THE MUSIC TREE A Handbook for Teachers TIME TO BEGIN MUSIC TREE PART | TIME TO BEGIN ACTIVITIES PART | ACTIVITIES by Frances Clark Louise Goss Sam HollandPREFACE ‘The MUSIC TREE is the elementary section of the Frances Clark Library for Piano Students. It consists of eight books in four levels, to be used in sequence. Each level has a textbook and an Activities book, designed to be used together. ‘THE MUSIC TREE TEXTBOOKS <> ACTIVITIES BOOKS Time To Begin (the primer) ‘Time To Begin Activities Music Tree 1 (formerly A) Music Tree Activities 1 Music Tree 2A (formerly B) Music Tree Activities 2A. Music Tree 2B (formerly C) ‘Music Tree Activities 2B ‘The textbooks contain discoveries, repertoire, technic, and practice skills. The activities books develop skills in reading, rhythm, theory, and sight-playing. ‘This Handbook includes introductory material and teaching suggestions for the first year of study: TIME TO BEGIN and MUSIC TREE 1. The Handbook that follows is devoted to the second year of study: Levels 2A and 2B, ‘We are deeply indebted to the students and faculty of the New School for Music Study and the Southern Methodist University Preparatory Department who have been the inspiration and proving ground for this new edition, and to our educational consultants who have reviewed and tested the materials at every step of their development. ‘As we work continuously at revising and improving these materials, we invite you to keep in touch with us. We welcome your input as you find typos, have questions to ask or suggestions to make. We are available by FAX at 609-924-2536 or by email at ‘LLGoss@msn.com. We look forward to hearing from you! Itis our hope that THE MUSIC TREE will provide for you the same success and delight in teaching we have experienced, and that your students will share with ours the excitement of this new adventure in learning.CONTENTS CHART OF DISCOVERIES. TIME TO BEGIN. Introduction. How Students Learn. Reading Rhythm, Warm-Ups ‘Teaching Suggestion MUSIC TREE 1 Introduction... AUTHORS... MUSIC TREE SEQUENCE CHART...DISCOVERIES ‘This chart shows the major musical discoveries made in each of the MUSIC TREE books 1 2 3 ‘4 5 6 8 9 10 higher and lower J and pad f repeated notes — ‘PattialStaf{Notation the interval of a 2nd the interval of a 3rd time signatures the interval of a 4th the interval ofa Sth Grand Staff Notation 6 leger lines the Grand Staff tl ‘damper pedal half steps and whole steps _major Singer patterns, ‘transposing ‘minor 5-inger patterns perfect Sths using perfect Sths to accompany melodies {st and 2nd endings accents ‘major and minor triads rnom-triad tones accompanying with tonic and dominant ‘new landmarks: high G and low F pp ad Sf intervals up and down from high G intervals up and down from low F fit, a tempo 7 Review: didi da 0, p and p, Grand Staff New: “Landmarks FC, G 2nds up and down from landmarks af and mp beginning a 2nd above landmarks repeat ign beginning a 2nd below landmazks the interval of th ‘beginning a Sth above or below landmarks the interval of rd ‘beginning a rd above or below landmarks staccato Using liters to show the plan of piece the interval of ath beginning adth above or below landmarks tes and upbeats ress QS sharps and fats sharps and fats last through a measure using naturals to cance! a sharp or lat the key of C mor the interval ofa 6h the key of G mor wld ‘changing from a 5inger position toa 6th (Gnoving the thumb away from the hand) accompanying with 6ths the key of D major ‘changing from a 54nger postion toa 6th (moving the hand away from the thumb) ‘more about accompanying with 6ths the key of B4lat major compound meters: JT J. crossing finger 2 over the thumb in compound meters: ) crossing fingers 32 over the thumb sliding the thumb under fingers 2-3INTRODUCTION =—=—__+__———_. TIME TO BEGIN consists of nine units of study, each divided into two sections: DISCOVERIES and USING WHAT YOU HAVE DISCOVERED. Discoveries The Discovery sections include a comprehensive plan for ‘musical growth at the piano. Here students explore new elements of reading, rhythm, theory and technic, meticulously sequenced to ‘make learning natural and easy. The Discoveries are presented in short, simple pieces that can be mastered with the teacher in just a few minutes at the lesson. Using What _In the Using sections, the new discoveries are confirmed You Have in exceptionally musical repertoire and in a variety of Discovered __Wtite-and-play activities. In addition, the Using sections include detailed practice steps to help students with their daily practice at home. Each Using section ends with a creative assignment, “Make some pieces of your own...” with suggested musical elements to use and suggested titles (see, for example, page 13) Every activity in the Using sections reviews the discoveries in that unit and reinforces discoveries from preceding units. No element that has not yet been presented is ever included; nothing already presented is ever omitted. Consequently, at each step, the student is able to analyze and master the reading, rhythm, theory, and technic required for the secure and beautiful performance of every piece. To help students enjoy this adventure in learning, they have two cartoon companions: g CHIP a little chipmunk with big eyes who points out everything to see. BOBO, a dog with long ears who points out everything there is to hear. Chip and Bobo are with the students at their lessons, but their main job is to go home with them to help them practice. They remind students of what they learned at the lesson and what to do when they practice at home.———— HOW STUDENTS LEARN 7 Bhilosophy about how students learn can be illustrated by looking at the pieces in init 1. ‘We believe that students learn on the basis of what they already know, by using what they have already learned to discover something new. This is the adventure in learning—to see what can be discovered on the basis of what we already know! Page 4 For example, in Take Of, students discover that notation is a picture of the sound of the music, and that the picture tells them what to do to produce that sound. This “picture” includes: « the keyboard legend, showing that the piece is played on the groups of two black keys. * a group of four notes, beginning with RH. * four groups of notes, all alike except that each successive group is higher than the preceding one. Page 5 ——_Landing is exactly like Take Offexcept that: * each group begins with LH. * each successive group is lower than the preceding one. Page 6 Ina Canoe is exactly like Landing except that each group ends with a note that lasts for two pulses. Page 7 Space Ship is exactly lke In a Canoe except that: * each group of notes begins with RH. each successive group is higher than the preceding one. Pages 8-12 All of the pieces in the Using section use the four simple discoveries the student has just made: higher and lower quarter note (pulse) half note (two pulses) ‘Yet out of these four simple discoveries, four more entirely new pieces have been created. By changing the direction or duration, the title and lyrics, a whole new world of musical experiences emerges. (On the basis of what they already know, students are able to work these pieces out on their own at home, using the Practice Steps suggested at the top of page 8. Not only do they experience eight completely different musical worlds in these eight short pieces but, in addition, the new discoveries are reviewed and reinforced in a way that insures daily progress and easy mastery.Page 13, On page 13, students are invited to “make some pieces of your own” using the elements they have already discovered. Three titles are suggested, but they are also encouraged to make pieces about “whatever you like.” While we suggest writing the titles on the line provided, itis better not to write the pieces themselves. If students try to notate their pieces, they are limited to the notation they already know. Without such limitations, students often venture into uncharted waters, creating pieces that are far more complex and imaginative than anything they could possibly write. Pages 28-29 In Unit 3, students discover still more ways to make new musical ideas out of what they already know. For example, here they learn a piece about The Schumanns (page 28) which then turns into a piece about a Submarine Dive (page 29). By changing a one-octave piece into a four-octave piece, with new title, lyrics and dynamics, an entirely new piece is created using exactly the ‘same notes, rhythm and technic. Similar creative activities ocdur on pages 50 and 56. ‘Through rearranging existing pieces and creating entirely new ones, students begin to understand that music is a language they can “speak” as well as “read”. This is one of the most exciting aspects of their new adventure in learning.— READING Off-Staff Notation To understand our approach to reading in TIME TO BEGIN, look at the very first piece, Take Off, on page 4. Students can play it at once because: * it is played on the groups of two black keys — easy to see and find as the music moves across four octaves. Notice the keyboard legend, showing the position — RH on the top key, LH on the bottom, ‘When students play their part alone, they may start in any octave, taking into account the nature of the piece and the number of octaves required. ‘When playing with the accompaniment, the student's part should begin where indicated on the small staff just above the teacher's part. e itis played with the most natural and strongest fingers (the pointer fingers) and it feels balanced because of alternating right and left hands. * steady tempo can be assured because the piece is played with large, balanced motions and because each note represents one pulse. ‘Singing or chanting the words helps maintain a steady tempo. ‘Steady tempo is further enhanced by accompaniments in which the teacher’s part establishes the pulse through constant quarter notes. * the student has the immediate reward of playing a big-sounding piece about something that interests him, a piece that really describes what the ttle and lyrics are about. When the teacher’s accompaniment is added, the musical effect is truly impressive. Let’s compare the notation of Take Offas it appears in TIME TO BEGIN with the way it would look written on the grand staff: eae, : : x, of Impossibly complicated! By taking away from this notation everything the student does not need, we have ‘the simple picture as shown on page 4: « the big black notes show: how many groups there are how many notes there are in each group which direction to move « the upstems and downstems make it clear which hand to use.10 « the keyboard legend tells the student what keys to play and which fingers to use, so we don't need the grand staff with its lines and spaces, clefs and accidentals, or finger numbers. ‘the constant quarter notes and the lyrics establish a steady tempo, so we don’t need measure bars or time signature. Students see this simple notation as a picture of the sound, and as instructions for what to do to produce that sound, This kind of simple, direct information, without needless complications provides everything students need in order to play all the pieces in the first few units of TIME TO BEGIN. This gives us, the teachers, time to begin developing some very important skills and habits: © a strong sense of rhythm * freedom and relaxation in moving over the entire keyboard * the ability to produce and control a big beautiful tone * the ability to project a meaningful musical idea * the ability to listen critically to one’s own playing. By the time students have finished Unit 3 of TIME TO BEGIN, they have played 21 pieces. In addition they have composed pieces of their own or rearranged a number of pieces. And they have become aware that music is always in motion—moving up, moving down, or moving in a straight line (repeated notes). Now they are ready for a refinement in reading—how far up or down the music moves. This brings us to intervals. Intervals 2nds In Unit 4 (pages 32:38), students discover the interval of a 2nd. ‘The 2nds are written on lines and spaces, but we use only as many lines and spaces as the music requires. Again, the notation is kept as simple as possible, not complicated with anything that isn't really needed. Notice that in Naptime (page 33), the letter names the first note, G. Students read the first note in the LH as “G, down a 2nd, E” The keyboard legend is no longer needed, so we have moved one step closer to clefs.3rds 4ths Sths When students can play Naptime easily, they are asked to play it again, beginning on E. This is the actual start of transposing, although fransposing as a theoretical process is not presented until MUSIC TREE 2A. Notice especially the inclusion of blocked (harmonic) intervals as well as melodic intervals. Look, for example, at Stubborn Mule (page 35). The staff notation remains simplified through the presentation of Srds, 4ths and Sths. Each of the intervals is written on lines and spaces, but only as many lines and spaces as needed. Each Discovery piece is immediately played again, starting on a different key—more experience in transposing, long before its formal presentation, Conventional Notation. clefs grand staff In the course of this readiness approach to reading, students first use a keyboard legend, then a partial staff (where the letter names the line), and finally conventional fiveline staves with treble and bass clefs (pages 66-67). At the end of the book, they are reading with confidence and security music written on the grand staff (page 68). It holds no mystery for them. ‘This is a staff they themselves built, stepby-step, concept-by-concept, just as it evolved over centuries of music history. Because they participated in its creation, its imprint is indelible. 112 RHYTHM ‘There are three aspects to be considered when we teach rhythm to beginning students: ‘+ awareness of pulse through movement «awareness of relative duration ‘rhythmic notation Movement and Pulse ‘We begin with movement to music. Bach new rhythmic experience begins with a total body response to music — dancing, stepping, shifting weight from foot to foot, or, at the very least, swinging with a full arm swing. Using the accompaniments or recordings with these experiences is very helpful. Itis through this body movement, and its various changes in tempo, that students become aware of pulse. Relative Duration and Rhythmic Notation From awareness of pulse we then go on to relative duration. ‘When students have heard, recognized and physically experienced the difference in duration of various note values, it is time to show them the rhythmic notation, In other words, all rhythmic presentations follow the sequence suggested above: first motion and pulse, then relative duration, and finally notation. Our goal is achieved when students have an immediate response to the notation they see and eventually can write the notation for rhythms they hear and feel. ‘The rhythmic practice steps for TIME TO BEGIN include experiencing the rhythm. in many physical ways before playing a new piece. Following are the types of rhythmic practice we use: 1. Swing and say the words with a strong rhythmic pulse — one full arm swing foreach J (page 8) ‘two full arm swings foreach d (page 8) three full arm swings for each J. (page 32) four full arm swings foreach © (page 59) 2, Dash and say the words — while saying the words in rhythm, mark a dash ‘under each word, one dash for each pulse: for notes that last 1 pulse (page 12) for notes that last 2 pulses J _ (page 12) for notes that last 3 pulses J. (page 41) for notes that last 4 pulses o (page 61)3. Point to the music and count with a strong rhythmic pulse: forevery J say “I” (page 20) forevery J forevery forevery © say “I-234” (page 64) ‘We don’t ask students to count until they have a pulse to count —a pulse that they feel and against which they can measure duration. Then we begin by counting the value of each note, verbalizing the number of pulses for which it stands. In TIME TO BEGIN, we use functional counting (counting the numeric value of each note) at least until time signatures are introduced. Beginning there and into Part 1, we make a gradual transition to metrical counting, counting each note for its beat in the measure. Circle the time signature (page 46) Before beginning to count the rhythm of a piece, we recommend swinging and counting two measures in the meter. For example, if the piece is in 3/4 time, count two measures in 3/4 meter before beginning to count the rhythm of the piece: Until time signature is introduced, students can get the feeling of meter by saying. the words with you, as you model the tempo and the accentuation. Tap and count (page 64) ; Tapping and counting is done with light fingertips on the closed keyboard cover (or a table). Both the arm and the voice must be light and rhythmical. ‘The tapping is never heavy or pounded. Our job is to be sure that there is no question about rhythm before students play a piece for the first time. Rhythm is not something to be corrected after several false starts. 1314 WARM-UPS ‘The music in TIME TO BEGIN requires four basic technical skills: * the ability to produce single tones with specific fingers ** the ability to move easily and gracefully from octave to octave * the ability to play legato between alternating hands * the ability to play legato within each hand, using fingers 32 and fingers 432. ‘The first and second skills are all that's needed to play the music in the first two units (a total of 14 pieces). Playing with alternating hands provides the necessary hythmic foundation, and beginning with pointer fingers allows students to use the fingers with which they are most familiar and comfortable. From the first lesson, we work with our students on developing what we call “a good piano hand.” The steps are these: Rest the elbow on the closed keyboard cover and let the hand hang loosely from the wrist — enjoy the relaxation, Drop the arm and hand onto the keyboard cover, flat and loose — be aware of the relaxation, Slowly draw the finger tips toward the palm until an arch is formed. The tips should rest on the flesh just behind the nail, so that the fingers are rounded, but not overly curved. Check the hand for: * a prominent knuckle bridge in which all the knuckles can be seen, especially the 5th « all first joints are firm and erect * the wrist is loose * the thumb is loose and pointing slightly toward the second finger, Press each finger tip to make sure that: * the first joint does not collapse «the arch remains high * the thumb remains loose ‘The importance of a good piano hand becomes apparent to students when they understand that to control each tone the first joint of each finger must remain frmm— they can't control the tone with a collapsed first joint any more than they ean control their writing with a broken pencil point. ‘The third skill begins in Unit 3, with the introduction of legato playing within each hhand — first learning to play two tones smoothly with fingers 82, and later to play three tones smoothly with fingers 432, In learning to play single fingers students have already become aware that it takes a down-up motion to produce a tone — the tone sounds when the key goes down ent stops sounding when the key comes up.In learning to play legato, students discover that the down-up motion they have been using for a single tone can now be applied to two tones, and later to three or more tones—down on the first note, up on the notes that follow, with the feeling that all succeeding notes come out of the first. Learning to play legato between adjacent fingers 2,3, and 4 is the most refined technic students begin to learn in TIME TO BEGIN. The learning process should begin with the ear—play some very smooth legato phrases for students and contrast them with ‘non-legato playing until they can distinguish easily between legato and nonlegato, As you demonstrate legato playing, have students watch so that they see how the hand looks and can imagine how it feels to play legato. One of the best ways for them to experience this new feel is to “ride” on your hand as you play legato tones, and then for you to ride on their hands as they experiment with this new technic. Itis also helpful to play a two-note slur on their arm, to have them play on your arm, and finally to have them play on their own arm. Page 22 Two-note legato and the slur sign are introduced. Page 30 “Warm-Ups” for daily technical practice begin. ‘We work on building a good hand position throughout Units 1 and 2, but it is not until the introduction of two-note legato in Unit 3 that the warm-ups go home with the student for daily practice. Like the pieces in the Discovery section, the two-note legato in one hand is carried over into a third note in the other hand, so that the feeling of legato crosses the body in a balanced and graceful line. RH plays the pattern in three different octaves going up, LH in three different octaves going down, continuing the emphasis on graceful ‘octave moves. Page 37 The warmups extend to three-inger legato going both directions — fingers 432 and 234. Page 44 The warm-ups for fingers 32 lengthen to patterns 32323 and 23232. Page 51 The warm-ups for fingers 432 extend to patterns 43234. Page 57 The threesinger warm-ups go the opposite direction: 23432, Page 64 The three-inger legato patterns include a change in direction: 43232. Page 71 The patterns go the opposite direction: 23434. 1516 Notice that fingers 1 and 5 are not utilized in TIME TO BEGIN because of the special problems they present. ‘You have doubtless noticed that the warm-ups are free of tempo indications and dynamic markings. Both dynamics and tempo should be assigned by you, deciding in each case and for each lesson what is appropriate for each individual student. All of the warm-ups should be practiced in a strong rhythmic pulse, and the move from octave to octave should be incorporated into the rhythmic framework so that the next group always begins on the downbeat of what would be the next measure. Each new gesture begins with the feeling of a preparatory lift. Students experience this feeling most easily if they take a breath on the upbeat. ‘When students finish TIME TO BEGIN, they have made a significant start on developing a good hand position, and they have had considerable experience with the various legato possibilities using the three middle fingers of each hand. The only additional technic presented in TIME TO BEGIN is playing repeated notes (beginning on page 16) and the occasional use of blocked intervals between hands (for example, Stubborn Mule on page 35).——— TEACHING SUGGESTIONS Unit 1 Page 4 Page 5 Page 6 Page 7 Page 8 On this and succeeding pages, ask students to circle the keyboard legend. This is a good way to emphasize the importance of the legend, before the keyboard positions begin to change in Unit 2. Notice that in the activities column on this page, the written work is already done to show the student how. From now on, the students will circle answers or fill in blanks for themselves. ‘The two most helpful steps in learning these first pieces are: * Look carefully at the score to see: the direction the music moves the number of groups the number of notes in each group * Practice playing the piece on the keyboard cover until the rhythm and moves are easy and comfortable. ‘The big challenge on page 5, of course, is the difficult concept that in music, descending notes go to the right, but on the keyboard, descending notes are played to the left. Landing should be presented in its relationship to Take Off: it is alike because there are four groups of notes and four notes in each group; itis the opposite because each group begins with LH, ‘each group looks lower and each group sounds lower. ‘The important point about /n @ Canoe is that itis exactly like Landing except that the last note in each group lasts for two pulses instead of one. Since the half note is a new sign, it is helpful to circle the half note at the end of each group. Again, practice playing the piece on the keyboard cover until the new rhythm is easy and comfortable. ‘Space Ship can be approached through a comparison with In ‘a Canoe. In what ways is it alike? In what ways is it opposite? In the Using section, the discoveries made on pages 47 are reviewed in four more pieces. ‘The Practice Steps at the top of the page help guide the student in home practice. In working out new music, students are encouraged to: 1718 Unit 1 (cont.) Page 12 Page 13 1. Look at the music carefully, studying all the signs, thinking what the piece is about and how it will sound. 2. Do any of the rhythm practice steps necessary to feel the rhythm of the piece securely before playing it. 3. Practice the position(s) the hands must take to be able play the piece. In this silent “tracing,” the hands rehearse every motion and every key so that when they actually play the piece they have a feeling of having already been there. 4. Set a slow tempo and play and count the piece. ‘The questions and comments in the activities column help students develop a sense of form (likes and differences) and rhythmic security. Chip's role is to guide them in seeing everything in the score; Bobo's Job is to help them learn to listen and his questions help them evaluate their own performance. At the end of each Using section come pages of rhythm and writing activities to review and confirm the new discoveries. ‘We suggest doing at least one rhyme with students at the lesson to insure that they: * say the rhyme out loud with a strong rhythmic pulse, ‘+ mark dashes under the words with a strong rhythmic pulse (so that marking the dashes is a real rhythmic activity, not just an intellectual one), ‘* swing with a full arm motion, pendulum style, starting high on one side of the body and swinging across in front of the body to high on the other side. As they swing, their weight should shift from foot to foot, so that the entire body is involved in the rhythm. ‘The written keyboard activities are seltexplanatory. ‘We recommend helping the student start each activity but the majority of the work should be done by the own at home. at the lesson, students on their In the bottom righthand corner comes the compo: This is the proof of the pudding! Students are that they can speak this new language as well as read it. If students, are to take the composing assignments seriously, we must make a big point of them atthe lesson, taking time to discuss the assignment withthe students and help them get started if necessary, ‘Even more important, take time at the next lessor ‘composing pieces and to praise them. Resist the them. This should be the students’ own work, proud of whatever they have produced, sing assignment. excited to discover n to hear the students’ temptation to “improve” Our part is just to be veryUnit 2 Pages 14-15 The new discovery here, signs for soft and loud, has really been Page 16 Page 17 Page 18 Page 19 Page 20 Prepared for in Unit 1 when pieces about an airplane or a space ship were naturally played with a full tone and pieces about a canoe or a garden were naturally played more softly. This is another of those discoveries that can be presented best through contrast — the soft sounds of a secret contrasting with the loud sounds of a rock band. Technically there is a very new feelin this unit— the same hand begins and ends each group. To help students master this new feeling, close the keyboard cover to make a tapping surface, and show them how to tap lightly with their finger tips while saying the hands in thythm. Once is not enough. They need to repeat the tapping until the rhythm and the moves are easy and secure. Since this is the first use of the three black keys and finger 3, be sure the student circles the keyboard legend above the music. Here there is another new feel, repeated notes. Again, help students experience the new feel by tapping and saying the hands until the repeated notes and octave moves are easy and comfortable. Because “On the Bleachers" is the first piece in which there is a change in pattern, the student should circle the third group. In Circus Clown, students experience yet another new feel—the first group begins and ends with RH while the second group begins and ends with LH. We want them to see that group two is the exact opposite of group one. Tapping and saying the hands helps secure this new technic. Bluebird requires special rhythmic preparation because each group begins with two half notes. Pointing and counting out loud (12, 1-2, 1, 1, 12°) will help. In Halloween, there is a very important new experience — the change from loud to soft within a piece. Again, circling the signs for loud and soft, and Bobo's questions help make this contrast important. In the Rhythm section of Unit 2, counting is presented as a new practice step. Throughout TIME TO BEGIN, we count notes for their duration, so that a quarter note is always “1” and a half note is always “1-2.” Dashing and swinging continue. 1920 names of the white keys, relating Don’t omit the all- up and Page 21 This written section reviews the them to the groups of two and three black keys. important activity of playing (and naming) each of the notes, down the entire keyboard. ‘The composing assignment now includes everything learned a this unit: the groups of three black keys, loud and soft, and repeat notes, Unit 3 Page 22 Until Unit 3, the student's technic has been limited to single fingers within a hand, and playing smoothly between hands. Here the student takes a big step forward with the introduction of legato between fingers 3 and 2 in each hand. Note that to complete the gesture, the first two pieces include legato 32 in one hand and a continuous slur from one hand to the other. Bobo’s questions include the issue of “smooth and connected” playing. Page 23 Notice the difference between Drifting and Kites. The physical gesture of Kites is the exact opposite of Drifting, but whereas Drifting covers only two octaves, Kites covers four. The keyboard positions now include combinations of two- and three-black-key groups. Notice the instruction to “play silently on the keyboard cover, saying the finger numbers.” They should be said out loud and in rhythm. Pages 24-25 In Climbing, students discover the signs for octave higher and ‘octave lower. First they see the piece written in three different octaves. ‘Then they see the very same piece written a new way. What a lot of space those little signs can save! Page 26 _In Hang Gliding, students read and respond to signs for both octave higher and lower. This piece is the opposite of Climbing. Pages 28-29 In comparing The Schumanns and Submarine Dive, students have their first opportunity to see in what ways the very same notes can be changed to create an entirely new piece. By making a single- octave piece into four octaves and changing the title, lyrics and dynamics, the gentle Schumanns becomes a loud and exciting piece about the activities aboard a submarine as it prepares to dive! Chip says, “Imagine that! Two pieces made of the very same notes, but sounding so different!” Be sure to explain who the Schumanns were! Page 31 _In addition to further written drill on the keyboard and a ‘composing assignment, students are asked to turn back to Unit 1 and play two pieces again, this time on white keys,Unit 4 Page 32 Page 33 Page 34 Page 35 Page 36 Here the dotted half note is introduced where it can be most easily felt, in 3/4 time, after three measures of continuous quarter notes. As in all the accompaniments, there is a moving quarter note pulse in the teacher's part, against which the student can measure the duration of the longer note value. After three units of general reading, in which the student has experienced higher, lower and repeated notes in a wide variety of musical situations, it is time to get more specific about how far up and ‘how far down the music moves. This brings us to intervals. Chip comments at the top of the page, “Lines and spaces make music easier to read!” And the pictures show, that on the keyboard, from one white key to the very next white key is a 2nd. We call this interval a 2nd because it involves the first key and the second (or neighbor) key. 2nds written on lines and spaces are also neighbors — if the first note is on a line, the second is in the very next space; ifthe first note is in a space, the 2nd is on the very next line. Notice that a letter names the first note. At this point, the keyboard legend is no longer needed, and we have moved one step closer to musical clefs. ‘As soon as students can play the pieces easily, they are asked to play them again, beginning on a different key. ‘Scout Day and Thunderstorm review 2nds on lines and spaces, and the signs for octave higher and lower. Notice the need for extra rhythm preparation for Thunderstorm because of the feeling of mixed meter. Point and count and tap and count are essential preparatory steps. ‘Stubborn Mule gives students their first experience in reading, hearing and playing harmonic 2nds — an ideal sound for the nature of the piece! In Dinosaurs, we review off-staff notation so that some of the pieces continue to cover a wider keyboard range. Notice the introduction of bar lines, measures and ending bar in preparation for time signatures which are coming in Unit Six. In Merrily We Roll Along, the hands are one octave apart, but each hand starts on a “B*. Extensive use is made in this arrangement of, three-finger legato in each hand. 2122 Page 37 Page 38 Unit 5 Page 39 Page 40 Page 41 Page 42 Page 43, ‘The warmups reinforce 432 legato and introduce 234. “1.23” for each d. and the Inthe rhymes, counting now inchudes saying “1259 fF CA rhyme, “Jack Be Nimble,” makes use of dotted half Written work for this unt includes 2nds, both on the keyboard and on lines and spaces. ‘The student is asked to turn back to Unit 3 and transpose another black-key piece to white keys. Remember that we don't call it “transposing” until MUSIC TREE 2A. ‘The composing assignment includes making pieces on white keys using 2nds and dotted half notes. In Unit 5, students discover the interval of a 3rd. Notice the same approach as in 2nds: how a 3rd looks on the keyboard (it is called a 3rd because it is the bottom and top of three neighbor keys with the middle key skipped); how a 3rd looks on lines and spaces —line to line with the space skipped, or space to space with the line skipped. Again, as soon as the pieces can be played easily, they are transposed to other beginning notes. At the bottom of the page Bobo comments, “Listen to the special sound of 3rds played together” (as in Shells). In the Using section, the student is referred back to the Practice Steps on page 26. In Stargazers, the RH plays 323 legato and the LH plays repeated notes. This piece is effective played twice, the second time an octave higher. Beethoven's Ninth makes extensive use of the 234 technic, but includes more repeated notes than in any piece so far. In preparation for a successful work-out, students need to become completely secure with the fingering by playing silently on the keyboard cover and saying the finger numbers out loud. and Be sure to explain what the title means! ‘Skating reviews the use of fingers 432 legato, It, too, is effective played twice, the second time an octave higher. 7Page 44 Page 45. Unit 6 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 The warmups here extend fingers 323 to a four-note gesture, 3232 and 2323, ‘The written work includes review of 2nds and the introduction of 3rds, both on the keyboard and on the staff, The “turn-back” section involves still more transposing to different starting keys, and the composing assignment invites students to make ‘some pieces of their own using 3rds. At this point in the book, students have played 36 different pieces. ‘The pieces have been written in 2/4, 3/4, 4/4, 5/4, and 6/4 meter, but without the complexities of time signatures, Now students are ready to understand meter, and as the pieces grow longer and more complex, dividing them into measures helps make them easier to read. Be sure to help the student answer the questions at the bottom of the activities column as to how many measures there are in each piece, and how many pulses there are in each measure. Taking the time to count through each piece and arrive at those answers will clarify the significance of meter for all time. In the Practice Steps at the top of the page, notice the addition of one new step under rhythm: * Circle the time signature ‘The questions in the activities column help the student begin to see how many parts there are and which parts are alike or different. ‘The questions in the column about Camptown Races continue to review the importance of meter and of analyzing the form of the piece. Bedtime uses off-taff notation again, so that students never lose their ability to move easily across the keyboard and never lose the sound of a wider keyboard range. After learning Marching Band, students are invited to rearrange it. Two possibilities are suggested, but we hope that students will experiment until they find a solution of their own, In the warm-ups for this unit, legato is extended to fingers 43234. 2324 Page 52 Unit 7 Page 53 Page 55 Page 56 Page 57 ‘The written work on 3rds is again on keyboard and staff, but is growing more difficult. ‘The composing assignment includes something new: students are given two rhythm patterns and are asked to make a piece of their own using one or both of the patterns. It has been our experience that students can do this successfully only if you help them master the rhythm pattern first. This can be done by pointing and counting, tapping and counting, swinging and counting, or all three. But assigning the composing without mastering the pattern first is apt to lead nowhere! Here 4ths are presented—first, how they look on the keyboard; then, how they look on lines and spaces. Don’t try to compare 4ths with 2nds. In general, students see 2nds not as intervals but as neighbor notes. In 3rds, they need to recognize the sameness—two lines or two spaces. In 4ths, they need to see the difference—if the first note is on a line, the second is in a space; if the first note is in a space, the second is on a line. In other words, since a 4th is the bottom and top of four white keys, it must also be the bottom and top of four lines and spaces on the staff. ‘As soon as the pieces can be played easily, they should be transposed to other beginning keys. If you assign additional starting positions (and this is a good idea), just be sure the result will be a perfect 4th. ‘The student is referred back to the Practice Steps on page 47. ‘Ship Ahoy! should first be mastered as written. Then students are invited to rearrange it any way they like. Ranch Mail goes off-staff again so that students continue to hear and enjoy a wider keyboard range. Notice the suggestion to repeat the piece an octave higher. Rocket Ship is off-staff to give students another experience in moving freely and easily over four octaves. Notice the suggestion to rearrange the piece “any way you like.” ‘These warm-ups are the opposite of those in Unit 6 ~ 23432 legato in each hand.Unit 8 Page 59 Page 60 Page 62 Page 63 Pages 64-65 Finally the time has come to introduce the whole note. We have put it off for 58 pages because its duration is unnaturally long for a young student. The accompaniment includes continuous quarter notes against which students can measure the whole notes in their part. On this page itis a good idea to contrast the look of Sths with the look of 3rds. Since 5ths on the keyboard are the bottom and top of five neighbor keys, Sths on the staff are the bottom and top of five lines and spaces. Like 3rds, ifthe first note is on a line, so is the second note (with one line skipped between); ifthe first note is in a space, so is the second note (with one space skipped between). ‘When the pieces on this page can be played easily, they should be transposed to other starting keys. Clouds presents a new experience—playing white keys in one hand and black keys in the other. Bobo comments, “This combination of black and white keys makes a very special sound.” To make the sound even more special, show students how to use the damper pedal and let them enjoy the blended harmonies. Notice that the bottom of page 62 is the accompaniment for Old MacDonald across the page. ‘There are several special considerations in presenting Old MacDonald. In the optional third line (which students may omit if they find it too demanding), the right hand plays the same “G” on which it began, but the left hand moves to the “G” an octave lower. ‘After the optional third line, students are encouraged to repeat lines 1 and 2 as often as they like, naming other animals. In the optional line, it can be fun for the student to play clusters anywhere on the piano — black keys, white keys, or a combination. The important thing is to maintain the rhythm and pulse. Notice the change in direction of these warm-ups: 43232. “The keyboard work concentrates on 5ths, which are new, but also contains review of 4ths. The composing assignment includes using 5ths and whole notes. 2526 Unit 9 Page 66 Page 67 Page 68 Pages 69-71 Page 72 udent discovers a ‘This units the cimax ofthe book! Here the student Gomnuer 3 bout fiveline staff for the first time, and learns at FCI Base Staff For! ‘the first time, “the letter names ee pee, specific. The plain printed F is replaced by the x ae Taine Claes means to play not any F but specifically acne ae eres ‘Staff gives the student experience in re nd playing just important notes, Bass F and Middle C. The F line is printed in red to highlight it. i Treble Staff. Here the process is repeated for the G Clef and the Treb ‘The plain printed G is replaced by the G Clef, a sign which = a) play not any G but specifically the G just above Middle C. Tret es gives the student experience in reading and playing just those important notes, Treble G and Middle C. On this page the student discovers that when the treble staff and the bass staff are connected, they form a large staff called the “Grand Staff.” On the Grand Staff, RH notes are usually written on the treble staff and LH notes on the bass staff. Walking on Stilts gives the student experience in playing Treble G and Middle C written on the Grand Staff. Tumbleweed gives the same ‘experience on Bass F and Middle C. ‘The pieces on these pages review the three important notes just Presented, but also give the student an opportunity to read and play 2nds up and down from the important new notes. Graduation March, a majestic two page piece gives students the feeling they have really gotten somewhere! (and they have.) ‘These warmups, like those in Unit 8, include a change in direction: 23434, The rhythm activity includes tapping and counting hands together for the frst timeone hand having a moving part, the other a steady, accompaniment in dotted half notes or whole notes. The final written work includes (nds, 3rds, 4ths and 5ths) and G, Bass F and Middle C. review of all the intervals learned grand staff on which to trace TrebleTIME TO BEGIN ACTIVITIES28 TEACHING SUGGESTIONS ———_———. ‘The TIME TO BEGIN ACTIVITIES book is bright, bold and cheerful, welcoming students into its appealing format, color and illustrations. The pages are filed with activities that are often familiar to students from school. Many are to be completed in crayon or colored pencil. On most pages, at least the first example is done as a model to show the student how to proceed. ‘The very last page is a Glossary that includes all of the signs and terms learned in ‘TIME TO BEGIN. ‘We recommend using the activities in several ways: * At the private lesson for change of pace and reinforcement * As a basic activity and curriculum for the group lesson * As short, easy assignments to be done at home Unit 1 Page 3 Page 4 Page 5 Page 6 Unit 2 Page 7 Page 8 Page 9 Page 10 Page 11 Page 3 reinforces finger numbers. Students draw a line connecting the number with the correct finger in the drawing. Then, they color as instructed. ‘This page drills direction in music notation. Students color notes that go up blue and notes that go down red. On page 5, students spell the musical alphabet going up. Here students practice writing quarter notes and half notes. Page 7 reinforces key names for C, D, and E. Students color each Cred, each D yellow, and each E blue. ‘This page drills the musical alphabet going up, then down, Reversing direction and order becomes important. On page 9, students draw lines to match musical signs with their names. This drill incorporates their entire vocabulary at this time, including the signs for loud and soft. More follow-through on finger numbers, Reinforcement of direction in music notation. Notice that this time down precedes up.Page 12 Unit 3 Page 13 Students rehearse naming quarter notes and half notes by coloring kites decorated with one or the other. Page 13 reinforces key names. Students color each A green, each B yellow, etc. Pages 14-15 This two-page spread drills the musical alphabet going up, then Page 16 Page 17 Unit 4 Page 18 Page 19 down, through two octaves. This drill reinforces directional reading and now includes repeated notes in addition to up and down. Students use a different color for balloons decorated with notes that go up, down, or remain the same. ‘This matching drill includes the signs for octave higher and lower as well as a review of earlier terms. ‘This is the first activity designed to reinforce intervals. On each partial staff, one whole note is written and another 2nd is outlined. ‘Students trace the outlined note to form a second. Music Math is an activity that tests students’ understanding of the rhythmic values of notes and their relationships. Quarter notes, half notes, and dotted half notes are now included in these simple equations. Pages 20-21 These pages are an early exploration of sameness and difference, Page 22 Ina very tangible sense, this is the beginning of teaching awareness of form in music. Here students are presented with several groups of four boxes. In each group, one box does not match the others. Students are asked to mark an X through the one that does not match. ‘This drill is a follow-up to the interval drill on page 18 and the earlier drills on direction . Several 2nds are presented on a twoline staff, Students draw an arrow up or down to show direction. 2930 Unit 5 Page 23 Students mark an X through the box that does not match. In this drill, they are asked to distinguish between 2nds and 3rds on a partial staff. Pages 24-25 These two pages continue to review the musical alphabet. On page 24, students write the musical alphabet up, then down under a series of quarter notes going up and down. On page 25, they write it through two octaves, going down. By this time, the reverse order is becoming easy for them. Pages 26-27 These two pages continue to reinforce interval reading. On page 26, students compare 2nds and 3rds going up or down plus repeated notes on a partial staff. They are asked to use green to color 2nds going up, brown to color 2nds going down, etc. On page 27, they are asked to draw notes a 2nd above and below given pitches. This is the most sophisticated interval activity so far and the best indicator that students have mastered 2nds on the staff. Unit 6 Page 28 The first activity of Unit 6 is a maze in which students help Chip find Bobo by following all of the 3rds on the staff. 2nds lead to blind alleys! Page 29 On this page, students must infer time signature from lines of rhythm. They do this by counting the number of pulses between measure bars and adding the time signature in the box at the beginning of each line. Page 30 This is a matching exercise in which “stars” containing musical signs are connected to “planets” containing the names of the same signs. Page 31 More interval recognition on the staff. Students color the circles that contain intervals—a different color for repeated notes, 2nds, 3rds, and 4ths. Notice that staves are expanded to four lines.Unit 7 Pages 32-33 Follow-through on the musical alphabet ascending, then Page 34 Page 35 descending. Students match “balloons” containing musical terms to musical signs. ‘Students mark an X through the box that does not match. In this drill, they must distinguish among 2nds, 3rds, and 4ths on a partial staff. Pages 36-37 In this important new activity, students write the musical alphabet Unit 8 Page 38 Page 39 Page 40 Page 41 Unit 9 Page 42 consecutively inside musical notes that go up, down, or stay the same. Notice that page 36 is entirely offstaff, while page 37 uses a Sine staff. This activity begins to integrate the process of reading by combining starting note, direction, interval, and note names into one drill. ‘This unit begins exactly where Unit 7 left off with another direction, interval, notenaming exercise. “Music Math” now includes the one remaining value — the whole note. “This page is a maze in which students help Bobo find Chip by following all of the Sths on the staff. Any interval but a 5th will lead to a dead end! ‘A more sophisticated direction, interval, and note-naming exercise in which the staff is now expanded to five lines. Notice that the notes are exactly positioned to prepare for the Grand Staff. In this vital new activity, students take one step farther toward integrating their knowledge of intervals and note names. In each measure, one note is written on the staff (with its name inside). Students are asked to draw the second note a given interval away and then write its letter name inside. 2nds, 3rds, 4ths, and 5ths are included. 3132 Page 43 “Rhythm Detective” isa new activity in which students “investigate” aline of rhythm to find and circle measures that have too many pulses. Pages 44-45 This two-page spread is a grand review of the musical alphabet, but this time students write it going up and down in 3rds. Notice that the skipped letters are given in light gray to help avoid confusion, but we really want the student to develop facility in conceptualizing the musical alphabet in a new way. For many students, this is particularly challenging when reversed (going down). Page 46 Now on the grand staff, students write the letter name for each note, RH from Middle C to Treble G and back, LH from Bass F to Middle C and back. Page 47 “A Musical Rainbow” is a colorful review of the new “landmarks” Treble G, Bass F, and Middle C (written two ways), and other basic signs covered late in TIME TO BEGIN. Page 48 Glossary Summary ‘When students have completed TIME TO BEGIN and TIME TO BEGIN ACTIVITIES, they are thoroughly ready for music written on the Grand Staff. This readiness is not only in their reading skills, but in the security of their rhythm, their understanding of the basic elements of musical form, their technical and tonal control, and their ability to project the full musical meaning of each piece. Everything is now prepared for a secure and joyful experience on the Grand Staff. Following TIME TO BEGIN, students will move eagerly and confidently into the ‘companion volumes, MUSIC TREE 1 and the MUSIC TREE ACTIVITIES 1. Together, the two level 1 books continue the comprehensive plan for musical growth at the piano.-———— INTRODUCTION —__—~. Following TIME TO BEGIN, students are ready forthe two Level 1 books, MUSIC ‘TREE PART 1 and its correlated ACTIVITIES PART 1. Together these two books continue the development of complete musicianship, begun in TIME TO BEGIN. ‘The second volume ofthis Handbook contains material on Parts 2A and 2B Each unit of the MUSIC TREE includes the students’ discoveries, repertoire, composing assignments and technical warm-ups, Each book consists of ten units of study, each unit divided into two main sections: Discoveries Here students explore new elements of reading, rhythm, theory and technic, sequenced to make learning natural and easy. Using What In this section, students play exceptionally attractive repertoire You Have using the new discoveries, plus a composing assignment and Discovered _technical warm-ups. Each ACTIVITIES BOOK also consists of ten units of study, including write-and-play activities in reading, rhythm and theory, plus an important new emphasis on sight- playing—short pieces, much easier than the repertoire, that use all the discoveries in that unit and review discoveries from preceding units. ‘The units are correlated so that everything presented in the MUSIC TREE is immediately reinforced in the ACTIVITIES book. Success is virtually guaranteed when the two books are used together. Do not overlook the fact that while the two Level 1 books are designed to follow TIME ‘TO BEGIN, it is possible to omit the primer and begin with Level 1 instead. For older beginners who may not need the offstaff approach to reading, or for teachers who simply prefer to begin on the grand staff, Level 1 is the ideal starting place. Following are some general suggestions which we hope will help students continue the habits begun in TIME TO BEGIN, or begin to develop those habits if they are starting piano study with Level 1.Practice Habits 1, Develop the routine of beginning each practice period with the technical ‘warm-ups for that unit, so that hands, body and mind really are warmed up before beginning to practice. 2, Encourage the habit of checking the correct height of the bench and distance from the keyboard, and the proper physical position of the feet, arms and hands. 3. Develop the habit of beginning all practice in the lap. Feeling the correct fingers in the lap and looking at the appropriate keys, let the hands and arms float directly and gracefully to that position on the keyboard. At the end of every piece, ce hands return to the lap with a gesture appropriate to the mood and tempo of 1e piece. Practice Steps ‘The practice steps for each MUSIC TREE book are printed on the inside front cover. Here are some thoughts on practice steps for new pieces. 1. Look the piece over carefully and study all the signs to decide how the piece should sound — everything from title and tempo or mood marking to phrasing, articulation and dynamics. It is especially important to study the likes and differences in the music, to determine how much there is to practice. 2. Rhythm practice always precedes playing! The rhythm of the piece must be absolutely secure before the student plays it for the first time. This security is best developed through three kinds of experience: ‘ developing an awareness of pulse through moving to the music (dancing, stepping, shifting weight from foot to foot, or swinging with a full arm swing). understanding the relative duration of note values. understanding rhythmic notation. More extensive notes on these rhythmic experiences may be found on pages 12-13. 3. Find the position on the keyboard (floating to the keys directly from the lap) and, practice any moves silently until they feel easy and comfortable. 4, Finally, play and count. The first playing should always be at a comfortably slow tempo, and the goal is an accurate performance of rhythm, notes and fingering on the frst reading. 35REPERTOIRE — $$ —s—s new MUSIC TREE. Written by The repertoire is one of the greatest strengths of the native music for children, it six different composers, each a specialist in creating im: i is characterized by a wide variety of styles, moods, meters and Ge a is composed music, but there ae also many charming arrangements of familar melodies, folk songs, and popular tunes. In each unit of the MUSIC TREE there are short discovery pieces and longer repertoire pieces, many of which have optional duet accompaniments for the Cree ei teacher. Bach duet, and some ofthe solos, are available on CD or GM ae file. On the CD, each piece is heard in two versions — the full performance, by the accompaniment alone. We have found thatthe recordings provide ap unparalleled incentive for practice. ‘They not only serve as a model for the finishe performance, but give students unlimited opportunities for ensemble practice at home, Composing and Improvising ‘There is a creative assignment at the end of almost every unit in each book of the ‘MUSIC TREE. The assignments give students an opportunity to work independently, either creating an original piece or providing an ending for a piece that has been started. These assignments not only encourage creativity, but act as a highly motivating review of the music elements currently being studied. In MUSIC TREE 1, “improvising” means that there is an accompaniment for the teacher over which the student creates a melody on the spot. Singing One of the most important aspects of piano practice is singing. Whenever possible, “swing and say the words” should become “swing and sing the melody.” In the same way, when rhythm and notes are secure, “play and count” should become “play and sing.” Singing is one of the best aids to sensitive phrasing and to developing a sense of melodic line. 36—— READING Reading in MUSIC TREE 1 is basically a review of TIME TO BEGIN but in Level 1 everything is written on the grand staff, Here three notes serve as important “landmarks.” Treble G, Bass F and Middle C. These notes are ideal landmarks because they already exist as musical signs on the grand staff. Students learn that Treble G is always identified by the G clef and Bass F by the F clef. They learn that Middle C lies between the two basic landmarks, a 5th above Bass F and a 5th below ‘Treble G. Since Middle C does not have its own clef sign, it plays a secondary role. In TIME TO BEGIN, students learn 2nds, 3rds, 4ths and Sths on a partial staff, but only 2nds are played within the hand — all other intervals are played between hands. In MUSIC TREE 1, all the intervals are played within each hand. ‘The beginning note of each piece is found either as a landmark or by its interval relationship to the nearest landmark. Once the beginning note is found, the rest of the piece is read by intervals. This chart shows the development of the students’ reading range throughout MUSIC ‘TREE 1. Unit 1 Unit 2 Landmarks Treble G Beginning a 2nd Middle C ‘above Landmarks Bass F 2nds up and down from Landmarks Unit 3 ae sant ‘The interval of a 5th ‘Beginning a 5th above baie Lendinart — or below Landmarks 37Unit 5 and 6 Unit 7 ‘The Interval of a 3rd ‘The Interval of a 4th Beginning a 4th above or below Landmarks = a Beginning a 3rd above or below Landmarks At this point students can read any note from a 5th above Treble G to a 5th below Bass F and any interval up to a Sth within that range: But more important, they have a secure way to find any note within this reading range. They are not handicapped by having to put their hand in a C, G or F position. ‘They can begin and play anywhere! In the first eight units of MUSIC TREE 1, students have been learning that every line or space on the grand staff stands for a white key on the keyboard. During this period ‘we want them to develop complete security with grand-staff notation and the white kkeys for which each note stands. In Unit 9, when sharps and flats are presented, the first pieces are carefully designed to highlight the change in sound, feel and look between the natural key and its sharp or flat key. In Unit 10, students discover that sharps or flats last through a measure and that itis possible to cancel a sharp or flat within the measure by use of the natural sign._—___— RHYTHM ‘The primary goal of MUSIC TREE 1 is secure reading on the grand staff, so no new thythmic discoveries are presented until Unit 7. Units 1-6 review and drill the rhythmical discoveries made in TIME TO BEGIN: note values: Jd dio meters 2 £4 EE Unit 7 discovery of ties (41+) and upbeats (4 !ddd) . Unit 8 discovery of rests (}= 39WARM-UPS $$. bility to play to help students develop the ability t » and tonal control, and to begin The technical goal of MUSIC TREE any interval within a 5-finger pattern with ease an developing coordination hands together. 3.2 developed systematically throughout ‘edded, and the gradual development of ae ents learn to play Sths within the hand, ‘The warm-ups begin with review of fingers 4 TIME TO BEGIN. In Unit 1, fingers 5 and 1 are added the entire Singer pattern begins. In Unit 4, students both. tacked and broken, ta then ‘combine them with 2nds. In Units 56, 3rds are introduced and are combined with Sths and 2nds within each hand. In Unit 7, 4ths are introduced, and combined with the other intervals within each hand. Notice that intervals within the hand develop exactly as interval reading develops on the staff. ‘Students learn correct fingering for each interval right from the start. From then on, the entire Singer pattern is developed, fist all on white keys, then on combinations of white and black keys. In Unit 10, the entire pattern is played HT in contrary motion. ‘The technical warm-ups for daily practice are designed to provide a sequence of patterns that will encourage the proper development of technic, simply and naturally, week after week. But this will happen only if they are experienced each week at the lesson, practiced faithfully each day at home, and always heard and checked at the following lesson. Following are some teaching suggestions for the warm-ups in all the books. 1. Insofar as practical, teach the patterns by rote. They are not pieces and they are not designed for reading purposes. The patterns are all written within the students’ reading range, but this is only to make it possible for them to refer to them at home if necessary. 2. The goal is not just that the patterns are practiced, but how they are practiced. Go over each pattern with students on the day it is assigned, setting standards for the desired sound, for how their hands look, and how their hands and bodies look and feel to produce that sound, What we want is a direct connection between their ears, body, hands and minds, 3. All patterns must be practiced in rhythm, even the patterns that are notated only in finger numbers. 4, Wherever indicated, the patterns for separate hands should be practiced in three different octaves, moving up the keyboard with right hand and down the keyboard with let hand. These octave moves must be made gracefully and rhythmically and students should have the feeling that their hand is supported and guided by their upper arm, An octave move, initiated by the hand alone, may result in a “grab” that destroys rhythmic flow and tonal beauty. : 5. Wherever possible, the patterns to be practiced han: also be practiced hands together. Since coordination a separately pen rhythm and for technic, hands-together experience is most beneficial, Wh playing hands together, the left hand should play the pattern en lower than the right hand, one or two octaves_ TEACHING SUGGESTIONS Unit 1 page 4 Page 5 pages 6-7 page 8 ‘Students who have had TIME TO BEGIN will be able to play these pieces easily at sight. Students who begin with MUSIC TREE 1 will need drill on the landmarks, both on the keyboard and on the staff. The pieces use only landmarks played with single fingers, alternating hands. Before going to the keyboard, students should say out loud the hand, finger and key: For example, in G and “RH, finger 2, Treble G; LH, finger 2, Middle C.” Before playing the piece, count two measures in the appropriate meter be tempo, using a strong voice and feeling the pulse throughout the iy. In these pieces, one hand plays only a landmark, the other plays a landmark and 2nds up or down from it, using fingers 432 legato. Notice the questions for Ding Dong Bell. The answers are filled in or circled to show students how. But from now on, they will do their own written work. Notice the emphasis on planning the fingering for each piece. ‘The Using section includes four longer pieces using the same reading and technic. Notice, too, the use of octave higher and lower signs, introduced in TIME TO BEGIN. ‘The preparatory questions include the awareness of likes and differences — “Line 2 is exactly like line 1, except In Woodpecker, mf and mp are introduced, with questions at the bottom to help students listen critically to the difference in these new dynamic levels. In both Woodpecker and Bear Dance, students should feel each line as a four-measure phrase to help the motion and flow. ‘Music Bor is the only piece in this unit that includes reading 2nds from a landmark in both hands. The two phrases are exactly alike and should be played with an identical circular motion Over and Overis a study in three-note slurs, the exact gesture repeated six times. It should sound monotonously consistent! 4142 page 9 Unit 2 page 10 pages 11-12 page 13 Surfing, in offstaff notation, continues the hea eee a st moving freely across the keyboard, begun in TIME TY mc the most important activity is rearranging the piece. Wis SHEN. starting with RH and following with LH or playing one han« a m= keys, one hand on black keys. But students should experiment rearranging it many different ways. The goal of this activity is encourage creativity. Warm-Ups For students who have had TIME TO BEGIN, pattern b) is review. But pattern a), with its two-note slur from fingers 5 to 1 within the hand, is brand new. We suggest a slight drop into the 5th finger, releasing weight into the key, followed by a rolling upward motion as the thumb is played. Pattern c) combines the two experiences in a longer slur which should be played in three different octaves, RH going up the keyboard, LH going down. In Unit 2, students discover three new beginning notes, each a 2nd above one of the landmarks. In each of the discovery pieces, one hand begins on a landmark, the other begins on the note a 2nd above a landmark. The student marks an X on the closest landmark line, (as shown in Autumn), then plays and names the first note by its interval relationship to the landmark (“Treble G, up a 2nd A”). ‘This process is called “spot-placing.” To help develop a real legato, you may want to add a practice step — playing the piece on the keyboard cover, saying the fingers in rhythm. For example, in Autumn: 432 3 2% 3 2% 3 mete, In Caution, note the introduction of repeat sign. In the Using section, students write the name of the first note, ‘Those who have dificulty with this step should continue to spot place marking an X on the landmark line. " In Robot, both hands begin on landmarks (@review of Unit 1). Play the piece squarely and mechanically, amanpage 14 Unit 3 page 15 page 16 page 17 page 18 page 19 The Deep is an improvising assignment. The teacher plays an ostinato in eighth notes on the whole tone scale that resembles bubbles rising in water. Meanwhile the student is given a position (LH on CDE and RH on the 3 black keys). After playing the given melody with accompaniment, the student should improvise, using any notes or combinations of notes in that position. Warm-Ups ‘The warm-ups for this unit are the exact opposite of those in Unit 1. In Unit 3, students discover three more new beginning notes, each a 2nd below one of the landmarks. In each piece, one hand begins on a landmark, the other begins on the note a 2nd below a landmark. The ‘student should mark an X on the Landmark line circle (as shown in After Rain), then play and name the first note (“Treble G, down a 2nd F”). Again, you may want to add playing on the keyboard cover, saying the fingers in rhythm, before playing the piece. In Model T, RH begins a 2nd below Middle C and goes up in 2nds, while LH plays only one note, the G a 2nd above Bass F (a review of Unit 2). Tapping and saying the hands in rhythm will help with the constant back and forth motion: CRLRLR ,L—,"etc. Cowboys demands continuous legato playing, using fingers 432 and 234. Master each pattern hands separately before playing the whole piece. In teaching Whippoorwill, the student needs to see the way in which each phrase grows shorter, then seems to stretch at the end. The phrase lengths are 8 pulses, 7 pulses, then 4, 4, and finally 9. Despite the pun, this piece is tender and songful, and demands sensitive nuance and phrasing. ‘Swinging is a big moment because it covers the full page with the added excitement of LH crossing over RH to play the final note (8va). This crossover should be played as a gentle, graceful arc that exactly fills the time of the preceding measure. The four phrases are nicely ‘balanced, four measures in each, and the rhythmic motion insures a real swing.Page 20 Unit 4 Page 21 page 22 page 23 ‘Song of the Day is another improvising assignment. Students find the position on black keys and practice the opening gesture, printed just above the teacher's part. Then the teacher plays the accompaniment repeating Part A and Part B. a Whe nt yrtable with the sound and rhythm of the sooomparinent hy nth to improvise a melody of their own, fiting it to the accompaniment. When you sense that the student has completed the improvisation, add Part C as a coda. This can be tried over and over until the student begins to feel comfortable with improvising. Warm-Ups In patterns a) and b), the slurs on Sths extend to three-note slurs (515 and 15 1), still to be played with one downward motion on the first note and a rolling upward motion on the notes that follow. Pattern c) begins practice on blocked Sths in preparation for the Sths in Unit 4. Shape the hand toward the 5th finger, and be sure that both tones sound exactly together. The next interval presented is 5ths. Students never have difficulty distinguishing between the sound of 2nds and Sths or how they look on the staff. Technically, putting Sths next insures that the whole hand is on the keys in a good 5-finger position. ‘The two pieces on page 21 begin on landmarks and go out to the 5th above or the 5th below the landmark. Once students have read and played 5ths within the hand, ask them to turn back to pages 4-5 and play each piece, RH alone and LH alone. Weeping Willows contrasts the look of 5ths on lines with Sths in spaces, and includes experience in reading and playing melodic and harmonic 5ths. At the bottom of the page, students discover two new beginning notes — 5th above Treble G and a Sth below Bass F. Use spotplacing to identify the starting note — “Treble G, up a Sth, D,” ete. Tugboat Annie is a real winner! It combines both new notes, as well as. valuable experience in reading, playing and hearing blocked Sths, Notice the special effect of the tritone for Annie's whistle! Harbor Buoys includes rolling from finger 5 to 1 and 1 to 5, hands separately and hands together. With pedal and the teacher’s accompaniment, this piece can create a misty atmosph iysteric and beautiful as fog itself. aPage 24 Spanish Guitars is an exciting musical experience! Be sure to isolate the last two measures for special technical work, slurring the last LH notes while repeating the blocked Sths in RH. Page 25 Rubber Boots reviews elements from Units 2 and 3. page 26 Here a new type of composing activity begins. Students are given the start of a piece, Wooden Shoes, and are invited to “complete it any way you like.” Itmay be necessary at first to help students with this activity, showing them a variety of ways to make an ending (usually an additional four measures). But urge them to experiment with making alternate endings of their own. Don’t fail to hear their compositions at the following lesson, and praise them. Warm-Ups In pattern a) we begin work on voicing and rotation. Play fingers 5, 4, 3 with a rich full tone, play the thumb with a gentle, weightless feeling. Patterns b) and c) combine slurs from 5 to 1 and 1 to 5. In pattern d), blocked 2nds are added to blocked 5ths. Unit 5 page 27 Unit Sis the first of two units devoted to the interval of a 3rd. ‘The pieces on this page begin on landmarks and are therefore limited to 3rds on lines pages 28-29 On pages 2829, four new beginning notes are introduced, each a 3rd above or below a landmark. In addition, in Men From Mars, students have their first experience in playing staccato. This new sound and feel are reviewed in pieces and technical warm-ups from here on. ‘The pieces in the Using section review all the notes discovered in this, unit. Harvest Waltz includes 3rds in spaces. Polka is always a big hit with its bouncy melody and rhythmic accompaniment. pages 29-31 Walking Like Elephants has a wonderful four-measure phrase in the second line, in which the melody lifts to F and then descends stepwise in half notes. Shop Work makes effective use of staccato, and In the “Moonlight reviews 2nds and 3rds in a delightful folksong.