é c 3 3 2 3 3 5 E : éRemrocton tombook |, NOTES AND KEYBOARD CHART 20 fe ors uv a, forthe Leila Fletcher Piano Course Me. op z a Right Hand if sive 4 ringesl 5 _[ Directions for cating out cha ben cha fone a eh siren fhe white outside margin. Second, ngiated so tat gout back of he Back es, te hes.THE LEILA FLETCHER PIANO COURSE ‘ried, Tested and True by millions and millions of students! FOREWORD ‘The Books of the Piano Course sre numbered consecutively, not 20 represent the various grades in music, But as a presentation of a continuous course in fiusie education ‘The Piano Course ie designed to meet the requizements of the average pupil and is graded to allow the average pupil to make sound, steady ogress, and to enjoy the immediate satisfactions of ding. The material used In the course has fad by actual experience in teaching large ‘of students, and the results fom ite uso are Greater interest in music study. 2. Better musicianehip, find 3. Fewer students who discontinue music study ‘trough los of intorest or through discouragement. Tae Study of Music should be a delightful experience, Almost every child comes to thelr fst i happy antici The use of suitable material, logically presented, will undoubtedly advance the pupa interest in music. ‘The Plano Course ie dedicated to a fourfold purpose the development of the ablity to read music fluently fand intorpret it arisicaly, the establishing of a sound fand comprehensive piano technic, the nurturing of the Creative musical talant, and the fostering of lasting ISaN 0.971965.77 i MAYFAIR MONTGOMERY PUBLISHING Ra cet | Book coe | I[MUSIC SHOULD BE LEARNED AS A LANGUAGE IS LEARNED: by listening, by singing and playing easy songs and pieces, and ‘a education progresses, by learning the grammar of music. Each new fact should be prosented MUSICALLY before being ‘explained tecinially, For example: the pupil should learn 10 Dir soveral major scales before being taught the pattern of tones land semitones by which th major scale is constructed. In this way, the ear 18 talned and becomes the guide. This is most Important = and especially so for the musically gifted pupil It is bf course, the method by which we learn our native language: THE LANGUAGE OF MUSIC the child listens to simple words and short phreses, and learns bby Imitation to say tess words and phrases’ later, speach becomes fuent end the child Is taught to road and wilte easy ‘words in short sentoncos; then, as their teading and. writing progresses, they bogin the study of grammar In veaching music, this \g the method we must use, if we are to give the {onal memory and imagination the opportunity to Dourih, ‘Theoretical explanations must follow music-making wherever possible, and not procedo THE FIRST LESSONS OUTLINED In the following Lesson Procedure Outiine, the material 1s not divided into separate lessons, ax tbo mimber of dificult musical facta that can safely bo taught at any one lesson varios with diferent pple, The teacher will need to consider the age and evelopament of the pupil, the adaptability the musical background, and so on. Class toachors to, will have definite limiations in lesson planning: the number of pupils in the ‘lass, the amount of time alloted fr the lasson, 1. Teach D on the Keyboard, (Between tae TWO Black loys) 2, Teach the fingor - nombers: 12,3, 4,8 (so tho tiyane on page 8 for this} ‘Teach BY IMITATION "The Sun Rising in the Morning’ page 4 (Piayed on twoD's] 4: Teach BY ROTATION "The Bids Bogen to ing” page S (Played on the TWO BLACK KEYS ) 65. On the Keyboard, tach C,D,E (Die Siseady town, C.D, and & are the three white keys that touch the TWO black Keys."C,D,E, the melody rising") 6. Teach BY IMITATION “The Brooze." page 5 (Played on the two grotne of blac: Boys) the age of the pupils plus previous musical experionce, must all bo considered. It le advisable that the instructor decides hhow mach to teach at a lesson. For the beginning lesson, the first three points will be gulficient for some puplls) thors may Joarn five points, and again others even more, but it is better to GOSLOWLY at the beginting, as it takes me and some repattion to establish new musical facts and good playing habits, 7. Onthe Keyboard, teach FG A,B (EG, A, and B are the our white keys that ouch the THREE black keys.) 8. Show the piano - key diagram with tho lettor-namos ofthe keys on page 6, s0 that she pupil can refer toitat home when necessary {9 On the Keyboard. review hoys C.D, £, and teach BY IMITATION “The March Hare, page S 10- On the Keyboard, teach ©, B.A. (Going downwarde from C."C, BA, the melody fal") 1 Teach BY IMCTATION "Stormy Weather” page 5 12. Next, toach the C-D-E and C-8-A Exerciaes, page §, BY IMITATION. Do not show the pupil the notesFirst Lesson Outlined 13-Show the popil how to cut out the KEYBOARD CHART, (frst tach chart from inside of book coves), and how wo place it on the piano Keyboard. Stose MIDDLEC - moar the piano manufacturers name 14. Now teach ‘Setting up Exercises" and "Here We Got on page 8, using the NOTES. These sw exercises ar fr covelating NOTES and KEYS; do NOT count 15. Show the pupil the one-court note, andl the two.count note, page 10 16 ‘Teach "The Flyer" page 10, ftom the NOTES. When the pupil can play i faity well play the dust part with the student, to ‘emphasize stythi (The second parte should generally be playod lightly and rhythmically, the pupil hears both harmony end fiythm much better when their ow solo part stands out.) 17-"The Flyer In three ways fa) Playing and saying the leter-names. 1) Playing and eounting aloud. (The popl should eay counts, softy. hythmically, so & rather staccato or detached ‘manner Never allow a pup counts!) ) Playing, and singing or saying the words of the tex. ail pleces following, should be learned from he notes REVIEW past lessons regulary. By reviewing, the pupil learns t> play up to the time and with expressions the nates on tho Stal become familie; they gain leyboard facility, and technique improver. The review ork should be far enough Dack that the pupil har not been practising i for about two tveeks, MEMORIZING is one of the very best forms of musical training Memoriing should begin with the first pieces. Each lesson Assignment should contain a smal ploce of memory work, ASECOND PART (duet past) hse heen provided for several floces in the honk, ag an aid two the pupil In bearing the hharmouie Deckoround that an experienced player heare in ones mind when playing @ melody or scale The use of a Second Part will enrich tho pupils experience, and will improve the feeling for iyttim, hermoay. phasing and infection. The Second Part should be used ONLY when the pupil can play te rigt notes, with the ght lagers, at a fairy steady tempo. The pieces ate primarily SOLOS, but may be used either ag solos or duets. Pedal may be used with the Second Part, atthe players discretion. BEGINNERS should practise not longer than ten minutos at a time, More will be accomplished in this Way. Ths young pupil Concentrates bettar in short periods. Accomplished musicians Sind they get better results by practising in short periods, with fan interval of change or rest etwfeon practice sessions. ROTE PLAYING ‘THE PIECES PRESENTED HERE, TO BE TAUGHT BY IMITATION, ‘ARE PERHAPS THE MOST VALUABLE PART OF THE BEGINNER'S. PIANO BOOK ROTE PIECES are valvable because, in playing them, the pupil thas only two things to think of the SOUND (tone) being produced, andthe simple mechanics of PLAYING the piano keys. If a pupil BEGINS by playing with a soft, clesr, pleasing fone, and by LISTENING to the VERY FIRST notes played, it wil fot bo difficuk for the student to continue to produce good tone tan they progress 0 playing from tho printed notes, 1, bowever, the pupil begins by playing with attention focused ‘upon the intricacies of musical notation the student will not Be 0 able to hear the tone they produce because they will be too fully cocupiad with note-reading, finding the right keys. using the sight fingers, and couating the note-valves. ‘THE TIME TO TEACH A PUPIL TO LISTEN-WHEN-THEY-PLAY, 18 ATTHE BEGINNING OF MUSIC STUDY. [eis often very etic to teach a pupi to listen when they have Torried the hable of paying withowe giving any attation tthe round)‘Tho Rote Plecoa, with their descriptive tos, and the harmonic backgrounds supplied by the teachers faccompaniment, atimvlate the cild's imegingtion. The student {immediately interested in the SOUND of thelr playing, Follow this up through-out music study. The abject is to ‘always malo MUSIC. [ROTE PLAYING gives the teacher the opportunity to establish 2 natural, comfortable playing position, Muscular rigidity. Sehich causes ash and uncontiolled tone, is usually the Teeult ofmontal onsion. A somewhat relaxed hand and arm No. 1- The Sun Rising in the Mor Rote Playing fare necessary for Sager independence and tene control Demonstrate to the pupil how easily tho piano keys are played when depressed they atop only a short distance, lage than half an inch! When cho pupil regards. playing as easy and natural they will play with @ more relaxed, more exible arm and hand, In beginning music, have the pupil listen when playing, a play as naturally as possible. Good playing conditions aifect the tone; good tone will induce good playing conditions ~ the usual cause and eft "THE SUN RISING IN THE MORNING should bo played softly and rather slowly. Finger 3 of both hands, plays this piece. The finger plays in thecentre of tho keys and not naer the sides. The arm should be fe, tho elbow loos Ef the Key about tobe played, with te finger ip: then push the key down gently so, No. II- The Birds| gan to Sing the wilt fexibla, Touch the surface at sounds sol. pea ae ‘THEN'THE BIRDS BEGANTOSING is played on the TWO black Keys. It should be played mezzo-piano, with the thumbs. Tt may also bbe played with the second finge {avaht by the papi Use the words in teaching this pace and agein with the third Singers. The words (‘exx) supply a mhythmic se of Balance which 58Rote Playing No.l -the Breeze enecoonine tan + th te tench emmy Ig ging te ae : os ws ; feeb ety = E =] as Se ; ‘THE BREEZE is played on the TWO black Keys (left hand), and the THREE black Keys (sight hand), It is played! meszo-piano and Ibgeto Legato may be lltened to Hngerwalking, each key 42 released when another key i played, not before, not after. For the pupil Inlined fo hold down move that one key at a time, this chyme i helpful: ‘Dont collet theo, Just CONNECT them!” The pupil who lave in s detached way le hopping down the strest, not walking: ‘The hands must be comfortable and easy, the wrists fexble ‘J ehe tone pleasing, (hater, The BREEZE may be played on the white keys (D, F, and G, A, B) using the seme fingering, the ftccompanimeat being played in the Key of G May. eaten Ta sree = STORMY WEATHER playing DOWN the keybourd CBA Exercise pepe ‘The C-D# and C-8-A exercises are in re NOT show the pop fingering 0: saration ofthe first ploces that willbe playad by note, Teach the exercises by immitation only; do nates. Have the pupil say the letter ames of the kevs ese plays ther, C-D-E and C-B-A should be played legato 2 hit ovLETTER NAMES OF THE PIANO KEYS HANAN | I trtelofrtrlatale CIDIEIFIGIALBIC DIET FICIALB Natal “The FIRST SEVEN LETTERS ofthe alpnebet, A,B,C, DR G, axe used as NAMES forthe PLANO KEYS, "The Piano Keyboard has WHITE keys and BLACK loys, The BLACK keys are grouped in TWIOS and THREES. “The white hoy named D is between the TWO BLACE keys. "Look for TWO BLACK KEYS, to find the Ds." (Gina aiforant De. Find highest D, and lowest D) ouch the TWO black keys. i C.D, and & aro the three white keys and lowest CDE.) (Gnd diferent C:D-Es.Find highest © G and A are within the THREE BLACK keys (Find diferent G-A\s; lok carefally for Gas F.G. A, and B are tho four white keys that couch tho THREE black keys (Gind diferent F.0-A-Bs. Find lowest F-G-A-3; and highest F-G-A-B,) [Notice that MIDDLE C ten the centre of the keyboard ro Thacher Review the Pano Koyo ota to make sre { HOW MUSIC IS WRITTEN [NOTES ao written onthe ines, This ia a STAFF of tive ines: ——— tnd inthe mpacer betweon the liner:How Music Is Written ‘Tha BASSCLEF 9} Placed on th stat, EDs Takes ths the BASS STAFF. mmeraeaue cir 6 Paced on the aa, © abort the TREBLE SU LETTER - NAMES OF NOTES + = — = SSS — - CDEFGABEDEFGABEDEFGABCDEF GABE — 4H} _»—-_# — ~ == : : ——= es | ; : : sue NOTE VALUES and TIME SIGNATURES sursscoecouaon J Anocmmimin J Aan any d Atecousscte © manromeries Samantha, ARSE ab Pomeotioem ccna eed See ‘The TIME SIGNATURE ‘Two counts in a measure, “Thies counts ip 8 measure. Four counts in a measure. Pewee : soon urn gu how many counts (beats) ineach measure ‘The LOWER figure elle that this pote g receives ‘one count, or bSatHOW THE FINGERS ARE NUMBERED FOR PLAYING THE PIANO i LEFT Mamorize thie Rye TOMMY THUMB is finger ONE: FINGER THREE ihe tlle FINGER FIVE isthe smal Finger POSITION AT THE PIANO Adjust the beight ofthe chair go that the | fre-arm ane hand are about love “The feet rest on the Noor. If the foot do ‘ot ach the floor, vr afoot oH, ‘The music should be placed slightly alow eyelevel, and not t20 far back 80 Bhat it can be read wath ease Practise by daylight, f possible. When you practise by arta ight, be sure. you Fave sufficient ight ead that the ight Is placed so that falls on tse music page The back of the hand is beld fairly level, 29 that tho. Sb and. Gth fingers ae. ing playing position “The Sngors are curved, 12 play on the soft Sager tps just back of tho nec thou be koe shor onough BAD: 5 ar oo straight, ‘alos playing awhwae. Tm snger Me ans drop fem the knuckle} The thumb ues and ae The thumb should feel loose at this | on tu nce its ah Sve the tural naturely romain ‘ver the hae Play in the contre of each Koy, and not ‘oat the side of the key. Go slowly and watch to soe that each finger ie in tho ‘entre ott key"CHER: The exercises on this page are designed to CO-RELATE NOTES, KEYS and FINGERINGS. Have the pupil play them | ter names; second, play and say the fingering numbers. DO NOT count the note-values. Counting “Oifeo the Cscus" ete into waye: fret, play and say the 4s begun more advantageously with the pieces “The Flye Setting Up Exercises ‘ist, play and aay tho lottr-names of the notes. a ‘Sooond, play and say the fnger-nambers. Asn 0505 xseiny ioHTanD Norts are miais © BE LEFT HAND NOTES are: ide C, 8.8 Fight Hand Noes have tome sed Tak Hand Netw neve steme fred Bownight Hand plays these noves rt Sigg . I 9 “O 1. The Flyer | A mere Gee THE FIVER -saft Hand —— gers 32.3, Playathese novo: i] Be 2Find these che groups of AB.Con your planer dil HM; oats! (DJorreasrmiee | petiods each day, NOT ALL AT ONCE @ ae a“4 VISUALIZING THE PIANO KEYS. Memorize The STEAMBOAT, so that you can play without looking a your book Ther ose the book and pint without oo Fist, find your and position on he keys, hea, lay, fa! the koys bensath your Enger, and ee 5. The SteamboatoN ‘Time Signature: beatin each measure ad. Lit - te br: ight, He | keeps out of | sight, Un - til his fur's | whtTWO NEW NOTES: UP to F, and DOWN to G | Bill is fish-ing, | and he’s with-ing | he couldeatch a p-pers To-by sees a | lit -tle frog and |jumps in-to the | wa - ter!w SLUMBER BOAT Second Far Play and say the ltter-names: © -four-count note Sleep, sleep, | ba -by sleep; |Sleep un-dream-ing , | slum-ber deep. Stars shine fFieee-y clouds go | sailing by. vs Yoscte mat pay "Cx" A "Hush cb” Palmoncn nek TA| teernnase ‘There 10. four tn TeERASESRE som ° oe CEG? phrase is marked by asus —< Notes under tho sar are played | connectodly..singingly Phrasing is "realy (punctuation in music. and there is @ slight ‘break’ at the end of the phrase, just | | mere usually ie at the end of a lino of poctry. ‘This alight break ‘gives meaning to the music, ae it also gives senso. to. th ‘words of & poem. Bogin torhink and play @ Phrase ata tine, so that your playing vl have meaning —__} Now the sil - ver One by one, their tar of eve nin 2 is small lumps twinkling, 9. Evening Song _ yoren Fill the sky ith radiant lightthet = ——~: = yom ce DRTC DS 10. My Pon ) Operresrecn far would he a wy But he'd come| gal - loping 5 Gal-top-ing! | esl-lop-ing! | gal-top-ingt | get-top-ing! | He would come | gal-lep-ing | home! ‘evo adr oy ny Wey Sere Pefomonce Fin ook A,12. At The Zoo Ji = on broke out | of hit cage, And | chased the kang -a - 13. Humpty Dumpty © Hump -ty, oh, +[Note to Teacher: ‘Teach by roto the scale of Cascending: Lefthand: Right hand: Have the pupil play the scale in several ciforent places on c DEF-—GABC fingers 4321-123 4 2 giant [comes a-walk-ing, |Tramp-ing, a:There’s a dra- gon | he is stalk-ing.| With his cross -bow| in his hand. smp-ing,| o'er the land: eo | pete * eo euae d7Bpy nba‘The one-beat ws: ‘nen playing FLUTE SONG as 2 Du both hance play an octave higher chap waicten ‘An Onave higher:eeigh neys high IG. 15. Flute Song im Winkle fut: went to school. he learned to play the 4 But the only | tune he knew was |Root-a- toot -a-} toot’ | He would play. | ev~ ‘ry devs = = fas he walked a - | long. — Root-a = toot - | toot -a-toot", ‘Twas | such a den -dy | song24 MARCH OF THE DWARFS. Second Pot w mB Rr itt t ‘The fourbeat or; ae 16. March of the Dwarfs Pay aru) mpete) | ‘Through the for-est | by the riv- er, | Past the gum drop] foun - tain, |March-ing,march-ing} all Note to Teaser: iin ot intended hat aaceato be taught rade ster {the pup in the oral manner bere, The pots ould ‘und detached, but shoal be payed witha very all ‘Roverent ofthe band. Poca the Penton gn Sh sound ‘So (inal paving inorder to avoudharsnat ad to ‘Stetone contol she wrt mt be Renta an nace eof en apprench method dl ets ore ca17, Hallowe'en Oert Hal-low-een, the |wind is blow-ing, | Spooks and goblins | all - bout: * 2 i 2+ oie Hal-low-een, and Jout we're go-ing. | Now to play the|game"'shell-out "| Knock knock, knock’ and |then we + tle e 2 ra Bea ae eer ee “Knock, knock, knock!Shell{out'Shellout!l] Then a gust of |wind comes blow-ing| Blows my pump-kin rs Pa ASS SS = SESE = SSS tan-tern out! a SSS2% = Sweet-ly sings the | don - key, | at the break of | day: | If you do not ev he will run a -| way! Hee -| aw! : Hee -| aw! Hell| of music begins with an incomplete measure, Ce en eye count [keraseliest cerernon Thisis a SHARP: & ‘When a sharpie paced before a ‘ote, the note s raised to the next BLACK or WHITE key to he right gies resound. Ding. dong. Dong, ding, the | church bells ring, Theit| sil . ver chime goes] ech25 ta TOWERCLOCK, anger co oft nen The PAUSE Days! And tage thee aye . ‘ithe end othe pace ngbt hand hapa la Whente pure i plas ‘hand toll the bell-right hand plays A on the 4¢ note longer than its ae Inowen cock naa tree by te pata nog enough eae theo the great nt soli ne Hose 20. Tower Clock21. Yankee Doodle (ov ana (Prime) Yankee Doo- dle |went to town, A-| rid - ing on po- ny, He |stuck a feath-er (tors in his cap, And | called it Mac-a - i + kee Doo-dle, | keep it up, Yan - kee Doo-dle, | dan Mind the mu-sic [and the step,And [with the girls be |han - dy% [ARE YOU SLEEPING - Second or The KEY SIGNATURE ‘The Sharp placed online F just after the tebe clet and aftor the basa cet, telis you that the note is to ‘The Whole Rest —w (four-boat rest) is used Fepleye Feary though toe oc Ts tate [von he pana of nasa any id ok placed at the beginning of the piece is called the Key_ time: % t or 4 Ensure The fey signees Guts AND soa SRD BARLEY ORDificane sup’ Pobo Oseeine Sse 22. Oats and Beans and Barley Grow Oats and | beans and | bar - tey | grow, | Oats and | beans and | bar - an- y one |kmow How | oats and | beans and | bar - ley | grow? Note to Teacher: y tote the Seale of G ascending! Left hand: Right hanc! Have the pupil play the scale in several ctferent places on the keyboard GABC—DEFIG fing 43211234 ‘ov 0 eo Baer Vl One The Mas” infoRIGHT HAND OVER to Play BASS D 3 When played as a Duet, both hands play ah octave higher than writen, ‘An Ootave higher s aight keys higher Fad scons Nets wt steed ba toto-a count notes. 23. Are You Sleeping? ‘Are you sleep- ing? | Are you sleep: ing? | Broth-er John, | Broth-er John, ‘Morn: ing bells are ring-ing:|Morn-ing bells are ring-ing:|Ding, dong, ding! |Ding, dang, ding’ —s24. Pussy Willow Oatrn.. == the | high est | hin, That | looks o'er | tand andplay OBrsE. Fon ver -y good for | you they say.” “I it mom ing, | night, and o scale of F ascending: Left hand, Right hand: Have the pupil play the aealein several aiffoent places on the keyboard. FGABD—CDEF fingers 49.21 —1294“ THE OLD WOMAN IN A SHOE. Second Port 26. Merrily We Roll Along Fare - well, | la - dies, | Fare - well, | ta - die, | Fare - well, | ln - dies, We're| going to leave you now. 2 Mer-ri-ly we | roll a-long, |Roll a- tong, | rol! a-long,|Mer-ri-ly we] roll a-long, | On the deep blue] sea. 2Thins on ACCENT: > an accent plgced over a note F or tinder note gmeana hat the note Istobe played a fci ouder the pote ato bo secented ‘The KEY SIGNATURE ‘The Fat placed on ine B, just after the treble clef and after the Dass clot alls you that the note B {sto be played B fat throughoat ‘the piece. Tis fat placed at the Deginning of the piece is called the Key Signature. The Key Signature in The OLD WOMAN IN ASHOE is one fat 3 flat out an y 27. The Old Woman in a Shoe jay an octave higher than written. ‘A Octave higher is eight keys higher. sane Sy Bes Ieee by CPB Ete There | was an old | wo-man, who | lived in a | shoe: She had children, she | knew whet to | do! broth, with bread, And | whipped them all36 1 — | come from Al-a-|bam-a with my | ban-jo on my | knee, an- a, my Su- | san-na don't you cry for For { | come from Al-a-|bam-a with my I'm — | going to Louis-i - ban - jo on my1a BINGO, the one-count notes nave a small dot directy ‘thove or below the note head: q Play these notes lightiy and derached: lot each key up as soon as you play st s0 that you can hear a silence between the notes. The fwocount notes, however, have @ small dash above or below tein Pd The dash means tha the not s to be Dele down, la BINGO, the one-count notes should sound detached; the two-count notes should sound singing. John ny had a | lit tle dog, And] Bin- go wa ere . 29. Bingo his Bin- go was hisPHRASING and ACCENT In musle the first best of the measure is acoented..that i, played a litle louder then Imossize The accented note con Iino, oh count one. The LIGHTHO! according i lose ayehmically. Each phat play count four ‘ghtly, and THE UGHTHOUSE- second a naher ee olen ay 3 right aft Doging on the very last Heat of the measure, count four Play this beginning the next note, coum one. The HHTHOUSE ao printed as the lines of words in the IP you to play tho four phrases of the begins on count fo we count one a slight beats in the the bar 30. The Lighthouse OSI eae ight-houte gleams, be] ware! OK] ships that pass. take “ The | bea -con guides you | out to sea, IT] caf 2al x RULES OF THE GAME fn playing CRACK-THE-WVHIE fingors 2:5,4,5, must play inthe centre ofthe | iteye, and not touching th iustation on page 8) crowded over sideways. Watch to s that bo standing! Ho he beck of 31. Crack-the-whip ¢ If you | ev-er | want to do a stunt thar'sclev-er|Crack-the-whip is | real-ly lots of ‘And the skating |sea-son has be- Yes ma oy" lay oc Bard “Downtha ood" enPoperr seg SB.40 WALTZ OF THE CHRISTMAS TOYS - Second Prt ee) When the tt gea F Major ascending and docending. Play the upper key-note again in decending, (For ear training)2 33...erT HAND pLays D ~ Gea wacom 1. Play and say the @Aspc}D B five ies 2, Play and say the finger-nurbers (CO) Bence 34. Autumn Days ‘Au-tumn days are} here a - gain, [With their gold -en] wea -ther;| Corn is stand -ing Jbrown and tall, ye Flowers have blos-somed| by the wall;| Reap the grain for | soon ‘twill fall, |Bind it all to geth- er. +When the fog hops, we hear these detached notes again 2 the same. ss the notes in BINGO. This detached sound ig oalled staoceto,""and the. small the note-boad ie the “staccato dot When you play the staccato netes with a litle bounce of (Ooms y tarecce the hand fom the wrist, #0 that sch stacoato nolo (Site Riess, nt aid tn Sgr ge Frog above ot below Hop! hop! hop! silly | little frog! Hop! hop! hop! all a- | long the tog: By the poo! fog-ce plays, | Through the long sum-mer days, | Hop! hop! hop! | op! hop! hop! * « as, la; 36. Simple Simon ple Si-mos9 37. The Parade Oarea-eace sonohe band OSs kere, [Com-pan-y | halt! We're] out of | step:and it’s |some-bod-y's|fault! Now it’s Paes Woes [ried- a [reas ay ett | marchcown the | vow! : ‘S ‘Memorize Treble ines and spaces Upwards from Midle © (8.G,8,D, rand A.C, 2) ‘Memorize Bass lines end spaces Downwards fro Mladie (A, ® D, 3, G; and G, 8, C, A) THIS IS MOST IMPORTANT.‘Wiven the sgn 8- 1 18 placed sbove fan osave higher than they (dn octave higher ie 8 kaye higher) 38. The Crocodile ‘The | cro-co- dile was | ten feet long;| Oh, doo-dah-| day! ee yet he could-n’t | sing this song! | Ob, doo-dab-| day! He could ride a |mo-tor bike, |Climb a tree if you like; [But whenhe went] on a hike,|Could-n'tsing this song, Os. doo-dah, day! | How eadto| say! Yous rowdy ey “The Sct” page ard “Ode To yf Petomance fun ok‘in theee two pes, left hand plays the Game tos ar the right hand, sry an ‘crave lower on the keyboard (dan octave ower is eight keys lower) a7 cat who 41, Roller Skates ‘aie Bandhigher en th piano lyr you play sey.LEFT HAND PLAYS NOTES ON THE TREBLE STAFF ‘wen NOTES on 2h Ploy sete notes with the RIGHT Hand Play these notes with the LEFT Hand 4A, seo tobe played by the LEFT HAND, Use ingor 3 ony Use Gnger Soi the stom ofthe nots are usvelly S fumed down and the notes are raed Lat Hand, Somstimes only the lotors Late fed for Let Hora SCALE of € Major ight ow say the SCALE ol © efe 45 eo ne sngoning marke, Lett and Ploy notes wi sme torned down, Fight hand plays notes with stems turmod up 46. The Third Little (A Scale Pisce) ute Pig ols dowa te ln ebro) (S) sete rerenie (BAER F HIRO LITTLE PIG5 Os 47. Hickory, Dickory, Dock dock, (Tiek, | tock!) The HuckoRY, DICKORY, DOCK 7 7 (Tick, | tock!) The oa, clock struck Hick-or- y, [dick -or - y, dock! (Tiek,| tock)32 Jungle Jaunt (oven ioe the f= ae oy Jog a-long,|sing a song ;)Sun will soon be] gone, |Po- ny, jog a-| tong! pile 7 -“49. Jungle Jount rom (ido on Bet Key : fi ding, | Bump -ty. bump. ty, bump! Through the jun- gle Tiger in the | tree ~ top, | Won. der if hel | jump! ° Hear his might-y- | roar! (r-r-row——)| I hear a by ees50. Happy New Year ! fe Hand ‘over a _ Bells are ring: ing Liss ten to their | mer- ry chime, a RH = Small bells, reat bells, | Hear their hap: py | shyme:= Roll- ing, | tolling, | Wishing you a | Hap-py INTERVALS; An interval is the distance between two notes ‘An interval is moanured by the number of letier-names it Contains. which is the same thing ae saying, by the number of ines and spaces it occupies on the sal Each line and each space on the music staif is called a Gegres. In PENNY WHISTLE, C to D is a socond: it contains two letternames: Cand Di it occupies two degrees of the stall, ine, apace: and on the plano it takes in two white keys Gtok isa thie it containg thie leter-names: C.D, E. = New Year,| Wel-come, | wel-come! | Sil-ver voi-ces | hime! CDE occupies three degrees on the stat: line, space, ine: and fon the piano three vehito Keys, .and so on Wien you play PENNY WHISTLE, notice that it is in C Major. (he, scale of C, no sharps or flats), Can you play PENNY WHISTLE wing she notes of the scale of G7 Watch f the sharp; use the same fingering as in your book. Sing the ‘words 2 you play" a second, a third” nd pause at each pause mark Can you play if using the notes of the scale of F? ‘Watch for te flat use the same ingen as in the book, 51, Penny Whistle UUNTERVALS) Prrseonts Foaies Te se a TH Sega emerges ee ane a Prats: Po ious, PL ann OBmee Prose Pe sn th ight, seven, six, five, four, three, two, (Oaase) ‘ove wody oy “Sweety Sng The Derkey” Hom Pefrmance Fun Book 1Be _PROGRESS PAGES ‘Tha PROGRESS PAGES are designed to promote a livelier, keener avvareness in music study..thereby advancing the pupils interest in music and augmenting ther ability to make progress on their own initiative, "Tho examples i the Prograss Pages aze to be assigned by the teacher, but should be learned by the pupil with tla or ne assistance ‘tom the weacher. In shis way the pupil lotto ther own resources, will necossarly become more observant, more competent, and the | teacher will obtain much ential knowledge af the pupils comprehension of what has boon taught in past lessons. | “The Progress Pages may be begun when good fingering habits have boon established, and not bfore! This ig a basic requirement of utmost importance. Tae teacter will decide wihen to assign a piece or exercise in the Pages: suggestions regarding tis wl e fount below the examples, but the suggestions signify anly that all the musical facts necessery for the inteligent performance ofthe example ‘have, athe point indicated, been presented, "70 THE PUPIL: Check athe points on the various POSTS (-V/ with pene that can be erased in case you are wrong! ‘Whes the teacher agreos that all Sie pointe checked are correct, YOu may thon re-mark with a pen ox crayon. > (Geseetees See 1. By the Sea axe TOOK-OUF Fost tor BY THE SER 1athe right eter. 2ehe sight ngering the tad note hel for fal count even tytn a breeze on the | sea -|shore, |Song of a [bird in a Song of a Song of a |wave onthe | 0 - | cesn, {These are the fsongs by the2. The Hikers With all our pals to then when we are [far a - way, We |find a short-cut | homel (Gees fr tar Yo & 3. The Balloon (()cormuae-terresie @ " DNLEPOST Tex THE HIKERS Inthe right notes 2-the right fingesing Seven mhythem from memory Oe, ‘OBSERVATION Post’ Yor THE BALLOON ocooot 1 taying the letter names correct, o 2—aaying the Bnger numbers corey, Come for a [ride in our ly bal -] toon, |We can go |sail-ing right|up to the | moon!3 4. Down the Road (ov) (Adventures Rhythm) (Deora sa-teeracia As [1 was [watk-ing [down the road, 1 Gra- gon -|fly, He |tipped his [wings as DOWN THE ROAD -(SECONDO} au (as D (saw) 7 a ue PP PUPP UU Ge tipped) = das D saw) [ar a ae t (1 dia not) (Who tipped) ? aid not) ?TAKE-OFF POST for DOWN THE ROAD DOWN THE ROAD is an animated adventure in chythm—a keen ‘experience in KEEPING THE BEAT! Imagine you are playing it Sorchetra—you must count lie 'pro!~count sient bat fingering and notes corect a tzhen you reach the thre mearure on this page, (osion), you wal |) 2—coUnting alertly o be aie to carey on without misnng beat! 3—up to time throughout. a (cunts 2 9 4 ff 2 6 4 of 2 8 4 1 2 8 tun-ning [down the road, 1 dra - gon - fly, Who Upped his wings as (urged or aor Cac he Whip 3)LIFEGUARD Fost. TSH POST for THE SECRET lay thief oan {trom enemacy, looking at the keyboard o oT 2orom memory, looking away from te keyboard. 5. Vacation Days Oars tenon for VACATION DAYS. rect Sngering in left hand singing melody and soft accompaniment. 1d sum-mer | time = : ie And no more | school Now we can | play! —6. The Secret (Ture for Lat Hora) () (Oeste te roon ‘There was a lad, in days gone by, Who nev-er went to school; But 5 : SON-UP, F POST for TAZY MARY, WILL YOU Geruey eth a0 wrong notes. 2th pret Sogeing. Sith light eset on a he lived ver-y hap-pi- ly, He kept the Golden Rulet (Suet fr we ay ane aftr 15) 7. Lazy Mary, Will You Get Up? La - ay |Ma-ry, wil [you get fup? Will wit you, you, wit | you ry, wil fyou get up? Ite | ver - y \Jlate in the8. Pawpaw Patch G)ejn smee RRRARR _ - _ SS eS a a Toy thin singing-game: Cm time. oO 3--from memory. a + vist egy [ter KEYBOARD WAGIC— Wher, oh,where is [litetle Les-tie? [Way down yonder in the paw-paw paten. |] Tony ie re dternt na: Sos so yaown a 1h hands play a ten. 2opght hand play one octave het on Gre base a ‘ oy ry Dts Scat hand plays one oct Caged oe ater ky Be, Be eft hand pay ore and twits 9. Keyboard Magic GomeraCertificate of Merit- Nis cortifes that has sucesfally complied BOOK ONE - The LEILA FLETCHER PIANO COURSE and is promoted to BOOK TWO -The LEILA FLETCHER PIANO COURSEeo Creel ts [powcr PIANO COURSE Card Terekerird Partai) Erekcontrtg @ THE LEILA FLETCHER PIANO COURSE ‘THEORY FUN Tortre beginner delight eleetary nery PERFORMANCE FUN, Plano COURSE BOOK ONE Forth Gepener Swiyur paps, sraed 0 ot trode ne pus mu for indvidul ond class instration PLANO COURSE BOOK TWO Banos ped! oe of covered PIANO COURSE 800K THREE PIANO COURSE BOOK Six topes nd sige loyabie arangemerts of BM, sersnuss