April 21, 2017 | Author: Sebők Richard | Category: N/A
Issue Three • 2013
YOUR TIME AND MONEY
Doubl e featur e specia l!
O Marketing yourself O An economist’s view of make-up lessons
Australia’s luckiest
Piano Teachers?
Jazz!
Elissa Milne’s Ultimate Guide
Plus Randall Faber Returns! 40 Piece Challenge • Diary of a Piano Mama • It's Conference Time!
Welcome to Issue 3 of the Piano Teacher Magazine. This issue was very nearly ALL about jazz. Elissa Milne’s stellar Jazz Resource File was so huge we had to spread it over two issues (maybe even three…), so you can look forward to part two later this year!
Letters to the Editor I am really enjoying the Piano Teacher Magazine. In particular I enjoyed the article on Kerin Bailey, and hearing how other studio music teachers are running their businesses, and any new popular music publications are great to hear about. I’m already onto the Piano Divas books; just great to give students a relief from their main music program! In the last mag it was great to read feedback from other teachers and the hours they were teaching. I love that this is local and Australian in content (relevant!). Michelle – VIC Thank-you! I absolutely love piano teacher magazine. The 1st edition was excellent, so I was quite surprised to find the 2nd was even better. I'm looking for ideas at the moment to motivate my students for the 40 Piece Challenge, rewards and really fun repertoire. Naomi – QLD
I have been fortunate enough to receive the first 2 copies of your AMAZING Piano Teacher Magazine from the school at which I tutor. To say that your magazine is the most exciting magazine I have ever read, is the understatement of the century!!! I could expound the many, many virtues of your magazine, and how it has changed my life, for many pages, however, as usual, I am dashing to the computer between students, household, children, church duties etc. I am so thrilled that in your magazine, every single article AND advertisement applies to me, and totally interests me! FINALLY, everything is coming to me in one beautifully presented magazine, and I don’t need to spend precious hours searching the internet or ‘picking others' brains’. Many, many thanks for ALL your effort, ideas, passion and hard work!!! Please keep your amazing magazines coming! Cathy – WA I want to congratulate you on the latest Piano Teacher Magazine. Every single page has such relevant information for me. Well done. Megs – VIC I have just been given a copy of your great Piano Teacher Magazine and I am very impressed - something contemporary, relevant and helpful at last!! Fiona – NZ
I just love the latest magazine – Elissa’s article on the modes was very informative (I really liked the disclaimer). After I read it, I sat down and played through the Mixolydian modes, so thank you, great articles like this encourage one to do so. Lindy – TAS Thank you for the Piano Teacher Magazine!! Love it!! The topics are so useful to our need and concern in the business; very informative and equipping and makes me feel more connected to the other piano teachers too. Thank you very much!! Veon – QLD The Piano Teacher Magazines were great reading and inspiration to order some more books! Congratulations on creating these – they're a great resource to have for ideas regarding the latest repertoire and teaching methods. Bettina – VIC I love the November edition. Discovering new sight reading material and reading about Australian composers and teachers is my cup of tea! Mariella – QLD I love your magazine! Exactly what the Piano Teacher World had been waiting for… Stela – SA
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Letter from the Editor
We have responded to your request for more information about the business side of piano teaching, with two brilliant articles on issues that trouble every piano teacher: the vexed issue of make-up lessons, and how to market yourself. We are excited to be welcoming Randall Faber back to Australia in July when he will be launching the brand new Piano Adventures All-In-Two Australian editions. See page 18 for more details. We look forward to meeting many of you in person at the 2013 Australian Piano Pedagogy Conference in Toowoomba in July! To all those of you who have written, emailed, phoned, texted, faxed and Facebooked your feedback to us, our most sincere thanks. Please do feel free to contact us on if you would like additional copies of the magazine for your teaching studio, school or business. We welcome submissions, ideas and suggestions for upcoming issues.
[email protected]
Gina Wake
Inside this issue
I met with Dr Wiltshire in 2009 with a very early prototype of his sight-reading program. I was excited by the idea then and delighted to see his passion and enthusiasm continue through a long gestation period to result in the release of the SightRead4Piano app in January 2012. As an exam board AMEB is a world leader in utilising technology to support and develop our program. Being keen to embrace new technologies that improve music education and increase availability we are delighted to see our piano sight reading included in this app. Bernard Depasquale — General Manager AMEB Federal Office A friend kindly gave me copies of your magazine. I loved it and gave the second copy to another piano teacher who also thought it was a great magazine. The articles were interesting and inspiring. I especially would welcome more information regarding how to effectively run the business side of a homebased studio. As teachers we are often alone with it all and become so focused on the music that the book work is neglected, so if anyone would be willing to share their business system ideas I’d be grateful to be enlightened!! Sue — VIC This year my 5 year old began piano lessons. Piano lessons and more specifically my piano teacher had an enormous impact on me and really helped shape my life in such a positive way that it was with great joy (and a fair bit of trepidation) that I embarked on this journey with my daughter. Boy, how piano lessons have changed since I took my first lesson 30 years ago! Gina Wake – Piano Mama
To read all about the SightRead4Piano app turn to page 30.
Thanks for the feedback and ideas, Sue. To read Wendy Steven's business article turn to page 22. To read more from the Diary of a Piano Mama turn to page 19.
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Jazz Resource File
Jazz Resource File
A student says ‘I want to play jazz’ and piano teachers the world over think ‘uh oh’. There’s a moment of calm before panic breaks out.
Jazz Resource File Part One
Do they really want to play jazz, thinks the piano teacher, or do they just mean they want to play something that sounds jazzy? Do they really want to improvise, or do they just want to sound like they can? Do they really mean they want to play the blues, or maybe they mean a kind of lounge style? Is this a suggestion from an grandparent or uncle or girlfriend, or does this student have a real interest in the art form? HAS THIS CHILD EVER HEARD REAL JAZZ?! Lines like ‘don’t play what’s there — play what’s not there’ (Miles Davis) and ‘only play what you hear: if you don’t hear anything, don’t play anything’ (Chick Corea) then compound the piano teacher’s anxiety. When lessons are structured around responding to notation what possible part can jazz play? And then there’s the issue of accessibility. Of all musical genres none is so child-unfriendly as jazz, with most performances taking place in venues that open well after bedtime and then sell and encourage the consumption of controlled substances. It’s all very complicated. Then there are at least ten thousand books out there all telling you they will answer your questions about jazz and teach you how to play it.
Elissa Milne
No wonder we throw up our hands in horror and murmur something about how Bach’s harmonies are terribly jazzy while assigning another Invention. So let’s break it down. (Warning: this list is most definitely not comprehensive!)
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Resources To Help You Know More About Jazz/Jazz Piano: H Jazz Piano From Scratch by Charles Beale 0101338571
This is for piano teachers who know plenty about classical theory and pianism but not all that much about jazz piano. It works through the basics (the difference between swing and straight grooves, for instance), introduces terminologies (‘turnaround’, ‘changes’, ‘comping’, etc.) that are not used in classical praxis, explores modes and modal harmonies, covers many aspects of improvisation (starting with ‘doodling’), and provides activities and listening suggestions for developing an internalised understanding of jazz at the piano. Included is a CD with nearly 70 examples to further support the text. This book is a must-have if you want your students to take ABRSM Jazz Piano Exams (see over). Published in 1998 it’s not the latest, but it’s a contender in the ‘greatest’ category.
H Dick Hyman’s Century of Jazz Piano (Transcribed!)
312074
Dick Hyman is a jazz legend. And this book is literally a transcription of his DVD (which is also included) about the history of jazz piano. Starting with The Cakewalk and moving through Boogie Woogie and Stride Piano, Dick Hyman takes pianist-readers on a trip through the 20th century, exploring the development of key elements of jazz. The book is a series of pieces, each of them a musical example that illustrates the stylistic developments the author is explaining or exploring. You will want to sit at the piano and play your way through this history. Set aside an hour every night until you are done! You will finish the book with a deep understanding of not just jazz piano but how the pianism we now think of as being ‘jazz’ developed as an interaction with all the other instruments in the various jazz ensembles. A really brilliant reading/playing/learning experience. 5
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Jazz Resource File
Elissa Milne's Ultimate Guide to Jazz Resources
Elissa Milne's Ultimate Guide to Jazz Resources
epth - An In-D
asters of the M the Styles Look at
(Excerpt Pictured) These books are widely considered to be a (if not the) definitive jazz textbook. Tim Richards is a jazz pianist and composer who knows his stuff both as a performer and as a teacher. These books really are an ‘exploration’ of what jazz piano is, covering theory, improvisation, jazz piano history, style, technique — everything. With improvisation tips and activities for you to perform at the piano, these books are all about immersing the reader in the jazz experience. ‘Knowing’ is something your body does in jazz, not just your brain! And, as is the case in most jazz texts, this book comes with a CD of examples and excerpts so that you are hearing, not just imagining, the real deal. Tim recommends that you use a non-linear approach to these books — don’t get bogged down in one chapter, just move on and come back later. He also points out that the term ‘jazz’ is so broad that he can’t possibly cover the topic comprehensively. (It’s worth knowing that Tim Richards has also authored ‘Exploring Latin Piano’ and ‘Exploring Blues Piano’, if you’re interested in more focussed exploration of these jazz styles). Once you’ve worked your way through these two fantastic volumes, however, I can assure you that you’re going to have a pretty firm grip on what ‘jazz’ might be! 0101354102 / 0101354202
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JAZZ PIA NO - An In-Depth
Dave Brubeck was born in California in 1920 and was performing locally by the age of thirteen. After a spell in the army (during which he played with the Wolf Pack Band in Europe) he studied composition with Milhaud (1946) and founded the Jazz Workshop Ensemble, which recorded in 1949 as the Dave Brubeck Octet. From that point onwards he played exclusively with a quartet, becoming hugely popular on college campuses. After the addition of alto saxophonist Paul Desmond in 1951 the group enjoyed massive success and became one of the most popular jazz groups of all time. The 1960 album Time Out went on to become the first million-selling jazz LP.
Look at the Styles of the Maste rs
The original quartet broke up in 1967, and Brubeck formed a new group with Gerry Mulligan, Alan Dawson, and Jack Six, which lasted from 1972–74. Following that Brubeck played in a new group with his three sons Darius, Dan, and Chris called Two Generations of Brubeck. Considering himself as a composer first and pianist second, Brubeck has written several large-scale works including an oratorio (The Light in the Wilderness), ballets, and a musical.
ANALYSIS
experime nting with longer for three sid ms that spa es of 78 r.p.m. dis nned two (1931), cs— or “R “Diminuen eminiscing in Te “Creole Rhapsod y” mpo” (1 do in Blu e/Crescen 935), an do in Blu d In the thi e” (1937). rties Elling Europe, ton ’s band wh “In a Senti ile songs like “Sop toured America an d mental Mo histicated Strayhorn Lady” an od” were d joi big popu lar composing ned the band in 1939 as sec hits. Billy ond pianis Come La songs like “Chelse t, tel a became the y,” and “Take the Bridge,” “John ny band’s the ‘A’ Train me tune. ,” which By 1946 the orche str including Ray Nanc a numbered eighte e (trumpe Baker (tr en player umpet), s, t and vio an lin Ellington ’s composi d Jimmy Hamilto ), Shorty n tions conti ambitious nued to be (clarinet). an for examp d lengthy; “Blac come mo k, Brown, re le, was co an depicting nc the histor eived as a five-s d Beige,” ect USA. Th y of Afric e de an Ameri ion work can fur ther sco velopment of the LP allowe s in the pe to cre “Liberian d Ellington ate multim Su ovement (A Tone-Pa ite,” “Deep South works lik e Suite,” an rallel to Ha d “Harlem rlem).” In 1959, Ellington co score (fo r Otto Pr mposed his first ful eminger’s l-length film (1959), wi An nn new gene ing three Grammy atomy of a Murde ration of r s) and rec ord jaz Coltrane, Charles Mi z musicians (inclu ed with a last decad ngus, and ding Joh e n performing Ellington concentra Max Roach). In his ted a str on ing of sacred mu and choir sic, at cathedra compositions for his orche ls around stra the world . Tanner
H Exploring Jazz Piano Volumes 1 & 2 by Tim Richards
JAZZ PIANO - An In-Depth Look at the Styles of the Masters
Dave Brubeck has perhaps suffered more criticism at the hands of fellow musicians than any other pianist, yet his popularity with the public remains undiminished. Often seen as a popularist, he nevertheless has an utterly distinctive style, which has influenced musicians as diverse as Cecil Taylor and Anthony Braxton—two musicians who could never be accused of courting popularity. With albums covering Disney tunes, West Side Story, his Jazz Impressions of... series and the Time Out and Time Further Out albums ANALY (exploring the use of unusual time signatures—“Take SIS Five” and “Blue Rondo a la Turk” being the most Perhaps mo famous examples), Brubeck’s output is varied yet Ellington re than any other ’s pianis ach ievements accessible and often belies the single-mindedness with historically on his ins t in this book, an whichLik he approaches the instrument. a compose d critically oversha trument have be e many of en r and band dowed by the artists vat his lea wa ion der. The in thisrenowned s of his orc heavily inf Brubecks studied composition book, Du French longevity work as luenc bywith hestra are the most ke Ellington and innoheard Darius well docu ragtim aroun Milhaudedand successfu composer has referred to himself mented, l bandlea on Miles the age of d his hometown of e pianists, which and as de r Da as “a composer who plays piano.” This academic backhe in eig vis Wa jaz hteen, he shington z, his inf and others Often, the ply was ma luence D.C. By cannot be bands for piano wo grounding enabled himpato craft carefully constructed king a go understate uld stand ed the ba od living rties and Fats Walle nd, idle supd. dain miniatures, simple yet fastidious their r’s advic nces, butstructural e, he brief interj yet the devastating as Ellington direct in 1923, Elmer Sn ved to ections on musicality ow detail. More importantly, it mo imbued hisNe improvisation w York to on part of the of the a small gro den’s band, the Wa his instrume often “E with a sense of logicshiand allowed himjoin upcompositional , the band ngton laborations llington” band sou nt formed a major ians. Initia outfit, rec gradu nd ally lly wi ording quite to combine sounds freely according to the com. th In gre Joh the w such early n with Charl to a ten-pi six Louis To comp ece es Mingus Coltrane and Elvin ties, colodle-oo positional intent of.”his ideas; he often parts company ositio ns as “East evaluation an Jones and of Ellington d Max Roach pro with the chord sequence in order to carry through aSt. From mpted a fit in with 1927–193 the pianis rethe t 2 the Du motif or idea. Perhaps it was this “formalism” in his consistin ke Ell with his reg modernists effort and showed that g ofled12to the ingtonthat he lessly. On ular rhythm Orchhe playing didn’t me accusation Cotton that estra a Woodyard trio (now sec Club in Ha mbers) held res record tion of Aa (Piano in “swing,” merely widened theatdefide rleears ron 1930 theyet to many nc m anhe y Be “S the ll and Sam ummertime Foreground the groword. up appeare d a growing reputa inition the ” sounds ), Double of tion. In same tim d in the Check and utterly ab his rendition of e is film ide en str joy nti track “M act, Check an fiably “Ellin d ood Indig ed a bona fide po gtonian.” yet at the Like band p hit with o.” Mean the leaders Ea while Ell Ellington ington wa ’s roots we rl Hines and Co s re P. Johnso unt Basie n and his in the “stride” pia , no of Jam contempora es ries, yet his style
DAVE BRUBECK ELLIN DUKE GTON (1920-) (18
minimal SIS the most nsidered y in favor Basie is co virtuosic displa placed “Count” ly wing ate he lic esc William de phrases, z pianists, ral back of all jaz hioned and textu ugging isitely fas rmonic Green ch of exqu unchanging ha an of Freddie drums). Basie’s against r guitar d ilia an nn ss fam e ba e Be ie drop (th re over d in th s from e-measu was ser ve four-to-th ip, however, to progres esh who were e twenties to a ra est ch apprentic lat e nd, an or ing this feel in th Moten ba at “traditional” Underpinn Heavily thirties. be piano. the twothe early style at s Basie’s ur feel in lighter fo ment wa ts Waller, Basie’s lop ve de Fa guage of historical by his teacher, osic lan for the virtu as a foil ing influenced s steeped in cit ex gely e wa this tim proved hu no and pia ide str
ANALY
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ther, m his mo died skills fro stu sic piano York, where he ts rning ba w rudimen up d After lea sie went to Ne ke d pic ured Ba Waller an nists. He then to rWilliam pe pia with Fats e lo lly so tim a ma rag d infor it as r stride an ille circu from othe on the vaudev sical director. d extensively mpanist, and mu as City an acco d in Kans piano in former, de an str himself , playing he found wing an illness he adopted the In 1927 llo e fo tim ge is ere th Pa ’s th It was at d Walter remained shing, theaters. He joine silent film “Count” Basie. Jimmy Ru 1929 g with In e yin . am pla nd kn , ba nic s in 1928 re in Basie’s own ty Orchestra vil De Ci Blue featu Devils), ’s Kansas uld later who wo ie Moten ers of the Blue d Benn rly 1930 mb he joine r key me the group from ea s electthe othe sie wa g with Ba (as did din 33 or . In 19 and rec widely in touring ey split up that performed when th oup to 1932 in-of f gr r of a sp de lea but ed ’s group, hwest. in Moten formed the the Sout was back he the 35 Basie that year at 19 er y h lat nc arc death By M a reside l radio Moten’s took up successfu following Rhythm, which Following n to tour and Barons of in Kansas City. ga be and ub group mentalists and Reno Cl 36 the 37 een instru s in 19 broadcast panding to thirt year. During 19 arren, at W ex th rl er d, Ea or lat rec York Holiday, weets” to New een, Billie ton, Harr y “S what moving or d eddie Gr 1938, Fr rham, Benny M cky Wells joine ra. d Di Orchest Eddie Du n Humes, an sie Ba t Hele the Coun as Edison, n 952, ow me kn m 1950-1 had beco period fro t of his life of a brief e res exception big band for th in the thirties ly With the a sie led particular s like “One ce Count Ba huge success, own pie ed e band and enjoy , with well-kn ar Dance.” Th r jazz es ge i W and forti mp” and “Tax ground for youn r the Ju de O’Clock became a training er his death un r, y aft ank Foste eventuall and continued Jones, Fr s n, Thad xo Di musician ic ip of Er stewardsh Mitchell. er and Grov
Frank Driggs Collection
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ANO JAZZ PI
Jazz Resource File
99-1974)
H Berklee Jazz Piano by Ray Santisi 50448047
This book is truly fabulous, but if you don’t have any kind of jazz background and you don’t love theory this book might be a bit intimidating without having your own jazz piano teacher. It starts from the basics, and is beautifully clear in both layout and language, but there is an expectation that you will absorb and integrate a lot of harmonic vocabulary at a very fast pace! (The chapters on rhythm take a more measured approach to new information.) You may or may not like the neologisms like ‘particalization’ and ‘pianisticization’, but the ideas are clear and you’ll finish each chapter feeling as if you’re a better musician for having worked your way through it. There’s an appendix of lead sheets with matching, realised etudes, and a third appendix details how this book covers all the minimum departmental requirements for piano majors at Berklee College of Music (one of the most prestigious US musical establishments). And the glossary is, in keeping with the rest of the book, clear and well laid out. CD, of course, included.
H Jazz Piano by Liam Noble
(Excerpt Pictured)
311050
Subtitled ‘An In-Depth Look at the Styles of the Masters’, this book is much history book as it is piano music. Biographies and analyses of the styles of 15 great jazz pianists are juxtaposed with a piece (composed by Liam Noble) demonstrating the qualities, techniques and aesthetics of each of these 15 jazz legends. What makes this a must-have in your library is that the accompanying CD includes a play-along version as well as the demonstration performance: you (or your students) can play the written music and have the experience of creating the shapes and stylings of jazz piano’s finest. I promise you will love this book/experience! And that’s not to mention the photos… A fantastic (and comparatively slender!) volume.
H Latin Jazz Piano by John Vallerio 311345
Latin styles are often what people mean when they say ‘jazzy’, and this guide will ensure you feel thoroughly equipped to teach your students the basics of any number of Afro-Cuban and Brazilian rhythms and styles. You’ll start using terms like ‘clave’ and ‘montuno’ and ‘tumbao’ as if you’ve lived your whole life in Havana, and you’ll finally know the difference between a mambo and a cha-cha-cha. This is not a thoroughly comprehensive guide, but it’s a focussed start, with lots of written out examples to play through, and 7 play-along tracks on the accompanying CD featuring original tunes in various Latin syles.
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Jazz Resource File
Elissa Milne's Ultimate Guide to Jazz Resources
Elissa Milne's Ultimate Guide to Jazz Resources
Jazz Resource File
Transcriptions
Resources to help you teach (Jazz) Improvisation
Transcriptions are to jazz what Urtext editions are to classical music; if you want authenticity in your jazz experience you have to make your own transcriptions of recordings, and study the transcriptions others have made. I can’t help you in the first department (other than recommending some manuscript books), but in the second let me recommend these:
The books I've listed previously all have aspects of improvisation-training about them, but the books recommended below are specifically dedicated to help you teach (jazz) improvisation.
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H Hal Leonard Student Piano Library Method
(Excerpt Pictured) This is a method that asks students to improvise from the very first lesson, and makes it easy for teachers to feel as if they are ‘teaching’ improvisation with all the brilliant accompaniments provided for each improvisation activity. Of course, it’s a method designed to take students into the classical repertoire as well, but with a firm foundation in responding creatively to the keyboard, to other musicians, and to music. Favourite improvising pieces: Toes in the Sand (Phillip Keveren), A Little Latin (Bill Boyd), scales in Lessons 4 My Own Song (improvisation pieces when new concepts are introduced in Lessons Books 3, 4 and 5).
H Oscar Peterson: A Jazz Portrait of Frank Sinatra
H Modern Jazz Piano by Sarah Cion
Note-for-note, the way Oscar Peterson played them, a selection of the tunes Frank made his own. If you (or your students) have no experience of transcription this might well be a superb toe-in-the-water repertoire choice: you get to see the way the rhythms and patterns are notated, and can learn them the ‘classical’ way, but don’t just stop there! Go out and start making transcriptions of your own, and see how you go connecting through your ear rather than your eye! You’ll be amazed at how quickly this experience improves your sight-reading.
Subtitled ‘An Intermediate Guide to Jazz Concepts, Improvisation, Technique, and Theory’, this really is suitable for use with your teenage students (if you’re looking for such a text) as a transition from classical sonatina and studies type thinking into jazz. With a focus on chords and patterns (theory, really), your classically-based students will feel as if they know what to do, and you’ll feel a clarity about chord indications that you never felt before! The second half of the book is where it all comes together, however: Sarah Jane Cion has provided transcriptions of 15 original tunes, and students can listen to the recording while following the transcription. A transcription isn’t really the same thing as a classical score, so this experience will be fantastic for getting inside the mind-set and performance culture of a jazz pianist. Appropriate for students from roughly Grade 5 standard (minimum) up.
672562
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(Excerpt Pictured)
311144
H Pattern Play
by Akiko and Forrest Kinney A series you may not have heard of, these 6 volumes create a structured program for learning to improvise at the piano, using duets, solos and composing activities. Part of the goal with these books is to introduce students to a repertoire of patterns, which will make a foundation for successful improvisations. The material is original, but all in a contemporary popular vein, with many of the patterns offered for improvisation being common harmonic shapes from pop music. These books are perfect for those teenagers who think they want to play jazz but have never heard a note of it…
H Improvise Microjazz by Christopher Norton M060079368
Christopher Norton really is a leader in this field of creating resources for classically-trained piano teachers to teach their students the skill of improvising. Improvise Microjazz was first published in 1988, and it has a blend of fully notated jazz-style pieces and improvisation activities. This book is similar to the American Popular Piano series in conception and in activities, but it’s a stand-alone volume appropriate for Grade 1 or 2 standard students.
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Elissa Milne's Ultimate Guide to Jazz Resources
Jazz Resource File
Elissa Milne's Ultimate Guide to Jazz Resources
Resources to help you teach (Jazz) Improvisation
invErsions: lEft Hand
Improv Etudes Improv Etude - The Girl On The Beach
RHYTHM SECTION
The Girl On The Beach
When played on one piano, Piano Solo plays only lh one octave higher Languidly q = 132
mp
5
cresc.
13
9
dim.
5
oR ATI PL
1.
2.
5
As you may recall from Chord Play™ 1, playing root-position triads with “Chopin voicing” means moving the middle note of the chord up an octave. We can do the same thing with inversions: play middle of themark inverted triadwhat up an octave. Thethe letter afternote the slash tells you bass note to play. Once again, the exact position of the upper chord is up to you.
2. Play again with the backing track.
6
1.
2.
6
1.
2.
{ Bb ‰ 5
Here, we make a countermelody by playing the note below the top note of each chord. Here, we create a countermelody by alternating between the usual top note of the chord and the note just below it. These non-chord tones are called lower neighbors. Try creating an accompaniment pattern using upper neighbors.
“Slinky Thing” by Simon Whiteside Reproduced by permission of ABRSM. Reproduced by permission of Frederick Harris Music
Notes:
H Chord Play by Forrest Kinney (Excerpt Pictured) H American Popular Piano
H Doctor Straight and Mister Swing by Stephan Mehl 0101646680
The most fabulous book you’ve never seen before, this volume is surtitled ‘creative piano playing’ and subtitled ‘12 Jazzy Piano Pieces for Improvisation’ — both absolutely accurate descriptions of what lies inside. Each piece has improvisation built into it, but even more exciting, students get training in ways to think about their improvising before they begin, with suggestions for improvising on jazz scales, teacher accompaniments over which students can improvise, and exercises for finessing syncopated rhythms and understanding jazz forms and style. If you want to teach improvisation to your students, this volume is a must-have, must-use.
Š . Še ‰
‰
Like Pattern Play, only with an emphasis on reading from a chord chart — these books might be the best introduction to realising charts that classicallytrained piano teachers will ever find! Using folk songs, holiday songs and popular songs that have seeped into the fabric of western culture, these books will take students on a sure-footed journey to chord chart competence. An absolute must for any student who wants to play for song services at church, and a superb series for students interested in musical theatre or jamming with their friends. That is, pretty much every student in your studio.
‰
‰
.
t ŠFe p #Š
p Š . ŠF. e t Še bŠH
{
p V b t Še bŠ Š Š Š Š Š Š. r t Še bŠ Š Š ŠV Š Š Š. Bb ‰ ‰ Š . Š. e t Še Š Š . Še Š #Š ‰ ‰ I
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b V b t bŠe Š Š ‰ Bb ˆ
G7
© Novus Via Music Group Inc. 2006. All rights reserved.
© Novus Via Music Group Inc. 2006. All rights reserved.
ŠŠ. r q r ‰ Š . Še Š
Dm7
Š . Še ‰
t ŠŠ. r f ‰
S V b bŠI Š Š ŠV Š Š Š Š Š Š. r t Še bŠ Š Š ŠV Š Š Š
To complete this piece, add the accompaniment to the second half. The melody in the second half is a written-out improvisation. Repeat the piece, improvising new melodies in the key of G and playing B as a blue note before playing the note B.
‰
p
HEAD
shEnandoah
Notes:
10
{ B b 44 ‰F
pp
C 1. Play without the backing track.
= 104 Slow and slinky
Dm7
D 1. Play without the backing track.
by Christopher Norton & Scott McBride-Smith (Excerpt Pictured) The whole point of this method is to teach students how to be doing it for themselves. Improvisations are the meat in this educational sandwich, with the whole process of developing improvisational skills and insights broken down into tiny, achievable tasks, building confidence in student and teacher alike! It’s the Etudes book where the magic happens: these ‘etudes’ are actually studies in improvisational thinking, rather than technical exercises. Four modules match a single composition on which the improvisation exercises are based, so students are learning to spend long periods of time immersed in the creative possibilities of a chord pattern or a rhythmic groove. This is a vital element for building great improvisers! Most importantly, every etude assignment begins with the student practising clapping along with a backing track (both a steady beat and a notated pattern). Being able to coordinate with other musicians is key to jazz improvisation, and this series builds students’ capacities and confidence in this regard as much as any other.
Jt ŠF. iŠ. V b 44 Šf r Š r Slow Swing
Inverting Chopin Voicings
Complete this by playing the next four chords in the progression (G, D/F#, G, and A) in the same way.
p
x
Canon in d (with Inverted Chopin Voicings)
2. Play again with the backing track.
Simon Whiteside
Playing inversions with Chopin voicings enables us to create rich and varied accompaniments. Play this accompaniment with a swinging motion of l your arm, like therback-and-forth motion of a pendulum. onEsomE oad
B Clap with the backing track:
SLINKY THING
Canon in d The usual way to play “jump chords” is to play the root in the bass followed by the full chord in the neighborhood of middle C, often in an inversion. The chord symbols do not indicate which inversion to play in the mid-range of the piano. That is up to you.
After the clicks, clap q with the track.
6
R
10
Inverting Jump Chords
A Play the backing track of The Girl On The Beach. The opening clicks represent q (quarter notes).
MODULE 1 Christopher Norton
16
n o
26
22
oR ATI PL
invErsions: lEft Hand
E
Ensemble
x
n o
E
22
Jazz Resource File
Dm7
9
B7
13
cresc.
O t ŠJe Š #ŠG t ŠI. e Š Š^F t Še Š ŠV Š #Š. Š =Š- ˆ . f ^ t Šf. #Š Š p q ‰ ‰
A7
to Coda
Dm7
A7
© 1998 by The Associated Board of the Royal Schools of Music International Copyright Secured All Rights Reserved
H ABRSM Jazz Piano (Grades 1-5, Pieces, Scales,Aural Tests)
(Excerpt Pictured) If you haven’t taken a look at the ABRSM Jazz Piano publications you’ve been missing out in a major way! A graded, guided system of teaching improvisation that is suitable for children as much as it is for adults (as compared to the textbook-style volumes discussed at the start of this resource file!). These are absolutely not for your beginner students, and they’re not even for your Grade 1 students (the Grade 1 book is probably perfect for Grade 3 students, maybe a good Grade 2). So don’t try to introduce these to your students too soon. But do introduce them! These are graded collections of pieces arranged for solo improvisation in the middle — just like any jazz pianist performance would be — with suggested pitch sets for improvising on, and a structured approach to finishing off the improvisation and returning to the head. There are originals, standards and blues included in each volume, giving your student a nice taste of the variety of jazz styles. These are for the kids who enjoyed their improvising as beginners and now want to get serious about their jazz. The Scale Book is a great additional resource, and you’ll love the Aural Test book — activities that involve improvising and develop musicianship, this book will stand your students in good stead for even straight-laced classical piano exam ear tests!
H P Plate Piano – AMEB
1201091939 / 1201092039 / 1201092139
This series takes beginner repertoire as a starting point for keyboard discovery. Students have specific improvising adventures for most of the more than 50 pieces in the three book collection, sometimes exploring dynamics, sometimes register, sometimes articulation, sometimes melodic contour — setting the stage for improvisation to be a normal musical response to anything students experience in the years and repertoire ahead! 11
P
Professional Development
Australasian Piano Pedagogy Conference
The 11th Australasian Piano Pedagogy Conference University of Southern Queensland, Toowoomba, from Tuesday 2 July to Saturday 6 July 2013. Full program will be available at www.appca.com.au by the end of May 2013. The conference — marking the 20 year anniversary of the inaugural conference — represents a milestone for our organisation, which was launched in 1993 in Adelaide. In selecting the theme, the Organising Committee has sought to present delegates with opportunities that open doors to leading pedagogical and performance practices and foster effective teaching and pianism. The conference will be a celebration of the past and an exploration of piano pedagogy and performance in the future. Cognisant that we live in a digital age, there will also be opportunities to explore how digital technology can enhance the piano learning process. Internationally recognised performers and teachers including conference patron Piers Lane, Mario Ajero, Randall Faber, Nancy Bachus, Wendy Lorenz, Jovanni-Rey de Pedro and the Viney-Grinberg Piano Duo featuring Liam Viney and Anna Grinberg, and the Goldner String Quartet will appear as keynote speakers and/or recitalists. Other featured presenters will
Registration: To register for the conference, please complete the registration form and either mail, fax or email it to: 11th APPC PO Box 292 DARLING HEIGHTS QLD 4350 AUSTRALIA Fax: +61 (0)7 4631 1133 Phone: +61 (0)7 4631 1134 Email:
[email protected] Early bird registrations are to be received by 3 May 2013 and full conference registrations by 7 June 2013.
include Terrance Hayes (benefits of teaching on a new Grand Piano), Carol Leone (Lecture-Recital 15/16 Grand Piano), Angela Turner (Music Technology), Paula Melville-Clark (Dalcroze Eurhythmics) and Jody Heald (AMEB Repertoire/ Masterclass for youngsters). Delegates will also have the opportunity to attend a performance of Anna Goldsworthy’s play Piano Lessons. Situated on the edge of the Great Dividing Range escarpment at an altitude of 700 metres above sea-level, Toowoomba is a picturesque mountaintop city located in south east Queensland, affording breathtaking views of Table Top Mountain and the Lockyer Valley region across the east, providing an ideal location for the conference. We recognise the importance of allowing delegates the opportunity to socialise and take advantage of all Toowoomba has to offer and will be including a number of social activities during the week. An informal pay-as-you-go pre-conference dinner will be held on 1 July 2013. Details can be found at www.appca.com.au We look forward to welcoming you to the conference! Kathy Pingel and Phillip Gearing Co-Chairs of the 11th APPC on behalf of the Organising Committee 2013 and the Association Committee
Accommodation: Limited campus accommodation is available at USQ’s McGregor College for a cost of $88.00 per night including breakfast and dinner. For information about other local accommodation options, please visit www.appca.com.au.
You are encouraged to visit the website and Facebook page regularly for updates and further information.
Australasian Piano Pedagogy Conference
Professional Development
P
Opening Doors: The complete musician in the digital age
London-based Australian pianist Piers Lane has a flourishing international career, which has taken him to more than forty countries. Piers Lane has been the Artistic Director of the Australian Festival of Chamber Music since 2007. He is also Artistic Director of the annual Myra Hess Day at the National Gallery in London. In 2012 he was awarded an AO (Officer in the General Division of the Order of Australia) for distinguished service to the arts as pianist, mentor and organiser.
An experienced performer and pedagogue, Wendy Lorenz has performed, broadcast and presented workshops, masterclasses and piano teaching seminars throughout Australia and overseas, including guest residencies in China, Singapore, Malaysia and the USA. Teaching appointments include universities in four states, as well as former Head of Music at the University of Southern Queensland.
Liam Viney and Anna Grinberg lecture and perform as ensemble-inresidence at the University of Queensland. They started playing together while students at Yale, and have performed in festivals, series and live radio broadcasts around Australia, the United States, and in Israel. They enjoy bringing new works for duo piano into existence, so far commissioning eleven composers to write for the genre..
Mario Ajero is Associate Professor of Piano at the Stephen F. Austin State University in Nacogdoches, Texas. Dr Ajero is recognized as a national authority in incorporating technology in piano pedagogy with articles published in American Music Teacher and Clavier Companion. He hosts The Piano Podcast with close to 10,000 subscribers worldwide.
Randall Faber performs extensively as a classical pianist and lectures on musical artistry and talent development around the world. He was a master teacher for the World Piano Pedagogy Conference. Randall is well known as co-author of the bestselling Piano Adventures® teaching method and many publications for the piano.
Pianist Jovanni-Rey de Pedro holds degrees from the Vienna Conservatory, Trinity College of Music, and the University of Michigan. He has appeared worldwide as a performer, presenter, and educator, and is co-founder of the MTNA Piano Pedagogy Symposium. Dr de Pedro serves as Visiting Assistant Professor of Music at Millsaps College in Mississippi.
The Goldner String Quartet has widespread and long-standing recognition for excellence, not only as Australia’s preeminent string quartet, but as an ensemble of international significance, favourably compared with the best in the world. Launched for the 1995 season, and retaining all founding members, the players are well known to Australian and international audiences through appearances at major music festivals and acclaimed recordings.
Information about other featured presenters can be found at www.appca.com.au
13
Make-up lessons from an Economist's point of view ‘In our everyday lives we regularly pay in advance for goods or services and if we end up not using what we have purchased, we have to just swallow our losses.’
Vicky Barham
1.
Piano teachers have the right to refuse to reschedule a class after a cancellation.
2.
Financial compensation for missed lessons are at the discretion of the teacher.
3.
Music lessons are non-durable goods, meaning they are non-refundable.
4. 14
You have the right to a day off too!
I
'm a parent of children enrolled in Suzuki music lessons. I'd like to explain to other parents why I feel — quite strongly, actually — that it is unreasonable of parents to expect our teachers to make up lessons we miss, even if I know as well as they do just how expensive lessons are, and, equally importantly, how important that weekly contact is with the teacher to keeping practising ticking along smoothly. I think that it is natural for parents to share the point of view that students should have their missed lessons rescheduled, but if we were to 'walk a mile' in our teachers' shoes, we might change our minds about what it is reasonable for us to expect of our teachers. Like many parents, I pay in advance for lessons each term. In my mind, what this means is that I have reserved a regular spot in the busy schedules of my sons' teachers. I understand — fully — that if I can't make it to the lesson one week (perhaps my son is sick, or we are away on holiday, or there is some other major event at school) then we will pay for the lesson, but that my teacher is under no obligation to find another spot for me that week, or to refund me for the untaught lesson. And this is the way it should be.
In my 'other life' I am an economist and teach at our local university. Students pay good money to attend classes at the university; but if they don't come to my lecture on a Monday morning, then I am not going to turn around and deliver them a private tutorial on Tuesday afternoon. When I go to the supermarket and buy groceries, I may purchase something that doesn't get used. Days or months later, I end up throwing it out. I don't get a refund from the supermarket for the unused merchandise. If I sign my child up for swimming lessons at the local pool, and s/he refuses to return after the first lesson, I can't get my money back. So there are lots of situations in our everyday lives where we regularly pay in advance for goods or some service, and if we end up not using what we have purchased, we have to just 'swallow our losses'. On the other hand, if I purchase an item of clothing, and get home and change my mind, I can take it back and expect either a refund or a store credit. So why do I believe that music lessons fall into the first category of 'non-returnable merchandise', rather than into the second case of 'exchange privileges unlimited'? Speaking now as an economist, I would claim that the reason is that items like clothing are ‘durable goods’ — meaning, they
can be returned and then resold at the original price — whereas music lessons are non-durable goods — meaning, once my Monday slot at 3:30 is gone, my son's teacher can't turn around and sell it again. The only way she would be able to give him a lesson later in the week would be if she were to give up time that she had scheduled for her own private life; and that seems pretty unrea-
else for lessons (or to drop musical study), and they will lose part of their income. This is especially true in areas with lower average income, where it can be particularly difficult to find students. So rather than telling us that 'well, actually, the only time when I'm not teaching and that you can bring your son for a lesson is during the time I set aside each week to go for a long
‘My eldest son will be missing three lessons because he is going to accompany me on a trip to New Zealand to visit his great-grandparents. I do not expect my son's teacher to refund me for those missed lessons, or to reschedule them’ sonable — I can't think of many employees who would be thrilled if their bosses were to announce that they couldn't work from 3:30 to 4:30 this afternoon, but would they please stay until 6:30 on Thursday, because there will be work for them then! Many teachers hesitate to refuse our request to shift lesson times (because our busy schedules do change), because unless they keep parents happy, we will decide to take our child somewhere
soul-cleansing walk, and I can't do that on Monday at 3:30 when you should have turned up', they agree to teach us at a time that really doesn't suit their schedule. Teachers who are 'nice' in this way often, in the long run, end up exhausted, and feeling exploited; they try to draw a line in the sand. However, too few parents ask to switch only when absolutely necessary, and too many parents want lesson times when it suits them this week, which is not the same time that suited last week. If the
conflict arises because my child is in the school play, and they have their dressrehearsal during his lesson time, then I feel that I must choose between the two activities, and if he attends the dress rehearsal my private lesson teacher doesn't owe me anything. During May, my eldest son will be missing three lessons because he is going to accompany me on a trip to New Zealand to visit his great-grandparents. I do not expect my son's teacher to refund me for those missed lessons, or to reschedule them by 'doubling up' lessons in the weeks before or after our departure. Since there will be lots of advanced notice, I might ask her to consider preparing a special 'practice tape' for that period, or to answer my questions via e-mail, but if she doesn't have the time (the second half of April is going to be really busy for her, and she wouldn't be able to do the tape until more or less the week we left) and so has to refuse, then that's fine. I certainly don't expect her to credit me with three make-up lessons; there is no way for her to find a student to fill a three-week hole in her schedule during our absence. Instead, I hope that she will enjoy the extra hour of rest during those three weeks, and that we will all feel renewed enthusiasm when we return to lessons at the end of the trip.
15
Repertoire Suggestions Suggestion 1
PREPARATION FOR AMEB AND OTHER PIANO EXAMS
2013
Elissa Milne is a Sydney-based composer, teacher, writer and presenter. Her educational piano music (the Little Peppers and Pepperbox Jazz series) is used by students, teachers and examination boards around the world.
Now Elissa has collected and edited the very best in piano pedagogical composition to create Fundamental Repertoire.
Step-by-step, graded presentation of cherished piano classics and innovative, engaging new music make this Fundamental Repertoire a must-have for every student.
Getting to Grade One is a total preparation for students approaching their first grade examination. Essential reading, performance, stylistic and technical skills are developed through the repertoire and additional material has been included to give students extra help with scales and broken chords, arpeggios and musical knowledge/perception tests.
Other titles available:
Getting to Preliminary 296446 Book only 298071 Bk/CD
Getting to Grade Two 296448 Book only 298073 Bk/CD
Getting to Grade Three 298076 Book only 298075 Bk/CD
Getting to Grade Four 298077 Book only 298078 Bk/CD
Getting to Grade Five AP1018 Book only AP1019 Bk/CD
Getting to Preliminary THE NEW MIX AP1001 Book only AP1002 Bk/CD
Getting to Grade One THE NEW MIX AP1003 Book only AP1004 Bk/CD
Getting to Grade Two THE NEW MIX AP1005 Book only AP1006 Bk/CD
Getting to Grade Three THE NEW MIX
A$19.95
Elissa Milne www.elissamilne.wordpress.com ‘My students are not only practicing but they are practicing properly.ʻ ‘Not only has their sight reading improved but they got better results in the exams with 5 students getting A+.ʻ ‘I have noticed a huge improvement in the student’s sight reading and enthusiasm for learning more pieces.ʻ
This year thousands of piano students from across the world have taken up the 40 Piece Challenge. Register for the challenge by sending an email to
[email protected] or by making a comment at www.40piecechallenge.com.au
Start with a slew of material.
‘All of my students' parents are on board the challenge and acknowledge the tremendous change in their child’s playing.ʻ
Mix up the degree of difficulty of the pieces you assign.
Give the student less choice than you usually would.
If your hypothetical Grade 5 student learned seven pieces last year when they were a Grade 4 student there is no way in the world that they are capable of learning 40 Grade 5 pieces this year. Assign one or two Grade 5 pieces, but also assign repertoire that is Grade 3 standard, Grade 2 standard, Grade 1 standard! 40 pieces a year means in practice just over one new piece every single teaching week, and that means students need to be completing a piece every single week. This won’t be possible unless you have an appropriate mix of degrees of difficulty in the repertoire.
You are assigning an average of one new piece a week, every week. A good rule of thumb: the easier the piece the less choice the student has. You are the teacher – you plan out an appropriate course of study for the year. The good news is that when students know they only need a week or two to master a piece they don’t really mind so much if they love, love, love it, or not.
Encourage students to make their own suggestions for repertoire.
Expect a high level of achievement with each piece.
This can be a tricky path to follow — students can suggest music that is far too hard, poorly arranged, with limited pedagogical interest! But students will understand that the plan is to succeed in meeting the 40 Piece Challenge, and this is an opportunity for them to learn a lot about how to select their own repertoire: they will want to master the music within a reasonable time-frame and they will want to share with you their musical inclinations. This also becomes your chance to learn a lot about your students, and you’ll probably get to know music you’ve never heard of before, as well!
Near enough is good enough, but near enough means at tempo and with flow and with communicative intent, not a bald reading-through without any sense of what the music means. So performances need dynamics, articulation, voicing and balance, used of pedal and so forth! If this seems too big an ask you need to be looking at easier material, not at lowering your standards.
Explain directly and clearly what your expectations are regarding each piece, particularly in regard to time frames.
Let’s start with a hypothetical Grade 5 student. Week One, assign two Grade 5 standard pieces (meeting your student’s expectations) but also give a couple of pieces from Grade 1 or Preliminary or even P Plate Piano 3 standard, along with another at Grade 2 or 3 standard. You’ll be assigning another two pieces the next week (probably both at the Grade 1 end of the spectrum), and you need things to be moving right from the start.
16
‘Most of my students that hardly practise in the past now come to lesson prepared and are enjoying playing their instrument more.ʻ
For a piece of music four or more grades below their current exam-standard, tell students they have one week to learn the piece, two weeks if there’s some catastrophe like a house fire. Make it understood that these pieces are not supposed to take a whole term to master, that the whole point is to learn these easier pieces as quickly as possible and move on.
AP1007 Book only AP1008 Bk/CD
TEACHER’S GUIDE: Getting to Preliminary
Elissa Milne is a Sydney-based composer, teacher, writer, and presenter. Her educational piano music (the Little Peppers and Pepperbox Jazz series) is used by students, teachers and examination boards around the world.
EDITED BY ELISSA MILNE
Works by Arnold
THE NEW MIX Piano students still love the classic piano pieces from the past, but they are also discovering their own new classics in the music written for film, television, musical theatre, radio and MTV.
Bach Bartok Beethoven Bennett Burgmüller Chapple Clementi Duncombe Goedicke Graupner Haydn Houlihan Le Couppey
The New Mix is a collection of compositions and arrangements that explore some of the genres and styles that emerged in the 20th Century, and also includes arrangements of classic pieces from the past 300 years that have become part of popular culture. These pieces are presented in a learning sequence, and students can confidently move through this book developing a new skill with each new piece. Examination boards these days provide assessments for students who wish to play this repertoire, and teachers should note that the standard for a Grade Three examination using these popular styles is usually about half a grade harder than the traditional Grade Three assessments. Getting to Grade Three – The New Mix also contains additional material including scales, triads, arpeggio exercises, listening tests, reading tests and general knowledge advice to ensure complete preparation for examinations.
Milne
Reinagle Schmitz A$29.95
Schwertberger Sebba
TEACHER’S GUIDE: Getting to Grade One
Steibelt
296518 Bk/CD
ABBA
Now Elissa has collected and edited the very best in piano pedagogical composition to create Fundamental Repertoire.
Carroll Getting to Preliminary 296446 Book only 298071 Bk/CD
Chua Coldplay
Getting to Grade One 296447 Book only 298072 Bk/CD
Getting to Grade Two 296448 Book only 298073 Bk/CD
Gershwin Houghton
Getting to Grade Three
Kember
Getting to Grade Four
Mancini
298076 Book only 298075 Bk/CD 298077 Book only 298078 Bk/CD
Getting to Grade Five
Mozart
Getting to Preliminary THE NEW MIX
Nevin
AP1001 Book only AP1002 Bk/CD
Step-by-step, graded presentation of cherished piano classics and innovative, engaging new music make this Fundamental Repertoire a must-have for every student. Getting to Grade Five is a total preparation for students approaching their fifth grade examination. Essential reading, performance, stylistic and technical skills are developed through the repertoire and additional material has been included to give students extra help with scales and broken chords, arpeggios and musical knowledge/perception tests.
HAL LEONARD STUDENT PIANO LIBRARY
EDITED BY ELISSA MILNE
BY ELISSA MILNE Works by Bach Bailey Bartók Beethoven Other titles available: Getting to Preliminary
Debussy
296446 Book only 298071 Bk/CD
Goedicke
Getting to Grade One
Grieg
296447 Book only 298072 Bk/CD
Getting to Grade Two 296448 Book only 298073 Bk/CD
Getting to Grade Three
Granados Grovlez
298076 Book only 298075 Bk/CD
Heller
Getting to Grade Four
Khatchaturian
298077 Book only 298078 Bk/CD
Milne
AP1018 Book only AP1019 Bk/CD
Getting to Preliminary THE NEW MIX
Kodály
AP1001 Book only AP1002 Bk/CD
Kuhlau
Getting to Grade One THE NEW MIX
Lutoslawski
Norton
AP1003 Book only AP1004 Bk/CD
Marcello
AP1003 Book only AP1004 Bk/CD
O’Hearn
Getting to Grade Two THE NEW MIX
Milne
Getting to Grade Two THE NEW MIX
Saint-Saëns
AP1005 Book only AP1006 Bk/CD
TEACHER’S GUIDE: Getting to Preliminary 296516 Bk/CD
296517 Bk/CD
TEACHER’S GUIDE: Getting to Grade Two 296518 Bk/CD
AP1007
Elissa Milne is a Sydney-based EDITED composer, teacher, writer and presenter. Her educational piano music (the Little Peppers and Pepperbox Jazz series) is used by students, teachers and examination boards around the world.
Works by
Benjamin
TEACHER’S GUIDE: Getting to Grade One
TEACHER’S GUIDE: Getting to Grade Two
HAL LEONARD STUDENT PIANO LIBRARY
Bastien
Other titles available:
Getting to Grade One THE NEW MIX
Pleyel
296516 Bk/CD
296517 Bk/CD
296447
SECOND EDITION
GETTING TO GRADE FIVE
FULLY REVISED AND UPDATED
HAL LEONARD STUDENT PIANO LIBRARY
PREPARATION FOR AMEB AND OTHER PIANO EXAMS
PREPARATION FOR AMEB AND OTHER PIANO EXAMS
• GETTING TO GRADE THREE - THE NEW MIX
SECOND EDITION
GETTING TO GRADE ONE - SECOND EDITION
Use the Getting to… books or some other repertoire collection as the staple from which you draw repertoire selections. The Getting to… books have around 30 pieces in each, so having one of these volumes a few grades below your student’s current exam-standard will give you a wealth of repertoire choices with only one book purchase. And the New Mix collections are now available up to Grade 3 standard — these collections can be particularly useful for higher grade students who need a break from their ‘serious’ higher grade repertoire!
Sculthorpe
AP1005 Book only AP1006 Bk/CD
A$29.95
Getting to Grade Three THE NEW MIX AP1007 Book only AP1008 Bk/CD
TEACHER’S GUIDE: Getting to Preliminary
Seiber
296516 Bk/CD
Tansman
TEACHER’S GUIDE: Getting to Grade One 296517 Bk/CD
Zett AP1018
TEACHER’S GUIDE: Getting to Grade Two 296518 Bk/CD
Pachulski Pescetti Schubert Schumann Telemann Vanhal Zett
Suggestion 2 Old exam books also provide many potential options for easily-mastered pieces. Either your own, that you want to sell second-hand, or to loan, or the student’s own exam books from previous years!
Suggestion 3 Have your student purchase one or two books by contemporary composers of jazz and popular music influenced compositions. Kerin Bailey, Christopher Norton, Sonny Chua, Mike Cornick, Manfred Schmitz, John Kember, Mátyás Seiber, Gerard Hengeveld, Elissa Milne, Alan Houghton, to name just a few, are composers whose works will appeal to many of your students. Pick collections that are on the easy side for your students.
Suggestion 4 Don’t forget to consider arrangements! There are hundreds of books with arrangements of anything you care to ask for, from orchestral themes through to film music through to Elvis hits through to One Direction through to Glee and back again to jazz standards and folk tunes and musical theatre songs and… well, the list really does go on. Arrangements can connect with your students in surprising ways because they already feel the music is part of their lives.
Finally… Make sure your student understands the cost of books for the year. We usually recommend that teachers tell families to budget $150 per student per annum for books. We often hear that teachers are loathe to recommend a book from the manual list because there is only one piece that a student can use. That may be so for an exam situation, but if selected well a book should provide an abundance of great material to choose from to challenge them for years to come.
17
P
Randall Faber Touring Australia July 2013
Professional Development
Diary of a Piano Mama By Gina Wake There is an undeniably special relationship between a piano teacher and student. My piano teacher was like a second Mum to me and we still keep in contact now, over 20 years after I finished formal lessons with her. So it was with great excitement that I took my 5 year old daughter, Elvie, to her very first piano lesson. I had already taught Elvie her finger numbers and she had spent a little bit of time over the last few years mucking around on our piano. She has read and enjoyed all the Freddie the Frog books, so is familiar with some of the technical language of music and she has spent many happy hours listening to music.
RANDALL FABER AUTHOR OF PIANO ADVENTURES TOURING AUSTRALIA JULY 2013 Piano Adventures® CurriculumPiano
Lesson & Theory Adventures® Curriculum ALL-IN-TWO Edition
Developing Musical Minds and Hearts
Developing Musical Minds and Hearts
by Nancy and Randall Faber
by Nancy and Randall Faber
Piano Adventures® is the teaching method of choice at leading university programs and music studios around the world. This student-centred approach uses analysis, creativity, and expression to develop a “musical mind and heart.” The delightful, pianistic pieces and creative theory pages, combined with an outstanding technical approach encourage practise and progress—with adventure!
lesson & theory
E
V
E
L
1
Primer
WITH CD
b y Na n cy a n d R a n d a l l F a b er
technique & Performance
technique & Performance
lEVEl 2A: All-In-two EDItIon
lesson & theory
lesson & theory
lEVEl 2A: All-In-two EDItIon
18
technique & Performance
TWO CORE BOOKS per level:
lesson & theory
V i s i t u s a t w w w. P i a n o A d v e n t u r e s . c o m
HL00119899
V i s i t u s a t w w w. P i a n o A d v e n t u r e s . c o m
Lesson & Theory Book
techniqueTechnique & Performance Book & Performance
IEFF8001EACD
technique & Performance
lesson & theory
IEFF8003EACD
®
technique & Performance
L E S S O N & T H E O RY • P R I M E R
lEVEl 1: All-In-two EDItIon lEVEl 1: All-In-two EDItIon
HL00119902
• ALL-IN-TWO Edition
by Nancy and Randall Faber Piano Adventures® is the teaching method of choice at leading university programs and music studios around the world. This student-centred approach uses analysis, creativity, and expression to develop a “musical mind and heart.” The delightful, pianistic pieces and creative theory pages, combined with an outstanding technical approach encourage practise and progress—with adventure!
PRIMER: All-In-two EDItIon
lesson & theory
L
July 8th Brisbane July 9th Sydney July 10th Melbourne July 12th Perth
TWO CORE BOOKS per level: Lesson & Theory Book ®
Technique & Performance Book
Introducing the new All-In-Two edition of Piano Adventures!
‘But how does the teacher fit all those pianos in her house, Mummy?’ I was asked the week before lessons were to start. ‘What do you mean, sweetheart?’ ‘For all the children?’ ‘Oh no’, I explained, realising that her only other experience of lessons was her group swimming lessons, ‘You will be the only one in your lesson. Just you and the piano teacher.’ ‘Oh!’ wide eyes met my glance as the penny dropped and Elvie realised that piano lessons were indeed going to be something special!
Lesson & Theory
WITH CD
PRIMER: All-In-two EDItIon
Professional Development opportunity for Piano Teachers of all levels
Truth be told she was not especially keen to begin piano lessons — the motivation was coming from me. I’ve read all the research. I know that beginning music lessons early (before a child is 7) is great for brain development. More than that, I know the positive effect music had on my own childhood and powerful way it helped shape my life, so was naturally keen to give her the opportunity to experience music too.
Email
[email protected] for more details and to register your interest! 19
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Week 1
Wow! First piece in her first piano lesson, Grandfather’s Clock and Elvie is playing both hands together, on the two black notes, as a duet with her teacher. Instant music making. Instant success. She improvises in My Own Song during that lesson, as well as with me at home during the week. We develop a fondness for creating sound storms as we play together. It’s such fun to see how she responds as I play the accompaniment at varying speeds, playing staccatissimo or very legato, pianissimo or outrageously loud.
7/20/09
3:41 PM
Page 11
L.H.
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Henry Clay
Having heard Elissa Milne rave about the Notespeller for years, I was intrigued to finally see it in action. Elvie loves drawing and writing, so the Notespeller is perfect for her. Let’s have Lunch really captured her imagination — a simple enough exercise but she was delighted and thoroughly entertained to discover that it was Bear and Badger who would be joining Spike and Party Cat for lunch.
Week 4
During her lesson, the piano teacher asks Elvie if she knows the musical alphabet backwards. She says yes: GFEDCBA. I usually stay quiet in lessons but am prompted to ask how she knows this. She says ‘from friends at the piano’. I then realise that she means the CD from the My First Piano Adventure book, which she has been listening to (and obviously learning from) for the past year before piano lessons started. Great recordings, gorgeous fullcolour images clearly appeal to 5 year olds.
Week 5
Elvie decides she does not want to play for me anymore. She flounces, huffs, and yells ‘you don’t know anything about piano, Mummy’. This, despite her knowing that I am the editor of the Piano Teacher Magazine, published the Getting to… series and am participating in the 40 Piece Challenge this year, so she hears me playing daily. Sigh. I wheel out my Irish accent and she is happy to play for my alter-ego, Theresa (once again I find myself resorting to multiple personality parenting!)
20
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11
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14
3-0432 INT One A GUTS[MECH]:�
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Page 12
Climbing Up
NOTES
qQqQ
Two Black Keys Moving Up The Keyboard
Notes are pictures of sounds. Stems up Stems down
q Q
œ œ œ œ œ œ œ
High - er, high - er
= Right Hand (R.H.) = Left Hand (L.H.)
R.H.
L.H.
œ œ œ œ œ œ œ
Climb - ing, climb - ing
R.H.
Week 3
9
Work
Week 2
My normally shy 5 year old is insisting on performing for anyone who visits our home. She whispers to me that the adults are required to adjourn to the front room, then she pops on the accompaniment CD and proceeds to clap and play through all of the exercises and pieces. Hands together moving up and down the page on the black notes!!! I am blown away as I remember my first piano lessons which focused on white notes in the middle C position.
7/2
Play Again
2 3
Play this song on two black keys with the third finger in each hand. It is helpful to clap and sing the words of a piece before playing it. Remember to keep a steady pulse!
up
this tree,
6/7
With determination ( = 120)
8va
12
at
me!
time
Elvie’s new favourite piece is Balloon Ride — which features those magical words ‘hold down the right pedal (sustain pedal) throughout’. Gorgeous, musically interesting accompaniment — I’m beginning to understand just why so many people are really passionate about this method. I wander past the piano and say things like ‘I wonder how Party Cat would sound with the sustain pedal?’ This acts to encourage another flurry of practice and exploration and she tries ALL her pieces with the sustain pedal.
Week 7
p
PIANO
R.H.
L.H.
means soft
M I D D L E
4 3 2
Dynamic Signs tell how loud or soft to play and help create . the mood of the music
C D E 1 2 3
Balloon Ride
R.H.
p
4
fly heav
for the
day for
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Hold down the right
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ent, student starts
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33/34
R.H. Soaring ( = 120)
L.H.
I’m so proud of my little cherub! Elvie has completed Book A this week and has started on Book B. I must confess that I was quite rigid about establishing an 8am practice time each school morning. After a few weeks she really began to get into the swing of things and now I usually hear the piano start at 8am — even without prompting from me.
Week 9
Now that she is reading music on the stave she is exploring a lot more on her own. Imagine how proud I was to find her transposing from black notes to white notes!!! ‘Look Mummy, I can play My Best Friend here, too!’ One day this week I heard unfamiliar pieces. Curious, I joined Elvie at the piano. She had picked up the My First Piano Adventure book and proceeded to play her way through 52 pages!!!
You can read more at www.diaryofapianomama.com.au or by following Diary of a Piano Mama on Facebook. Or head to Toowoomba in July for the Piano Pedagogy Conference where you can hear Piano Mama speak live.
Special Offer: If you are not familiar with the Hal Leonard Student Piano Library All-inOne Method and would like to try it please email us at
[email protected] We have a limited number of sample copies available.
my in is sun gh the float - ing throu
4
With accompanim
2
1
2
3
Phillip Keveren
3
2
1
Soaring
L.H.
I purchased a set of flash cards, just like the ones that are used in the piano lessons each week. Elvie plays through the rhythm cards on her glockenspiel as well as on the piano. When her little friend, Abby came to visit this week I saw them both sitting at the piano with Elvie showing Abby how to read the notation by explaining the flash cards. Hilarious!
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3:41 PM
Week 8
L.H.
With accompaniment, student starts here:
look
Last
7/20/09
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47
2.
2 Word of mouth
Marketing Piano Lessons 101
by Wendy Stevens, www.ComposeCreate.com
First, it is important to understand several important principles of marketing: O It is easier to market to your warm market than your cold market. Your warm market includes your current and past students, family, friends, neighbours, anyone who knows you and what you do. O Most of your new business referrals come from your warm market, so it is important to keep your warm market happy and reminded about the perks of studying piano with you. O It is easier to retain a current student, than it is to find a new student. O When marketing to a cold market, remember that first impressions are extremely important. O Piano teaching may seem like only a service, but your referrals and most of your students will come because of the relationships that you take the time to make and cultivate.
If you understand these principles of marketing, you’ll understand more about why the following are some of the best ways to market piano lessons.
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One frequent question among new and seasoned piano teachers is, ‘What is the best way to market piano lessons?’ Of course, there are many ways of marketing lessons, but some are clearly better ways of finding and keeping committed students. Whether your studio is full, has vacancies, or you have moved and need a whole new set of students, chances are you’ll need to market your services at some point in your career.
1 Networking
Networking is an area that is not discussed in much detail among piano teachers. But it is every bit as important for a piano teacher to network as it is for a banker, lawyer, or real estate agent. Referrals come from people who trust us and if we are not out meeting people, making friendships, and helping others, then we are not establishing trust with anyone new. Here are some important people with which piano teachers should network: School Music Teachers Music teachers in schools are frequently asked who they would recommend as a private instructor of specific instruments. It’s a good idea to meet your local school music teacher in person, tell them what you do, give them your business cards (give them many so that they can hand them out), and ask if they might be willing to refer others to you. Some schools may even allow you to put notices in their newsletters or flyers in students’ folders toward the end of the year. It never hurts to ask! Preschool Music Teachers Another good professional connection to make is with the local Kindermusik, Mini Maestros, or other preschool music program teachers in your area. Some of these teachers also teach piano, but many do not. Take them out to lunch so that you can tell them about your studio and find out more about what they do. They will be as interested to get your referrals as you are to get theirs. Fellow Piano Teachers Our own colleagues are frequently the source of many good referrals. But, most teachers will only refer students to people that they trust. You must be a part of and giving to the teaching community in order for teachers to get to know you and trust you. When they know and trust you, they will be much more likely to refer students to you when you inform them that you have openings. Don’t forget about the ‘giving to’ part of that equation. Everyone loves someone who will share ideas with them and help them when help is needed. Be a true friend to your colleagues and their referrals will usually come.
Most piano teachers will attest to the fact that much of their business comes from recommendations from current or past students (your warm market). Because of this, it is important to tell your current and past families that you have openings and are currently taking applications for new enrolments. It’s easy to forget that not only are our current families potential referrers, but our fellow piano teachers are as well. I am constantly asking my colleagues, ‘Do you have openings?’ because I am inundated with requests for lessons each month. Having good relationships with your colleagues makes it easy to send them an email saying, ‘I’m currently taking new students and wanted you to know in case your studio is full and you have a call about lessons.’
3 Your Website
While word of mouth is usually the best way of getting new students for most teachers, having a professional looking website has boosted the number of inquiries I get by a substantial amount. As a matter of fact, I have thought about mentioning that my studio is full on my website, but I do like people to continue to contact me about lessons so that I can refer them to my friends and colleagues. In a similar way that having a good website can have a positive effect on your number of inquires, having a bad website can turn people away. Here’s an important point to remember. The parents who are currently searching for piano lessons for their kids are roughly 20–45 years old. This is Generation X and Y who basically live by their computers. These are the early adopters of Facebook, Twitter, websites, and blogs and they most certainly have email and know their way around a computer. If they look for your studio online and do not find you have a web presence, they may easily dismiss your studio as ‘out-dated’ and may think you must be too old to relate to their children who don’t know anything but technology. I will admit that I belong to this group of 20–45 year olds and I almost always go to the web first when I am investigating a class for my children. If you do have a website, remember that it takes a while before your site will turn up on a search for piano lessons in your area. Make sure there are key words on your site about your town, piano lessons and remember to update your site often.
Available online at www.ComposeCreate.com
4 Professional Associations
If there is a local Music Teacher Association in your area, I would strongly encourage you to join one. I am constantly sending inquiring families to the local MTA when I have to inform them that I do not have any openings. As stated in the previous paragraph, your best bet is to interact with these groups of teachers, but at a minimum, belonging to their organisation might get you some referrals.
5 Getting Out in Front
Playing for a church, local school or community event attended by families with children is a great way to get your face and your abilities in the public eye. Make sure you have business cards wherever you go so that you can hand these out to interested families. If you are taking new students, it usually only takes 1–2 inquiries before word of your availability begins to travel around small communities.
6 Media Opportunities
Try contacting your local newspaper to ask about writing an article about how to find a good piano teacher or the benefits of music lessons. Offer to allow your local news station to interview you about the benefits of music education or how piano lessons are different now than how they were 30 years ago. If there’s one thing I would want any teacher to remember from this article, it is this: Get out there and connect with other piano teachers and the general public! Be kind to all you meet, go out of your way to be helpful, and eventually this will pay off in referrals (and friendships!). Advertising to a cold market is probably necessary if you wish to increase your number of students significantly, but the your best market is your warm market, so take care of those relationships that exist in your circle of influence.
To read more from Wendy on marketing, teaching composition, and other teaching topics, visit: www.ComposeCreate.com
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19 Instrumental teachers
Class Music Large and small ensembles
Choirs
Are these the luckiest piano teachers in Australia?
Instrumental music from K-12
50% of student body take individual lessons!
We think we just may have found the luckiest teachers in Australia! We asked Meg Blackley, Lynette Pfundt, Rob Deavin, Chris Murray, Sue Patterson and Susie Heggie to tell us a bit about their piano program at Launceston Church Grammar School. They tell us that working in this idyllic milieu has helped them forge a strong friendship group and that they feel very lucky to work in such an environment.
What are the best aspects of working in a team of piano teachers? Discussing repertoire, or common problems that students have with the same pieces or technique. There is less isolation than our home studios. A feeling of team-ship. Was it an accident that such a harmonious team came together at your school? Or was there a plan to employ teachers who fitted a certain philosophical approach? Accidental? Yes and no. Our Head of Music wanted only suitably qualified staff, but the content of our lessons is entirely up to us. We do, however, have the same desire to give a well-rounded music education to our students and hopefully achieve that in our various ways. How much do you coordinate your teaching approaches? We don’t. Individual teachers have their own style and approach and are free to teach in their own way. We do, however coincide in some of our methods eg. books, masterclasses, conferences. 24
How much do your students come into contact with each other as pianists? Great question — this is the best bit! Our students come together at a plethora of both formal and informal musical events. It is wonderful to watch them be inspired by each other and choose role models. The formal events include: assembly items (Rob Deavin organises a roster and Senior School students put their name down if they want to play in Chapel or assembly), friendly soirees (especially friendly audiences for beginners to build confidence in performance and etiquette), opportunities to accompany warm-ups in choir, exams, master-classes, playing for the school musicals, stage band, end-ofyear concerts, as well as solos, duets, trios and even piano quartets in the Launceston Competitions and St Cecilia Performance Challenge. The TCE (Tasmanian Certificate of Education) students have a soiree arranged for them in which they present their entire program in concert mode. If we have AMus or LMus students, they sometimes choose to have a concert so they can have a performance opportunity before their exam.
Casual ‘events’ include class performances (from 6yr olds right through to the Seniors), students form ‘bands’, they practise at each other’s houses. Best of all, we have lots of recess & lunch kids: our music building is open for students to practise in and many take this opportunity to share, enjoy and improvise informally. Duet and trio groups often turn into friendship groups and it is delightful to watch students inspire each other. How much ensemble work do your students do because of your teaching arrangement? Lots of duets and trios, also knowledge of each other’s students mean we know who to approach for certain needs (eg. a pianist to accompany a string ensemble, accompany choir etc.) Do you organise professional development specifically for your team of teachers? We enjoy attending PD and often arrange to attend together, although there is no formal requirement to do so. Recent highlights include Australasian Piano Pedagogy Conference, Christopher
Norton, Dan Coates, Elissa Milne, Gayle Kowalchyk and the concert pianist Ambre Hammond. Is there someone 'in charge', or is the working relationship hierarchy free?! Very even. Entirely open and flexible. Apart from our Junior School timetables being arranged for us, no-one is in charge. What is the single biggest advantage you've experienced working with a group of other piano teachers? The conversations we have — asking each other for advice and the sense of collegiality. Have the teachers in the group ended up specialising? For example, some teachers working with younger students, some teachers with a focus on musicianship aspects of pianism, some teachers being Baroque specialists, etc. No. We do think about ‘best fit’ when a new student commences with us. Sometimes a student or parent may ask for a particular teacher. Also we keep in mind the need of the student eg. learning style, gender, temperament etc. We believe that the student -teacher relationship is vital to the learning process. Both teacher and student are free to suggest a change if it is to the student’s advantage. We do consult each other if we have a particular problem eg. how would you interpret this ornament? etc. What are the biggest benefits to piano students learning at the school of your team approach to piano teaching? Because we offer so many opportuni-
ties to perform, students rarely have an attack of nerves — performing is really part of the culture and not considered at all out of the ordinary. They hear new repertoire at our soirees, at the comps or at masterclasses and are inspired to explore a huge range of music which they might possibly have not been exposed to if our programme were smaller and less diverse.
How much interaction with students outside the school do your students have? We run the Grammar Music Academy from the school as well. Basically it means anyone outside the school can apply to have lessons from us. We teach older beginners, uni students — some parents of our students have chosen to
have lessons and children from other schools also learn from us. It’s not uncommon for one of us to be teaching and another teacher will come in from next door and suggest forming a partnership between students from different schools and adults of varying ages. Our students also perform in masterclasses etc. where they meet many other piano students from around the area. Has there been a wider community benefit to your approach to piano teaching within your team/school? Some students and parents have learned about the Music Academy through comps or community performances, which has led to music friendships being forged and in a few cases, parents requesting lessons for themselves. Our students have been asked to perform at various functions, including weddings, school cocktail evenings, at nursing homes and, once, at the Art Gallery when the Monet ‘Haystack’ was on display. In some ways, our students are our advertisement. Student retention is high and we encounter many tuition requests from older beginners of around the 14 – 16yr old age group. Music in Grammar has grown over the years and the school is recognised in the wider community because of its music program. We were also fortunate enough to win the ABC Flame Awards several years ago.
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Over the Rainbow & other great songs
Beginners will appreciate playing pieces that people actually know! Great accompanying duet parts. Includes: Chitty Chitty Bang Bang, Ding-Dong! The Witch Is Dead, Good Night, The Hokey Pokey, Over The Rainbow, Splish Splash. 102098
Wicked
Realistic arrangements for beginners that still sound great: Dancing Through Life, Defying Gravity, For Good, I Couldn’t Be Happier, I’m Not That Girl, Popular, What Is This Feeling?, The Wizard and I. A must for young Wicked fans. 109365
Star Wars
Easy arrangements that allow piano students to play the themes they recognise from all of the Star Wars movies! Across the Stars, Cantina Band, Duel of the Fates, The Imperial March (Darth Vader’s Theme), Luke and Leia, May the Force Be with You, Princess Leia’s Theme, Star Wars (Main Theme), The Throne Room, Yoda’s Theme. 110287
Happy Birthday to You and Other Great Songs
Ten classic kids tunes in great five-finger arrangements, ideal for preliminary grade students: Any Dream Will Do, Happy Birthday to You, Heart and Soul, Hi-Lili, Hi-Lo, If I Only Had a Brain, Peter Cottontail, Sing, The Syncopated Clock, We're Off to See the Wizard, When I Grow Too Old to Dream. 102097
10 Fun Favorites
This is the book I always wanted as a beginner — perfect pieces to play for when Mum and Dad say ‘play something for Aunty/ Uncle/Grandma…!’ Catch a Falling Star, Happy Birthday to You, The Hokey Pokey, Let It Be, Over the Rainbow , Star Wars (Main Theme), Tomorrow, What a Wonderful World. 110390
GRADE TWO
Teenage Dream
From Katy Perry’s smash album these are good, easy arrangements but very true to the song: California Gurls, Circle the Drain, E.T., Firework, Hummingbird Heartbeat, Last Friday Night (T.G.I.F.), Not like the Movies, The One That Got Away, Peacock, Pearl, Teenage Dream, Who Am I Living For? 109267
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GRADE ONE
GRADE TWO
Taylor Swift
Eight megahits from this unstoppable songstress in easy solo arrangements, perfect for Grade One students! Songs: Back to December, Fifteen, Love Story, Mean, Mine, Our Song, White Horse, You Belong with Me. 109369
Jazzy Tunes
Rock Classics
16 swingin' favourites arranged by Phillip Keveren at a Grade One level: Baby Elephant Walk, Beyond the Sea, Bye Bye Blackbird, In the Mood, Linus and Lucy, Opus One, Salt Peanuts, Sesame Street Theme, The Surrey with the Fringe on Top, Tuxedo Junctio and more! 311403
With words included these Grade 2+ arrangements are ideal for Guns n’Roses/ Rolling Stones/Led Zepplin fans: All Right Now, Aqualung, Baba O’Riley, Back in Black, Comfortably Numb, Dream On, Hotel California, Iron Man, Love Walks In, Moondance, November Rain, She’s a Rainbow, Smoke on the Water, Stairway to Heaven Sweet Home Alabama. 102840
Legally Blonde
Tchaikovsky for Easy Piano
GRADE THREE
My First Movie Themes Songbook
A keepsake collection of nearly 30 favourite movie themes, all arranged for about Grade Two level piano and presented with beautiful full-colour illustrations! Chariots of Fire, Hallelujah, James Bond Theme, Mission: Impossible Theme, Over the Rainbow, The Pink Panther, Raiders March, Singin’ in the Rain, Somewhere My Love, Star Wars (Main Theme), You’ve Got a Friend in Me, and more. 102856
Disney’s My First Songbook Vol. 4
17 more Disney favourites, from animated classics up through their newest blockbusters, such as Enchanted, Tangled, The Princess and the Frog, The Incredibles, Pirates of the Caribbean and more! Perfect for Grade Two. Every page is beautifully illustrated with full-colour art from Disney features, making a remarkable souvenir folio for anyone who loves Disney movies and music. 316160
50 Songs for Children
50 children’s favourites arranged for easy piano: Baa Baa Black Sheep, Do Your Ears Hang Low?, Eensy Weensy Spider, The Farmer in the Dell, Hush Little Baby, If You’re Happy and You Know It, London Bridge, Mary Had a Little Lamb, The Muffin Man, Old MacDonald Had a Farm, Pop Goes the Weasel, This Old Man and many more. 310707
Jersey Boys
15 tracks from the hit Broadway musical ideal for Grade 2-3 students. Includes: Big Girls Don’t Cry, Can’t Take My Eyes off of You, December 1963 (Oh, What a Night), My Boyfriend’s Back, Rag Doll, Sherry, Walk like a Man, Working My Way Back to You and more. 109372
15 Top Hits for Easy Piano
Easy arrangements of more than a dozen recent hits: Brighter Than the Sun, Firework, Glad You Came, Just a Kiss, Just the Way You Are, Moves like Jagger, Ours, Paradise, Poker Face, Rolling in the Deep, Someone like You, Stronger (What Doesn't Kill You), A Thousand Years, We Are Young, What Makes You Beautiful. 102668
Ten songs from the Broadway musical based on the hit film about sorority girl turned Harvard law student Elle Woods. Features easy arrangements of: Bend and Snap, Ireland, Legally Blonde, Legally Blonde Remix, Omigod You Guys, Positive, Serious, So Much Better, What You Want and Whipped into Shape. 109371
WHAT’S NEW IN POPULAR MUSIC?
WHAT’S NEW IN POPULAR MUSIC?
PRELIMINARY
22 classics arranged for intermediate-level players, including: Andante Cantabile, Barcarolle in G Minor (June), Op. 37, No. 6, Chanson Triste, Dance of the Sugar Plum Fairy, Marche Slav, Op. 31, Romeo and Juliet (Love Theme), The Sleeping Beauty Waltz, Theme from Swan Lake, Symphony No. 6 in B Minor (Pathetique), Waltz of the Flowers and more. 2502386
27
Beautiful Pop Ballads for Easy Piano
31 lovely pop songs in simplified arrangements, including: Don’t Know Why, From a Distance, Hero, Just Once, My Cherie Amour, November Rain, Open Arms, Time After Time, Unchained Melody, What a Wonderful World, Your Song and more. 2502450
Stevie Wonder
A dozen Stevie Wonder favourites expertly arranged for piano solo: All in Love Is Fair, Ebony and Ivory, I Just Called to Say I Love You, Isn’t She Lovely, My Cherie Amour, Part Time Lover, Ribbon in the Sky, Sir Duke, Superstition, That Girl, You and I, You Are the Sunshine of My Life. 308804
Twilight Breaking Dawn Part 2
Solo piano arrangements of ten dramatic tunes from Carter Burwell’s score to the final Twilight instalment: At Bedtime a Child Asks About Death, Catching Snowflakes, Meet Renesmee, Present Time, Such a Prize, This Extraordinary Life, Twilight Overture, A Way with the World, A World Bright and Buzzing. Includes full-colour artwork from the film. 116335
SIGHT READING PRE-PRELIMINARY PRELIMINARY
GRADE ONE
GRADE TWO
Piano Adventures: Sight Reading Primer
Piano Adventures: Sight Reading 2A
Piano Adventures: Sight Reading 2B
Henry Mancini Piano Solos
Solo arrangements of more than 30 magnificent Mancini hits! Includes: Baby Elephant Walk, Breakfast at Tiffany’s, Charade Crazy World, Days of Wine and Roses, How Soon, Moon River, Newhart Main Title Theme, Peter Gunn, The Pink Panther, A Shot in the Dark, The Thorn Birds (Main Theme), Two for the Road, Whistling Away the Dark and more. 313616
GRADES FIVE & SIX
This inventive sightreading course uses sets of exercises based on melodic and rhythmic patterns from the 2nd Edition Primer Lesson Book. Students play one exercise a day, completing one set per week. Entertaining musical art helps guide the sight-reading process and each page presents a new learning vignette in a spirit of fun. FF3006
GRADE ONE – FIVE
Greatest Piano Themes from the Movies
Although some of the notation is quite simple, the rhythmic complexity of these arrangements make them ideal for Grade 6 students. Movie themes originally played on piano, Including: American Beauty, Chariots of Fire, It Might Be You, Maestro, On Golden Pond, Road to Perdition, Theme from Sabrina, Somewhere in Time, Theme from Summer of 42· Tubular Bells and more. 2502441
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GRADES FOUR & FIVE
Impressions of Grace Piano Solos
This collection for the sanctuary pianist is a reflective gathering of beloved hymn tunes arranged with profound sensitivity. Each bar reaches out to the heart of the listener with pianistic poetry of the highest order. Includes: Reflections, How Can I Keep from Singing, The King of Love My Shepherd Is, Thee We Adore, O Hidden Savior; Jesus Loves Me! This I Know, Nocturne On a Silesian Folk Tune and more. 35028709
Bach n Roll Ace arranger David Pearl presents 20 contemporary pop classics as if they had been composed by the classical masters. Overjoyed by Stevie Wonder presented as if Bach had composed it; Somebody to Love by Queen in the style of Beethoven; Meat Loaf’s Two Out of Three Ain’t Bad presented in Mozart’s inimitable style; The Beatles’ Michelle a la Ravel and many more! 2501724
Piano Adventures: Sight Reading 1
Preliminary students can have lots of fun while developing strong sightreading skills. Students can count these sight reading pieces in their list of 40 pieces for the year! The inventive course uses sets of exercises based on melodic and rhythmic patterns from the Level 1 Lesson Book. FF3013
The innovative Level 2A Sight-reading Book builds confident readers through recognition of individual notes, and perception of note patterns, both rhythmic and melodic. Students play one exercise per day, while enjoying the Rhythm Road exercises and entertaining musical art. FF3014
Good sightreading skill is a powerful asset for the developing musician. Carefully composed variations of the Level 2B Lesson Book pieces help the student see the ‘new’ against the backdrop of the ‘familiar.’ Fun, lively characters instruct students and motivate sight-reading with a spirit of adventure and fun. FF3015
A comprehensive course designed to help students master theory concepts. New concepts are gradually introduced in a clearly presented format, followed by sufficient and effective reinforcement. Each book features three sections of Musical Mastery which include ear training, mastery in rhythm, symbols, reading, and analysis. Students learn to apply their theoretical knowledge in a musical con-
text through such elements as improvisation, transposition, reading lead lines and standard chord progressions. Each book concludes with a section of Theory Mastery which includes a review test and ear training. The creative and fun approach of this series applies the student’s understanding of theory to real musical examples, and will enhance and supplement any method book.
THEORY
Great Themes for Piano Solo
Cinema Paradiso, The Godfather (Love Theme), Hawaii Five-O Theme, He’s a Pirate, Theme from ‘Jaws’, Theme from ‘Jurassic Park’, Nadia’s Theme, The Pink Panthe, Spartacus — Love Theme, Raiders March, Star Wars Main Theme, Twilight Zone Main Title and more. 312102
Journey Through the Classics Complete
A beautiful graded collection of all 98 pieces from the 4 books of the Journey series. The graded pieces are presented in a progressive order and feature a variety of classical favourites essential to any piano student’s educational foundation. Many pieces listed can be used for AMEB and other exams. 110217
Essential Elements Piano Theory Lvl 1
296926
Essential Elements Piano Theory Lvl 2
296927
Essential Elements Piano Theory Lvl 3
296928
WHAT’S NEW IN SIGHT-READING & THEORY?
WHAT’S NEW IN POPULAR MUSIC?
GRADE THREE
29
Sight Reading Practice in the 21st Century
‘The iPad app that was launched last January has improved their pupils’ fluency enormously and, most importantly, they have been given a great deal more confidence in their ability to read at sight’.
By Dr Christopher Wiltshire
T
been prescient since many teachers hree years ago I had the today are telling me that the result of pleasure of addressing a my research and investment is indeed a group of embryonic piano ‘must-have’ in their teaching. teachers at one of Australia’s I believe it was the English music distinguished universities. The thirty educationalist Paul Harris who coined or so students listened politely and the term ‘Fright Reading’ and, in my attentively to my lecture. Several were taking notes on their laptops (although, thirty-three years as an examiner, I come to think of it, they could have certainly witnessed plenty of frightbeen playing Angry Birds or checking ened candidates when the moment the latest cricket scores!). But when, to- came in the exam room where I left my wards the end, I began discussing the table and approached, sight-reading research I was carrying out into sight in hand. From Birmingham to Buereading, I sensed that I had touched a nos Aries, Singapore to Sydney, in my nerve with many of the students. From experience the one consistent elebeing dutifully attentive, they were now ment from candidates was their poor engaged and eager to find out more. sight-reading. Though not having examined for AMEB, I have a thorough Indeed, when my ‘official’ lecture was knowledge of the sample sight-reading over, they crowded round to see the pieces the Board publishes. Last year, prototype of a device I happened to I turned every one of the pieces, from have with me. There was a barrage Preliminary to Grade 8, into files suitof questions and they were keen to able for epublishing. At a time when provide me with valuable feedback not sight-reading is being downgraded in least on the estimated price of this importance in some examining areas, I nascent gadget — ‘That’s cool — I paid was delighted to find a set of inventive more than that for a mobile phone.’ pieces in a wide variety of styles that To this day, I cannot imagine how, maintained a level of difficulty in keepto students, a device for the improveing with the standards expected from ment of sight reading could even be one of the oldest music examination mentioned in the same breath as a boards in the world. must-have mobile phone, let alone The importance of fluent sightcompared in price. But it may have
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reading cannot be overstated. The distinguished pianist and recording artist Howard Shelley remarked to me that, to him, the importance of being a good sight reader is that it allows him to explore new repertoire with confidence. Many times I have heard the claim ‘Show me a good sight-reader and I’ll show you a good musician!’ Antonio Pappano, Musical Director at the Royal Opera House in London (a very fine pianist as well as conductor), told me ‘Fluent sight reading is a sign of first-rate musicianship and is vital in the training of young musicians.’ The joy of making music with others is also immeasurably helped by good reading qualities, whether in duet playing or taking part in chamber and orchestral groups. Examination boards thus bestow importance on this vital aspect of training by including tests in grade exams. John Sloboda, in his seminal work on the psychology of music, claims that audition panels for membership of our professional symphony orchestras might as well dispense with hearing the applicant churning out a well known concerto movement and simply ask for sight-reading. Worryingly, many teachers will have found that even very musical pupils
who confidently know the basics of notation, are prepared to apply themselves and who want to read fluently find that the necessary continuity eludes them. Teachers who want to help often do not realise how difficult the process is and I confess that, before my research over recent years, I had little idea of what monumental tasks we ask our brains to carry out — pianists in particular. Non-musicians among the optometrists I have interviewed have been staggered to find out how much information has to be taken in from musical notation by the eye and the brain: ‘You mean’ said one when I explained about pianists having a treble and bass clef to contend with simultaneously ‘that each hand has a different set of instructions?!’ He was incredulous. My conclusion is that poor sight reading is a type of musical dyslexia. It is well known that specific parts of the brain are involved in controlling certain actions – balance, motor control, directional sense, multi-tasking, language, the senses etc. In weak sight readers, that part of the brain dealing with eye scanning (horizontally for the melody line, vertically for chords and, in pianists, retrograde scanning for the left hand) does not function efficiently. This is because the brain has never been trained to ignore the ear. This might sound heretical — ‘Ignore the ear? I am always encouraging my pupils to listen!’ Quite correct — except that, in sight-reading, continuity is by far the most important element. The sequence usually is this: pupil hears
an obvious wrong note — the ear alerts the brain, the brain sends a message to the eyes ‘Look back — something is wrong’ — the eyes obey and, bingo, there is the stumble/hesitation which upsets continuity. More than that, it destroys the rhythm pattern and hence the phrasing, all of which results in what I call ‘non-music’. And if I seem to be concentrating mostly on the plight of pianists, implying that their reading is especially difficult because of using two staves, I should point out that, having at one time played cello and trumpet, I am well aware that single line readers have the difficulty, which pianists do not have, of producing their notes via fingering, position work, embouchure etc. At least all the pianists have to do is press the correct note down! Most sight-readers think that the vital job is to ‘Get the notes right’. In fact, the pitch of the notes is the least important element of all. In order of importance we have Continuity, Rhythm And Pitch — these words form an unfortunate acronym but those teachers at my meetings across the world amused by my slightly coarse joke certainly have something to remember in their teaching! Simple experiment: play your pupils Happy Birthday To You continuously, in precise rhythm but with every note wrong. I guarantee they will join in with the words of the last line! So: how do we train the brain in the way described in order to produce fluent sight-reading? Users around the world are telling me that the iPad app
that was launched last January has improved their pupils’ fluency enormously and, most importantly, they have been given a great deal more confidence in their ability to read at sight. The unique SightRead4Piano app, for example, contains 1,107 piano pieces from six examination boards from preGrade 1 to post-Grade 8. It does what no book can possibly do — it removes the music bar by bar as it is played so that when the eyes want to flick back in response to a wrong note, there is nothing to see! And since eyes will not focus on a blank piece of ‘paper’, there is only one way for them to go — forward! I hope the university students I talked to in 2009 have kept abreast of this development and that many of them have downloaded the AMEB sight-reading samples onto their iPads. It might have made it worthwhile having to listen to the first part of my lecture. Unless, of course, they had improved their Angry Birds score! I hope, too, that they take with them into their teaching, the words of Daniel Barenboim. In his biography, My Life In Music, he writes ‘By definition, sight reading means playing bar one with your eyes while your brain is on bar five.’
Dr. Christopher Wiltshire has fifty years experience in music education as teacher, lecturer, examiner, composer, arranger and pianist. To try the SightRead4Piano iPad app go to the App Store, download the free app and explore 31
A nalysis C reativity
‘Short bursts of creativity make learning more exciting!’
E xpression
By Randall Faber The Piano Adventures® teacher is committed to personal growth, as a teacher and musician. The development of your own musical insight, creativity, and artistry will pay dividends in the way you teach and interact with students. Be an A-C-E teacher to make A-C-E musicians.
Personal and artistic growth require reflection and a willingness to take a new direction. Try an infusion of Analysis-Creativity-Expression. While making A-C-E musicians you’ll become an A-C-E teacher. And, in the process, you’ll raise the artistry of your teaching and the artistry of your studio. As music teachers, what we teach goes beyond musical concepts, notes, and skills. Part of our collective mission is to guide our students’ personal development in a more general manner, including focus on... Cognitive Development
Imaginative Predisposition
Analysis
Creativity
Guides the student to think
Emotional Maturation Expression
Stimulates thinking differently
Personalises experience with a confident sharing of self
A-C-E™ is an apt summation of our teaching philosophy: Analysis, Creativity and Expression comprising the key elements of artistry. We teach with A-C-E to promote artistic capabilities and qualities — an artistry mindset that carries through life.
See it in action!
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This pioneering Teacher Guide for the Primer Lesson Book is a one-of-akind resource! It presents a systematic approach for teaching beginning students using the Fabers’ philosophy of Analysis, Creativity, and Expression (A-C-E™). O The included comprehensive DVD features model teaching for each piece in the Lesson Book. The videos feature Nancy Faber working with her students, offering teachers a glimpse into the creative techniques
Teaching with A-C-E™ Analysis
Creativity
Expression
O The origin of the word ‘analysis’ is Greek. It means to break apart, to loosen. When teaching a piece, ‘break it apart’ to show how it is put together. This is the most effective way to demonstrate analysis. O Always look for patterns— whether rhythmic, melodic, harmonic, or motivic. Seeing and comparing patterns is the basic principle of analysis. Guide attention. O ‘Chunking’ of patterns frees attention. When the student recognises the same idea—tonic to dominant, for example—in a new context, you’ll know chunking is taking place. O Pattern recognition is visual, aural and kinesthetic. Analysis is not just visual. Can your student hear imitations, transposed motives, repeated rhythms?
O Short bursts of creativity make lessons exciting. These explorations don’t have to be fancy or come with explanations. Just do it! O Ask the student to set the tempo, create a new ending, play the piece in a different range, choose a new dynamic. Start by asking—what if? O Create opportunities for the student to make choices. That’s an easy way to encourage self-expression. A personality can emerge. You might be surprised!
O Expression begins with listening. If your own playing is always colourful and nuanced, the student will be inspired to imitate it. O A story, a colourful analogy, or reference to something in the student’s own life is an easy and effective way to elicit an emotional reaction. This encourages the student to personalise the piece. O The CD or MIDI accompaniments can enrich the student’s involvement with the spirit and mood of a piece. Hearing instrumental colours and special effects can stimulate the student to join in and play more musically.
Professional development with A-C-E™
and activities used in her studio. O Pedagogy Articles are placed throughout the manual. These foundational articles discuss how to teach technique, guide reading, and cultivate creativity. A boost for teaching! O The substantial Appendix includes additional, fun duets for rhythm work and improvisation, and a Thematic Index for planning group lessons and recitals.
Analysis
Creativity
Expression
O Apply ‘chunking’ to your own learning. The patterns you recognise and integrate will revitalise your awareness of this effective learning process. That, in turn, will transfer into how you present concepts and skills to students. O Consider your effectiveness as a teacher. Evaluate your teaching as you would a musical performance. Is it communicative? Well-prepared? Inspiring?
O ‘Break apart’ and ‘loosen up’ your own teaching routines. Don’t always structure lessons in the same order. Begin a lesson with a surprise, a playful improvisation, or a stimulating question. Something new is always energising. O Relax your reliance on the printed score. Improvise accompaniments to student performances. Demonstrate concepts—a tempo, for example, or what it means to play with a rich, deep sound—with spontaneous music-making.
O Enrich your own vocabulary. Choose colourful words, make lively comparisons, tell stories, ask questions. These are effective ways to awaken student interest. O A demonstration is more powerful than an explanation. Play expressively.
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We have 30 copies of Young Pianists Introduction to Sonatinas Volume 1 to giveaway. Email
[email protected] and be sure to include Warren Thomson in the subject box.
Australian Composers
Roderick MacFarlane GRADE 1 JUNGLE JOG
GRADE 2 GRANDMA AND POP
GRADE 3 PIANO FUN BANANA BENDER BLUES DANCE OF THE RED SOX
GRADE 5 AUSSIE RAG CAROUSEL VAMP GEMMA’S DANCE DREAMING
GRADE 6 PIANO ON FIRE
‘One of the challenges of Piano Teaching is keeping students motivated’
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After leaving school, and after one year at the Conservatorium, Max spent four years in the RAAF during the war. At war's end, he returned to complete the Bachelor of Music at the University, and with what must have been a natural facility, played impressive works including Brahms Concerto No 2 with Heinze and the MSO, and Rachmaninoff No 3 with John Bishop and the University Orchestra. Max then spent two years studying with Alfred Cortot in Paris. All this time, he could impress people with his brilliance, but he knew that he lacked the subtleties and control of tone, that he needed to play Mozart. After Paris, Max was appointed to the staff of the University Conservatorium teaching outstanding students and he realised that he yearned to discover more of the secrets of piano technique. Max attended classes given by leading pianists in Australia and overseas and read every book that he could find on piano playing. He particularly studied the scientific factors of piano performance from its physical aspects to the physiological aspects of the body. Working on these latter aspects with medical specialists led him to establish the Music Therapy course when he was later Dean of the Faculty of Music, and it also placed him in the position to help students to avoid stresses and
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strains so that they would be less likely to suffer from repetitive-strain injury. Alongside all of this, Max’s main interest was to discover a piano technique that would allow him and his students to produce the most beautiful and varied tonal colours possible from the piano. He applied these techniques in teaching his students, and also took classes at the University in training teachers. It was in one of these classes, the Art of Teaching, that he evolved the idea of producing a book which offered exercises, not just practised without understanding the underlying purpose, but with clear explanations. These exercises have to be applied at once in music, so there are pieces in which the results can immediately be observed. This book — Tone, Touch and Technique for the Young Pianist — should be played in its entirety, because each exercise and study has its own value, and the technique provides the feeling of naturalness as we proceed through the book. This first book was so successful, that Max was persuaded by Darryl Coote to write a sequel, this time — Tone, Touch and Technique for the Advanced Pianist — which is also very successful.
I discovered Roderick MacFarlane’s compositions as an adjudicator in the modern sections of a Sydney Eisteddfod, and find them, myself, very educational in teaching Blues, Boogie, and ground basses. They are extremely well laid out for the keyboard, and also very entertaining solos in this modern idiom. I highly recommend them to all teachers who are looking for useful compositions of this calibre and have graded them according to their difficulty. Gradings and comments by Mr Frank Taranto. Senior examiner A.M.E.B.
ALSO AVAILABLE MUSIC MY WAY
GRADES: 3,4,5,6.
PIANO FUN BOOK 2
GRADES: 1,2,3,4.
PIANO FUN BOOK 3
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PIANO FUN STUDIES
GRADES: Preliminary, 1,2,3,4,5,6
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One of the most challenging aspects of Piano Teaching is keeping the students motivated. Over 25 years my wife, Nola and I have found by introducing many styles and genres of music, students who struggle to maintain a passion for the great composers of old, are not lost to the study of piano. This was one of the reasons behind writing my Piano Fun series, that being, to keep the interest of that student. It not only broadens the ability of a student to play various styles but maintains their enthusiasm and as a result the dropout rate in our studio is next to zero. Piano Fun for Beginners Book 1 and 2 Behind the gradual focussed approach to consolidate important musical concepts is a strong emphasis on fun. It is easy to motivate students with the Piano Fun Series. The students love the cartoons and lyrics in the beginner series and don’t realise how quickly they are learning due to the fun approach. It is great to have an Australian flavour right from the beginning.
Warren Thomson
Australian Editor
Awarded the Order of Australia Medal in 1987 for services to music, Warren Thomson was Educated at Wesley College, Melbourne and the University of Melbourne. Warren has had an active career in conducting, performing, broadcasting and lecturing. He has undertaken numerous overseas study tours to investigate music education in Europe, Japan, South America, USA, Hungary, Poland and the former Soviet Union. He has adjudicated at all the major eisteddfods in Australia and has been on international juries. Warren has organised and conducted workshops for music teachers and students throughout NSW since 1976, and
Piano Fun Book 1 Includes jazz, classical, ragtime and blues styles all graded by AMEB examiner Frank Taranto — grades 1 to 6. Piano Fun Book 2 Contains 25 easy pieces (mainly grades 1, 2 and 3) with a variety of modern rhythms students can relate to and love to play. Quirky, repetitive bass formations support the melodic line in a way which encourages rhythmically taut and well defined playing. We find these pieces very motivating as they sound much more difficult than they are — and that is what we all want!! Piano Fun Book 3 Full of pieces that teenagers love to play. They love the variations on Three Blind Mice and Mad Mary with various bass lines including the excellent Left Hand workout – the boogie bass. Cheering up the Blues is another favourite. Roderick MacFarlane is a composer, piano teacher, adjudicator and occasional presenter of workshops and masterclasses. co-ordinated over three hundred and fifty In-Service Courses for teachers at Sydney Conservatorium. Has performed over 1200 new piano works for teachers and given frequent broadcasts on piano teaching, as well as LectureDemonstrations and Master Classes in USA, Ukraine, P.R.China, Hong Kong and Singapore. Warren has been involved with over 80 publications and recordings which include: the first Australian URTEXT editions of Bach Preludes and Fugues Book 1&2, Young Pianist Introduction to Sonatinas Vol 1&2, and Tchaikovsky’s The Seasons.
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