LEILA FLETCHER PIANO COURSE BOOK 1 PDF

Second, gout back of he Back es, te hes. Better musicianehip, find 3. Tae Study of Music should be a delightful experience, Almost every child comes to thelr fst i happy antici The use of suitable material, logically presented, will undoubtedly advance the pupa interest in music. In this way, the ear 18 talned and becomes the guide.

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See other formats IF Now owotfobU! Second, bend chart forward at right angles on the line indicated so that tne music staff is upnght. The Piano Course is designed to meet the requirements of the average pupil, and is graded to allow the average pupil to make sound, steady progress, and to enjoy the immediate satisfactions of fluent reading. The material used in the course has been tested by actual experience in teaching large numbers of students, and the results from its use are: 1.

Greater interest in music study. Better musicianship, and 3. Fewer students who discontinue music study through loss of interest or through discouragement. The Study of Music should be a delightful experience. Almost every child comes to their first lesson with happy anticipation.

The Piano Course is dedicated to a four-fold purpose: the development of the ability to read music fluently and interpret it artisically, the establishing of a sound and comprehensive piano technic, the nurturing of the creative musical talant, and the fostering of a lasting appreciation of music.

The recording features bolh practise and fully orchestrated accompaniments tracks. Some tunes are available as free downloads in MP3 format from our website. Getzville NY. International Copyright Secured. Printed in Canada All Rights Reserved including public performance for profit. For example: the pupil should learn to pic y several major scales before being taught the pattern of tones and semitones by which the major scale is constructed.

In this way, the ear is trained and becomes the guide. This is most important - and especially so for the musically gifted pupil.

It is of course, the method by which we learn our native language: the child listens to simple words and short phrases, and learns by imitation to say these words and phrases: later, speech becomes fluent and the child is taught to read and write easy words in short sentences; then, as their reading and writing progresses, they begin the study of grammar. In teaching music, this is the method we must use, if we are to give the tonal memory and imagination the opportunity to flourish.

Theoretical explanations must follow music-making wherever possible, and not precede it. The teacher will need to consider the age and developement of the pupil, the adaptability, the musical background, and so on. Class teachers too, will have definite limitations in lesson planning: the number of pupils in the class, the amount of time alloted for the lesson, the age of the pupils plus previous musical experience, must all be considered.

It is advisable that the instructor decides how much to teach at a lesson. For the beginning lesson, the first three points will be sufficient for some pupils; others may learn five points, and again others even more, but it is better to GO SLOWLY at the beginning, as it takes time and some repetition to establish new musical facts and good playing habits.

Between the TWO black keys. Use the rhyme on page 8 for this. F, G, A, and B are the four white keys that touch the THREE black keys, 8- Show the piano - key diagram with the letter-names of the keys on page 6, so that the pupil can refer to it at home when necessary.

Played on the two groups of black keys. Do not show the pupil the notes. When the pupil can play it fairly well, play the duet part with the student, to emphasize rhythm.

The second parts should generally be played lightly and rhythmically; the pupil hears both harmony and rhythm much better when their own solo part stands out. The pupil should say the counts, softly, rhythmically, in a rather staccato or detached manner. Never allow a pupil to sing the counts! By reviewing, the pupil learns to play up to the time and with expression; the notes on the staff become familiar; they gain keyboard facility, and technique improves.

The review work should be far enough back that the pupil has not been practising it for about two weeks. Memorizing should begin with the first pieces. Each lesson assignment should contain a small piece of memory work. A SECOND PART duet part has been provided for several pieces in the book, as an aid to the pupil in hearing the harmonic background that an experienced player hears in ones mind when playing a melody or scale.

More will be accomplished in this way. The young pupil concentrates better in short periods. It is often very difficult to teach a pupil to listen when they have formed the habit of playing without giving any attention to the sound! The student played: when depressed they drop only a short distance, is immediately interested in the SOUND of their playing.

When the pupil regards playing as Follow this up through-out music study. Muscular rigidity, Good playing conditions affect the tone; good tone will which causes harsh and uncontrolled tone, is usually the induce good playing conditions - the usual cause and effect result of mental tension.

A somewhat relaxed hand and arm circle. Finger 3 of both hands, plays this piece. The finger plays in the centra of the keys and not near the sides. The arm should be free, the elbow loose, the wrist flexible. Touch the surface of the key about to be played, with the finger tip; then push the key down gently so that it sounds softly. It should be played mezzo-piano, with the thumbs. It may also be played with the second fingers, and again with the third fingers.

The words text supply a rhythmic sense of balance which is caught by the pupil. Use the words in teaching this piece. If Rote Playing 5 No. It is played mezzo-piano and legato.

Legato may be likened to finger-walking; each key is released when another key is played, not before, not after. Teach the exercises by immitation only, do NOT show the pupil the notes.

Have the pupil say the letter-names of the keys as he plays them. Find highest D, and lowest D. Note to Tkacher: Review the Piano Keyboard often to make sure that the pupil is thoroughly familiar with it and can find anykey quickly and easily. From bar line to bar line A double bar line marks is a measure.

Two counts in a measure. The feet rest on the floor. If the feet do not reach the floor, use a foot rest. The music should be placed slightly below eye-level, and not too far back Practise by daylight, if possible. When you practise by artificial light, be sure you have sufficient light, and that the light is placed so that it falls on the music page.

BAD: i Fingers are curved too much. The back of the hand is held fairly level, so that the 4th and 5th fingers are in good playing position. The fingers are curved, to play on the soft finger tips just back of the finger nails.

The finger-nails should be kept short enough that they do not click on the piano keys. The fingers lift and drop from the knuckle. There should be a feeling of looseness at the knuckle.

The knuckles curve outwards, they do not sink in. The finger tips are firm; when the key is played the finger tip does not "break" in. The thumb lifts and drops from this joint. The thumb should feel loose at this joint, The thumb plays on its side, It is always over the keys.

When the fingers are nicely curved, the thumb will naturally remain over the keys. Go slowly and watch to see that each finger is in the centre of its key.

Have the pupil play them in two ways: first, play and say the letter-names; second, play and say the fingering numbers. DO NOT count the note-values. Setting Up Exercises First, play and say the letter-names of the notes. Second, play and say the finger-numbers. Time Signature: 2 beats in each measure. Then close the book and play it without looking at your hands.

First, find your hand position on the keys, then look away from the keyboard and play. As you play, feel the keys beneath your fingers, and listen to the melody. Just one note, the last C. Say: "Right hand, finger 3, over to low C : 00! Phrasing is really punctuation in music, and there is a slight "break" at the end of the phrase, just as there usually is at the end of a line of poetry.

This slight break gives meaning to the music, as it also gives sense to the words of a poem. Begin to think and play a phrase at a time, so that your playing will have meaning. An Octave higher is eight keys higher.

The notes should sound detached, but should be played with a very small movement of the hand. Focus the attention on the sound effect. In all playing, in order to avoid harshness and to have tone control, the wrist must be flexible, and if neces- sary this may be recalled to mind.

In order to play softly, the wrist must be loose In first staccato playing, direct the attention to tone; the use of this approach method is an excellent preparation and will ensure a more successful technic when the staccato touch is taken up more fully later on. Also notice that the very last measure of the piece has only three beats!

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