Tall Giraffe!!!!! Repertoire Book 1

Transcription

1 Tall Giraffe!!!!! Repertoire Book 1 Knerr!!!!! Technical Exercise 12 Students should play non legato at the beginning of study until they have gained control over the coordination between the arm and fingers. Delaying the introduction of legato allows students to master the coordination between the arms and fingers while maintaining a good piano hand shape without the added complexity of connecting the fingers. Delaying legato also means that legato is a novel sound after all the non legato playing, which makes legato a more special sound. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 1: Have the student listen to this exercise on his Step 2: Demonstrate m. 1-2 for the student with non legato articulation and firm, not collapsed, fingertips. Do not talk about the wrist movement yet. Student imitates. Since the student has been playing all his pieces with this articulation, this should be very easy. Refine non legato articulation Practice down-up wrist motion Non legato articulation Good piano hand shape Firm fingertips Relaxed thumb Down-up Tall Giraffe Neck motion Step 3: After the student has mastered control of firm fingertips and an arm bounce on each note, say, Freeze occasionally. While the student is holding the note, check to be sure that the thumb is relaxed. Use your Finger 2 to gently wiggle the student s thumb up and down slightly. If it moves easily, it is loose. Also check to be sure fingers 4 and 5 are not curled or sticking up. If they are, touch them to relax them. Continue to say, Freeze and have the student relax thumb, 4, and 5 until the fingers stay relaxed. Once the student has mastered relaxing the non-playing fingers while not playing, he can begin to relax them while playing. Step 4: When non-playing fingers are relaxed, playing fingers have firm fingertips, and the arm is working well in a bouncing motion to help the fingers, add a down-up motion of the wrist on the half notes. I call this a Tall Giraffe Neck. The wrist goes down with arm weight and then comes up into the air with a relaxed, droopy wrist, as the student pretends to pet the giraffe s tall neck. This results in a down-up motion of the wrist. If you have a stuffed giraffe, place it facing the student. He can pet the giraffe s tall neck from bottom to top with a loose wrist. This provides a visual and tactile reference for this wrist motion. 26

2 Step 5: Use the Mark the Leaps strategy by placing Fuzzies to mark the position for each part of the exercise: Put a green Fuzzy on the group of two black keys where the student will play m. 1-2 Put a purple Fuzzy on the group of two black keys where the student will play m The pattern for m. 1-8 becomes: Green Fuzzy m. 1-2 Purple Fuzzy m. 3-4 Purple Fuzzy m. 5-6 Green Fuzzy m. 7-8 " ""This helps the student to remember the octave pattern of this exercise. Step 6: m Repeat with LH, placing the Fuzzies accordingly. Step 7: Play the teacher accompaniment with one hand while the other hand plays the student part an octave displaced from where the student plays. 27

3 A Day in the Life of a Tall Giraffe Repertoire Book 1 Knerr!!!!!!!!! Rote Piece 13 It is important that the student becomes comfortable playing hands together in contrary motion (same fingers, different notes) and parallel motion (same notes, different fingers) as preparation for more complicated two-voice counterpoint and accompaniment patterns in the future. This piece is a first step in contrary motion playing. I usually teach Steps 1-6 at one lesson and Steps 7-9 at the next lesson. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Play the piece and sing the words for the student. Step 3: Play HT m. 1 singing Student copies. Be sure to use good Tall Giraffe Technique (non legato with an arm bounce on each note). There will not be time for a large down-up Tall Giraffe Neck motion on Finger 4, as the student practiced in the Tall Giraffe Exercise, but a small down up motion will prevent the student from rushing in the rest. Play a piece that uses the Tall Giraffe Technique Play HT in contrary motion Non legato articulation Steady rhythm Ease in moving from position to position Step 4: Play m. 2. Student imitates. If the student has trouble, feel free to write in the fingering (4-3, 3-2). Seeing it written helps students who are visual learners. Do not be too concerned about the slur. Some students naturally play a slur, while others do not. Either way is fine at this point, as long as the student plays with good piano hand shape. Step 5: Student plays m. 1-2 while you say, Rest on beat 4 m. 1. You can play in the rests to fill in the subdivision to further curb the tendency toward rushing. Step 6: Play m. 3-4 for the student, noting that it is the same as m. 1-2, but up a step. Student imitates. Play m. 5-6, up another step. Student imitates. Then have the student practice m. 1-6 several times. Step 7: Play RH m. 7-8 singing letter names. Student imitates. Repeat with LH, then HT. Step 8: Play m Student imitates. Step 9: Student plays the entire piece. 28

4 Kangaroo!!!!!! Repertoire Book 1 Knerr!!!!! Technical Exercise 14 This exercise is essentially the same as Zechariah Zebra, but without the rests between the changing fingers. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 1: Have the student listen to this exercise on his Step 2: Play for the student and sing Kangaroo. Talk to the student about a kangaroo being bouncy. Each note should bounce (up on roo too!). Step 3: Student plays RH. Stop him and reset the hand if the piano hand shape does not look good at any point. If he is not bouncing enough, make your stuffed kangaroo hop around while the student plays. Develop firm, not collapsed, fingertips (nail joints) through playing repeated notes Develop the ability to play fast with a loose arm Firm fingertips Bouncy arm Up on the roo of Kangaroo Good piano hand shape Step 4: Student plays RH. You play the teacher accompaniment with one hand while the other hand plays the student part an octave displaced from where the student plays. Step 5: Student plays LH. Check his hand. Then add the teacher accompaniment. 29

5 Kristabel Kangaroo Visits Korea Repertoire Book 1 Knerr!!!!!!!!! Rote Piece 15 I usually teach Steps 1-5 at one lesson and Steps 6-9 at the next lesson, although some students can learn the entire piece in one lesson, because the more Rote Pieces a student learns, the faster he becomes at absorbing patterns. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Sing and play the piece for the student. Talk about where Korea is, how long it would take for Kristabel Kangaroo to travel there, what she might see there, what she would eat, and other interesting facts about Korea. Objective: Play a rote piece that uses the Kangaroo Technique Good Kangaroo Technique Rhythmic playing Tree Frog Technique in legato part Step 3: Play RH m Student imitates with good Kangaroo Technique (bouncy on every note). The student may play with all Finger 2, or with Fingers 2 and 3 braced together. Repeat with LH and then HT. Step 4: Play the LH of m. 5-8, counting Ta Student imitates. Then have the student play LH while you play RH. Step 5: Play the RH of m. 5-8 legato with an arm bounce on each note, walking from note to note with the arm with a legato Tree Frog Technique. You and the student sing the finger numbers, referring to the score if necessary. Student imitates. Then the student plays RH while you play LH. Step 6: Student plays m. 5-8 HT. Step 7: Student plays m Step 8: Play m. 9-10, adding pedal on last measure. Student imitates. Step 9: Student plays entire piece. 30

6 Skip to My Lou!!!!! Repertoire Book 1 American Folk Song, Arr. Knerr!!! Rote Piece 16 I usually teach Steps 1-10 at one lesson, Step at the next lesson, and Steps at the next lesson or two. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Play the melody with the accompaniment for the student. Step 3: Tell the student he is going to get to play both the melody and the accompaniment parts! If a parent is available, after you teach the piece to the student, have him teach it to his parent at the lesson. Children love to do this, and the parent and child can then practice together at home. Step 4: Play RH m. 1-2 melody, singing finger numbers. Student imitates. Play a piece that uses 2nds and 3rds to prepare the student to read 2nds and 3rds combined in Unit 5 Play a familiar tune Hear how tonic and dominant sounds accompany a melody Accompany a partner Bouncy arms Rhythmic playing Clear eighth notes Balance with duet partner Step 5: Play RH m. 3-4, singing finger numbers, noting that this is the same as m. 1-2, except it starts on D. Student imitates. Step 6: Play RH m. 5-6 (same as m. 1-2) and then RH m Student imitates. Step 7: Student plays RH m Step 8: Student teaches parent (if available) how to play RH m. 1-8 melody. Step 9: Play RH m melody and sing words or say Ta-2 on the half notes. Tell the student that the notes are the same as the first part. Only the rhythm is different. Student imitates. Step 10: Student plays RH m melody. Step 11: When the student is confident, add the accompaniment, and have the student put a sticker in the RH Melody Box. 31

7 Step 12: Student plays m HT in parallel motion (3rd fingers beginning on E). After mastering this, the student can put a sticker in the HT Melody in Parallel Motion box. Step 13: The student is now ready to learn the accompaniment part. Show the student the C chord in m. 1 of the accompaniment. (Stems up = RH. Stems down = LH for Accompaniment Part). Play m Student imitates. Step 14: Show the student the G chord in m. 3 (Do not explain the theory at this point. It is not necessary here). Play m Student imitates. Step 15: Student practices changing between the C and G chords. Step 16. Ask the student to choose two colors, one for the C chord and one for the G chord. Write C with one color under each of the C chord measures (m. 1, 2, 5, 6, 8, 9, 10, 13, 14, 16). Write G with another color under G chord measures (m. 3, 4, 7, 11, 12, 15). C!! C! G G Step 17: Student plays the C chord measures while you play the G chord measures and sing the melody. Step 18: Student plays the G chord measures while you play the C chord measures and sing the melody. Step 19: Student plays the accompaniment while you point to the measures and play the melody. When mastered, the student can put a sticker in the Accompaniment box. Step 20: Student plays the melody hands together while you play the accompaniment. Then the student runs around the bench and plays the accompaniment while you play the melody. This is very effective in recital, since the audience is not expecting a student to play the accompaniment part. 32

8 Swans on the Lake!!! Repertoire Book 1 Knerr!!!!!!!!! Rote Piece 17 I usually teach Steps 1-7 at one lesson and Steps 8-10 at the next lesson. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Play the piece for the student. Use a non legato articulation with an arm bounce on each note to be sure the student maintains a relaxed manner of playing with a good piano hand shape. With the pedal down, it will sound smooth. Step 3: Play m. 1-2, singing the finger numbers, if desired. Student imitates. Objective: Play a gentle sounding piece by rote Non legato articulation Good piano hand shape Shaped phrases Pacing of dynamics and ritardando at the end Step 4: Play m Student imitates. Step 5: Play m. 5-6, noting that it is the same as m Student imitates. Step 6: Play m Student imitates. Step 7: Student plays m. 1-8 while you sing and point to the keys as necessary. Step 8: Play m. 9-12, saying, Right right left. Right right left. Right right left right left. Student imitates while teacher points to the keys and says, Right, right, left. Step 9: Play m Student imitates. Step 10: Student plays the entire piece. Coach the student through the dynamics and ritardando at the end, using the image of swans on a calm lake to evoke a gentle mood. 33

9 Tree Frog!!! Repertoire Book 1 Knerr!!!!! Technical Exercise 18 Once the Tall Giraffe Technique is mastered (non legato with an arm bounce on each note), the next articulation to master is legato with an arm bounce on each note (Tree Frog Technique). Bouncing the arm on each note allows the arm to stay involved in helping the fingers play with good tone and keeps the arm in alignment behind the finger that is playing. Piano keys are too heavy for a child with small, lightweight fingers to play without the help of the arm. When the child uses the arm to help the fingers, more strength is available to produce a singing tone without risk of injury from excess tension. In the first several years of playing, most pieces should be played with an arm bounce on each note, either non legato (Tall Giraffe Technique) or legato (Tree Frog Technique). Students can shape the phrases by playing slower or faster into the keys. Once the fingers are coordinated and strong, which usually takes several years, more attention can be devoted to pure finger action, although the role of the arm never disappears completely. Tell the parent that there is a Reminder Video on our website for reference at home. Step 1: Have the student listen to this exercise on his Step 2: Play RH m. 1-2 for the student two ways: non legato with an arm bounce on each note (Tall Giraffe Technique), and legato with an arm bounce on each note (Tree Frog Technique). Ask the student what the difference in sound is. ( One is not connected. The other is connected. ) Have him close his eyes while you play both ways. He should be able to tell by ear which is not connected (Tall Giraffe non legato) and which is connected (Tree Frog legato). Attaching the articulations to animals makes them easier to remember for young students. Objective: Learn to play legato, with a bouncy arm on each note to keep the arm involved in tone production Connected sound Bouncy arm on each note Firm fingertips Relaxed non-playing fingers One note at a time playing, with no overholding Step 3: Play RH m Student imitates. Be sure the arm is bouncy, the fingertips are firm (not collapsed), the non-playing fingers (especially fingers 1 and 5) are relaxed, and the fingers connect from one note to the next but do not overhold. Keep working until he can successfully connect the fingers while keeping the arm bounce. Some students do this easily. For others, more work is required. Step 4: Play the entire exercise, each hand separately, and add the teacher accompaniment with one hand while the other hand plays the student part an octave displaced from where the student plays. 34

10 Rain Forest Mystery!!! Repertoire Book 1 Knerr!!!!!!!!! Rote Piece 19 I usually teach Steps 1-5 at one lesson and Steps 6-10 at the next lesson. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Play the piece for the student. As you play, ask the student what boas eat. Make up a story to match the dynamic shape of the piece. The snake sneaks up on his prey for the first half of the piece as the dynamics grow louder, catches his prey in the middle, and sneaks away into the forest toward the end as the dynamics grow quieter. Or have the student create a story while you play the piece. Objective: Play a rote piece that uses the Tree Frog Technique Good Tree Frog Technique Clear pedaling Well-shaped dynamics Step 3: Play m. 1-4 for the student with good Tree Frog Technique (legato with an arm bounce on each note). Be sure the student lifts slightly between each phrase in m. 1-3 to delineate the phrases. Student imitates. Step 4: Play m. 5-8 and Student imitates. Step 5: Student plays m Step 6: Play LH of m and count Ta on each note. Student plays LH while you play RH. Step 7: Play RH of m , saying D, F, D, F, D, F on the first beat of each measure. Student imitates. Student plays RH while you play LH. Step 8: Student plays m HT. If necessary, have the student concentrate on playing his RH while leaving his LH in position. You depress the LH keys so he can feel how the hands will play together. Step 9: Play m Student imitates. Step 10: Student plays the entire piece, with you coach the dynamics through the story. 35

11 Soaring Bird!!!! Repertoire Book 1 Knerr!!!!! Technical Exercise 20 After students have mastered Tall Giraffe Technique (non legato with an arm bounce on each note) and Tree Frog Technique (legato with an arm bounce on each note), the next articulation to master is Soaring Bird (legato with one arm motion over several notes). For most pieces in the next few years, students will continue to play with Tall Giraffe and Tree Frog Techniques, but Soaring Bird Technique can be used on occasion for short, smooth phrases. This is an introduction to pure finger technique, which will become increasingly more important in the intermediate and advanced levels of playing. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 1: Have the student listen to this exercise on his Step 2: Play the student s part (RH) with the following with technical components. Student imitates. The wrist drops on the first note and releases up on the third note Fingertips are firm Fingers are active (not smeared or overheld) in playing the keys and making clear sounds Thumb is relaxed In the air on the way to the next octave, wrist is relaxed in the air (floppy) Movement between octaves is arching and graceful, like a bird flying through the air Step 3: Have the student play the LH exercise. Learn to play a three-note slur with one arm motion per phrase Practice making arching arm motions in the air when changing octaves Begin work on finger independence Firm fingertips Active fingers Down-up wrist motion Arching motions in the air between phrases Step 4: Play the teacher accompaniment with one hand while the other hand plays the student part an octave displaced from where the student plays. 36

12 Hawk on the Mountain Peak! Repertoire Book 1 Knerr!!!!!!!!! Rote Piece 21 I usually teach the entire piece in one lesson. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Play the piece for the student. Use a one arm motion for each phrase in m. 9-12, (Soaring Bird Technique). Step 3: Play m Student imitates. If the student has trouble with the rhythm, create words, such as Mountain peak. Mountain peak for the RH melody. Objective: Play a Rote Piece that uses the Soaring Bird Technique Rhythmic playing Graceful Soaring Bird Technique in three-note slurs Dynamics that match the poetry Step 4: Play m Student imitates. Be sure the arm is graceful and the fingers independent to avoid overholding or smearing. Step 5: Play m Student imitates. Step 6: Play m using good Soaring Bird Technique. Student imitates. Step 7: Play m Student imitates. Step 8: Student plays the piece while you narrate the words of the poem. On the repeat of m. 1-16, no narration is necessary. Just listen to the sounds. If the student wants to be the narrator, you play while the student narrates. Or the student can play and narrate at the same time. 37

13 Monkey Swinging in a Tree! Repertoire Book 1 Knerr!!!!! Technical Exercise 22 Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 1: Have the student listen to this exercise on his Step 2: Practice rotating the whole forearm in the air to understand the rotating motion. Be sure the forearm and wrist are in a straight line so that the student is not twisting the wrist. The forearm and hand move as a unit. Step 3: Play m. 1-2 for the student. Student imitates. Look for the following technical aspects: Objective: Learn rotation of the forearm Rotating forearm as a unit Legato transfer of weight from finger to finger Firm fingertips Relaxed non-playing fingers Hand up over the keys The forearm and hand are in a straight alignment. The forearm rotates as a unit. The rotation transfers the arm weight from one finger to the other. Play slowly first to be sure the student is using arm weight and transferring the weight. The hand is up over the keys so that Finger 4 is standing tall. Non-playing fingers are relaxed, especially the thumb. The sound is legato. Step 4: Play m Student imitates. Step 5: Play LH exercise. Student imitates. Step 6: Play the teacher accompaniment with one hand while the other hand plays the student part an octave displaced from where the student plays. 38

14 Monkey Blues!!!!! Repertoire Book 1 Knerr!!!!!!!!! Rote Piece 23 I usually teach Steps 1-7 at one lesson and Steps 6-12 at the next lesson. Tell the parent that there is a Reminder Video at pianosafari.com for reference at home. Step 2: Play the piece for the student. Step 3: Play the RH m Student imitates. Make sure he is using good rotation. You may play the LH while teaching the student the RH part phrase by phrase, as this helps the student to hear how the hands fit together rhythmically. Refer to the score as Objective: Play a Rote Piece that uses the Monkey Swinging in a Tree Technique Rotation Energetic playing necessary. By this point, the student is beginning to see patterns in the notation, even though he cannot yet read every note. This is an important step in confidence toward reading more complicated music. Step 4: Play m. RH m. 5-6, noting the black key on Eb. The hand should move forward toward the fallboard to reach the Eb rather than twisting the wrist to reach the black key. Student imitates. Step 5: Student plays m. 7-8, which is the same as m. 1-2 Step 6: Teach m singing, Monkey swinging end on C Bb and referring to the score as necessary. Step 7: Play LH while the student plays RH. Step 8: Play LH m Student imitates. Step 9: Play LH m Student imitates. Step 10: Play LH m one phrase at a time. Student imitates. Step 11: Play RH while student plays LH. Step 12: Student plays HT. 39

15 Safari Friends!!!! Repertoire Book 2 Knerr & Fisher!!!!!!! Rote Piece 24 Step 1: Download the Safari Friends Animal Cards from the Teacher Guide page at Cut them apart. Step 2: Have the student listen to the piece on his Listening will make the learning process easier. Step 3: Play the piece for the student. As you play, pause to have the student find the correct Safari Friends Animal Card and put it on the music rack in order. This will help the student remember the form of the piece. Play a piece that reviews the Animal Technical Exercises Correct technique for each section Correct articulation Form of the piece memorized Ability to move from one section to the next in rhythm Step 4: For each section, you can work from the Safari Friends Animal Cards or reference the animal pictures in the score to play each phrase and have the student imitate. Lion Paw m. 1-2, 11-12, 21-22, Relaxed arm drops Zechariah Zebra m. 3-4 Firm fingertips Relaxed and slightly bouncy arm on eighth notes Higher bounces on quarter notes Small hand (not spread out) Relaxed non-playing fingers Balloon Part m. 5-6, 9-10, 15-16, 19-20, 25-26, 29-30, We call this the balloon part to celebrate the animals going to a party with their friends. Play and have the student imitate. Tall Giraffe m. 7-8 Non legato with an arm bounce on each note Firm fingertips Relaxed thumbs Kangaroo m Bouncy arm Firm fingertips Up on roo of Kangaroo 40

16 Tree Frog m Legato with a bouncy arm Connected fingers Firm fingertips Relaxed thumbs Monkey Swinging in a Tree m Hand up over keys Thumb on corner Forearm rotating as a unit to transfer weight from finger to finger Arm balanced and aligned with playing fingers Soaring Bird m One down-up motion per three notes of the phrase Firm fingertips Relaxed thumb Clear finger action, without overholding, or smearing, fingers Step 5: Student plays the entire piece. Remind the student of the form of the piece by: Pointing to the animal pictures in the score, or Pointing to the Safari Friends Animal Card for each section, or Holding up the corresponding stuffed animal for each section Step 6: When the student can play the piece confidently, add the teacher accompaniment. 41

17 African Safari!!!!! Repertoire Book 2 Wendy Lynn Stevens!!!!!! Rote Piece 25 Step 2: Student plays LH while you play RH for m Point to the LH notes on the page to keep him in rhythm while you play. Step 3: Teach the RH of m. 1-4 by playing and having the student imitate small portions. Be sure the student plays with correct articulation from the beginning. This is the first time the student has encountered crossing over the thumb, so teach slowly. Play a rhythmic piece that moves over the entire piano Rhythmic, energetic playing Correct articulation Balance between RH and LH Dynamic contrasts Dramatic ending Be sure the thumb plays up on its corner with a tall bridge, not flat on its side. This will keep the thumb from pulling the wrist down. Step 4: After the student is confident with the RH of m. 1-4, have him play it HT. Step 5: Play m LH finger numbers are below the notes, RH numbers above. Student imitates. Step 6: Play m. 7-8, counting in quarter notes going up. Student imitates. Refine the dynamics. The piano section is sneaky, and the crescendo is a surprise. Step 7: Student plays m. 9-12, which is a repeat of m. 1-4 up an octave. Step 8: Play m RH finger numbers are above notes, LH finger numbers are below the notes. Student imitates. Be sure the student leans to reach the extreme registers, rather than scooting along the bench. If the student is too small to comfortable reach the extreme registers, he may be the correct height to play this piece standing, rather than sitting, at the piano. Step 9: Student plays the whole piece. Step 10: Have another student improvise on the drum while the student plays this piece. 42

18 Flamingo Dancers!! Repertoire Book 2 Knerr!!!!!!!!! Rote Piece 26 Step 2: Play the piece for the student. Play recordings of other Latin American or Spanish dances, including flamenco, to help the student understand the vigorous style. Step 3: Play m. 1-3 of the LH for the student. Play at a moderately slow tempo to allow the student to coordinate the accents with the repeated 5ths with a loose wrist and arm. Student imitates. Step 4: Add the RH in m. 3-4, using flamboyant leaps to show the leaping flamingo. This gesture is similar to the Dolphin Leap Exercise in Technique Book 2. Play a piece that uses 5ths Practice leaping on the keyboard, as introduced in the Dolphin Leap Exercise in Technique Book 2. Play a piece that uses 2nds, 3rds, 4ths, and 5ths in patterns Energetic playing Rhythmic accents Graceful arm motion on RH octave leaps Rotation in m , Well-paced ritardando Step 5: Student plays m. 1-4 HT, then m. 5-8, since it repeats the previous phrase. Step 6: Play m. 9-12, noting that this time the LH goes down and the RH plays D. Student copies. Step 7: Note that m the same as m The student plays m Step 8: Play m Use rotation for the RH. Be sure the thumb is on its corner, the bridge does not collapse, the fingertips are firm, and the thumb is further toward the edge of the keys than the other fingers, which keeps the arm aligned behind the hand properly. The forearm rotates as a unit. Step 9: In m. 20, the RH uses a Soaring Bird Technique for the three notes. The wrist and arm drop on the first note and come up on the last note of the phrase. Use active fingers to make the eighth notes clear. Step 10: Play m for the student with a well-paced ritardando. Student imitates while you conduct and sing the ritardando. Step 11: Student plays the whole piece. 43

19 Rainbow Colors!!! Repertoire Book 2 Knerr!!!!!!!!! Rote Piece 27 Step 2: Play the piece for the student with dynamics. Step 3: Ask the student to choose a mf color. Play the first phrase while the student colors the mf symbol. Ask him to choose a mp color. Play the next phrase while he colors the mp symbol. Continue similarly with the rest of the dynamics of the piece. Step 4: Write C below m. 1. Play the first ascending motive, saying C G C G C. Student imitates. Practice syncopated pedal Play a very patterned piece that sounds much more difficult than it is Play a flowing, beautiful piece Explore colors on the piano Graceful arm motions and hand crossings Connected, clear pedal changes Dynamics to show the rainbow colors Step 5: Play m. 1-2 with pedal, saying, C G C G C G C G C G C G 2 3. Student imitates until confident. Step 6: Write Am under m. 3. Show the student that the pattern is the same as m. 1-2, except with the notes A E. Student plays until confident. Step 7: When changing the pedal, be sure the student changes the pedal slightly after playing LH Finger 5. Practice stopping on LH Finger 5 in m. 3 and holding it to develop the coordination for changing the pedal correctly. Step 8: Teach each phrase by imitation, writing the chord names under each phrase (F in m. 5, G in m. 6, etc.). While teaching each phrase, be sure the student is playing with the indicated dynamic color from the start. Step 9: Note that the second page is exactly the same as the first page except for the last measure. Step 10: Once the student can play the whole piece, work for shaping each phrase and for a flowing tempo. 44

20 Monsters on the Run!!! Repertoire Book 2 Knerr!!!!!!!!! Rote Piece 28 Help the student create a story line to match the music. Ask questions such as, What do you think is happening when the piece gets very loud? Do you think the monster is being sneaky here where it is marked piano?. Steps such as this must not be skipped over. Students need to understand that music can tell a story even when there are no lyrics. Additionally, students will memorize the piece more easily when they think of the form in terms of a story line. Some students may want to draw a picture or write out their story. Step 2: Play the piece for the student. Ask him to imagine what is happening with the monsters. What do they look like? What are they running from? Is there anyone else in the piece in addition to the monsters? Step 3: Play m. 1-4 for the student. Ask him what interval the LH uses the entire time (5ths). Also, point out that the LH begins on Bass C. Although this is a Rote Piece, we suggest you keep the score open to allow the student to see patterns in the score. You should teach each pattern by rote, but it will prepare the student to tackle complicated looking scores without intimidation when he can see what he is playing, even if he is not yet reading pieces of this complexity. Learn a piece by rote using staccato articulation Master the quick changes in position without pausing Keep the eighth notes steady Play with extreme dynamic contrast Develop concentration, confidence, and endurance through playing this Perpetual Motion Etude Crisp staccato Difference between staccato and tenuto articulations Energetic and rhythmic playing Dynamic contrasts Step 4: Play m. 1-4 again and ask the student to imitate. Be sure to make a difference in the articulation when the RH has a tenuto mark (m. 3-4). We often ask a student to draw a curved down-up arrow above the notes with tenuto marks. This will remind the student to start on the surface of the key and roll up with his wrist, which helps him lengthen the note. The staccato articulation is created with firm fingertips and a bouncy hand or arm. Be sure the student plays with the dynamics as marked from the beginning. It is easier to learn the dynamics and the notes simultaneously than to add the dynamics later. Step 5: Play the opening section with the second ending (m. 1-2, 5-6. Notice the similarities and differences (RH eighth notes in the second ending). The student imitates. 45

21 Step 6: Note the position change in m (2nd line). Ask the student to identify the LH note (G). Point out that the interval used in the LH is still a 5th. Play for the student and ask him to imitate. Step 7: For m (3rd line), note that the RH plays the group of two black keys throughout this section. Play for the student with a huge crescendo. The student imitates. Step 8: Review m line by line by playing each line and having the student imitate. Then have the student play m alone while you cue position changes and dynamics verbally as needed. Step 9: Play the last line (m ). This is a very patterned section, so students should be able to learn it easily. There is also a great deal of satisfaction playing the fortissimo hand slap at the end of the piece! Step 10: The student plays the entire piece. 46

22 Sneaky Ape!!!!! Repertoire Book 2 Wendy Lynn Stevens!!!!!! Rote Piece 29 Step 2: Play and sing the piece for the student. Step 3: Play m Student imitates. Stopping at the end of m. 2 will help the student learn to release the LH last note of m. 2 rather than slurring into m. 3. Step 4: Teach m. 3-4 and m. 5-6 by imitation. Student plays m Play a Perpetual Motion Etude with staccato articulation Practice changing positions quickly Crisp staccato Quick changes from position to position Energetic and rhythmic playing Step 5: Teach m. 8 by imitation before teaching m. 7. Learning m. 8 first will help the student find the position for m. 8 more easily once he learns m. 7. Step 6: Teach m. 7. Be sure the non-slurred notes are non legato. Step 7: Teach the rest of the piece one phrase at a time until the student can play the whole piece confidently. Step 8: To help the student remember the positions for the different keys (C on the first page, and G on the second page), test him by having him put his hands quickly in position when you call out first page or second page. You can also write in the letter names of the notes at the beginning of each page in different colors. 47

23 Stormy Seas!!!!! Repertoire Book 2 Knerr!!!!!!!!! Rote Piece 30 Step 2: Analyze the sections and dynamics for each section of the piece, and complete the gray boxes in the chart on the last page of the piece. Step 3: Have the student draw pictures in the boxes to illustrate each part of the storm while you play the whole piece. Step 4: Have the student play A B C D E F G, each note in any octave, for the Calm Seas part (m. 3-6). Tell the student he can surprise the audience by playing in different octaves every time he plays the piece. Have him play m. 1-6 HT with pedal. Increase concentration by playing a long piece Memorize a piece with many sections that creates a sound piece about a storm Play a piece with syncopated pedal Dynamic contrasts in RH, with supporting dynamic changes in LH Large arm motions on beginning section Balance between RH and LH Clear pedal changes Step 5: Play m This passage is similar to the Moon Walk in Unit 1 of Technique Book 2. If the pedal is too sonorous, have the student use half pedal by not pressing the pedal all the way down. Step 6: For m , be sure the student plays loudly, since the Lightning should be a surprise. Step 7: In m , there should be a slight counterclockwise circular motion for the RH pattern. Step 8: The Thunder in m is an arm cluster in the mid-lower range of the piano. Step 9: When the student has learned all parts of the storm, he can play the piece from the map he illustrated on the last page, and then from memory. 48