Introduction
Music is a complicated subject that cannot be learned in a few lesson. To make the complicated subject of music more accessible, many claim to make it simple, fast and easy to learn. Others have devised shortcuts that are not based on any real musical fact. The tricks to make music easy are weeds, that have become trees, deeply rooted in the America music educational system. They are weeds because they have no educational value, yet they are trees because they are thought of as facts by those who have learned by them. In piano, there are more false teaching methods than any other. How can you know if what you are learning is right? Here is the test: Right from the start introductory information should be accurate and able to be carried through to higher thinking. Tricks and shortcuts only work for a short time and lock the player into what is easy and familiar, and are easily forgotten.
Lets review what we already know. We know the directions of low and high on the piano keyboard and that it has the largest range or any other instrument. We know there are 7 letters in the music alphabet that repeat 7 times up the keyboard. We know the directions of left and right, and above and below middle C. We played the white keys and black keys to learn the geography of the keyboard. We know how to place the each finger and rest them on the keys before starting to play. We have learned how to pull like a cat, lift the whole arm using large muscles, and to we have learned to lift each finger from the knuckle with finer muscles. We connected the fingers and hands for a better tone and for finger strength. We name and played the keys alphabetically above and below middle C. We worked on making the strong and weak fingers lift equally easy. Then, we started note reading. We studied the staff and notes from the starting point of middle C. Technically we have learned fast fingering and how to lift higher to emphasize a one finger over the others. We have learned note values from the whole note decreasing to quarter notes. Technically we have learned to pull in the air and tap the hand to play a clear detached tone. And we have learned how to analyze music by notes moving top to bottom on the staff, up and down the staff, lowest to highest. We have learned how to count note values and measures.
Lesson 1
CLEF SIGNS
The treble clef means to play above middle C. The bass clef means to play below middle C. The treble clef is really an ancient letter G. The bass clef is really an ancient letter F. In music, a clef is a musical symbol that names a pitch. The G clef names G. The F clef names F.
What can go wrong...
Sometimes a teacher may explain that the notes after the bass clef are played with the left hand and the notes after the treble clef are played with the right hand. But this is not a true definition because the right hand often plays below middle C and the left hand often plays above middle C. The correct definition is the bass clef means below middle C and the treble clef means above middle C.
FAST LEFT HAND FINGERING
We help students play faster so they don't hesitate or struggle. With help, the fingers will magically move faster and students will gain confidence, intelligence, and strength. Fast is fun. In this study, students are working on playing the LH fast. Play fingers 3 1 3 lifting high from the knuckle and legato. Whole arm drop the repeated fingering. Land strong on the fingertips, don't wobble or collapse.
What can go wrong...
Be careful that fast reflexes are controlled and not rushed or sloppy; and that the finger joints remain strong and not wobbling. Sometimes students will say, "See how fast I can play," when they are actually out of control. To prevent rushing or jerking, we work on lifting fingers 1 and 3 high from the knuckle and lifting the arm higher. We also run-in-place on a single note or group of notes for more practice. For example, play 3 1 3 over and over and not stopping until the movement is easy. Say, "Keep going, its getting better." This drilling will immediately result in improvement that the student can realize and appreciate. You will not get the same results playing everything over and over. Play all only 2x, adding more practice by running-in-place during the repetitions to drill what needs work.
Lesson 2 - Prep Example
MOST IMPORTANT NOTES
ost important notes: The 7 letters of the music alphabet are A B C D E F G. Of the 7 letters, F C and G are the most important notes or predominant tones. The G clef and F clef name the most important notes on the staff around middle C. F clef sits on the 2nd line below middle C and G clef sits on the 2nd line above middle C. .Looking at the diagram on this page, say and play the notes to memorize them. Look up at the diagram, not at your hands.
What can go wrong...
The initial reading of the notes must be done using the brain without making mistakes. If the player makes a mistake, the imprint of that reflex will be in the hand and difficult to correct. A great deal of lesson time can be spent remedially fixing mistakes that should have been prevented in the first place. In other words, the first time is the only time to do it right. This is the way to prevent mistakes: 1) Recite the note names before playing. Look up, never down at the keys while reciting. 2) To help concentrate, students should say the note names as they play. 3) As needed, the teacher should tap the student's hand to help them decide what finger to play without looking down. 4) If looking down persists, the teacher should use the Course Book to cover the student's hands making it impossible to see the keys. 4) Teachers need to guide the student's eyes note-by-note slowly across the page by pointing. Say, "Follow me, I am the leader." 5) Lastly, when the finger reflexes are trained, play along faster to get the meaning and enjoyment of what is being played.
PLAY ALTERNATING HANDS
This little exercise is wonderful for alternating hands and for strengthening finger 5. On finger 5, pull and lift the pinkie deliberately high from the knuckle and land on its tip. On finger 1, pull the thumb bent so it does not fly up or drop off the keys. If the thumb flies up, the hand will slide around, lose its place on the keys, and students will be tempted to look down to their place again. Connect while playing. Say, "Hold it down." Also physically help by gently pushing the top of the fingers as a reminder to hold. Look up, and never down and train the to move note-by-note between the staffs.
What can go wrong...
Alternate hands holding the wrist in a raised position. Grip the pinkies and thumb to keep the hand strong so it doesn't flatten. Touch under the wrist to remind students to, "Pull and hold high."
This is a perfect exercise to strength fingers 1 and 5. Make sure the hand does not fall down.
Lesson 2
COUNT THE QUARTER NOTES PER MEASURE
Notes are divided into equal beats in repeating measures. Count the measures in the example and count the quarter notes per measure. The sign that indicates the number of beats per measures is called a time signature. The idea of the time signature is way too difficult for a beginner to understand, but we can take a moment to briefly describe the numbers. The bottom number of a time signature stands for a quarter note. The top number of a time signature is the number of quarter notes there are per measure, or how many fill a measure of 4 beats. To explain the time signature of 4/4 say, "There are 4 quarter notes per measure." This is all that is needed for now.
What can go wrong...
The common explanation for time signatures is this, "The top number stands for the number of beats in a measure. The bottom number stands for the kind of note that receives the beat." This explanation cannot be understood by beginners and is not necessary until much later when the bottom number of the time signature changes to represent another note value. For example, when the bottom number is a 2, it means the half note receives the beat and the music moves faster. After this initial introduction of the time signature 4/4, do not talk about the time signature again until the bottom number changes to affect the speed of the beat.
LIFT 3, 4, 5 HIGH AND CONNECT
Pull your fingers in the air like holding a ball before placing the keys. Keep pulling while lifting the repeating notes with a whole arm drop. Change to legato lifting fingers 3 4 and 5 individually high from the knuckle. Pull strong and lift to play with clarity and with a steady beat.
What can go wrong...
These fingers are difficult to play in a row. Get the momentum start with a whole arm drop. Then, change to legato lifting the fingers high and legato. Deliberately and on purpose lift each finger high from the knuckle and land strong on its tip. Lift finger 3. Lift finger 4. Hook and lift finger 5. Concentrate to lift these fingers individually. Otherwise, they will fall down and blend together.
Lesson 3
SAYING THE ALPHABET
An octave is eight white keys or seven keys plus the bottom one repeating. All possible musical tones are in the span of an octave. On the piano there are 7 complete octaves. Notes on the staff are read one-by-one and left to right. This line of letters is the octave A through A repeating three times and read one-by-one and left to right. Practice moving the eyes, letter-by-letter, without the aid of pointing along or singing along.
What can go wrong...
The challenge in saying this line of letters is to concentrate moving the eyes one letter at a time, don't point to the letters to help. Then move the eyes skipping over letters. For still move challenge, move the eyes skipping in octaves, skipping over one letter, and skipping over two letters. Concentration is a very difficult thing to acquire especially if the eyes are shifting around. This exercise is extremely important to test the student's ability to focus their eyes and concentrate.
LIFT FINGER 4 REPEATING FAST
Finger 4 is the weakest finger and it takes concentration to make it pull and lift. It is the weakest finger because it is on the weakest hand for most people and the weakest finger on the hand. Pull L4 way back and lift high to play the underlined notes fast over and over. Help students lift L4 until you feel that the knuckle is loose and then say, "Now you try." Compare the weak L4 and R2, which is strong and easier to lift. These contrasts help students understand the different strengths of their fingers and why some are easier to play than others.
What can go wrong...
It is impossible to lift the fingers if the knuckles are locked up. Admit that L4 is weak and harder to lift. Students may concentrate so much on L4 that they let the other fingers fly up. Finger 3 may lift with finger 4, but the remaining fingers should stay resting on the keys.
Lesson 4
NAME 4 NOTES ABOVE AND BELOW MIDDLE C
When reading from the Grand Staff, the first starting point is middle C. Memorize middle C as a starting point. Then, name 4 notes directly below middle C, B A G and F. Name 4 notes directly above middle C, D E F and G. To help recognize notes visually, we memorize notes that are mirror images of each other. In this diagram, they are F, which sits on the 2nd line below middle C: and F, which sits on the 2nd line above middle C.
What can go wrong...
What is the correct process of teaching reading around middle C? Memorize the notes alphabetically from the starting point of middle C. Look up, never down at the keys. And connect the fingers and hands in order to form tactile relationships. There it is. That is all you need to do to successfully teach reading.
PLAY G TWO WAYS
This is an example of reading C and G in a melody that sounds like a bugle call. Because there are only two different tones being played, the interest in the piece is how the notes are played. To play G above middle C, hook R5 and lift high from the knuckle. Land strong on its tip. To play G below middle C whole arm drop landing L4 strong on its tip.
What can go wrong...
Control the touch. Angle R1 on its tip and hold long. While holding C, hook R5 and play the repeating G short. Then, hold G to connect back to C. This pattern is rhythmically, long-short. In the RH, tap the repeating G lightly with a steady beat to sound like a far away echo. The LH G is a completely different touch. In the LH, whole arm drop the repeating G floating straight up and free-falling in one continuous motion, not jerking. Land heavy. On their own, without help, students will rush the half note unless you help hold it down. Say "long-short" on the half note and quarter notes. On their own, without help, students will disconnect G to C . Help hold G down to prevent prematurely releasing it. If not prevent, these rhythmic mistakes will be almost impossible to correct.
Lesson 4 - Prep Example
ANALYZE NOTES ALPHABETICALLY
This diagram shows four notes in a row as a melody lowest to highest and highest to lowest on the keys and matching notes. In the example we count the measures, say if the notes and moving down the staff descending or up the staff ascending. We name the notes alphabetically. And decide which note is lowest and highest. All this analysis should be easy based on what has previous been asked.
What is the correct process of reading?
Memorize the notes alphabetically from the starting point of middle C. Look up, never down at the keys. And connect the fingers and hands in order to form tactile relationships. There it is. That is all you need to do to successfully teach reading.