of for
eate the dynamics and
œ œ
egro! Cr
Play all
wi nte r wi nd with
exciting
bœ œ œ œ
3 2
3
repertoire.
œ œ œ >
2
3
b œ œ œ ˙
2
Allegro
3
œ œ > œ b
˙
2
3
1
& 4 b œ> œ œ œ
3
œ b
˙˙ “Michael, in which measures
f b ˙˙
? 34 do you have a sense of
1
5 3
œ>
20
n s p.
∑
3
Lesso
swirling, forward motion

5
Œ œœ œœœ
5 4
1
∑ œ. . bœ œ œ bœ œ
œ
4
& ˙.
5
˙. over the bar lines?”

F œ œ #œ
œ. œ. œ œ b œ
2 3
1
? œ bœ œ
1 2
over 1
“Sarah, where would

FF1099
2
1
16
you use a light hand bounce as
part of the articulation?”
39
Developing Artist
Preparatory Piano
Literature - with CD
FF1027, 00420136
$5.95
See Level 2A for content
Level 2B Technique & Artistry Popular Repertoire Christmas

Lesson Book FF1099, 00420192 FF1259, 00420237 FF1140, 00420208
FF1084, 00420177 $6.50 $6.95 $4.95
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America Argentina
Auld Lang Syne Etude in C Silent Night
Grand Waltz in F
I Want to Hold Your Hand
Twelve Days of Christmas
Developing Artist
Beach Party
The Hurdy-Gurdy
The James Bond Theme
Up on the Housetop Piano Literature
Boom Boom!
Boxcar Rumble Rip Roarin’ Rag
Linus and Lucy
What Child Is This? Book 1 - with CD
Over the Rainbow
Camptown Races Duet Sunshine, Raindrops Sightreading Activities FF1030, 00420139
The River
Canoeing in the Moonlight Swiss Music Box
Activity Pages $6.95
Carefree Waltz Water Skiers
See Level 3A for content
Cathedral Chimes Winter Wind
Cross-Hand Arpeggios Achievement Solo
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Theme Little Tin Soldier (Duet)
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I Can Read Music The Notorious Pirate
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Riding the Wind
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Music Box Waltz
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40
ChordTime® Piano Supplemental Series Classics MIDI

GM1021, 00420283 $9.95
Favorites MIDI
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Hymns MIDI
GM1033, 00420294 $9.95
ChordTime®
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FF1041, 00420150
ChordTime® Popular ChordTime® ChordTime® $5.95
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NFMC In a Cabin in the Woods
Circle of Life Down by the Riverside CHOICE Dill Pickle Stomp Amazing Grace
Mama Paquita
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New River Train
The Entertainer Everybody Loves Saturday God Bless the Child Blest Be the Tie That Binds
Night Oh! Susanna
Heart and Soul Come Bless The Lord CHOICENFMC
The Great Meat Pie Left-Hand Louisian’ Pizza Time!

Lean on Me Give Me Oil in My Lamp
Hot Cross Buns Ol’ Man River Rubber Duckie
(Meet) the Flintstones Go, Tell It on the Mountain
Long, Long Ago Tea for Two Teddy Bears’ Picnic
She Loves You Hallelujah, Praise The Lord
Mexican Clapping Song Tuxedo Junction Tingalayo
Star Wars (Main Theme) He Leadeth Me
Rise and Shine CHOICE
NFMC
Watermelon Man I’ve Got Peace Like a River
We’re All in This Together
Skip to My Lou When the Saints Go Lord, I Want to Be NFMC
(High School Musical)
Three Blind Mice Rockin’ In a Christian CHOICE
Turkey in the Straw Where Is the Love? This Is My Father’s CHOICE

NFMC
Where Has My Little Dog Whistle Stop Blues World

Gone? Praise to the Lord, NFMC
CHOICE
The Almighty
and more...
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FF1192, 00420225
ChordTime® Classics $5.95
FF1020, 00420129 Artza Aleenu
Hanukah
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Roses from the South Jingle Bells
Theme from “The Surprise”
Lost in the Fifties Tonight The Entertainer ChordTime® Jolly Old Saint Nicholas
Mr. Tambourine Man
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certo in E Flat Raincoat Rag
Wipe Out Rockin’ Around the
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Witch Doctor (Alvin and CD1038, 00420103 $10.95
the Chipmunks) The Thunderer Rudolph the Red-Nosed
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Yesterday CD1014, 00420081 $10.95 Silent Night
You Really Got Me Favorites CD Twelve Days of Christmas
CD1015, 00420082 $10.95 When Santa Claus Gets Your
Christmas MIDI Letter
GM1044, 00420303 $10.95
41
The Power of Primary Chords

Perhaps the favorite application of music theory in piano The Chord Accompaniment
instruction is the teaching of I, IV and V7 chords in that It is not enough merely to read the notes of a chord, or
familiar cluster surrounding the root-position I chord. This even to recognize the notes as a chord. A student needs to
aspect of piano pedagogy is a guiding concept for Level 2B understand the role of chords in accompanying a melody. So,
of Piano Adventures® and the corresponding ChordTime® immediately after introducing the three-note V7, we present
Piano series. a two-hand accompaniment for Camptown Races with the
This simple chord formula is favored for good reason: melody displayed on a third staff. This “piano/vocal” score
provides much insight for the student: conceptualization
n The chords are easily accessible of melody and accompaniment, the utility of I and V
n They reduce the harmonic language of many diverse harmonies, the concept of chord progression, and exposure
styles to a common denominator to ensemble playing.
n They provide a basis for creative applications in arranging

or composing.
Reading Chord Symbols
With each new key (C, G, and F), chord patterns are
presented under the heading “Reading Chord Symbols.”
Staging the V7 Chord After the student blocks the chords, have him or her play
The earlier levels of Piano an accompaniment that follows the given chord progression.
Adventures® work with a two-note
V7 chord that lies readily under the
hand. This allows for easy and rapid
switching between I and V7 chords.
Using the more common three-note V7 chord at early
levels can sabotage the student’s rhythm at the bar line
because of the difficult shift of finger five. In contrast, a The teacher can draw bar lines between the chord symbols
two-note V7 chord allows the student to maintain rhythmic (see above) to show a chord chart more specifically.
fluency and, importantly, the musicality of a flowing meter. Time spent listening, memorizing, and transposing these
chord progressions is time well spent. Then, let your student
loose to create melodies and various accompaniment patterns
based on the chord progressions. The creative questions
that end each unit will provide nudges toward such work.
For most students, though, you’ll want to push the creative
activities even more. It’s amazing how much similarity there
Thee next steps toward using three-notes for the V7 are
is among chord progressions, and how much value is derived
presented in stages at Level 2B: the interval of a 6th and the
from working them over and over.
leading tone. In teaching the major scale, we help the student
hear the leading tone move by half step to the tonic. Then we
help the student hear the leading tone of the V7 chord resolve The IV Chord
to its tonic note. Indeed, this leading tone is the new note of The hip, barrelhouse LH of Boxcar Rumble reinforces
the V7 chord. By addressing the V7 in stages across Levels the 6th and hints at an alternating I-IV pattern. You might
2A and 2B, we eliminate the technical hurdle and promote a revisit this piece after the IV chord is learned, adding the
heightened aural sense of the V7. omitted chord tones to the LH pattern. For a somewhat easier
variation, repeat each chord before changing harmony. You’ll
still want to play a chord on every beat, but the harmonic
rhythm slows to a change of chords every two beats instead
of every beat.
? # 44 œœ œœ œœœ œœ .. ? # 44 œœ œœœ œœ œœ ..
œ œ œ œ œ œ
42
Accompaniments That Dance Tipping over “Snowman” Chords

We have all heard plenty of thumping thumbs in left-hand Students typically recognize chords on the staff only
accompaniments. Yes, the left-hand accompaniments can use when notes are stacked in thirds. I call this the “snowman
repetitive practice, but they also require the right technique. chord” syndrome. Our goal is to tip the chord over so that
That’s where the Technique & Artistry Books shine. For a harmony is recognized when it spans horizontally across
example, Technique Secret No. 3 at Level 2B specifically the measure and vertically over both treble and bass clefs.
works for a light thumb to remedy—or better—to prevent the The first tool in this perceptual transformation is the Cross-
thumping thumb. In fact, all of the “technique secrets” at this Hand Arpeggio, which distributes chord tones over several
level converge to provide coordination and beauty in a left- measures and between clefs. The skill continues to be
hand accompaniment: sharpened as the student moves through the higher levels of
Piano Adventures®.
n A drop of arm weight (Heavy Arms) initiates the
LH pattern. Whether we synthesize accompaniments
from a given chord pattern as in
n The energy flows through a slur gesture (Painter’s Reading Chord Symbols, or
Brush Stroke). we analyze to find chord
n The Weightless Thumb ensures a lightness for the patterns in an otherwise
non-downbeats. complex piece, primary
chords provide a common
denominator to which we
can relate aurally, visually,
and kinesthetically. The
power of primary chords is
in their simplicity. And, as a
watchword for both the student
and professional artist, “Always
The entire level is designed to achieve beauty and efficiency look for the simplicity.”
by playing several notes with a single gesture. This is
applied specifically to left-hand accompaniments through a
combination of “drop” and “up” touches.
43
LEVEL 3A
Achievement
Skill Sheet #3:
1-Octave Major
Scales and
Arpeggios
I Can Read Music

Book 3
Developing
Artist
Piano
Literature
Book 1
Lesson
Book
Developing Artist
Piano Sonatinas
Technique Theory Discover Blues
Improvisation
Book 1 (challenging) & Artistry
FunTime Piano ®
Performance Level 3A Supplementary Series
New!
Popular
Repertoire
Kids’ Songs
Popular
Christmas Achievement Classics Favorites Rock ’n Roll Jazz & Blues

Solo & Duet Sheets
Classic Sonatina in G
Willow Tree Waltz
Ragtime & Hymns Christmas

Marches
44
Level 3A Concepts
binary and ternary form ostinato and alberti bass
interval of a 7th common time and cut time
´≤ , ¥≤ , the triplet ledger lines
swing rhythm one-octave arpeggios
Analysis is not just for the student; it also applies to us as teachers.
Reflective analysis of our own teaching leads us to improvements
that keep our students winning at piano.
Ask yourself. Would my student be able to describe an Alberti bass
8 6, 7,
r y p.
pattern? Is my student ready to transpose the A section to the key of

Theo
10
G major? Would my student rise to the challenge of

m s ), p.
hyth
a more difficult piece with the Alberti bass, such as

al R
(Ped
Canario from the Developing Artist Preparatory

e p. 3
niqu
Piano Literature book?

Te c h 6
n c e p.
orma
Perf
To select an appropriate creative activity, FF1087
first assess the difficulty of the underlying

12
concept being taught. Is the challenge rhythmic?
Technical? Theoretical?
“Kristin, let’s choose chord tones to build a melody over the
Alberti bass. Now play it very high and turn it into a music
box. Or, perhaps it is an old-fashioned ice-cream truck!”
“Ryan, well done on composing Your Own Sonatina!
For next week, can you transpose it to G Major?”
I C
A G
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more ski
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firm fingertip
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know tha loudly (fo
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memorable and helps the teacher and student
t? ____
Artistr
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piece, use
a light,
the softes
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with yo
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gestures provide a technique
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toolbox for expressive playing.
d an d off
2. Fin “roun
R.O. for
(Write
Lagoon
“Vivian, how does the sound
a Misty
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Yellow M .
change with the round-off
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3 FF1100
28
45
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Eine Kleine Nachtmusik Scale Monster The Pink Panther Gavotte in C, Telemann
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Joshua Fought the Battle of Tropical Fish Activity Pages The Hunt, Gurlitt
Jericho Yellow Mood on Little Dance, Türk
Land of the Silver Birch a Misty Lagoon Little Prelude, Schytte
Looking-Glass River Melody for Left Hand,
Lunar Eclipse Schytte
March Slav Minuet, Hook
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Morning (from Peer Gynt) Achievement Skill On the Ocean Floor, Alt
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46
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Moonlight Sonata I’ve Been Working on the Misty Go Down, Moses
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47
The Role of Review

We’ve all seen an occasional precocious student move up Moving Too Fast
the levels with impressive speed. We regard this speedy What happens if we move the student into difficult
progress through the method as a reliable predictor of future repertoire too soon? We lose the opportunity for review and
success… and we are thus seduced. The high-numbered level repetition. Familiar concepts are buried in a complex setting
makes the teacher look good and the parent beam with pride. and thus overlooked, instead of reviewed. New concepts
So we tend to push students, hoping to see nine-year old Erin are encountered that the student does not and cannot yet
in Level 4, or ten-year-old Jason playing Für Elise. understand. Old skills do not become automatic. Instead,
But the actual variable that predicted success with a fast- they are skipped through before they are developed and
moving student is the ease with which the student moved eventually are buried under an accumulation of hidden
up the levels—an exceptional capacity in some students that physical tensions and habits.
makes it possible to progress quickly. A teacher’s push to get Because this danger becomes acute at the intermediate level,
there fast does not itself predict success. Indeed, it the role of Piano Adventures® Level 3A becomes clear:
can backfire.
n to provide review that consolidates knowledge
The fast track can leave knowledge gaps, feelings of
uncertainty, and may insidiously undermine technical and n to provide repetition that automatizes skill
musical development even when the student is apparently
keeping pace with the decoding of notation. It is important to n to structure an appropriate pacing for advancement
understand that a student’s level of advancement and speed of We tend to think of a method as the means to introduce
advancement are not the measures of good teaching. A better new material. In light of the above discussion, let’s instead
measure is how much the student knows and how much the reframe the role of Piano Adventures®. The method provides
student can do at his or her current level—regardless of what a structure that both prevents premature advancement and
level that may be. promotes adequate review and practice. The goal is not to
get out of the method as soon as possible; the goal is to fully
Review and Repeat employ the method to yield sufficient review for retention
The late-elementary student must absorb and apply and sufficient practice to develop deep-rooted skills. The
knowledge of note reading, rhythmic notation, chord method is more than a bridge to the literature; the method is
structures, and musical expression—all while grappling with an engine for deep learning along the way.
the physical mechanics of hand shape, arm weight, finger
coordination, and wrist relaxation. At the same time, the Spiral Curriculum
student is expected to be listening—indeed hearing—what Instructional pacing should routinely dip back to review
he/she is playing, evaluating sounds as they pass in time, and concepts already learned before adding new instruction.
adjusting to the idealized sound envisioned in the mind’s ear. When we cue the recall of earlier concepts before adding
This is not going to happen readily and does not happen fast. something new, we help our students integrate the new
Knowledge needs review so that it will endure in long-term knowledge, instead of just accumulating unrelated facts.
memory and be readily accessed. Skills need practice so Jerome Bruner coined the term “spiral curriculum” to
that they become automatized—played without conscious describe this instructional process of review. Each time
attention. Review and repetition, then, become operational a concept is revisited, it is clarified for more precise
basics for the piano teacher. We consolidate knowledge understanding or amplified for broader application. The key
with fastidious review while we steadily move forward. We point here is the necessity for review—to keep coming back
consolidate skills by practicing what the student can do well to principal concepts and enriching them with expanded
instead of practicing incorrect playing. We use repetition knowledge and application. This idea of a spiral curriculum
to make well-executed skills become automatic, freeing is designed into the theory, technique, and repertoire of
attention for new challenges. Level 3A.
48
Expanding Theory Aptitude Level 3A, and even to the playing of a full one-octave scale
The primary chords (I, IV, V7) that characterize Level 2B are in a single gesture (8-Note Scoops). Notice how expression
reviewed in Unit 1, then explored in expanded contexts: with is developed through gesture.
syncopation, with expressive articulations, and using
Alberti Bass.
The interval of a 7th is introduced by highlighting its
notational similarity to 3rds and 5ths, all notated as line-to-
line or space-to-space.
The chromatic scale builds on the half-step presentation at
Level 2A, expanding the chromatic fragments to the
full octave.
Simple binary form introduced at the beginning of Level 3A
expands to ABA; then, by the end of the level, to ABA with Repertoire to Reinforce
both Introduction and Coda. We want our students to develop a depth of skill . . . and this
takes time. With the leveling, 2A-2B, 3A-3B, the student
feels a sense of accomplishment by graduating from one
Building Expressive Technique book to the next, but doesn’t encounter too much difficulty
The carefully sequenced handling of the wrist in the too soon.
Technique & Artistry Books reaches a culmination at Level
3A with the Round-Off. The Thumb Perch at the Primer The FunTime® Piano series also offers an opportunity to
Level established the wrist height. The Wrist Float-Off at consolidate skill, through familiar tunes in a variety of
Level 1 established the range of wrist motion. Levels 2A and musical styles. A teacher can harness this series to adjust the
2B established the slur gesture. The Round-Off at Level 3A method pacing. We frequently put a student through several
refines the phrase ending, adding polish to both sound FunTime® books, one at a time, before moving up to Level
and gesture. 4 or BigTime® Piano. Students often discover a favorite
musical style while becoming increasingly comfortable with
Rotation, an important Technique Secret at Level 3A, the process of reading music.
incorporates a throwing of arm weight with rebound, thus
building on the Arm Weight secret taught at both the Primer
and 2B levels. Deeper Understanding and Broader
The “pedal by ear” secret, Pedal Rhythms, builds on the Application
connected pedaling technique secret of Level 2B, now Yes, we maintain high aspirations for our students. But
requiring the student to depress the damper pedal more instead of being concerned about speedy progress up the
quickly—on the “and” of the beat, and asking for more levels, we should focus our teaching on developing depth
careful listening. Pedaling is approached in stages throughout and breadth at the student’s current level.
Piano Adventures®: holding the pedal throughout a piece at The payoff is not just in the student’s future success, with
the Primer and Level 1, up-down pedal notation at Level 2A, the ease in which repertoire will be mastered. There is payoff
connected pedal at Level 2B, and more refined pedaling at here and now. Theory comprehension isn’t deferred until
Level 3A. advanced study, but occurs with each piece at the current
There is a continuing progression toward playing multiple level. Artistry is not postponed for later piano literature.
notes in a single gesture. The three-note slur of Painter’s Artistic playing can be heard now—in the next piece your
Brush Stroke at Level 2B expands to 5-Note Scoops in student plays.
49
LEVEL 3B
Achievement Skill Sheet
#4: 1-Octave Minor Scales
and Arpeggios
Developing
Artist Piano
Literature
Book 1 (easier)
Achievement
Developing Artist
Lesson Skill Sheet #8:
Intermediate
Piano Literature Book Cadence Booklet
Book 2 (challenging) (challenging)
Technique Theory
& Artistry Discover Blues
Developing Artist
Piano Sonatinas Improvisation
Book 1 (easier)
FunTime Piano ®
Performance Level 3B Supplementary Series
New!
Popular
Repertoire
Popular Kids’ Songs
Christmas Once Upon Achievement Classics Favorites Rock ’n Roll Jazz & Blues
a Rainbow Solo & Duet Sheets
Book 3 Etude Drammatico
Hallelujah Chorus
Millions of Stars
Whispers of the Wind
Would You Go In?
Ragtime & Hymns Christmas
Marches
50
Level 3B Concepts
playing octaves key of A minor; i, iv, and V7 chords
natural/harmonic minor scales in Am grace notes
motive and sequence key of D minor; i, iv, and V7 chords
natural/harmonic minor scales in Dm the 12 major and minor triads
triads in root, 1st and 2nd inversion 16th-note rhythm patterns
As a student progresses to higher levels, patterns and analysis that
are apparent to the teacher are still not always evident to the student.
Maintain a healthy review of earlier concepts and explain new
concepts with student-friendly, everyday language. For example, a
presenation of 16th notes could begin with “pea-nut but-ter, pea-nut
but-ter” before moving on to “1 e and a.”
D minor
“Jeremy, let’s hear the peanut butter rhythm 4. Write eac
Scales:
Natural
Minor an
h D mi d Harm
first. Then we’ll try the more advanced metric
(See pa nor sca
ge 18 in le.
the Lesso (Use whole no onic Min
n Book tes
if you ne .) Then shade
or
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b
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counting—1 e and a, 2 e and a. Way to go! “

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creativity with his or her own interpretation
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3
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inspire students to perform a cadenza freely; to set a Freely D natur rit.
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17
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j
1
!
2
œ.
5 2
4 y
students will be well on the way to

melod
œ
cing the 3
.. œ
voi
mpo II)
5
ously (Te
œ .
œœœ œ. . œœ
1
mischiev
Quickly, Œ
2 ∑ P . . œœ. œ. œ œ artistic playing.
9
&b 4 œ
. . œœ.
œ .. œ. œ œ
42
œ. p œ. œ œ
n s p.
.
. œœ œ. œ
? b 24 œ
sages
Lesso
scale pas
hand for
1
cupped
> œ œ œ œ œ œ œ
1
4
“Sam, in which passage will you use

œ >
3 2 4
5
˙ a cupped hand for the scales?

2
> # œ. œ. œ. ∑
13
œ
4
&b
3
.
œ. . œœ
œœ. œ. œ œ What technique secret will help for
FF1289
œ.
œ œ.
?b œ
1
2 the soft staccato 3rds?”
36
51
n
reductio
100% no100% and 200%
view at
Level 3B Technique & Artistry Popular Repertoire Achievement Skill Developing Artist
Lesson Book FF1289, 00420240 FF1290, 00420241 Sheet #4: 1-Octave Piano Literature
FF1180, 00420220 $6.50 $7.50 Minor Scales & Book 2 - with CD
$6.95 Technique Secrets Angel Eyes Arpeggios FF1034, 00420143
Andante Artistry Magic Pieces: Honky Cat AS5004, 00420025 $7.50
Fiesta España Cat Patrol I Believe I Can Fly $2.95 Air in D Minor, Speer
Deer in the Woods I Got Rhythm
Gavotte Achievement Skill The Bear, Rebikov
Highland Jig Etude Energico I’ll Be There for You Bourrée, Graupner
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Sheet #8: Cadence
House of the Rising Sun Dance in F Major, Mozart
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Swing Low, Sweet Chariot
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Tum-Balalaika Minuet in C Major, Mozart
Westminister Chimes Minuet in G Major,
Penzold
Old French Song,
Tchaikovsky
Polka, Hummel (Duet)
Prelude in A Minor,
Performance Once Upon a J.C. Bach
FF1182, 00420222 Christmas Rainbow, Book 3 The Return, Gurlitt
$6.50 FF1201, 00420226 Russian Folk Dance,
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All Through the Night $6.50 $4.50 Soldier’s March, Schumann
Bagatelle in G Coventry Carol Sonatina in G Major,
Amber Rhapsody
Fascination God Rest Ye Merry, Beethoven
Crystalline Rag
Funeral March of a Gentlemen Waltz Macabre, Faber
Marionette Rainbow Splendor
Hallelujah Chorus Yi-Ki, A Mesopotamian
Shimmering Waterfalls
Theory Glad Cat Rag Joy to the World Elephant, Poe
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FF1181, 00420221 Parade of the Tin Soldiers
Valse Indigo
Hava Nagila Silent Night
$6.50 Legend of Madrid Toyland
Writing Minuet in G Twelve Days of Christmas
Sightreading Piano Concerto No. 1 Sightreading Activities
Ear Training The Piano Playin’
Chocolate Eater’s Blues
The Return Background
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Accompaniments
The Tempest
Lesson Book
Enhanced CD
CD1006, 00420073 $10.95 Developing Artist
Developing Artist Piano Sonatinas
Piano Literature Book 1
Popular Repertoire CD
CD1028, 00420094 $10.95 Book 1 - with CD FF1110, 00420199
Popular Repertoire MIDI
FF1030, 00420139 $5.95
GM1036, 00420297 $10.95 See Level 3A for contents
$6.95
See Level 3A for contents
52
FunTime® Piano Supplemental Series

FunTime®
Accompaniments
Christmas CD
CD1039, 00420104 $10.95
Classics CD
CD1011, 00420078 $10.95
Favorites CD
CD1012, 00420079 $10.95
Christmas MIDI
GM1045, 00420304 $10.95
FunTime® Popular FunTime® Favorites FunTime® FunTime® Hymns Classics MIDI
FF1007, 00420116 FF1054, 00420163 Jazz & Blues FF1033, 00420142 GM1024, 00420286 $9.95
Favorites MIDI
$6.50 $6.50 FF1010, 00420119 $6.50 GM1023, 00420285 $9.95
Colors of the Wind Arkansas Traveler $6.50 See Level 3A for contents Hymns MIDI
Eleanor Rigby Chopsticks Come On, Summer GM1034, 00420295 $9.95
He’s a Pirate! (from Pirates Give My Regards to Dallas Blues
of the Caribbean) Broadway Frankie and Johnny Achievement Solo
I Saw Her Standing There Glow Worm House of the Rising Sun & Duet Sheets
La Bamba Greensleeves In the Mood Etude Drammatico
The Lion Sleeps Tonight Hello, My Baby Love Potion No. 9 A2038, 00420064 $2.50
Moonlight Sonata I’ve Been Working on the Misty Hallelujah Chorus
(Beethoven) Railroad ASA7002, 00420017 $2.50
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Music Box Dancer Scarborough Fair Eater’s Blues Millions of Stars
Pachelbel Canon Skaters’ Waltz Royal Cat Blues ASA7003, 00420018 $2.95
Phantom of the Opera Song of the Volga Boatmen St. James Infirmary Whispers of the Wind
Star Wars (Main Theme) Two Guitars A2012, 00420041 $2.50
This Masquerade
A Whole New World Would You Go In?
(Aladdin)
Tuxedo Junction FunTime® A2028, 00420055 $1.95
Christmas
FF1006, 00420115
$6.50
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FunTime® Classics Discover Blues
FF1023, 00420132 Ragtime & Marches Impovisation - with CD
FF1022, 00420131 $6.50 FF1008, 00420117 FF1155CD, 00420215
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Barber of Seville Bye Bye, Love
Blue Danube Waltz Come Go with Me
American Patrol FunTime® Kids’ Blues improvisation,
The Ants Came Marching Songs ear-training, theory and
Brahms Waltz Hey Jude Dixie technique. Includes en-
Dance of the Sugar Plum Hound Dog The Easy Winners
FF3004, 00420324 hanced CD with background
Fairy accompaniments (audio and
Howl at the Moon The Entertainer $6.50 MIDI)
Last Night of Summer Glad Cat Rag The Addams Family Theme
In the Hall of the Mountain
King Mumbo Jumbo Maple Leaf Rag Arabian Nights (Aladdin)
Light Cavalry Overture Rockin’ Pneumonia and the Parade of the Tin Soldiers Be Our Guest (Beauty and
Boogie Woogie Flu the Beast)
Musetta’s Song Snowflake Rag
Rockin’ Robin Consider Yourself (Oliver)
Peter and the Wolf Theme Stars and Stripes Forever
Runaround Sue Edelweiss (The Sound of
Pomp and Circumstance When the Saints Go Music)
Stand by Me Marching In
Scheherazade Theme Hello Muddah, Hello
Toreador’s Song Fadduh!
“Unfinished” Symphony Walking on Sunshine
Theme Yellow Submarine
You’ve Got a Friend in Me
(Toy Story)
53
Playing Fast
This is what the student has been waiting for—a chance Rotation
to play fast. “Now I can really show off!” Then we tell the Rotation refers to the back-and-forth turning of the forearm,
student, “The first lesson in playing fast is … slow practice.” as if turning a doorknob or a key in a lock. The efficacy of
We’ve just taken the wind out of their sails. Well … almost. forearm rotation is that it plays two notes with the effort of
There are secrets to playing fast. And if we let students in one. In Interval Review the tenuto notes are played with the
on these secrets, they are usually more than willing to go forearm rotating toward the thumb and the recurring Cs are
through the necessary paces to achieve fast playing. played effortlessly on the rebound. The many notes of the
passage are thus reduced to a simple descending major scale.
Building Speed Efficiency is gained by employing the natural fall of a turned
It is tempting to push for virtuoso playing when we see hand and its rebound.
potential, but pushing into big repertoire almost always
& 44 Jœ œ- œ œ- œ œ œ œ œ œ œ œ. w
1
5 4 3 2
backfires if we fail to ramp up through prerequisite stages. R.H.

- - œ- œ- œ. w
In fingerwork, for example, the student must develop F 2nd 3rd 4th 5th 6th 7th 8ve
(octave)
coordination that allows instantaneous contraction followed
by relaxation, and precise contraction that does not also
tense up neighboring muscles. This takes time to develop Gesture
and requires specific practice routines. Virtuosity cannot be Much of what enables speed at the keyboard is the playing
forced; virtuosity unfolds from well-practiced repetitions that of several notes in a single gesture. For example, in Phantom
are based on correct information and appropriate monitoring. of the Keys, the RH eighth-note passages should be initiated
by a single drop of arm weight that carries through the entire
Pulsing passage. This drop takes the wrist rather low as it transcribes
The Level 3B Lesson Book opens with Beethoven’s Rage the lower half of a “wrist circle.”
Over a Lost Penny, providing a review of cut time. Why What do pulsing, rotation, and slur gesture have in common?
does cut time so effectively increase speed? Because it All of these techniques carry many notes on a single
invites pulsing every two beats instead of pulsing every beat. impulse. This gives efficiency and motion, technical fluency,
Consider a set of four eighth notes. If we provide a metric and musical artistry.
pulse on both quarter-note beats, the passage bogs down with
heaviness, as if running with boots in the sand. If we pulse
only on the first of the four eighth notes, we get fluency Slow Practice
and musicality. So, how do you practice slowly, yet execute the gesture?
The simplest way is to use slow practice to exaggerate
the gesture. Slow practice just for finger work has limited
workability because the gesture required for speed and
expression may be absent. Bringing the gesture into the slow
practice makes slow practice exponentially more valuable.
Sometimes you need to “sprint” with a passage to find the
gesture, then execute it in slow motion.
With a facile technique, this can all be done in very little
Measure 3 invites a drop of arm weight into the first of the time. But students need yet to develop a facile technique.
four eighth notes (beat 1) and a wrist float-off at the end of Developmental steps need to be taken to build fundamental
the slur (beat 3). Match this “down-up” motion in the left finger coordination.
hand. The four quarter-note chords are played as “DOWN-
and-UP-and.” The down-up motions match that of the right Note, however, that we’re not going for building muscles or
hand and the “ands” are played with a light ripple. Notice “finger power.” We’re looking for instantaneous, precision
how the half-note pulsing of this down-up gesture matches “firing” of very specific muscles, with simultaneous
the feel of cut time. It propels the beat, not only through half- relaxation of the surrounding muscles. Thus, coordination
note pulses, but from measure to measure. is key; strength is not. (Arm weight, rotation, and forearm
thrust provide sources of impact that are much more
effective than finger strength.)
54
For students at the early stage, the firing of a finger generates

many contractions in a generalized area. Specificity is
weak; generalized tension is high. Slow practice can
provide a relaxation immediately after the note is played,
thus allowing the inappropriate contractions to relax. Over
time, generalized tension diminishes and finger contractions
become very specific with concurrent relaxation of proximate
muscles. This is how slow practice, done correctly and over
time, can build the neurological basis for speed.
In Piano Adventures®, we accelerate the development of
this sophisticated neurology through specially developed
exercises. We help build “fast fingers” by incorporating the
process of “play-relax” with slow practice and repetition.
(See the Technique Secrets of Levels 2A and 2B.) Adding the
correct gesture provides the formula for expressive virtuosity.
Uptouch
Alignment We’ve discussed arm weight at previous levels. But
We open the Level 3B Technique & Artistry Book with a efficient playing also utilizes what we call the “uptouch.”
secret called “Closed, Cupped Hand for Scale Passages.” Here the hand springs from the surface of the key, with
Here we contract the hand, bringing the fingers close active fingers and a thrust of the forearm. The spring of the
together with visibly tall knuckles. This contracted position up-touch sends the hand and fingers to upcoming notes,
allows the arm and bridge of the hand to align with the in precise preparation for the next chord or passage. The
finger that plays. We avoid any angle between the playing touch is effective for either loud or soft chords, and makes a
finger and arm, preferring straight alignment. In this way the wonderful counterpart to the “drop-touch” of arm weight.
weight of the arm can transfer finger-to-finger for efficiency In summary, we work slowly with smart practice to build
and evenness of touch. The contracted, closed, cupped hand speed. Students want to play fast, so let’s give them the tools
invites continuous alignment through stepwise passages. A to do it correctly. We can harness our students’ motivation
slight adjustment is made by the wrist and forearm for each for speed to elicit hours of practice.
finger being played. You can easily check the alignment at Then students can indeed show
any time by touching the thumb to the tip of the playing off—with flying fingers and the
finger, then releasing. This brings the hand (with its tall groundwork for virtuosity.
knuckle) and the forearm into balance over the fingertip.
This is an advanced application of the Primer Level 5
technique-secret “Making Os,” which builds a firm
fingertip. At Level 3B, the “closed, cupped” hand- 4
shape essentially brings the “O” to the keyboard for
effective passagework.
3
14
2
55
LEVEL 4
Developing
Developing Artist Piano
Artist Piano Literature
Literature Book 3
Book 2 (easier) (challenging)
Achievement
Skill Sheet #5:
2-Octave Major
Scales and
New! Arpeggios
Developing
Artist Piano
Sonatinas
Book 2 Lesson
Book
Developing Artist Technique Theory Achievement

Selections from the Skill Sheet #8:
Notebook of Anna & Artistry Intermediate
Magdalena Bach Cadence Booklet
BigTime Piano ®
Popular
Repertoire
New!
Popular
Kids’ Songs
Christmas Achievement Classics Favorites Christmas

Solo & Duet Sheets
Ave Maria
Halloween Sonatine
Jesu, Joy of Man’s Desiring
Nocturne
Shimmering Waterfalls
Sonatina in G Major,
Beethoven Rock ’n Roll Jazz & Blues Ragtime & Hymns
Marches
56
Level 4 Concepts
review of 16th-note rhythm patterns 16th notes in ¥≤ time
pattern and sequence more study of chord inversions
Am, Dm, Em natural/harmonic scales V7 chord in root position
all sharp key signatures 2-octave scales: C, G, D, A, E, B
We might think of each student as having a “musical biography”—a
portfolio of learned skills. Analysis plays an important part. Level 4
students should know chord inversions, key signatures, and minor
scales as part of their growing portfolio.
“Ben, for this theory page, let’s examine each “chord specimen”
closely. What is the root of the chord? Is it in root
position, 1st inversion, or 2nd inversion? And is the Sonatina
in C
chord major or minor? PATT
1st Them ERN
e
Allegro
(Œ = 88-
104)
& 42 œ œ œ
c o d
3
a
œ œœ
5 5 2
3 1
1 Fra
œ œœ
5 3 1 (1858-191 nk Lynes
3, U.S
œ. œ.
original .A)
2 1
2nd inv
?2 p
ersion form
œœœœœœœ
4
1
1st invers
4 ˙
2
œ ˙
ion
root pos
itio n
˙ ˙
Analysis of chords prepares students to 5
œ œœ
5
œ œ. œ. œ.
& œ œœ
3 5
3 1
compose with chords and inversions.

1
œ œœ
5
1 (2)
5
œ. œ.
3
? ˙ œ œœœ œ œ œ
3
œ ˙
2 1 3
Consider having students write their own ˙

2nd Th
eme ˙
1st Theme based on the Sonatina in C by Frank Lynes. œ œ œ # œ Jœ
9
œ œ. œ. œ.
3
& œ œ œ # œ Jœ
2 3
‰
3
F
? œ.
pattern ‰ œ œ œ œ Jœ
3
‰ œ œ œ # œ Jœ
3
The opening two measures are simply a C chord and œj œ.

sequence
‰
œj œ .
sequence
Jœ
5
13 3 sequence
inversions played against a LH tonic note. & œ œ œ # œ œJ

3 4 œ. Jœ
‰ œ œ œ œ Jœ
3 Transit
ion back
to 1st Th
sequence ‰ œ œ œ#œ œ œ
3 eme
? œdim œ
2
. .
3
Measures 3 and 4 feature a stepwise passage played œ œ œœœœ œœ

5 3
Jœ
1
3
sequence
#œ .
3 5
Jœ p œ
3 1
2
˙
against the dominant. ˙
1
3 cresc.
17
& œ œ œ#œ œ œ œ œ
1
3 2
2
œœœ
1
1st Them 1
œ œ #œ œ œ œ œ e
4
The first theme continues similarly on the dominant at

1 3 1 2
? ˙ œ
3
œ œœ
5
˙ œ œœ
5
p œ. œ.
mm 5-6, then back to the tonic at mm 7-8. 6
Lesson p.1 ˙
˙
4 (Medie
val Fair)
Voila! A first theme!

5
FF1092
for Peace
P E A C
E Ceremony
Key of
____
Major
Students are now literate enough to discuss
er
N. Fab
written
loco – as er an
aft
√ sign.
It occurs re 26)
œ œ
5
œ
5
n œœ
1
3
asu y
(see me jesticall
œ many descriptive words. The tempo
1
ately, ma
œ œ
3
Moder
5
3
˙˙ ˙˙˙ ...
5 1
# # 4 ˙˙˙
5 2
3
˙
1
1
& 4 Œ ˙ ˙ for Ceremony for Peace is marked

œ œ œ
3
f Œ
œ !
1
!
? # # 44 Majestically. We might also use words
1
w
5
œj œœ œ
5 2
5 3
œ ..
nn œœ .
1
œ œ such as, “impressive, noble, dignified.”

5
n œœ œ
1
œ
3
œ œ
# # ˙. n˙
4
& ˙˙ .. n˙ Discuss with the student which

˙ !
1
Œ ˙ !
œ œ œ
3 3
?## !
œ ! techniques might be needed for such
1
œ 5
! œj œ œ
3
nœ .
5 1
b œœ ..
3
œ
5 2 1
2
˙.
œ a majestic piece.
œœ œ œ
5 1
## ˙ P
7 2
1
& n ˙˙ Œ bw
œœ.. œj œ
3
F !
2
“Ingrid and Kai, point out

œÓ
3
?## œ œ œ ! 5
œ
3
! measures in which we use an

1
n œ . œj œ
1
5
Œ œ b œœ ..
3
1
5 2
3
. œj œ b œ ˙
1
## n b œœ .. extended hand position. In what

3
œœ n œ œ œ œ b œ
10 4
bw
2
1
& bœ œ œ
3
bw bœ œ ˙ !
? # # n ww
1
5
! FF1090 passages would arm weight be
n !
2
! especially important?”
24
?30
40 30-31
57
Welcome to the Second Edition of Level 4!

This new edition delivers a robust and exciting path into the intermediate levels. The four core books are
Lesson, Theory, Performance, and the new, dynamic Technique & Artistry Book! When using this edition,
you will note...
Smooth integration of technique and artistry for the intermediate student
Repertoire that reinforces music theory
Appealing compositions in a variety of musical styles
Books from the previous edition can easily be interchanged with books from the new edition.
For tips and correlation charts, please visit: www.PianoAdventures.com/secondedition
G Major: The V7 Chord in Root Position

G.
œ œ. œ. œ. ˙
Level 4 Lesson Book
? # 4 œœ œœ œœ œœ œ œ œ œ œœœ. œœœ. œœœ. œœœ. œ œ ˙
D
˙
1
4
3 1
The Lesson Book opens with a progress chart that includes full
5 3
L.H. 5
F I chord one - two - three - four - five - five V chord root -3rd - 5th
?# œ œ œ
6
œ
D7 broken
5
3
2
1 w
w
D7 blocked
w
w
1
2
5
˙˙
no 3rd
˙
1
3
5
˙˙
no 5th
˙
1
2
˙˙G D7
1
5
˙
˙ 1
2
w
w
G
page-by-page correlations of the four core books. The second edition
root - 3rd - 5th - 7th V7 I V7 I
Lesson Book is now organized in related major and minor keys.
œ
Review: Grace note œj
A grace note is an ornamental note played
Increased emphasis on root position V7 chords and two-octave scales
quickly into the note that follows. Your teacher
will help you play the grace note in measure 4.
links applied theory to the pieces being studied.
Grand Central Station
#4
Moderato
N. Faber
Many new repertoire pieces invigorate the book and build a
‰ œj œ œ œ œ œ œ
& 4 œ œ œ œ œ œ œ œ œ œ œ
1 1
P w
stronger foundation in harmony and technique.
?# 4 w
w w
nw w
w
4
2
4
2
5
1
2
5
Power scales, arpeggios, and V7 chords ground the repertoire.
#
4
bœ œ nœ œ ‰
3 1 2 3 5
‰ œj ˙ œ ‰ œj ˙
œj œ œ œœ.
2
&
1 3 2 1
œj
F œ ˙ œ. œ ˙ Students develop skills in accompanying and reading chord
b˙ . f
?# b˙ . Œ œœ ‰ œj ˙ ‰ œj ˙
1
5
. 1
nœ ˙ b b œœ. nœ ˙ symbols with a Lead Sheet of The Blue Danube.
5
œ >œ œ œ œ
D7 G
#
7
Œ Œ œ œ œ œ œ
5
& œ œ œ œ œ
5 1
> œ
P
? # ˙. ˙˙ .. w
w
Œ ˙. Œ
1 2
2 4
˙.
5
! V7 I
30 25 ?20 15 FF1090
Level 4 Theory Book

This completely revised Theory Book provides reinforcement and creative exploration of intermediate
theory concepts. Ear-training and eye-training exercises add aural and visual skills.
Level 4 Performance Book

The Performance Book offers a variety of pieces that reinforce
the concepts presented in the Lesson Book. This second edition
includes the best of the original edition plus exciting new
pieces—from the jazzy music of the malt shop to the haunting
sounds of the Scottish Moors.
58
Level 4 Technique & Artistry Book New!

This new, dynamic Technique & Artistry Book is a welcome addition to the
Level 4 curriculum. It combines two essential elements of pianism: technical skill and
artistic performance. This smooth, integrated approach builds basic elements of piano
technique, always directed towards an artistic goal.
Four preparatory exercises called Technique Secrets are presented at the beginning
of the book. These elegantly simple exercises develop a technical foundation,
training the student in the following:
Alignment (of forearm, hand, and finger)
Te c h n i q u e S e c r e t :
half circle / full circle
Warm-up with Lead with the Wrist (p. 3). Drop and follow-through
This broken chord pattern moves from A minor to

The Mountain King Weighted tone and unweighted tone Technique & Artistry
C major. The arrows indicate the circular wrist motion. 1. In the Great Hall
• Play by memory.
Steady march Half circle / full circle wrist motions FF3012 00420339
? 24 ‰ œj œ œ
Am
1 2
œ œ œ œ
C
4 2 1
˙
Am
‰
1
œ
2 $6.50
&
œj œ
? 24
p Swoop un - der, o - ver, and a - round. P
œœ
Swoop un - der,
Expressive playing is explored at the end of each unit in
Œ Œ
œœ ˙˙ ˙˙ .
1
5
.
1
5
an Artistry Magic piece. The student focuses on these musical goals:
C Am
œ œ œ œ œ
C
˙
‰ Jœ œ
5
& œ œ œ œ ˙ ..
4 2 1 1 2
o - ver, and a - round.

F Swoop un - der,
œœ. ˙˙
o - ver, and a -
˙˙
round. Shaping phrases (with crescendo and diminuendo)
? ˙˙ ˙˙ Œ ..
• When you are comfortable with legato circles, play the R.H. staccato.
Use the same wrist circles as used for legato.
Using weighted/unweighted touch to produce dynamic colors
2. Chased by the Trolls Expressive playing through wrist motion
Allegro
4
&4 ∑ ∑ ∑ ∑ ..
? 44
œ œ.
P Spring, down - up,
œ Œ œ œœ.
spring, down - up,
œ œœ. œ
spring, down - up, down -
œœ. œ œœ.
up, down - up!
Rhythmic flow with two-hand gestures
œ. œ 1 1
œ. œ Œ œ. œ œ œ Œ ..
5 5 2
8 Lesson p.12 (Hall of the Mountain King) The book features etudes by Czerny and Streabbog, along with original FF3012
pieces and exercises. Many of the exercises relate directly to challenges

in the Lesson Book pieces. Standard technical patterns—such as scales in contrary motion and
broken chord patterns—are practiced with guidance from the Technique Secrets.
A useful 16-page Scale and Arpeggio Appendix is included at the end of the book. Many
teachers will find this to be helpful in meeting the technique and theory requirements of state
and national music organizations.
S C A L E & A R P E G G I O A P P E N D I X
Two-Octave Major Scales in Parallel Motion œœœœœœœœœœœ

E Major
# # œœ œœœ
5 4
œœ œœœ
3
& # # œœœœœœ
3 1 1 3 1 3
3 1
œœ
1 4 1 1 4 1
Teachers and students may choose the dynamics for each scale
œœœœœ
• Play hands separately or together.
? #### œ œ œ œ œœœœœ
œœœœœœœ œœœœœ œœœœœ
C Major
?
œ œœœœ
œœœœœ
&
œœœœœ
5
& œœœœœœœœ
4 1 4 3
1 1 1 1
œœœœ
1 3 3 3 1 4 3 1
5 1 3 1 4 1 3 1 2 3 1 4 1 1 5
3
œœœœœ
? œ œ œ œ œ œ œ œ&
B Major
œ
œœœœœ
œ œ œ œ œ œ œ? œœœœ # #
& # ## œœœ œ œœœœœ œœœœœ œœœœœ
5 4 1 4
4 1 3
œœœœœ
1 3 1 3 1 1 3 1 3 1
1 3 1
4
1
2
3 1 4 1 3
1
5 œœœœ
œœœœœ
5 3 1
? #### œ œ œ œ
# œœœœ œ œ œœœœœ œœœœ
?
G Major &
œœ œ œ œ
# œœœœœœœœœœœœœ
4 1 4 1 1 4 1 2 3 4 1 3 1 4
3 4
œœœœœ
5 1
1 4 1 4
&
1 3 1 4 3 1 3 1 3 1 3 1
œœœœœ
œœœœœ
F Major
œ
œœœœœœœœœœœœœ œœœœœœœœœœœœœ
4 1
œ œ &b
The appendix also includes œœ œœœœœ
1 2 3 4 1 3 1 4 3 2 1 4 1 3 1 4 1
?# œ œ œ œœœœœ œœœœœ
œœ œ œ œœœœœ œ
arpeggios, scales in contrary
4 1 3 1 2 3 1
?b œ œ œ œ œœœœœœœœœœœœœ
œ œœœœœ
5 4 1 3 1 5
œœœœœ
1 3 1
œ
motion, chromatic scales, and
4 1 3 1 2 3 1 1
5 1 4 1 3 5
œœœœœœœœœ
1 3
D Major
# œ œœœœ
5
œœœ œœ
4
B≤ Major*
& # œœœœœœœ
3
various broken chord exercises. œœœœœœœœœœ œœœ

3 1 3 1 1 3 1 3
œœœ
1 4 1 1 4 1
b
œœœ œœ
4 3 1 4
4
&b
1 2
œœœœœ
1 1
œœœœœ
2 1 2 3 1 3 3 1 3 1 2
œ œ
? ## œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ ?œ œ œ œ œ œœœœœ
œœ œœœœœ ? b b œ œ œ œ œ œ œ& œ
œ œœœœœ œœœœ
5
1 3 1 4 1
3 1 2 3 1 4 1
3
1 5
œ œœœœœ
?
3 2 1 4 3 2 1 3 4 1 2 1 2 3 4 2 3 1 3
2 1 1 4 1
œœœœœœœœœ œœ
E≤ Major*
œœ œœœ
A Major
œœ œœœœœœœœ œœœ
3 2
# # b œœœœœ
1 1
&b b œœœœœœ
(3) 4 4
4
œœœœœ
1
& #
5 1 2 1 1 1
œœ
4 1 4 3 4 4 1 3 3 1 2
œœœœœ
1 3 1 3 1 1 3 1 3 1
œœœœœ œ œœ œœœœœ
œœ ? bb œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ?
? ### œœœœœ & œœœ œ
? œ œ œ œ œ
œœœœ
œœœœœ 5
œ œœœœ œœœ
3 1 4 1 3 1 2 3 4 1 3 1 5
b
3
œ 1 4 1 3 2 1 4 2 1 2 1 3 4 1 3 1 4 1 3
1 1
*Some students find it useful to learn B≤ and E≤ early for jazz band, festivals, or achievement testing.
40 FF3012 FF3012 These keys are formally introduced in Level 5. 41
59
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60
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61
Lyric Playing and “Personal Sound”

At Level 3B, we appealed to the student’s interest in fast Motivation isn’t the only benefit of exploring many styles.
playing. At Level 4 the student learns lyric playing—the A variety of styles invites a range of fundamental
ability to project and beautifully shape a melody. We competencies which coalesce into the essentials of
positioned lyric playing after fast playing because it requires intermediate piano playing: note-reading, chord recognition,
more mature expression. We like to discuss the excitement steady tempo, dynamic contrast, pedal coloring, coordination
of speed and the expressive quality of lyric playing as of fingers, wrist, arm and torso, technical gestures, long line,
contrasting modes of expression—both powerful in melodic shaping and projection, and so on.
different ways.
While this list is not intended to be comprehensive, even
Almost every student can relate to facile speed at the for elementary piano pedagogy, it nonetheless suggests a
keyboard, but most need to be coached into the expressive range of skills with an implication of sequence. The method
mode. With exposure, most students find the more subtle levels provide proper sequence, and the special repertoire
expression personally rewarding. characteristics of each level help provide focus.
Lyric playing isn’t entirely new to the student. Back in Level
2A we even devoted a unit to Shaping the Phrase. Building Focus of Repertoire
on the Level 1 Wrist Float-off, the Technique & Artistry It is easy to assume that once taught, a concept is learned.
secrets gradually develop more sophisticated wrist gestures. Experience tells us otherwise. Neuroscience informs us
Painter’s Brush Stroke at Level 2B particularly addresses that cognitive patterns and motor skills must be repeated
shaping the slur. At Level 3A, the Round-Off ensures the to be retained. If at level 3B we didn’t immerse the student
student hears a softened phrase ending, and the Wrist Circles in the coordinated movements of fast playing, motor
of Level 3A employ the wrist to shape a longer phrase. Level patterning would not become automatic. If we taught I, IV,
3B Technique & Artistry worked with Voicing the Melody V only in a single unit, there would be little or no recall
to develop melodic projection. Now, here at Level 4, the of this a year later. So the entirety of Level 2B focuses on
repertoire is specifically tailored for beautiful handling the primary chords, the bulk of Level 3B focuses on fast
of melody. playing, and Level 4 focuses on lyric playing. By immersing
the student in the defining character of the level, motor
Variety of Repertoire patterns, perceptual patterns, and cognitive patterns become
In most teaching studios, there is a range of musical tastes reasonably lasting—not yet robust, perhaps—but sufficiently
among students. Some students tell us their preference stable for the move to the next level.
upfront, but, generally, we have to explore a range of sounds
to find the style that really resonates with the individual. Lyricism
Broad exposure to various sounds and styles helps the Let’s examine the Level 4 characteristic—lyricism. The
teacher and student uncover a special interest—a personal lyric is the text of song, so lyricism refers to the singing
sound. Once identified, we might celebrate this interest with quality in instrumental playing. The pianist does not simply
a tailored supplement from the PreTime® to BigTime® accompany the singer; the pianist
library or from literature collections in The Developing emulates the singer. We breathe the
Artist Library. phrase, project the phrase, shape
The motivational impact of this customization can the phrase, and we imbue it
be dramatic. In addition to harnessing the magnetic with meaning—just as the
attraction to an individual’s favorite musical sounds, voice does so naturally.
this process personalizes piano study. This shift in “locus
of control” from teacher to learner constitutes a major move
toward intrinsic motivation. We find more attentiveness,
better retention, more practice, and a significant change
in the communication dynamics. The right music makes
all the difference.
62
In lyric playing, we give meaning to each phrase without Does the melody fall away (characteristic of Viennese
words. Our goal in lyric playing is to bring the melody to Classical) or move toward (as in the late Romantics)? How
the fore with intention and sensitivity. We don’t just play the does the wrist assist phrase shaping? Does the passage invite
melody, we speak the melody through our instrument. When wrist circles that can help transfer arm weight
we give each note meaning—as in the spoken word— finger-to-finger?
a melody takes on special magic. It becomes a personalized,
Consider, for example, Chanson (French, meaning “song”),
poetic communication—indeed, a song without words.
which is explicitly melody over accompaniment. The melody
The magic of melody often comes from its context. In other is intentionally long and beautiful. Though the first gesture is
words, a melody derives its character, in part, from the colors a simple 3-note slur, the melody continues to unfold across
of the accompanying voices. The setting critically frames the seven measures. Use the pedal to sustain the D and take a
melody. How is the melody set against the accompaniment? new drop into the continuing phrase (pickup to measure 2).
To what degree does it contrast in dynamic? Does the The long line invites awareness of direction in melody.
accompaniment invoke the mood?
Probably the highpoint of expressive lyricism would be the
Invariably, students play the melody too softly. Students coloratura soprano singing an operatic solo cadenza. So we
need to be taught to project the melody way above the give this to the student pianist in Wild Flowers.
background setting. Not just louder—a lot louder. This
is accomplished with the drop of arm weight and its roll
through the melodic phrase, but also with the softening of
the accompaniment. We’re after big projection, but also big
contrast, which is made possible by intentionally softening
the accompanying voices.
Lyricism requires sensitivity to the contour of the melody.
The expressive quality of the cadenza is enhanced by the
Are there expressive leaps? If so, might we stretch time
color tones of the forte chord at measure 27 which sustain
through the larger interval?
beyond the fermata. The singer ascends freely to the high B
with a crescendo, but also with subtle 2-note diminuendi in
the appoggiaturas B-A, E-D, G-F, A-G. Soften the second
note in each of these stepwise pairings while maintaining
a legato throughout. Remind the student of the expressive
quality of the FΩ that begins the resolution. It is borrowed
from the parallel minor (and from the B section) and also
forms a tritone (three whole steps) against the preceding B.
The finishing expressive gesture places the V chord atop
the I chord (E major atop A major) through a
molto ritardando.
The student learns that expression derives from the musical
content, and yet needs to be infused by the performer. We
find hints for expression in our analysis—our analysis of
phrase shape, and even our theory analysis. Informed by the
simplicities and subtleties of the score, we add the warmth
and expressive power of human emotion.
63
LEVEL 5
Developing Developing Developing
Artist Piano Artist Piano Artist Piano
Literature Literature Sonatinas
Book 3 Book 4 Book 3
(easier) (challenging)
Achievement
Skill Sheet #6:
2-Octave Minor
Scales and
Arpeggios
Developing
Artist Piano
Sonatinas
Book 4
(advancing) e Lesson
To B sed Book
a
Rele
Developing Artist Technique Theory Achievement

Skill Sheet #8:
Piano Literature
for a Dark and
& Artistry Intermediate
Cadence Booklet
Stormy Night
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Ghost in Our Piano
Sonata in C Major
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Solfeggietto, C.P.E. Bach
Sonata in G Major, Beethoven
Beyond Level 5
Achievement Solo & Duet Sheets Achievement Literature Sheets The Keyboard Artist
Pachelbel Canon, Pop & Jazz Claire de lune, Debussy Three Easier Waltzes, Chopin
Arrangement Tarantella, Pieczonka Three Mazurkas, Chopin
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Egyptian Rhapsody Prelude in D-flat Major, Chopin
Toccata in Morse Code La fille aux cheveux de lin, Debussy
64
Level 5 Concepts
I, IV, V7 chord inversion studies cadences in major and minor keys
12
8 time signature more repertoire in E major
perfect intervals (4th, 5th, octave) major/minor intervals (2nd, 3rd, 6th, 7th)
circle of 5ths two-octave arpeggios: C, G, D, A, E, B
flat key signatures two-octave flat scales: F, B≤, E≤
three forms of minor scales changing time signatures
Recognition of triads in all inversions is important at the early
intermediate level. At Level 5, work with the student’s recognition of
the primary chords (I, IV and V) in any inversion. This is not achieved
by playing the music, but only through deliberate analysis.
“Steven, let’s find the chord names and label them
above each measure. Look across both the bass and
treble clefs. Can you bring the chord tones together
under the hand?”
“Laura, what is the chord function of C7 in this
context? Does it resolve to I? Below each of
these measures, let’s write I, IV or V7.”
In addition to reading chords, we want the student to
feel and manipulate chord tones under the hand. The ability
to see chord tones across the keyboard can be a basis for
improvisation and composition.
“John, let’s move this LH pattern to other chords.
Staying within our key signature, can you play the
imals is
a set of
for a dif
two pia
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nos
pieces for ent animal.
cello.
pattern a step higher?”
Page 14
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cantabile*
melody
The piano lies silent until the hands are placed
œ
murmuri 84)
(Œ = 72-
R.H. 2
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# 3 œ œ œ œ œ
on the keys. The music unfolds and expression
œ
& 4
L.H.
œ
œ becomes the artist in action.
2
œ
1
π
4
2
œ
1
? # 34 œ 2
1
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“Tim, let’s make this LH

1
2
5
R.H.
œ
1
œ œ œ œ œ
# accompaniment a watercolor
3
œ L.H.
& œ
œ
2
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backdrop for the melody. Think

2
œ
1
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2
4
˙ muted LH tones so the RH

2
2
œ œ œ
œ
5
# œ œ œ œ
1
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5
melody can soar over top.”

5
& œ œ œ œ œ
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œ œ œ œ
1
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2
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! œ œ
28
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14
65
Harmony of the Angels,

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Minuet in G Major, Anon.
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66
Beyond Level 5
Developing Artist Developing Artist Developing Artist

Piano Literature Piano Sonatinas, Piano Literature for
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FF1282, 00420239 FF1112, 00420201 Night Egyptian Rhapsody Clair de lune,
$15.95 $8.95 FF1175, 00420219 A2014, 00420043 Debussy
Adagio and Furiant, Fibich Sonatina (Op. 157, No. 4), $4.95 $3.50 AL6007, 00420011
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Bronco Bill, McKay
Sonatina (Op. 36, No. 3), The Ghost in the Fireplace, Arrangement lin, Debussy
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$6.50
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J.S. Bach Piano Sonatinas, Go Tell It on the Mountain
Prelude in E Minor, Chopin Book 4 God Rest Ye Merry,
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Gurlitt
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FF1153, 00420212
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Kuhlau
Sonatina (Op. 88, No. 3,
3rd Movement), Kuhlau
67
The I-IV-V Tapestry

As we read and create The last three measures of this piece offer opportunity for
music, we weave through improvisation. Taking the short rhythmic motive given,
a I-IV-V tapestry of explore any tones from the B-flat major “thread.” It is
primary chords. At Piano surprising to see—and to hear—how easy this can be.
Adventures® Level 5, we
ensure that the student
can see and feel this
structural tapestry for
each tonal piece.
Scales
“Why learn scales?” Well, yes, there is that issue of fumbled fingering.
students ask. Our Fortunately, the flat-key scales give special opportunity to
answer? A scale reduces simplify fingering, which is why we devote Level 5 to the
flat key signatures. Here’s the rule:
88 keys to seven. Five keys are eliminated in each octave
(12 chromatic tones minus five leaves seven diatonic scale For RH flat-key scales, the thumb plays on C and F.
steps), and each of these seven tones retains its own meaning So we always have RH fingers 1-2-3 on C-D-E, and fingers
regardless of octave. 1-2-3-4 on F, G, A, B.
So when playing the Pachelbel Canon in D, for instance, n Without shifting this image,
we can ignore one third of the keys on the keyboard and let’s flat the B under finger 4.
visualize a simple thread of the D major scale weaving n Now also flat the E in the
through seven tones per octave, across the entire keyboard. 3-finger pattern up from C.
Whether reading or improvising, attention is delimited to this
n Now add A-flat to the
D major thread for security, predictability, and confidence.
4-finger pattern.
Consider When the Sun Rises . . . from the Level 5 Lesson
n Back to the 3-finger pattern for D-flat, etc.
Book (p. 36). The piece is essentially an “improvisation” in
B-flat major, excepting a brief color detour with the A-flat And so we go around the flat
in measures 6-9. By delimiting the keyboard to the notes of side of the circle of 5ths: C-F-
the B-flat major scale, and imagining this “scale thread” of B≤-E≤-A≤-D≤-G≤.
two black keys interspersed with five white keys, the piece In every case, the RH fingering
becomes easy to read and easy to play. Furthermore, there is is consistent: three fingers built
little chance of a bad note sounding because the scale tones up from C, and four fingers built
all relate to the tonality. up from F. Work this over in blocked fashion—three fingers,
four fingers—without beginning on the actual keynote.
Then block it out in this same fashion, but going up several
octaves. Now play the actual scale. (It’s not really important
which finger plays the black key opening tonic.)
With this fingering in mind, let’s revisit When the Sun Rises
and improvise on measure 6, where we find an A-flat chord
over the B-flat pedal point. Place RH fingers over C-D-E≤
and/or F-G-A≤-B≤ and improvise over the LH ostinato. One
might return to B-flat major accompanied by the
opening ostinato.
Also consider exploring alternative scale passages modeled
after those in measures 13 and 14. (See Level 5 Lesson
Book p. 37.) We composed these scale passages to begin
with thumb on F (measure 13) and thumb on C (measure 14)
68
to reinforce the flat-key fingering rule. In improvising, one Notice that Blue Etude (p. 11) is a primary-chord etude
might use the prescribed hand placements, but begin on in F, preparing for Tumbleweed Blues (p. 12). Similarly,
any note. Rolling River Etude (p. 14) drills the primary chords in A
major using the LH pattern of Shenandoah (p. 15). As the
student progresses to new keys, come back to Blue Etude,
Chord Etudes
transposing, for example, to B-flat (especially for those
Scales are invaluable, but it is the combining of scale tones in
pre-jazzers who will be playing in B-flat with brass players).
thirds that gives tonal music its harmonic structure. Recalling
Revisit Rolling River Etude as preparation for the pieces in
our metaphor, we use the scale “thread” to weave the chord
C minor and G minor when these are encountered later in
tapestry. First and foremost, we weave the tapestry of I, IV,
the book.
and V chords—in all inversions.
As Level 5 progresses through various keys, each piece is
preceded by a short etude, disguised by a title. Coral Reef Popular Repertoire
Etude, for example, opens the book as a primary-chord study A look at Piano Adventures® Popular Repertoire Level 5
in C, featuring all inversions of I, IV, and V. To maximize the gives insight into the importance of chord comprehension.
effectiveness of this and similar etudes: Consider Elton John’s Candle in the Wind. The entire verse
(mm. 5-20) simply alternates between I and IV chords
n Play by memory. Encourage students to look at their hands (G and C in the key of G major). Yet, how many students fail
for these etudes so that the keyboard patterns are
to recognize this simple chord pattern and struggle to decode
visually imprinted.
150 notes instead of two chords? So we pair the arrangement
n Play with eyes closed. Highlight the feel of the keys and with an “Accompanying Activity” that drills I-IV chords in
the feel of the thirds and fourths. a pop accompaniment style. The arrangement then reduces
n Transpose. Use Coral Reef Etude as a generic warm-up for to simplicity.
every piece, in any key, whether major or minor. In a different context, we again explore the repetition of
Coral Reef Etude is the harmonic grid, the primary-chord I and IV in Wind Beneath My Wings. The corresponding
tapestry. It is essential for the student to grasp these chord activity page, titled “The Bass Beneath My Wings,”
patterns that combine the student’s understanding of primary explores aural recognition of the bass line and various
chords with understanding of chord inversions. This is the accompaniments for the I-IV chord progression.
bridge to the intermediate repertoire.
The Power of Primary Chords
In the Level 2B, we discussed “The Power of Primary
Chords.” Indeed, one can’t overestimate the value of
recognizing fundamental harmonies—for reading, for
memorization, and for musical creativity. We recapitulate
this concept here at Level 5 by weaving an elementary
understanding of primary chords into a patterned “I-IV-V
Tapestry” that includes chord inversions.
The warm-up etudes in Piano Adventures® Level 5 provide
some very effective tools. But learning the etudes once, in
the key written, will not make a real musician. We need
to roll up our sleeves and help students transpose these
etudes to many, if not all, keys. Do so in conjunction with
learning each new scale and each new piece. With this higher
expectation, we can indeed develop a “I-IV-V Tapestry” that
won’t fade by next week’s lesson.
69
ACCELERATED COURSE FABER PIANO ADVENTURES
for the older beginner
ACCELERATED BOOK 1
Flashcards Achievement
Skill Sheet #1:
Major 5-finger
patterns
I Can
Read
Music
Lesson Book Book 1
Developing Artist Technique & Artistry Theory

Preparatory
Piano Literature
(challenging) Discover
Beginning
Improvisation
spans...
Performance PlayTime®
and ShowTime®
Popular
Repertoire
PlayTime® Popular ShowTime® Popular

Christmas PlayTime® Classics ShowTime® Classics
PlayTime® Favorites ShowTime® Favorites
PlayTime® Rock ‘n Roll ShowTime® Jazz & Blues
PlayTime® Jazz & Blues ShowTime® Hymns
PlayTime® Hymns ShowTime® Christmas
PlayTime® Christmas (see pg. 25 for song lists)
Achievement (see pg. 19 for song lists)
Solo & Duet Sheets
Pony Express
Shout Boo
They’ll Be Back
Walk on a Rainbow
Once Upon Cat Prowl
A Rainbow,
Book 1
70
Accelerated Book 1 Theory Performance Popular Repertoire Christmas

Lesson Book FF1206, 00420228 FF1207, 00420229 FF1470, 00420252 FF1209, 00420230
FF1205, 00420227 $6.95 $6.50 $6.95 $5.50
$8.95 Writing Allegro Fiddler on the Roof Angels We Have Heard
Aloha Oe Sightreading Alouette Hedwig’s Theme on High
Amazing Grace Eartraining Backpacking In Dreams Deck the Halls
Bagpipes Boogie in 3rds The Lion Sleeps Tonight Good King Wenceslas
Bus Stop Boogie Carousel Melody Over the Rainbow Jingle Bells
Camptown Races Clock Tower Bells Soak Up the Sun Joy to the World
Chant of the Monk For He’s a Jolly Good Star Wars (Main Theme) O Come, All Ye Faithful
Chant of the Monks Fellow Video Silent Night
Chinese Dragon Greensleeves What a Wonderful World We Three Kings of
Dreamscape The Handbell Choir Orient Are
(Duet) We Wish You a Merry
Horse and Sleigh Christmas (Duet)
English Minuet
La Cinquantaine
Background
Fife and Drum
March of the English Guard
Accompanimnts
Forest Drums
A Merry March
French Minuet
Go Down Moses Technique & Artistry Miniature Sonatina
Lesson Book 1
Mr. McGill
Guide Note Pinball FF1420, 00420250 Enhanced CD
Painting with Pastels CD1016, 00420083 $14.95
Gypsy Band $6.95 Party Time (accompaniments in two tempos plus
Halftime Show Alaska Sled Team MIDI files for Lesson, Performance,
Reveille Technique & Artistry books)
Hard-Drivin’ Blues Contrary Motion Study Showboat Popular Repertoire
Hungarian Dance Dance of the Irish Simple Gifts Book 1 CD
I’ve Got Music Double Ferris Wheel CD1041, 00420106 $10.95
Snake Dance
Irish Washerwoman Finlandia Popular Repertoire
Square Dance
Journey by Camel Good Music to You! Book 1 MIDI
Strike Up the Band!
The Lonely Pine Jazzy Saints GM1047, 00420306 $10.95
The San Francisco Trolley
Melody on C and G Painter in the Park The Spanish Guitar
Midnight Ride Perilous Midnight Ride Theme by Mozart
Minuet Sleeping Beauty Waltz
Morning Swan Lake Theme
Musette Viking Ship
My Invention
No Moon Tonight
Ode to Joy
Oh! Susanna
Pep Rally
Discover Beginning Improvisation
The Piano Tuner FF1051CD 00420160 $8.95 book with enhanced CD
Planetarium
Polovtsian Dance The ability to improvise can be developed rather easily. Discover
Prince of Denmark’s March Beginning Improvisation is designed for students of all ages who
Promenade have had no previous experience improvising. The book lays the
Racecar Rally
Rhythm and Blues
foundation for composition and improvisation using the simplest
Roman Trumpets possible exercises in imaginative settings. It features:
Row, Row, Row Your Boat
Russian Folk Song
• solo and duet improvisations • theory review
Scenic Train Ride • written assignments • teacher accompaniments.
Sugarfoot Rag
“Surprise” Symphony
The enhanced CD provides audio background accompaniments as well as MIDI files.
Toccatina Exercises in Discover Improvisation are virtually foolproof, inspiring student creativity
Two-Hand Conversation and offering fun-filled exploration for both student and teacher. Students should have an
Waltz
elementary music-reading proficiency, completing Piano Adventures® Level 2A.
When the Saints Go
Marching In
Zum Gali Gali
71
ACCELERATED BOOK 2
Flashcards Achievement
Skill Sheet #2:
Minor 5-finger
patterns
Developing Artist
Preparatory
Piano Literature
I Can
Read
Lesson Book Music
Book 2
Developing Artist Technique & Artistry Theory

Piano Literature
Book 1
(challenging) Discover Blues
Improvisation
Performance spans...
ShowTime®
and ChordTime®
Popular
Repertoire
ShowTime® Popular ChordTime® Popular

ShowTime® Classics ChordTime® Classics
ShowTime® Favorites ChordTime® Favorites
ShowTime® Jazz & Blues ChordTime® Rock ‘n Roll
ShowTime® Hymns ChordTime® Jazz & Blues
ShowTime® Christmas ChordTime® Hymns
(see pg. 25 for song lists) ChordTime® Christmas
Once Upon Achievement (see pg. 31 for song lists)
A Rainbow, Solo & Duet Sheets
Book 2 Walk in a Rainbow
Cat Prowl
Classic Sonatina
Jazz Pizzazz
Land of Dreams
72
Accelerated Book 2 Theory Technique & Artistry Performance Popular Repertoire

Lesson Book FF1474, 00420253 FF1746, 00420265 FF1212, 00420232 FF1479, 00420254
FF1210, 00420231 $6.95 $7.50 $6.50 $6.95
$9.95 Writing Captain Hook’s Rockin’ African Celebration Because You Loved Me
50’s Jukebox Sightreading Party Club Jazz Bring On the Rain
Almost Like a Dream Ear Training Dancin’ to the CD Down by the Riverside Empire State of Mind
America Etude in C Everybody Ought to Know The Game of Love
American Fiddle Tune Gusts of Wind Gallop on the Moor Hero
(Turkey in the Straw) Background The King’s Royal Exit German Dance I Will Remember You
Beach Party Accompanimnts Long, Long Ago (Variation) Holiday Fanfare The James Bond Theme
Beethoven’s 5th Symphony Long, Long Ago, (Theme) Mysterious Cavern A New Day Has Come
Blues Train Mirage Niagara Falls Thank You
The Boogie Machine Lesson Book 2 Musette O Sole Mio! You
Brahms’ Lullaby Enhanced CD Mystery Waltz Pale Moon Serenade
Can-Can CD1024, 00420091 The Potato Chip Thief Peppermint Rag
$9.95
Cathedral Chimes (accompaniments in two tempos plus Track Meet Prelude in F
Classical Dance MIDI files for Lesson, Performance, Winner’s Waltz Prince of Denmark’s March
El Matador Technique & Artistry books)
Zebras Running Ride of Paul Revere
The Entertainer Popular Repertoire
Book 2 CD The Snow Castle
Evening Guitars CD1042, 00420107 “Surprise” Symphony
The Flight $10.95 Tambourin
French Dance Popular Repertoire The Time Machine (A Stop
Give My Regards to Book 2 MIDI at the 18th Century)
Broadway GM1048, 00420307 Waltz in D Major
Jazz Blast $10.95
Jumpin’ Jazz Cat
The King’s Royal Entrance
Kum Ba Yah
Lazy Chord Blues
Magnolia Waltz
Malaguena Discover Blues Improvisation
Minuet in G FF1155CD 00420215 $8.95 book with enhanced CD
Mysterious Casbah
New River Train Discover Blues Improvisation offers piano students a chance to explore
New World Symphony the blues, and improvise in other styles such as popular music and
Parasailing jazz. The enhanced CD includes real blues band accompaniments, as
Pumpkin Boogie
Rise and Shine
well as standard MIDI files.
Rowing on a Stormy Sea Students should have an elementary music-reading proficiency,
Rustic Dance
Silent Movie Music
completing Piano Adventures® Level 2B or Accelerated Piano
Sounds from the Gumdrop Adventures® Book 2.
Factory
Stars and Stripes Forever The exercises and pieces in this book nurture creativity and self-expression through the
Summer Stars framework of the 12-bar blues. The improvisation exercises are simple, effective, and fun for
Taps both student and teacher. This comprehensive approach features:
Waltz
Wayfaring Stranger • instruction in improvisation and theory
Whirling Leaves
• appealing pieces with improvisation options
William Tell Overture
• blues technique
• blues ear training.
73
ADULT PIANO FABER PIANO ADVENTURES
ADULT PIANO ADVENTURES ®
All-in-One Lesson Book 1

Learn to read music with an approach that
is easy to understand and apply.
A wide variety of music: classical, folk,
jazz & blues, and spirituals.
Sightreading and ear-training are
integrated into the course.
Lead sheets give an opportunity to read
chord symbols and create accompaniments.
3-Minute Technique offers effective
exercises for fingers, wrists, and arms.
Music Theory pages review concepts
such as intervals, chords, and scales.

FF1302 00420242 $15.95
Background Accompaniments
Enhanced CD (audio and MIDI)
CD1025 00420092 $12.95
All-in-One Lesson Book 1 with CD
FF1302CD 00420243 $26.95
Songs Technique Theory Lead Sheets

Lead Sheet in G Major
The Lion Sleeps Tonight w
G
? # w
Rhythm Warm-up:
Clap (or tap) the R.H. rhythm for
measures 1– 4. Count aloud, “1-2-3-4.” Name the pentascale used: ___
Technique Hint:
1. First, sightread these G major pentascale melodies. explore playing the melody and harmony from a lead sheet in G major.
1
Now that you have learned the primary chords (I-IV-V7) in the Key of G major,
3
5
w
Feel the tie over the bar line.
Words and Music by George David Weiss, Let your R.H. wrist gently lift, gracefully leading Then, add harmony by writing G or Gsus4 in the boxes.
Flowing gently Hugo Peretti, Luigi Creatore, and Solomon Linda
& 44 ˙
your hand to the next higher chord. The quarter Listen and let your ears guide you.
˙ Chord Etude
1 4
œ #œ œ œ #˙ #œ œ œ œ ˙
rest will give you time to prepare the next chord.
w w
Lastly, play each melody with the chords. Chord References: Practice the chords used in For
G He’s a Jolly Good Fellow. C
F
? # w
w ? # w
w
Slow and peacefully as written Key of C 1
G Gsus4
1
F
w w œœ √œ œœ
In the jun - gle, the might - y jun - gle, the 5 5 2
? 44 # w w
3
œœ
5
w w
5 3 3 5 5
F
& 44 œœœ
Count: 1 - 2 3 4 1 2 3 - 4
w w w w
3 5
œ œ
3 1 1 3
Moderato
& 34 œ œ œ
≥
Œ Œ Œ Œ ˙˙ ... Œ
lift lift 1 lift lift lift
œ œ œ
1 1
œ œ œ œ œ œ ˙.
1
˙ G B D G C E C D
p P
1 1
5 3
? 44 w w ˙. w w w
? # aww
Ó ∑ w
5 5 D7
G C
& #˙ ˙ ˙ #˙ ˙ Œ w
? # w
1
3
5 ? # w
1
2
5
1
2
5
? w w œ œ œ œ ˙
2 Moderato
& 44 œ ˙ œ œ ˙ œ œ ˙ œ # œ œ. Œ œ Œ ˙ .
li - on sleeps to - night.
w w Ó
3 5 5 3
Slowly
& 34 œ œ œ œ œ. œ œ ˙
Csus4 1
œœœ œœ œœœ
5
5
√
4 4 5
œ
as written
f
4 1 4
& œœœ Œ Œ Œ Œ .
˙˙˙ ..
Œ wC w
1 1 1
? # w ? # aww
1
P œœ œœ
D7
œ œœ œœ w
9
? # 34 œ
5 optional pedal
& ˙ œ #œ ˙ ˙
1 1
#œ œ #œ œ œ œ ˙
2
F
2
2. Your teacher (or friend) will play a short example that will end 5
? w w ˙.
E A R
5
!
5
Œ
on the G or Gsus4 chord. Circle the correct answer for the
5
last chord. 5
? #w
w
In the jun
w
w
- gle, the
w
might - y jun
w
- gle, the TRAINING Hint: The G chord sounds restful and complete.
w w w w >. >.
Slowly
# #4
Slowly tempo
March
The Gsus4 chord sounds restless and incomplete.
& 34 œ œ œ œ œ œ œ ˙ œ œ
& G34 œ œœ œœ œ œœ œG œ ˙ ˙
1 1 1
w
? # aww
D7
1 G7
Pa. œ G œ G
Pf
˙ œ d.˙ œ œ>œ. œ>œ. œ ˙œ
Directions:
For He’s a Jolly
œ œœ œGsus4
b. œ
œœœ œœ œœœ
5
√ ? # 34 œ œGsus4œ # 434 œ˙˙ œ ˙˙ œ Gsus4œœ œœ ˙˙œ
5 1
13 7 5 5 c.
?Gsus4
4 2
1. First, play the melody only.
Good Fellow
as written
Ó ∑
4 4
œ
1
& #˙ ˙ #˙ #w & œœ Œ Œ Œ Œ ˙. Œ
1 1 5
˙ ˙ œ ˙˙ .. ! !
2. Then add L.H. blocked chords on beat 1 of
p
5 5 5 5
each measure as indicated by the chord symbols.
f
For Teacher Use Only (The examples may be played in any order.)
? w w œ œ œ œ ˙ w
rit.
#w ? w w ˙.
li - on sleeps to - night.
w w Ó w >. >. # March . . >. >. .

Traditional
#
Slowly tempo
Œ .
March
& 344 ˙˙˙œ .. œ œ œ˙˙˙ .. œ ˙˙˙ .. œ œ ˙˙˙˙ ..

Moderately
& 443 œ œœ œœ œ œœ œ œœ œ˙ ˙
11
tempo
1
Moderately G C G
#
& 34 œ ˙.
f >œ. >œ. ˙ f >. >.
P ˙ ˙
? # 434 œ˙˙ œœ ˙˙ œœ œœœ œœœœ ˙˙œœ
F
? # 344 œ˙˙˙ œ œ ˙˙˙ ˙ . œ œœœœ œœœ ˙˙˙˙ . ˙ œ œ œ œ ˙ œ
1 4
Duet: (Student plays 1 octave higher, without pedal) 2 45/46
˙ œ œ œ œ ˙
73
? # # 44 ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙
C
w w
5
w w ˙ œœœ √œ œœœ F For

R.H. 2 5
œœ
10 5 3 5
w w Ó œ !
3 1 3 as written 3
w w w w Œ Œ Œ Œ
5 5
& œœœ w
1 1
œ œ œ
he’s a jol - ly good fel - low, for
L.H.
P 5
w
w # March . . . >. >. . # Gently
& 434 ˙˙˙œ .. œ œ œ˙˙˙ .. œ ˙˙˙ .. œ œ ˙˙˙˙ .. & 434 ˙˙˙Ó ... œ œ ˙œ˙˙œ... Ó ˙˙˙ ... œ œœœ˙˙˙w
w...
Moderatelytempo
˙ œ œ œ œ ˙
Moderately
? ## ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ w w P π
13
w
9
w œ w
1
w w w w w w Ó ˙ w ? w w ˙ ˙ Fœ
D7 G
œ œ œ Ff >. >. F œ w #
5
? # 434 œ˙˙˙ œ œ ˙˙˙ ˙ . œ œœœœ œœœ ˙˙˙˙ . ? # 34 œ œœ œœÓ ˙ . œ œœ œœ Óœ ˙w.

˙.
p
˙ œ œ œ
2
Copyright © 1961 Folkways Music Publishers Inc.
rit.
Copyright Renewed 1989 by George David Weiss, Luigi Creatore and June Peretti.
Copyright Assigned to Abilene Music Inc. c/o Larry Spier Music, LLC, & The Estate of Solomon Linda.
√ 3
4
3 ! ! & œ ˙ œ
This arrangement © 2001 Abilene Music Inc. c/o Larry Spier Music, LLC, & The Estate of Solomon Linda. 87 2 72/73
FF1302 International Copyright Secured. All Rights Reserved. Used by Permission. 117 FF1302 97 he’s a jol - ly good fel - low, for
146 FF1302
# Gently #
& 443 ˙˙˙Ó ... œ œ ˙œ˙˙œ... Ó ˙˙˙ ... œ œœœ˙˙˙w
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Music Notes Christmas for All Time – Book 1

Gently
œ œœœ w
w
œ F
? # 44 œ œ œ Ó œœ œ œ Ó
w
w
! !
This trifold introductory music Celebrate the season with sacred 108% enlargement
chart startrs by first asking, “What and seasonal favorites! Designed

view at 93% and 187%
is Music?” and is then divided into for adult beginners and those 108% enlargement
four sections: Rhythm, Melody, reacquainting with the piano.
Harmony, and Musical Terms and 108% enlargement
Directions. Clear musical graphics Christmas Book 1

and concise definitions make with Enhanced CD
Music Notes a handy reference FF1370 00420248 $14.95
for understanding both basic and Includes Background
necessary terminology. Accompaniments
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Music Notes
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74
ADULT PIANO FABER PIANO ADVENTURES
ADULT PIANO ADVENTURES ®

ADU
by N an LT P I A N
R an da llO A DV E
cy an d
F ab er NTUR
E
Begins with a review of fundamentals: rhythm, “All-In-
Solos • One” Lesson Bo
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dynamics, intervals, C and G scales.

ADULT
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dra wn eory
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FF 133
All-in-One Lesson Book 2 HL004
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Songs Technique Theory Lead Sheets

unit minor
The Russian composer Rimsky-Korsakov penned
this theme for his orchestral work Scheherazade. 8
scales
T H E O RY OF M INOR S CALES
The composer took his inspiration from an exotic
tale of a young woman named Scheherazade, as
Hand Shape Warm-up: Open your R.H. with the palm facing up.
told in The Arabian Nights.
Theme from Bring your fingertips and thumb together. Notice your cupped hand. A piece in a minor key may sound mysterious, sad, or dark. The Londonderry Air is a 17th-century Irish folk melody. It has been put to song with countless lyrics,
˙. Scheherazade Turn your hand over and look for tall knuckles. Repeat with the L.H.
? ggg ˙˙ ..
A piece in a major key generally has a brighter quality. including the highly popular Danny Boy, penned in 1913. The plaintive melody, often played by
Arpeggiated (Rolled) Chord 1
3 Key of ____ Major bagpipes, has been heard at the memorial service of John F. Kennedy and at ceremonies honoring heroic
5
police officers and firefighters.
p
Play the notes quickly, from bottom to top.
Nicolai Rimsky-Korsakov
Use a slight upward motion of the wrist. (1844 –1908, Russia)
cross
Allegretto *
#
arranged
œ. Jœ œ
over
& 34 œ œ œ. ˙.
1
œj œ Relative Minor Key

2 2 2 4
p
ggg ˙˙˙ ... ˙˙˙ ... ggg ˙˙˙ ...
Every major key also has a minor key that shares the same key signature. Directions:
? # 43 Œ Technique Hints: This minor key is called the relative minor because it is related by key signature.
Œ
1. First play the melody alone, carefully observing
• Look for a “tall knuckle” for finger 3. To find the relative minor scale, start on scale degree 6 of the major scale. the fingering.
! !
Play the thumb lightly, perched on the side tip. 2. Then add L.H. blocked chords on beat 1 of each
• Listen for even triplets that “ripple” up and down
the A natural minor scale. Rippling Triplets
measure, as indicated by the chord symbols. The Londonderry Air
C major scale (See next page.)
# Œ
& w w w w&w w w w w w w w w
œ œ œ œ
4 Key of F Major
œ
3 2 3 2 1 2
œ œ œ œ œ œ œ œ ˙.
6th scale
(for R.H.)
&
2 4 4 half step
œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ œœ
degree
Allegro Lead Sheet
Allegro half step
& 444 œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ ww w
1 2
1 Notice there is no chord on the opening upbeats.
.
1 2 3 1 1 1 1 2
ggg ˙˙˙ ..
1
˙. gg ˙˙˙ ... #˙ .
1
&
1 2 3 1 1 1 1
? # ggg ˙˙ .. ggg ˙˙ .. Bb
Traditional
Moderato
F
F
g
& b 44 Œ œ œ œ œ œ œ œ
pp F scale degrees: 1 2 3 4 5 6 7 8 (1)
˙.
4 2 2
œ œ œ ˙
3 3 1 1 5 4 1 3 1
3 3 tonic degrees: 1
scale dominant 2 3 4 5 6 7 8 (1)
! ! œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ
1 1 tonic dominant
P
ww ww
3 3 3
w
5 5 2 3 3
œ œ œ œ œœ œ œœ œœ œœ
ped. simile
& w w w w& w w w w w w w
1 3 2 *
& œ
3 2 3 3 3 3 3
1 3 2
# &
3 3 3
8 A natural minor scale
Jœ œ (repeat B b )
& Œ
3
œ œ. œ œ œ
1
œ ˙. pp
3 3 5 F C7
˙. œ œ œ œ œ
3
&b Œ œ œ œ
3 2 2 3
w
1 3 4 4 1
? # œœ # ˙˙ .. n ˙˙ .. ˙˙ ..
half step
Œ Œ F
scale degrees: 1 2 3 4 5 6 7half step8 (1)
Rippling Triplets tonic degrees: 1
scale dominant 2 3 4 5 6 7 8 (1)
Bb
tonic dominant
œ œ œ œ
2 2 1
Allegro (for L.H.)
? 444 œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ
4 4 3 (repeat C7 chord) F
?
Allegro 3 9
œ œ œ œ
3
# &b Œ œ œ œ ˙.
3 4 2
œ œ œ ˙
12 3 1 1 4 1 3 1
Playing and Listening:
& ˙ œ œ œ œ œ. œj ˙ . œ
œ pp
3
3
2
2
1
1
3
3 3 3 3
3
3
3
3
3 F
F
2
2
1. Play the C major scale above and listen to the sound. P
˙˙ .. ˙.
3 3
? # ˙˙˙ ... ˙˙ ..
The major scale has half steps between scale degrees 3–4 and 7–8.
b˙ . Bb
? œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ œ œ œ
1 2. Now play the A natural minor scale (the relative minor scale). F C7 F F
? U
3 13
œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ
&b Œ œ œ œ ˙. œ
5 Listen to the difference in sound.
œ œ œ œ
1 4 5 4
w w
1 1 The natural minor scale has half steps between scale degrees 2–3 and 5–6.
pp
2 3 1 2 3 1 1 1 1 2
1 2 3 1 1 1 1 1 2
*Allegretto—cheerful; rather fast (a tempo mark between Moderato and Allegro) 1 1 1 Notice that the natural minor scale uses only notes from the relative major scale.
76 FF1334
96 FF1334 19 1 38
84 FF1334
*Release the L.H. thumb (of the Bb chord) for the melody note D.
40 FF1334
Christmas for All Time – Book 2

Traditional carols, seasonal Christmas Book 2
favorites and popular Christmas with Enhanced CD
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Joy to the Word, Jingle Bell Rock, (audio and MIDI)
Winter Wonderland, Silent Night,
The Skaters’ Waltz, and more!
75
DEVELOPING ARTIST FABER PIANO ADVENTURES
The Developing Artist WITH CDs
PIANO LITERATURE
Original Keyboard Classics from Baroque to Contemporary
Preparatory Book 1 Book 2 Book 3 Book 4

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Beyer Alt J.C. Bach C.P.E. Bach C.P.E. Bach
Bolck Attwood Beethoven J.C.F. Bach J.S. Bach
Köhler J.C. Bach Clarke Beethoven W.F. Bach
Löw Diabelli Faber Burgmüller Beach
Praetorius Dubliansky Graupner Clementi Beethoven
Türk Faber Gurlitt Diabelli Benda
Vogel Gurlitt Hummel Duncombe Burgmüller
Wilton Haydn McKay Ellmenreich Buttstedt
Hook Mozart Faber Chopin
Lynes Pezold Gossec Clementi
Mouret Poe Gurlitt Faber
Praetorius Rameau Haslinger Fibich
Salutrinskaya Rebikov Haydn Graupner
Schytte Schumann Heller Grieg
Spindler Speer Jacoby Gurlitt
Telemann Szymanowska Krieger Haydn
Türk Tchaikovsky L. Mozart Kuhlau
Von der Hofe Lully McKay
Wohlfahrt McKay Pescetti
Pezold Rebikov
Rebikov Rossi
Schumann Scarlatti
Correlation with Piano Adventures® Reinecke Tchaikovsky
Beyond Level 5
Level 2A-2B Level 2B Level 3B Level 4
Accelerated Level 3A-3B Level 4 Level 5

Books 1 & 2
Accelerated
Books 1 & 2
76
DEVELOPING ARTIST FABER PIANO ADVENTURES
The Developing Artist

PIANO SONATINAS
A Comprehensive Well-Graded Series of Authentic Keyboard Sonatinas
Book 1 Book 2 Book 3 Book 4

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Attwood Attwood Beethoven Beethoven
Biehl Beethoven Benda Clementi
Czerny Clementi Camidge Gurlitt
Duncombe Diabelli Clementi Haydn
Gurlitt Haslinger Kuhlau Keller
Salutrinskaya Jacoby Lichner Kuhlau
Kuhlau Mozart Mozart
Latour Spindler
Lynes Wesley
Spindler
Correlation with Piano Adventures®

Beyond Level 5
Level 3A-3B Level 4 Level 5
More Literature Choices For the Developing Artist
Selections from the Notebook Piano Literature for a

for Anna Magdelana Bach Dark and Stormy Night
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Use with Level 4 Use with Level 5
77
PIANO LITERATURE FABER PIANO ADVENTURES
The Developing Artist

LITERATURE SHEETS
Piano Repertoire from Baroque to Contemporary • Edited by Randall Faber
Baroque Classical Romantic Impressionistic

J.S. Bach: Prelude in C C.P.E. Bach: Solfeggietto Chopin: Prelude in D-flat Debussy: Clair de Lune
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Beethoven: Für Elise AL6001 00420005 $2.95 Debussy: La fille aux
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Beethoven: Sonatina in G Major AL6010 0042001 $3.50 AL6011 00420015 $2.50
AL6003 00420007 $3.50
Beethoven: Sonata in G Major
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Mozart: Rondo alla Turca
AL6005 00420009 $2.95
Mozart: Sonata in C Major
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THE KEYBOARD ARTIST

Edited by Randall Faber
Chopin: Chopin: Grieg:

Three Easier Waltzes Three Mazurkas Four Lyric Pieces
FF1154 00420213 $4.50 FF1153 00420212 $4.50 FF1187 00420223 $4.50
Waltz in A Minor (Op. Posthumous) Mazurka in F Major (Op. 68, No. 3) Waltz (Op. 12, No. 2)
Waltz in B Minor (Op. 69, No. 2) Mazurka in G Minor (Op. 67, No. 2) Watchman’s Song (Op. 12, No. 3)
Waltz in A-flat Major (Op. 69, No. 1) Mazurka in B-flat Major (Op. 7, No. 1) Puck (Op. 71, No. 3)
Sailor’s Song (Op. 68, No. 1)

78
COLLABORATIVE ARTIST FABER PIANO ADVENTURES
CURIOUSER AND CURIOUSER

Composed by Nancy Faber, this unique piece was commissioned by the Music Teachers
National Association (MTNA) to celebrate the organization’s Year of Collaborative
Music, and was debuted at the 2011 MTNA National Convention.
Written for late intermediate to early advanced students, this chamber trio features
a “curious” one-note opening followed by a quirky, merry melody that leads the
performers to unexpected musical places. The piece ends as mysteriously as it
begins—with a final flourish.
Available in five orchestrations:

B-Flat Clarinet, E-Flat Saxophone, Piano
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Flute, Viola, Piano
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Flute, Violin, Piano
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Flute, Cello, Piano
FF7004 00420322 $16.95 (To Be Released)
Violin, Cello, Piano
FF7005 00420323 $16.95 (To Be Released)
This piece is suitable for piano students

who have completed Piano Adventures® Level 5.
CHRISTMAS CHAMBER MUSIC

Celebrate the joy of the holiday season with this advanced-
level trio arrangement of a beloved carol. This expansive
concert arrangement by Nancy Faber offers sparkling
melodic interplay and captivating harmonies for flute,
cello, and piano.
Joy to the World
FF7006 00420335 $9.95
This serene presentation of Silent Night offers an expressive

chamber music performance for flute, cello, and piano.
Arranged by Nancy Faber. (moderately advanced)
Silent Night
FF7007 00420336 $9.95
79
About the Fabers
Nancy and Randall Faber have combined their backgrounds as composer and
performer to become leading supporters of piano teachers and students. The husband
and wife team has authored over 200 publications, including the bestselling Piano
Adventures®method and the PreTime® to BigTime® Piano Supplementary Library.
Nancy Faber was named “Distinguished Composer of the Year” by the Music
Teachers National Association for her award-winning composition Tennessee Suite for
Piano and String Quartet. Her flute quartet Voices from Between Worlds was the
winning composition for the National Flute Association’s Professional Chamber Music
Competition. Nancy’s music has been heard on network television and public radio.
Teachers of composition include Joan Tower, William Albright, and British composer
Nicholas Maw; piano studies were at the Eastman School and Michigan State
University.
Randall Faber performs extensively as a classical pianist and lectures on musical

artistry and talent development around the world. His performances have aired on
television and public radio. He was a master teacher for the Music Teachers National
Association Conference and the National Conference on Keyboard Pedagogy, and has
presented as guest artist at universities throughout North America and Asia. Randall
holds three degrees from the University of Michigan and a Ph.D. in education and
human development from Vanderbilt University.
The Fabers advocate piano study not only for personal expression and performance
success, but also as a vehicle for the student’s creative, cognitive, and personal
development. Their philosophy is reflected in their writing, their public appearances,
and in their own teaching..
80
All publications written by Nancy and Randall Faber are
published by Faber Piano Adventures, Inc., based in Ann Arbor, Michigan.
The Fabers have authored more than 200 publications, including
the best-selling Piano Adventures® method and the PreTime® to BigTime®
Supplementary Library. Through the Faber Piano Institute and their
publishing company, the Fabers maintain their commitment to
supporting piano teachers and students.
Faber Piano Adventures is proud to have a strategic partnership with the

Hal Leonard Corporation for the sales, distribution and marketing
of the Faber catalog throughout the world.
Faber Piano Adventures

3042 Creek Drive • Ann Arbor, MI 48108
877-FABER 411 (877-322-3741)
faber@pianoadventures.com • www.PianoAdventures.com
All titles and prices listed are subject to change without notice. Prices slightly higher outside USA.
3042 Creek Drive
Ann Arbor, MI 48108
New 2nd Editions!
Exciting New
Publication!
Level 2A
See page 32 for details.
Level 4
Level 4
Technique & Artistry
New!
New!
Sightreading Fun
for Level 1!
Motivation at Your Fingertips!
www.PianoAdventures.com 90008938

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Teacher’s Desk Reference - 2012

Tips for Teaching

PreTime® to BigTime® Library

chat Piano Club Discussion Forum

join Faber Teaching Adventures Club

call 877 FABER 411 (877-322-3741)

write Faber Piano Adventures

We truly enjoy hearing from you and your students.

by Nancy and Randall Faber

My First Piano Adventure® . . . . . . . . . . . . . 6 – 13

Accelerated Piano Adventures®. . . . . . . . . . 70 – 73

Adult Piano Adventures® . . . . . . . . . . . . . . . 74 – 75

Piano Literature Collections. . . . . . . . . . . . . 76 – 79

About the Fabers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Welcome to Faber Piano Adventures

After completing Book C, students are

Book A Book B Book C

Primer Level Level 1 Level 2A Level 2B Level 3A Level 3B Level 4 Level 5

After completing Accelerated

After completing Adult Piano Adventures® Book 2,

Motivation at Your Fingertips

The right piece means:

n A style that appeals to the student

Almost every student loves a particular style of

The PreTime® to BigTime® Piano Library

Visit www.PianoAdventures.com/video for a video

NEW!! NEW!! NEW!!

for the young beginner (ages 5-6)

THE “A” BOOKS

for the young beginner (ages 5-6)

A look inside the “A” Books . . .

Blinker, the owl, loves to Tucker, the dog, loves to LISTEN

The Little Yellow Practice Book

The LESSON BOOK and WRITING BOOK include:

A look inside the “B” Books . . .

Fun Facts and Game

Fun Fact: Macaroni and cheese was

1. COUNT and clap the rhythm.

2. LOOK at the first note. Is it on a line or space?

4. PL AY. To begin, set a steady beat — Play 4. 5. 6.

? 4 Œ œ- œ- œ- b w- ? 4 >œ œœ œ>œ œœ œ >œ > >œ . .

& 4 œœœ œœœ

20 |LESSON 24 FF1622 FF1622 | LESSON 47 39

The Little Yellow Practice Book

The Little Blue Manuscript Book

The LESSON BOOK and WRITING BOOK include:

Primer Gold Star Performance

A look inside the “C” Books . . .

2. Notice the opening leap from fingers 1 to 5.

Leap for the Piñata

˙ >œ >œ >œ

f >b >œ >œ

>. >. >. œ œ œ bœ nœ

F. . . . >. >. >. >

The Next Step...

students are ready to start

4 |Lesson 4–5 FF1624

The Little Yellow Practice Book

The Little Blue Manuscript Book

The Young Beginner: Keys for Connecting

Playing L.H. Fingers 2-3-4

It is a different matter, however, when we work with children 4

at ages 4 and 5. Not only is this young beginner’s world 4 3 2

20 |LESSON 24 FF1622 FF1622 | LESSON 47 39