ABPL, Level 1A Teacher's Guide

PURPOSE The purpose of this Teacher's Guide is tosuggest an order of lesson activities that will result ina systematic and logical presentation of the materialin Lesson Book, Level 1A of ALFRED'S BASICPIANO LIBRARY. It gives the teacher considerableflexibility and is intended in no way to restrict thelesson procedures.

FORM OF GUIDE The Guide is presented basicallyin outline form. The relative importance of eachactivity is reflected in the words used to introduceeach portion of the outline, such as EMPHASIZE,SUGGESTION, IMPORTANT, OPTIONAL, etc. Whilesuch words are used to indicate the authors' judgmentas to the significance of each item, everything in thebook should fall into the category of suggestedprocedures.

GAPS AVOIDED BY “OVERLAPS” To ensurePROBLEM-FREE progress throughout the course,and to avoid GAPS that might impede progress, theauthors have used OVERLAPPING CONCEPTSthroughout the course. After a concept has beenintroduced, it continues to be reinforcedsimultaneously with the introduction of new concepts(overlapping concepts).

A SOUND APPROACH TO READING Reading istaught by intervals. Reading skills are greatlyassisted by the titles chosen for the pieces introducingeach new interval, i.e., "Just a Second," "Who's onThird?," "July the Fourth," and “My Fifth."

INTERACTION On almost every page, there arecomments leading to "Interaction" between theteacher and student at the lesson. Such interaction isvaluable to the teacher in ascertaining whetherspecific concepts actually have been learned.Interaction is valuable to the student because suchfocused discussion and demonstration leads to quickerand more lasting musical development. If the studentis insecure with concepts, the teacher may wish toreview them.

DIVISION INTO UNITS AVOIDED Lesson Books inALFRED'S BASIC PIANO LIBRARY are not dividedinto units. This allows the teacher to proceed at thecorrect learning pace of the individual student or of

the group of students in a class lesson. When thestudent grasps and understands the concepts beingpresented, turn the page!

CORE MATERIALS All new concepts are introducedin the Lesson Book. The Lesson Book, Theory Bookand Recital Book form the core of the course andshould be used with all students.

THE IMPORTANCE OF SUPPLEMENTARYMATERIALS Numerous supplementary books andmaterials are available to coordinate with the LessonBook and strongly reinforce every musical principle.Teachers should choose supplementary materials tomeet the specialized needs of individual students andintroduce the new materials as recommended in thisGuide. To heighten interest, Select Music Solos areavailable for use from page 43 on. Mastery of themusical and technical information contained in thecore books, together with the supplementary books,will lead logically, comfortably and pleasurably tofurther musical growth.

THE IMPORTANCE OF PRAISE Sincere praisefrom the teacher is one of the most motivating factorsin teaching piano. Praise often accomplishes morethan admonition. Since students learn somethingnew on practically every page of Lesson Book 1A, theteacher has the opportunity to remind them that theyare constantly making progress.

RECORDINGS A compact disc and a General MIDIdisk are available. Both include a full piano recordingand orchestrated background accompaniment. Theuse of these recordings will aid the student inchoosing appropriate tempos and playing correctrhythms from the very beginning. In addition, therecordings reinforce the important concepts thatconstitute good musicianship. The recordings can beused in the lesson as a “reward” for learning the pieceor at home to encourage practice.

The authors hope that this Teacher’s Guide will be asource of ongoing musical pleasure both to teachersand students.

WILLARD A. PALMER, MORTON MANUS,AMANDA VICK LETHCO

Alfred’s Basic Piano Library

TEACHER’S GUIDEto Lesson Book lA

TO THE TEACHER

Copyright © MCMXCVIII by Alfred Publishing Co., Inc.All rights reserved. Printed in USA.

The first lesson requires careful planning and pacing.An ideal goal would be for the student to cover allmaterial as far as page 11 in the first lesson.Students who achieve this goal will go home with anintroduction to the following:

• Posture at the keyboard

• Fluent response to finger numbers

• Understanding of how piano hammers strike pianostrings when a key is played

• Use of a little weight when dropping into a key tomake soft tones

• Use of more weight when dropping into a key tomake louder tones

• Importance of playing with a rounded hand

• Awareness of Right hand and Left hand

• Concept of stepping up and stepping down thekeyboard

• Concept of low sounds and high sounds

• Recognition of groups of 2 black keys and 3 black keys

• q , h , w

• Bar lines

• Measures

• Double bar at end of a piece

• “Merrily We Roll Along” (for left hand)

• “O’er the Deep Blue Sea” (for right hand)

• The importance of keeping eyes on the music whenplaying

Some of the pages from page 3 to page 1l should betaught quickly. This Teacher’s Guide will givesuggestions for presenting those pages that requirespecial care and emphasis.

NOTE: This is not a method of playing by FINGERNUMBERS!

By beginning on the BLACK KEYS, the studentlearns fluent response to finger numbers withoutassociating any number with any specific KEY, blackor white!

BLACK KEYS are used as a beginning for thefollowing reasons.

• They “stick up” above the white keys and are easilyfound with eyes on the music, or even with the eyesclosed.

• Position of the hand is frequently shifted sodifferent numbers fall on different keys.

• Fingers curve easily on black keys.

• Black keys comprise the pentatonic scale, whichprovides tuneful beginning pieces.

IMPORTANT! At the first lesson, the following cannotbe overemphasized:

• Play with a rounded hand

• Count aloud

• Keep Eyes ON MUSIC

• LISTEN

These concepts become progressively more difficult ifneglected in the beginning. Avoid the necessity forremedial teaching in later lessons after poor habitsare formed.

NOTE: For ease in referring to Lesson Book 1A,pages in this Teacher’s Guide are numbered exactlythe same as in the Lesson Book. For example,when the student reaches page 23 of the Lesson Book,refer to page 23 of the Teacher’s Guide.

2

THE FIRST PIANO LESSON

GOAL

Understanding theimportance of goodposture at the keyboard.

KEY WORDS

• Sit Tall! (The use of apositive statement ispreferable to a negativeone like “Don’t slump.”)

• Arms hang loosely fromshoulders. (Relaxingshoulders preventstension in the arms.Lack of tensionproduces morebeautiful tones.)

• Knees slightly under keyboard (for more arm freedom).

• Feet flat on the floor (for security and balance,and later for pedaling).

EMPHASIZE

Good posture makes playing easier and more enjoyable.

INTERACTION

Student reviews the posture points with teacher’s help if necessary.

How to Sit at the PianoSIT TALL!Lean slightly forward.

Let arms hang loosely from shoulders.

Elbows slightly higher than keys.

Bench must face piano squarely.

Knees slightly under keyboard.

Feet flat on floor.Right foot may be slightly forward.

You may place a book or stool under your feetif they do not reach the floor!

DIGITAL PIANO SPINET PIANO GRAND PIANO

Pianos come in several different sizes and styles.Which kind of piano do you have?

3

UPRIGHT PIANO

3

GOAL

Preparation to ensuresuccess in first efforts atplaying.

EMPHASIZE

Moving fingers in the airin response to numbersasked for. (Helps studentlearn to call each fingerinto play at will. Makesfirst efforts at playingeasier.) A little timespent here may savemuch time later.

INTERACTION

Student calls out the fingers to be wiggled. Alternategame: Simon says, “Wiggle 2’s,” etc.

4

GOALS

• To make the studentconscious of loud andsoft tones and how theyare produced.

• To teach the student tolisten.

• To begin to build arounded hand.

SUGGESTION

Let the student observe ahammer striking stringsas you play a key (ifconstruction of pianopermits).

KEY WORDS

Drop into key. Little weight = soft tone. More weight= louder tone. (For first efforts, have the student playslowly in order to “feel” the difference in dropping intothe key with little weight and then with moreweight.)

LISTEN

Do the tones sound as intended? Before you play anykey you should always decide how you want it tosound.

INTERACTION

• Student tells teacher before playing any key whatkind of tone is intended.

• Student drops a finger on a flat surface (book, tabletop) with a little weight, then with more weight.

EMPHASIZE

Curve your fingers when you play! It is easier to playwith curved fingers. Hold the bubble gently—seeillustration. This produces a rounded hand withouttension. A rounded hand with curved fingers makesmore beautiful tones.

MORE INTERACTION

Student holds fingers straight. All fingers havedifferent lengths. Playing with fingers of differentlengths would be like trying to walk with legs ofdifferent lengths. When fingers are curved, lengthsbecome equal!

Student demonstrates a rounded hand:

• In the lap • On a book • On the keyboard

5

Proceed as rapidly aspossible on this page!

GOALS

• To identify 2 black key groups.

• To learn fluent response to fingernumbers 2 & 3.

• To understand conceptof HIGH notes andLOW notes.

SUGGESTION

Hold a page of paper overthe black keys, leaving onlythe white keys showing. All the white keys look alike.Remove paper. The keyboard now looks different andgroups of 2 blacks and 3 blacks are easy to find.

IMPORTANT

Black keys are used as a lead-in to teaching keyboardtopography. Because they begin on black keys,students will always feel at ease playing black keys.

EMPHASIZE

We go DOWN the keyboard to the LEFT. We go UPthe keyboard to the RIGHT. (2 black keys are firstplayed together, then separately.)

CONTINUING

• We STEP DOWN to neighboring keys withneighboring fingers: L.H. 2, 3.

• We STEP UP to neighboring keys with neighboringfingers: R.H. 2, 3.

INTERACTION

Student plays a STEP DOWN on any group of 2 blackkeys. Student plays a STEP UP on any group of 2black keys. Ask, “Why is there a ‘worm picture’ on theleft and a ‘bird picture’ on the right of the keyboard?”Student plays any HIGH note. Student plays anyLOW note.

6

Proceed as rapidly aspossible on this page!

GOALS

• To identify 3 black keygroups.

• To learn fluent responseto finger numbers 2, 3,4 (in different areas ofthe keyboard, to avoidassociating any fingerwith any key).

EMPHASIZE

“Next-door” keys areplayed by “next-door”fingers: 2, 3, 4.

PRACTICE SUGGESTION

Move from one group of 3 black keys to the nextwithout playing the notes (for ease in moving over thekeyboard). Do the same with groups of 2 black keys.

INTERACTION

• Student plays a low note from a group of 3 blackkeys, then a low note from a group of 2 black keys.

• Student plays a high note from a group of 3 blackkeys, then a high note from a group of 2 black keys.

SUGGESTED ASSIGNMENT

• Page 3 of Ear Training Book 1A.

7

Teaching q here (thenlater h & w) moves fromsmall to larger notevalues; eliminatesthinking in fractions.

GOALS ANDOVERLAPPINGCONCEPTS

Show student that 5 newthings are being learned(bar line, measure, q ,counting, double bar)while other things arebeing reviewed (righthand, left hand, highnotes, low notes, groups of2 black keys,response to finger numbers 2 & 3).

This concept of overlapping new information withinformation already grasped is a most importantteaching technique followed in Alfred’s Basic PianoLibrary.

EMPHASIZE

• Bar lines divide equal measures.

• The words to the song tell the student veryimportant information:

Right hand — High notes Left hand — Low notes

NOTE

It is always good to have the student actually sing thewords to any song that has lyrics that help teach theconcepts. When the student is shy about doing this,the teacher can sing along.

INTERACTION

Student holds up L.H. or R.H. as teacher asks forthem. Student claps and counts 8 quarter notes.Student plays “Right & Left” in the air, moving 2 & 3as indicated. Student points to bar lines and doublebar.

IMPORTANT

Student is now ready to begin using Alfred’s BasicPiano Library FLASH CARDS. Assign Flash Card 1.

Remember: The ultimate goal of the flash cards isSPEED. Flash cards should be “flashed” withincreasing speed to accelerate the student’scomprehension and response in identifying each card.

*Next to the CD icon is the corresponding CD tracknumber. Next to the GM icon is the correspondingType 0 file number and, in parentheses, the Type 1 filenumber.

8

CD 2

GM 1 (42)*GENERAL

OVERLAPPINGCONCEPTS

• q Rhythm

• Bar Lines

• L.H. and R.H.

GOALS

• To continue to developfluent response tofinger numbers.

• To use fingers in a new position to avoidthe association of anyfinger number with any key.

• To introduce h

IMPORTANT

Use any counting system you prefer! Student clapsonce for each note, not for each count.

EMPHASIZE

• Student must feel the inner pulse on h ’s. This maybe taught by adding an extra gesture on the innerpulse when clapping h ’s.

• The words of the song continue to tell the student important information:“Left hand plays,” “Right hand plays.”Last words: “end of song!” for .

INTERACTION

• Student tells teacher which notes in “Left & Right” are q ’s and which are h ’s.

• Student tells teacher what is different about thelast bar in the piece.

OBSERVATION

Asking questions is the WAY to discover exactly whatthe student has grasped and will result in smootherprogress.

NOTICE

The rhythm on this and the previous page combine toprepare for pieces to come.

q q q q \ q q h

Mer - ri - ly we roll a long, (p. 10)

AND: Bells are ring - ing sweet and clear, (p. 12)

AND: Jol - ly Old Saint Nich - o - las, (p. 14)

AND: Old Mac-Don - ald had a farm, (p. 16)

SUGGESTED ASSIGNMENTS

• Flash Card 2.


• Page 2 of Sight Reading Book 1A.

• Page 3 of Theory Through the Year Book 1A.

9

CD 3

GM 2 (43)GENERAL

OVERLAPPINGCONCEPTS

• The rhythm of the first2 measures of this piececombines the rhythm of“Right & Left” (page 8)with “Left & Right”(page 9).

Page 8 Page 9

q q q q + q q h

Equals page 10

q q q q \ q q h

• No new finger numbersare introduced.

GOALS

• To begin a familiar song on the black keys.

• To continue to develop finger number response with L.H.

POINT OUT

Page on left side of book is played with L.H.!

EMPHASIZE

Playing indicated finger numbers is easy.Neighboring fingers play neighboring keys.Repeating finger numbers play repeating keys.

IMPORTANT

Student should clap the rhythm with loose, freegestures, keeping a steady beat!

INTERACTION

Student plays “Merrily We Roll Along” in the air,using correct fingers and rhythm. It may also beplayed silently on the fall board of the piano.

IMPORTANT

Check to be sure the student feels the inner pulse onthe h ’s.

Proceed to page 11 in the same lesson,if at all practical.

10

CD 4

GM 3 (44)GENERAL

OVERLAPPINGCONCEPTS

Reviews rhythms ofprevious pages.

GOALS

• To complete the songbegun on page 10 andsend the student home(from the first lesson, ifpossible) playing afamiliar melody

• To continue to developfinger number responsewith R.H.

• To introduce one new concept: w

(count whole notes by any system you prefer)

POINT OUT

• Page on right side of book is played with R.H.

• Check again to be sure the student feels the innerpulse of the w ’s.

SUGGESTION

Student may tap the rhythm of “O’er the Deep BlueSea” using loose fist tapping lightly across upperchest.

EMPHASIZE

Student now has a rhythm vocabulary of

\ q q q q \ q q h \ and \ q q q q \ w \

Have student clap and count aloud repeatedly on the above patterns.

CONCLUDING

Play duet part AFTER student is secure on notes andrhythm.

RECOMMENDED

Student may bring a cassette recorder to the next lesson so the teacher can record duet part (page 13). The authors record each duet part threetimes, adding the subsequent duets at each lesson.The student will review all the pieces that have duetparts at each practice session. This is somethingstudents ENJOY!

IT IS ALSO IMPORTANT TO POINT OUT THATALL PIECES IN THIS BOOK ARE EFFECTIVESOLOS, COMPLETE WITHOUT THE DUET PART.Each piece should also be practiced without the duetpart.


• Pages 2–4 of Theory Book 1A.

• Flash Card 3.



11

OVERLAPPINGCONCEPTS

Reviews rhythm of“Merrily We Roll Along”and also stresses theunderstanding of the halfnote.

GOALS

• Steady rhythm, feelingthe pulse on the h ’s.

• Understanding of theword dynamics.

• Recognition andobservation of the forte sign.

• Recognition and observation of the piano sign.

EMPHASIZE

We drop into the key with more weight for a loudertone.

We drop into the key with a little weight for a softtone (review of page 5).

POINT OUT

Music for LEFT HAND is on the LEFT PAGE. Theboy in the illustration is ringing the bell with hisLEFT HAND.

SUGGESTION

Ask student to clap “Hand-Bells,” part 1. Studentclaps loud on forte measures and soft on pianomeasures. Remember, student claps once for eachnote, not once for each count!

INTERACTION

Student locates f and p signs on the music anddefines them.

CONCLUDING

Proceed to page 13 in the same lesson, if practical.


• Flash Cards 4, 5 & 6.

• Pages 5 and UPPER HALF of page 6 of Theory Book 1A.

• Pages 4–5 of Theory Through the Year Book 1A.

12

CD 5

GM 4 (45)GENERAL

OVERLAPPINGCONCEPTS

Applies principles of page12 to R.H.

PROCEDURE

Same as for “Hand-Bells”for LEFT HAND.

POINT OUT

Music for RIGHT HANDis on the RIGHT PAGE.The girl in theillustration is ringing thebell with her RIGHTHAND.

INTERACTION

Student points to and tells what it means.

CONCLUDING

Play duet with student observing the repeat sign.

SUGGESTION

Review previous solo (“Merrily We Roll Along”) andplay duet with student. Always check for goodposture and rounded fingers!


• Page 2 of Recital Book 1A.



13

OVERLAPPINGCONCEPTS

Rhythms are the same asfor “Merrily We RollAlong.”

GOALS

• Development of skills infinger number responsewhen hands are playingon different black-keygroups.

• Continuing even flow ofrhythm when melodynotes move from onehand to the other.

• Understanding the word dynamics.

• Recognition and observation of forte sign.

POINT OUT

LEFT HAND plays two black key group with fingers3 & 2. RIGHT HAND plays three black key groupwith fingers 2, 3 & 4.

Keys used are on the LEFT SIDE of the middle of thekeyboard. Little girl in illustration is using LEFTHAND when speaking loudly (forte) to Santa.

PROCEDURE

Student claps rhythm. Be sure clapping is done atforte dynamic level.

REVIEW

We drop into a key with more weight for a louder tone.

INTERACTION

Student locates forte sign on the music, defines it andtells why it is appropriate here.

CONCLUSION

Proceed to page 15 in same lesson, if practical.

14

CD 6

GM 5 (46)GENERAL

OVERLAPPINGCONCEPTS

Hand positions aresimilar to previous pagebut are above the middleof the keyboard.Rhythms are the same ason the previous page andin “Merrily We RollAlong.”

GOALS

• A feeling of freedom inplaying in differentkeyboard areas.

• Further development ofthe sense of “high andlow” pitches.

• Additional practice in maintaining rhythmic flowwhile melody moves from one hand to the other.

• Recognition and observation of piano sign.

POINT OUT

LEFT HAND plays two black key group with fingers3 & 2. RIGHT HAND plays three black key groupwith fingers 2, 3 & 4.

Keys used are on the RIGHT SIDE of the keyboard.Boys in illustration are gesturing with RIGHTHANDS. Boy on RIGHT is demonstrating themeaning of piano by saying “shhh.”

The words to the song “Whisper what you’ll bring tome” give a reason for the dynamic level, piano.

PROCEDURE

Student claps rhythm. Be sure clapping is done atpiano dynamic level.

REVIEW

We drop into a key with a little weight for a soft tone.

INTERACTION

The student locates the piano sign, defines it andexplains why it is used.

CONCLUDING

Play a duet with Part 1 and Part 2 after the studentcan play both parts smoothly.


• Page 3 of Recital Book 1A here or after the nextpiece, “Old MacDonald.”

• The BOTTOM HALF of page 6 in Theory Book 1A.


• Page 2 of Hymn Book 1A.

• Pages 2–5 from Ensemble Book Level 1A here orafter the next piece, “Old MacDonald.”


15

OVERLAPPINGCONCEPTS

Hand position is the sameas on previous page.Rhythm is the same asfor many of the previouspieces.

GOALS

• Finger numberresponse.

• Rhythmic security.

• Alternate playing ofmelody using R.H.and L.H.

• Observance of fortedynamic level.

INTERACTION

Student plays all of page 16 in the air, using correcthand and correct fingers.

SUGGESTION

• Student claps rhythm saying, “Right, Right, Right,Left, Left, Left, Left,” etc.

EMPHASIZE

Holding w for its full value. Student must feel theinner pulse of 4 full counts.

16

CD 7

GM 6 (47)GENERAL

OVERLAPPINGCONCEPTS

Uses previously learnedrhythms in a new order.

GOALS

Review of these concepts:

• After using bottom keyof lowest group of 3black keys, move UP tothe RIGHT, higher andhigher.

• Ease in moving up todifferent registers onthe keyboard.

PREPARATION

Before playing this page, have student touch bottomkey of the lowest 3 black key group with the 4thfinger as indicated, using loose, free gestures. Next,move the same finger up to the bottom key of the nexthigher 3 black key group and play it the same way.

Using R.H. 2, touch the bottom key of the next higher3 black key group, then move the same finger up tothe next higher 3 black key group and touch it also.

POINT OUT

The last note played on page 17 has the R.H. incorrect position ON the starting note used when thestudent repeats page 16.

SUGGESTION

Ask, “Where does ‘Old MacDonald’ end?”

CONCLUDING

Play the duet part only after the student is securewith notes and rhythms. When playing duet, MOVEOUT OF THE WAY for student to play page 17 alone!





17

This page begins a newsection in which thestudent learns fluentrecognition of whitekey names (in relationto black keys andthrough the use ofletter notes).

GOAL

Fluent recognition ofnames of all the A’s onthe keyboard.

EMPHASIZE

Each A is quicklyrecognized from its positionin the group of 3 black keys. (This concept has beencarefully led into, beginning with page 7.)

SUGGESTION

Have student close eyes and visualize how A looks,between the 2nd and 3rd black keys in any group of 3black keys.

EMPHASIZE

Lowest key on the piano is A.

INTERACTION

Student plays all the A’s on the keyboard saying, “A,between the 2nd and 3rd black key in the group of 3black keys.”

SUGGESTED ASSIGNMENT


18

OVERLAPPINGCONCEPTS

Keyboard topography hasbeen well establishedthrough actual playing onthe 2 and 3 black keygroups. Because of this,students easily grasp theidentification of whitekeys by their positions inrelation to the black keygroups.

The concept that notessound higher and higheras they go higher on thekeyboard is alsoreinforced on this pagewhen the student plays andnames every white key going up the keyboard.

GOALS

• Thorough understanding of the use of the musicalalphabet, ABCDEFG.

• Ease in recognition of any white key from itsposition in or near a black key group.

• Freedom in moving from any white key to adifferent white key with the same name.

• Naming and playing every white key on the piano.

PROCEDURE

Call attention to the position of each white key inrelation to its own 2 or 3 black key group. Movethrough the musical alphabet.

Have student quickly name and play all the keys onthe piano. Use L.H. 3 to play notes below Middle C.Change to R.H. 3 at Middle C. Use of 3rd finger givesan opportunity to check for well-rounded hand.

SUGGESTION

After following the above procedure, have studentidentify white keys in random order, first in relationto 2 black key groups, then in relation to 3 black keygroups; for example, C, E, D, then F, B, G, A, thenreverse the order.

POINT OUT

The illustrations help reinforce the letter names andlocations of the white keys: Apple, Boy, Cat, Dog,Elephant, Frog, Girl. These pictures are fun for thestudent!

IMPORTANT

Flash cards may be used to particular advantagehere. Students should use them for daily drills athome. Emphasize immediate recognition of eachwhite key after only a fleeting glance.


• Page 3 of Notespeller Book 1A.

• Flash Cards 7–13.



19

OVERLAPPINGCONCEPTS

Rhythm vocabulary is thesame as used in previouslessons: variouscombinations of

q q q q \ q q h \ w \

GOALS

• Familiarity with namesof keys in the Middle CPosition (letter notesare used for thispurpose).

• Review of forte dynamicsign.

• Review of rhythm.

• Review of .

NOTE

Key names are now dealt with in alphabetical order,beginning with first letter, A. Only three keys areused in each hand, employing the fingers that areeasiest to use.

PROCEDURE

Point out that in this piece the R.H. plays notes withstems up and L.H. plays notes with stems down.

INTERACTION

Student plays “Batter Up” saying note names andobserving .

IMPORTANT

Check for rounded hand when student plays whitekeys!

CONCLUDING

Play duet with student as student says letter namesof solo part.



• Page 2 of Fun Book 1A.


The title “Batter Up!” becomes “Come and Play!” in theUniversal Edition.

20

CD 8

GM 7 (48)GENERAL

OVERLAPPINGCONCEPTS

Student proceeds from 3keys in each hand used in“Batter Up,” adding onlyone new key for eachhand: L.H. G and R.H. F.

GOALS

• Understanding andcomprehension of

4

4

time signature.

• Extending Middle CPosition to include G inL.H. and F in R.H.

• Continued experiencewith letter notes that include every key in themusical alphabet.

NOTE

Student moves from “known keys” to the new ones,using fingers 1, 2, 3 before playing 4.

SUGGESTION

Review the location of all letter notes in relation togroups of black keys.

CONTINUING

Have student add up the note values in each measureof “My Clever Pup.”

EMPHASIZE

After “measuring” 4 counts, we have a bar line.

KEY WORDS44 Time Signature.

REMEMBER

Use any counting system you wish.

INTERACTION

Student points to time signature and defines it.

CONCLUDING

Play duet as student says note names.Observe . Check for rounded hand.


• Page 11 of Theory Book 1A.


• Flash Card 14.



21

CD 9

GM 8 (49)GENERAL

OVERLAPPINGCONCEPTS

Student proceeds from 4keys used in each hand in“My Clever Pup” to 9keys, adding only 1 newkey for each hand: L.H. Fand R.H. G. No newrhythms are used.

GOALS

• Understanding andplaying new dynamicsign F (mezzo forte).

• Remember to havestudent pronouncemezzo “met-so.”

• Addition of another note at each end of Middle CPosition. All 5 fingers are now in use.

• Alternating hands in the same phrase.

NOTE

Student moves from “known keys” to new ones,playing fingers 1, 2, 3, 4 before adding 5.

PROCEDURE

Student claps the rhythm at mezzo forte dynamiclevel. Student plays “The Zoo,” saying letter notes INRHYTHM.

INTERACTION

Student points to F sign, says the Italian wordsmezzo forte and defines the terms.

CONCLUDING

Play duet as student says note names.Observe .



• Page 6–7 of Recital Book 1A.

• Flash Card 15.


• Pages 4–5 of Notespeller Book 1A.

• Pages 4–5 of Hymn Book 1A.

• Pages 6–9 from Ensemble Book 1A.

• Page 9 from Sight Reading Book 1A.

22

CD 10

GM 9 (50)GENERAL

OVERLAPPINGCONCEPTS

R.H. position isunchanged. Only 3 newkeys are used in newposition of L.H. Rhythmsare exactly the same aspreceding page.

GOALS

• Extending knowledge ofkeyboard topography toC Position.

• Review of F .

PROCEDURE

Student matches hand position to keyboard diagramat top of page.

NOTE

Easiest fingers are used first in both hands. L.H.plays “mirror pattern” of R.H. This ensures equaldevelopment of the hands.

IMPORTANT

Words to the song help student remember names ofkeys:

C plays C, E-zy plays E, CDEFG plays those keys, Geeplays G, As you can “C” ends on C.

CONTINUING

Ask student to point out all places where wordmatches the key being played.

INTERACTION

• Student locates and names keys in C Position.

• Student points out that L.H. and R.H. are playingsame letter names one octave apart.




• Begin Group 1 Exercises of Technic Book 1A.

• Pages 4–5 of Fun Book 1A.




23

CD 11

GM 10 (51)GENERAL

OVERLAPPINGCONCEPTS

Hand position is the sameas previous page.

GOALS

• New Time Signature34

• New note value h .

NOTE

Easiest fingers begin.L.H. is “mirror” of R.H.

KEY WORDS34 Time Signature

Dotted Half Note

PROCEDURE

• Introduce 34 time signature.

• Introduce h . The function of the dot may or maynot be explained at this time.

• Explain that h . fills up one whole measure in 34.

Also, q q q fills up one whole measure in 34 time.

• Student plays “Sailing,” counting out loud whileplaying.

INTERACTION

Student claps and counts 6 h . ’s.

Student points to 34 and defines.

Student points to notes which fill up one wholemeasure.

Student writes in and totals counts in “Sailing.”

SUGGESTION

Encourage student to memorize several pieces andalways have them ready to share with family andfriends.

CONCLUDING

Play duet part as student says names of keys.


• Page 14 of Theory Book 1A



• Flash Cards 16, 17.

• Page 9 of Recital Book 1A with page 24 or 25.


• Page 7 of Fun Book 1A with page 24 or 25.

• Pages 10–13 from Ensemble Book 1A with page 24or 25.


24

CD 12

GM 11 (52)GENERAL

OVERLAPPINGCONCEPTS

Same hand position andrhythmic vocabulary aspage 24.

GOALS

Review and reinforcementof concepts presented onpage 24.

NOTE

Easiest fingers alwaysbegin. L.H. is “mirror” ofR.H. This is now used in“Interaction,” below.

INTERACTION

• Student points out that R.H. and L.H. play samefinger patterns: (1, 2, 3) (1, 2, 3) (2, 3, 4, 5) but resulting note names are different because ofkeyboard position.

• Reviewing “Sailing” will show that the same wastrue of that song, too.

CONCLUDING

Use same duet part as for “Sailing.” Have student sayletter names of notes while playing.


• Page 15 of Theory Book 1A with page 25 or 26.



• Pages 10–13 from Ensemble Book 1A with page 24or 25.


25

CD 13

GM 12 (53)GENERAL

OVERLAPPINGCONCEPTS

Same hand position asprevious 3 pages.

34 time

and h . reviewed.

GOALS

• Further application of34 : h + q fill upone whole measure

• Review of pianodynamic level.

IMPORTANT

The “feel” of the rhythmh q is most easily graspedwhen it is repeated in several consecutive measures.The h . in measure 4 gives a feeling for the end ofthe musical phrase and allows time for the eye tomove down to the next line. Remind student to keepeyes on music!

INTERACTION

Student writes counts under notes and totals thecounts in each measure of “Wishing Well.”

NOTE

R.H. and L.H. are “mirror patterns.” See if studentcomments on this.

CHECK

Is student maintaining proper posture and playingwith rounded fingers?

CONCLUDING

Play duet part after student is secure with newrhythm.



• Page 14 of Ear Training Book lA.



26

CD 14

GM 13 (54)GENERAL

This page begins a newsection in which thestudent starts to learnfluent recognition ofnotes on all lines andspaces of the grandstaff.

GOALS

Instant recognition of linenotes and space notes.

KEY WORDS

• Staff

• Line Notes

• Space Notes

INTERACTION

Student uses pencil point to locate imaginary linenotes and imaginary space notes on the staff at top ofpage 27, saying kind of note (line or space) before theypoint to a line or a space.




27

This is a veryimportant page. Itbegins the approach toactual interval readingthat will be used inAlfred’s Basic PianoLibrary. The words to“F, same, still thesame” reinforce“sameness” andstepping up and down.These concepts will befurther developed inlater lessons.

GOALS

• Understanding andinstant recognition of the Bass Clef Sign.

• Instant recognition and playing of the F indicatedby the Bass Clef sign. Notes repeated on same lineor space repeat the same key.

• Notes stepping down to next line or space step downto next white key.

• Notes stepping up to next line or space step up tonext white key.

KEY WORDS

• Bass Clef sign

• F Line

• Bass Staff

• Repeated notes

• Step down to next white key

• Step up to next white key

IMPORTANT

Point out that the Bass Clef sign came from the letterF and indicates the particular F below middle C.

INTERACTION

• Student points to F clef line F and plays theparticular F it indicates below middle C.

• Student points out that the words to “F, same, stillthe same” tell what to play.



• Flash Card 18.


28

OVERLAPPINGCONCEPTS

This page exemplifies“arranging success” forthe student. Actually,they already know“Rain, Rain” because it isa direct repeat of “F,same, still the same” frompage 2.

NOTE

The insertion of a friend’sname in measure 7 of“Rain, Rain” is veryappealing to students.

INTERACTION

• Student plays “Rain, Rain” using words to “F, same,still the same, etc.”

• Student plays “Rain, Rain” naming the notes asthey are played.

IMPORTANT

Much time spent now on pages 28 and 29 will resultin faster reading progress later.








• Page 2 of Composition Book 1A.

29

CD 15

GM 14 (55)GENERAL

GOALS

• Understanding andinstant recognition ofthe Treble Clef sign.

• Instant recognition andplaying of the Gindicated by the TrebleClef sign.

• Reinforcement andreview of up and downconcepts.

KEY WORDS

• Treble Clef

• G Line

• Treble Staff

IMPORTANT

Point out that the Treble Clef sign came from the letter G and indicates the particular G above middle C.

INTERACTION

• Student points to G clef line G and plays theparticular G it indicates above middle C.

• Student points out that the words to “G, down,down, up, G” tell what to play.



• Flash Card 19.


30

OVERLAPPINGCONCEPTS

Success of student isassured because the notesof “A Happy Song” werelearned when the studentplayed the bottom line ofpage 30.

GOALS

• Further development ofawareness of TrebleClef G.

• Further development of“stepping down,”“stepping up” or “samenote.”

INTERACTION

• Student points to each note of “A Happy Song,”saying “step down,” “step up” or “same note.”

• Student says note names of “A Happy Song.”

CONCLUDING

• Play duet with student.

• Student may say note names of solo part whileplaying, if desired









31

CD 16

GM 15 (56)GENERAL

Names of notes on linesand spaces should notbe taught at this time.They are introduced afew at a time on thepages that follow. Theconcept of thecontinuity of the notesof the grand staff fromlow notes to high notesis the important thingat this time.

GOAL

Understanding that thenotes of the Grand Staffcontinue from low notesto high notes: As notes arewritten higher and higher on the Grand Staff, theyare played higher and higher on the keyboard andsound higher and higher in pitch.

KEY WORDS

• Grand Staff. (Review Bass Staff and Treble Staff.)

• Brace. (Point out the boy with the brace in lowerleft corner of page.)

INTERACTION

• Student defines Grand Staff as Treble and BassStaffs joined together with a brace.

• Student points out that a short line for Middle Cmay be added when needed, between the Bass Staffand Treble Staff.

CONCEPT TO BE THOROUGHLY UNDERSTOOD

As notes go higher on the Grand Staff, they go higheron the keyboard, sound higher in pitch and proceedthrough the letters of the musical alphabet.





32

OVERLAPPINGCONCEPTS

All keys and rhythmsused on this and thefollowing three pageshave been previouslyused.

GOALS

• Note reading in CPositions on the GrandStaff.

• Understanding newrules for note stems.(Note stemming rulesapply for the rest of thebook!)

PROCEDURE

Point out that the words to POSITION C name thenotes that are being played and also tell when they goUP or DOWN.

Explain that direction of stems depends on the note’srelation to the middle line of either staff. Notes on orabove the middle line have stems pointing down.Notes below the middle line have stems pointing up.

INTERACTION

Student points to notes in POSITION C and tells whythe stems point up or down.





• Page 10 of Fun Book 1A with page 33 or 34.


• Page 14 of Notespeller Book lA.

• Page 15 of Sight Reading Book lA.



33

CD 17

GM 16 (57)GENERAL

OVERLAPPINGCONCEPTS

Piece has already beenlearned with R.H. alone.Only L.H. has new thingsto play.

GOAL

• Added skill in readingnotes of C Position onGrand Staff.

• Further development ofdividing a piecebetween L.H. and R.H.

INTERACTION

• Student plays music in the air using correct handsand correct fingers.

• Student taps rhythm of L.H. measures with L.H.and rhythm of R.H. measures with R.H.

CONCLUDING

Play the duet part with the student. Review olderduets if desired.







34

CD 18

GM 17 (58)GENERAL

OVERLAPPINGCONCEPTS

No new notes, keys orrhythms are used.Rhythm dates back to“Merrily We Roll Along.”

GOAL

Understanding andexecuting smoothlyconnected legato playing.

PROCEDURE

• Have student make see-saw motions with twoarms, using large gestures.

• Later, have student make see-saw motions withfingers 2 & 3 of each hand.

POINT OUT

See-saw motions will produce a true legato whenfingers pass one another at the proper place as keysare played. OVERLAPPING legato, with one keylifted after the other is down, is too complex tointroduce at this time and is not desired by theauthors.

KEY WORDS

• Legato

• Slur

• Phrase

IMPORTANT

Words to “See-Saws” tell the student how to play legato.

EMPHASIZE

Carefully LISTEN to the blending of tones for abeautiful legato.

INTERACTION

• Student traces slurs in “See-Saws,”then defines “slur.”

• Student says words of first phrase of verse 1,then words of second phrase of verse 1.

• Student writes “phrase 1” over first phrase, and“phrase 2” over second phrase.

• Student defines legato.

CONCLUDING

Play duet with student.



• Flash Card 30.





35

CD 19

GM 18 (59)GENERAL

This is the beginning ofa very importantsection of Lesson Book1A. At this point, thestudent begins to learnto recognize INTERVALSby name and sound,and by their appear-ance on either staff.

A memory device(mnemonic) is used tohelp the studentremember the name andsound of each interval.Each interval isrepresented by a word inthe lyric that can be givenan amusing double meaning, as indicated by the title“Just a Second.” Memory experts have proven thatsuch associations make learning and rememberingmuch easier. It is important that the student remainin the C POSITION until the intervals of the 2ndthrough the 5th are learned, for total comprehensionof how intervals work in relation to lines and spacesof the staff. After this, they can proceed to a newposition. In this way, the idea of “overlappingconcepts” can be utilized fully to further arrange forthe student’s success.

GOALS

• Further development of interval reading.

• Instant recognition of “up a 2nd.”

• Instant recognition of “down a 2nd.”

• Instant recognition of “same note.”

• Review of slurs and legato.

IMPORTANT

• The word “second” in the song occurs when thestudent plays a 2nd. Mention the double meaningof the word “second.”

• Student should sing words while playing all songsthat teach intervals. It helps if teacher will singalong.

KEY WORDS

• Interval • 2nd • Line-space • Space-line

REMEMBER

A 2nd covers a span of 2 notes of the musicalalphabet.

INTERACTION

• Student points out that 2nds are another way ofsaying stepping.

• Student defines interval.

• Student describes both possible ways of writing2nds (line-space or space-line).


• Page 22 of Theory Book lA.

• Flash Card 31.






36

CD 20

GM 19 (60)GENERAL

OVERLAPPINGCONCEPTS

Only one item on thispage is new: the tie.

GOALS

• Introduction of tiednotes.

• Review of 2nds, goingup and down.

• Review of slurs andlegato.

• Review of 34 time.

• Review of dotted half note.

KEY WORDS

Tied notes = notes on same line or same space, joinedby a curved line.

PRESENTATION

Tied notes are held for the combined values of bothnotes. Let tone “hum” for the combined value of bothnotes!

INTERACTION

• Ask, “How do hot air balloons move through theair?” Answer: “Legato, smooth!”

• Student claps last two measures of “Balloons”several times, clapping only once for 3 counts plus 3counts, i.e., only the first of the tied notes isclapped, and the hands are then held together forthe duration of the two tied notes.

OBSERVATION

The legato consonants in “Soaring so softly” and“Gliding so gently,” etc., help to convey the legatoconcept in the words of the piece.

CONCLUDING

• Play the duet part with the student.

• Check for legato touch, observance of tie,rounded hand.




• Flash Card 32.




37

CD 21

GM 20 (61)GENERAL

GOALS

• Further development ofinterval reading.

• Instant recognition of“up a 3rd.”

• Instant recognition of“down a 3rd.”

• Review of slurs andlegato.

KEY WORDS

• 3rd

• Line-line

• Space-space

IMPORTANT

The word “third” in the song occurs when the student plays a 3rd.

REMEMBER

A 3rd covers a span of 3 notes of the musical alphabet.

INTERACTION

Student plays a 3rd up or a 3rd down from any keyselected at random. This is the first time student hasskipped a note since beginning reading notes from the staff.




• Flash Card 33.




The title “Who’s on Third?” becomes “Play a Third” in the Universal Edition.

38

CD 22

GM 21 (62)GENERAL

GOALS

• Review of slurs and legato

• Review of 3rds

• Review of 2nds.

INTERACTION

• Student points to notesin “Mexican HatDance,” namingintervals: “G, down athird, up a third,” etc.

• Student names notes in“Mexican Hat Dance”:“G, E, G, E,” etc.

CONCLUDING

Play duet with student. Review “Balloons” and otherduets, if desired.






39

CD 23

GM 22 (63)GENERAL

OVERLAPPINGCONCEPTS

Student moves fromfamiliarity with 2nds and3rds played as individualnotes (melodically) to2nds and 3rds with bothnotes played together(harmonically) andbecomes acquainted withthese new terms.

GOALS

• Understanding themeaning of the words“melody,” “melodic,”“harmony” & “harmonic.”

• Review of 2nds and 3rds.

• Introduction to playing two notes together with thesame hand.

KEY WORDS

• Melody

• Melodic

• Harmony

• Harmonic

INTERACTION

• Student plays melodic 2nds, saying “melodic 2nd”on any 2 notes ascending or descending; also saying“line-space” or “space-line.”

• Student plays harmonic 2nds at random, saying“harmonic 2nd.”

• Student plays melodic 3rds and harmonic 3rds, asabove; saying “line-line” or “space-space.”

OBSERVATION

Call attention to illustration of “melodic frogs” and“harmonic frogs.”






40

OVERLAPPINGCONCEPTS

No new notes, note valuesor intervals areintroduced on this page.Only the quarter rest isnew!

GOALS

• Understanding theconcept of a rest.

• Quarter rests.

IMPORTANT

When the student clapsrhythms that include rests,an outward gesture of the arms should be made toshow the time value of the silence. Only the NOTESare clapped, of course

EMPHASIZE

A quarter rest indicates an exact amount of silence(exactly the value of a quarter note!).

INTERACTION

Student claps and counts aloud measures 2, 4, 6 & 8,observing rests.

CONCLUDING

Play the duet several times until a reasonably rapidtempo is reached. In this piece it may be advisable toplay the solo part for the student to illustrate theperformance of the rests. If possible, put this duetpart on a cassette, so the student can enjoy playingwith it at home. This is a student favorite, both as asolo or duet. It has the special motivation of being“peer music.”


• Page 26 of Theory Book 1A with page 41,42 or 43.

• Flash Card 42.







41

CD 24

GM 23 (64)GENERAL

An important principleis used in the intro-duction of playingharmonic intervals withHANDS TOGETHER.The hand playing theaccompaniment playsthe 2nd first, then the3rd, in that order! This is the simplest“programming”possible for the intro-duction of the use ofharmonic intervals asaccompaniment. It isused for the intro-duction of all intervals in this book!

OVERLAPPING CONCEPTS

Hand position, rhythms, intervals and dynamic signsare all REVIEW items.

GOALS

• Melodic 2nds and 3rds used for melody.

• Harmonic 2nds and 3rds used for harmony(accompaniment) in L.H.

IMPORTANT CONCEPT

Play harmonic intervals softer than the melody. Themelody must always be clearly heard.

CONTINUING

Student should carefully observe the rest in measure4. This allows time for the L.H. to move to newposition beginning the 2nd line.

EMPHASIZE

L.H. accompaniment consists of a harmonic 2ndfollowed by a harmonic 3rd.

CONTINUING

The words “Rockets go up” in the song coincide withmelodic intervals that go up.

INTERACTION

• Student first plays L.H. quietly, saying “2nd”and “3rd.”

• Student plays melody forte on first line, omittingL.H. 2nd and 3rd.

• Student plays hands together.

SUGGESTION

After this piece is learned, it can be played through assuggested in the footnote on page 42. It may also beplayed twice with each line an octave higher untilnotes are played in 4 different octaves. Say, “Take therocket all the way to Jupiter!” This gives expandedterritory, a feeling of freedom at the keyboard andadded confidence.



• Page 16 of Fun Book lA.



• Pages 18–19 from Ensemble Book lA.

42

CD 25

GM 24 (65)GENERAL

OVERLAPPINGCONCEPTS

Hand position, rhythmsare the same as onprevious page.

GOAL

Harmonic intervals usedfor harmony(accompaniment) playedby R.H.

CONTINUING

Student should carefullyobserve the rest inmeasure 4. This allowstime for the R.H. to prepare for the 2nd line.

INTERACTION

• Student first plays R.H. quietly, saying “2nd” and “3rd” as these intervals occur.

• Student plays melody F on first line,omitting R.H. 2nd & 3rd.

• Student plays hands together.

SUGGESTION

Have student play “Sea Divers” with 2nd line oneoctave lower than written. This gives expandedkeyboard territory, a feeling of freedom at thekeyboard and added confidence. The low notes fit thewords of the song.

CONCLUDING

Congratulate the student for now being able to playmelodies with accompaniment in either L.H. or R.H.

You may assign the following Sheet Music Solos fromAlfred’s Basic Piano Library at any time between nowand the end of the book:

• A Walk in Space

• Andy, the Android

• The Drum and Bugle Band Parade

• Seascape








43

CD 26

GM 25 (66)GENERAL

OVERLAPPINGCONCEPTS

Rhythms are purposelythe simplest (going backto page 10) to allow totalconcentration on newconcept introduced.

GOALS

• Instant recognition of 4ths.

• Review of 2nds and 3rds.

KEY WORDS

4ths = line-space (skippinga line) or space-line (skipping a space).

IMPORTANT

• When you skip 2 white keys, the interval is a 4th.

• Notice that the frogs in the illustration are singingan interval of a 4th, skipping 2 frogs!

CONTINUING

The words “fourth” and “third” occur in the song whenthose intervals are being played. When words help toteach, it is always good to have the student sing themor to sing along with the student.

REMEMBER

A 4th covers a span of 4 notes of the musicalalphabet.

INTERACTION

• Student plays random 4ths on keyboard.

• Student names intervals in “Play a Fourth.”

CONCLUDING

Play the duet with the student.


• Page 27 of Theory Book lA with page 44,45 or 46.




44

CD 27

GM 26 (67)GENERAL

OVERLAPPINGCONCEPTS

All rhythms, notes andintervals are reviewitems.

GOALS

• Further development ofinterval reading,especially 4ths.

• Review of 34 time

signature, dotted halfs,half note followed byquarter, etc.

OBSERVATION

This is an old familiar tune (“My Bonnie”) with newwords that give added experience in playing theintervals studied so far, as well as the rhythms of

34

time.

IMPORTANT

The word “fourth” occurs each time a 4th is played inthe song.

INTERACTION

• Student names all intervals in “July the Fourth!”

• Student names note and key names in “July theFourth!”

CONCLUDING






The title “July the Fourth!” becomes “Let’s Play aFourth!” in the Universal Edition.

45

CD 28

GM 27 (68)GENERAL

This piece isdeliberatelyconstructed for ease inplaying hands together.In keeping with theprinciple outlined onpage 42, the harmonicintervals of theaccompaniment occurin the followingsequential order: 2nd,3rd and 4th, the easiestpossible progression ofthese intervals. It isalso practical to havethe student play themelody much louderthan the accompani-ment, because the accompanying harmonicintervals always occur after a long note of themelody has been played.

GOALS

• Combination of melodic intervals for R.H. melodywith harmonic intervals in L.H. harmony(accompaniment).

• Introduction of the 4th as a harmonic interval.

NEW CONCEPT

f-p = first time forte, second time piano.

IMPORTANT

L.H. plays harmonic intervals in sequential order (upor down) throughout Lesson Book 1A (2nd, 3rd, 4th,3rd, etc.). No harmonic interval is ever skipped. Thismakes it easier for young students to play.

SUGGESTION

Play L.H. harmonic intervals very quietly.

EMPHASIZE

Careful observance of Œ in L.H. of measures 2, 4, 6 and 8.

INTERACTION

Student claps rhythm loudly f for first time through,then softly p for the repeat.

CONCLUDING

Play the duet part with the student. Watch forobservance of dynamics.





46

CD 29

GM 28 (69)GENERAL

OVERLAPPINGCONCEPTS

Rhythm goes back to page10. Nothing is newexcept the whole rest.Nevertheless, this pagerepresents a landmarkfor the student because itis constructed so that theharmonic intervals 2nd,3rd and 4th are simple toplay in reverse order (4th,3rd, 2nd). The studentdeserves praise for thisaccomplishment, howevereasy it seems.

GOALS

• Introducing whole rest.

• Review of slurs and legato.

• Review of harmonic and melodic intervals of 2nd, 3rd and 4th.

EMPHASIZE

R.H fingering in measures 2, 4 & 6 matches L.H.harmonic intervals.

SUGGESTION

Have student clap the rhythm of the Bass Clef part,making outward gestures with the arms for eachcount in the whole rests.

INTERACTION

Student plays measures 2, 4 & 6 saying “2nd, 3rd,4th” or “4th, 3rd, 2nd” several times.

CONCLUDING

Play the duet part with the student.



• Page 18 in Recital Book 1A.

• Flash Card 48.






47

CD 30

GM 29 (70)GENERAL

COMMENT

As the use of “memorydevices” (mnemonics)continues with “This isMy Fifth,” it is importantto observe that studentswill be able to use thesedevices for the rest oftheir lives to identify theintervals. Students cansoftly sing the openingmeasures of “Just aSecond,” “Who’s OnThird,” “Play a Fourth,”and “My Fifth” to remindthemselves of the soundof these intervals!

GOALS

• Instant recognition of 5ths (by sight and sound).

• Review of piano and forte dynamic levels.

KEY WORDS

5th = line-line (skipping a line) or space-space(skipping a space).

EMPHASIZE

When you skip 3 white keys, the interval is a 5th.

SUGGESTION

Explain that “Beethoven’s Fifth” refers to his FifthSymphony and show how it begins so the student canunderstand the humor in this piece. The serious lookon Beethoven’s face may result from his thinking thathe hears “Fate knocking at the door,” which theopening notes (intervals of last 2 measures of “MyFifth”) were said to represent. Perhaps play arecording of the opening measures of the symphonyfor the student.

REMEMBER

A 5th covers a span of 5 notes of the musicalalphabet.

INTERACTION

• Student names all the intervals in “My Fifth.”

• Student says note names in “My Fifth.”



• Page 19 of Recital Book lA.


• Begin Group 6 Exercises of Technic Book lA.

• Page 19 of Fun Book lA.



48

CD 31

GM 30 (71)GENERAL

OVERLAPPINGCONCEPTS

Harmonic intervals of2nd, 3rd and 4th will nowbe followed by harmonic5th, in precisely thatorder!

GOALS

Further development ofmelodic and harmonicintervals, adding theharmonic 5th.

KEY CONCEPTSREVIEWED

• 2nd, 3rd, 4th, 5th.

• Whole rest.

• Quarter rest.

EMPHASIZE

L.H. intervals are played in this order:2nd, 3rd, 4th, 5th.

INTERACTION

• Student names each harmonic interval.

• Student names each melodic interval.

• Student points to and names each rest.


• Pages 20–21 of Recital Book 1A.






• Page 13–14 of Composition Book 1A.

49

CD 32

GM 31 (72)GENERAL

Only now that allintervals within a fivefinger position havebeen covered can welogically move from theC position to a newposition.

OVERLAPPINGCONCEPTS

Since a new position isinvolved, only thesimplest rhythms (going back to page 10)are used on this page.Letter names are used tointroduce the newposition (upper right cornerof page).

GOALS

An easy beginning in new “Position G.”

EMPHASIZE

Words of POSITION G name the keys in the newposition.

REMINDER

In pieces that have words that teach concepts, havethe student sing the words while playing, or singalong with the student.

INTERACTION

• Student locates Position G on the keyboard, placeshands in lap, then locates position again. Repeatseveral times.

• Student points out notes in Position G where words actually coincide with note names.

• Student names all the notes of the song “Position G.”






50

CD 33

GM 32 (73)GENERAL

GOALS

Further development ofharmonic and melodicintervals using the Gposition.

COMMENT TOTEACHERS

The voice leading of theL.H. is correct and is assimple as possible for thistune. Students enjoy thisfamiliar piece in anyseason of the year!

IMPORTANT

Be sure the student feels the “inner pulse” of wholenotes and holds them for their full value!

INTERACTION

Student names all R.H. intervals. Student names allL.H. intervals.

CONCLUDING










51

CD 34

GM 33 (74)GENERAL

GOALS

• Introduction ofincomplete measure.

• Further development ofL.H. (entire page isL.H. melody).

KEY WORDS

• Incomplete measure.

• Basses & DoubleBassoons. Bass Clef sounds. (Also,Uncle Willie sings in Bass Clef.)

QUESTION

“What is the answer to this riddle? Why does UncleWillie like these particular things?”

We will learn on the next page.

IMPORTANT

• Avoid accent on upbeat at the beginning of thepiece.

• Feel emphasis on the first beat of the full measure.

INTERACTION

Student claps rhythm of entire page, with slightstress on the first beat of each measure except the last.


• Page 32 of Theory Book lA with page 52 or 53.



52

CD 35

GM 34 (75)GENERAL

GOALS

• Understanding that thelast measure plus theupbeat at the beginningof the piece equals onefull measure. (This ismade understandablewhen the repeat ismade.)

• R.H. melodic line withL.H. accompaniment inharmonic intervals.

POINT OUT

Melody of this page is intreble clef to match thevoice of Aunt Tillie. AuntTillie likes certain things. “Why?” Playing this gamemakes the piece fun for children of all ages.

INTERACTION

• Student totals counts in each measure.

• Student claps and counts the last measure plus theupbeat of the beginning of the measure on page 52as one complete measure many times, to ensureunderstanding of the concept of the incompletemeasure.

CONCLUDING

Find answer to “riddle.” See lower left of page 53.Student may enjoy playing this game at home or withfriends. Name other things Aunt Tillie or Uncle Willielike (Mississippi or Tennessee). They like apples, notpears, etc. A little of this kind of fun at the lesson is agood thing, to be sure.





53

OVERLAPPINGCONCEPTS

Although this pageintroduces a new conceptand uses old concepts in anew way, it is so simplethat most students playthe piece at sight and gohome with the ability toplay something that willdelight their parents andfriends.

GOALS

• To present a piecesummarizing R.H.melodic and L.H.harmonic intervals, easy enough for the student tosight read or learn quickly.

• Understanding that the incomplete measure at thebeginning may also have MORE counts than thefinal measure. The last measure plus the firstmeasure must still equal one full measure.

• To introduce the half rest.

REVIEW OF

• Slurs and legato

• Tied notes

• Quarter rests and half rests

• Incomplete measure

• ALL melodic and harmonic intervals

IMPORTANT

Slight stress on R.H. whole notes.

L.H. harmonic intervals always move from oneinterval to the next, up or down.

KEY WORDS

• “5th, 4th, 3rd, 4th, 5th”

• “4th, 3rd, 2nd, 3rd, 4th”

• Quarter rest, half rest

INTERACTION

• Student names melodic intervals in R.H.

• Student names L.H. harmonic intervals whileplaying the piece.



• Pages 24–25 of Recital Book 1 A.




• Flash Card 61.


54

CD 36

GM 35 (76)GENERAL

OVERLAPPINGCONCEPTS

Use of L.H. melody insame position as used forL.H. melody on page 52,with simple rhythmsoriginating on page 10(and constantly reviewed)make it simple to dealwith the new concept of asharp. Hands playseparately through thispiece, making it as simpleas possible. It isnevertheless a great hitwith every student.

GOALS

• Understanding the meaning of the sharp sign.

• Instant recognition and playing of C# in eitherhand.

• New dynamic concept, “gradually dying away.”

• Fluency in reading in the G Position.

IMPORTANT

The directions “gradually dying away” prepare fordiminuendo, which will be introduced shortly.

INTERACTION

Student quickly plays any black key sharp theteacher asks for. (White key sharps may also bediscussed, if desired.)

SUGGESTION

This piece is more fun if all three verses are read, oreven sung, while the piece is being played.



• Page 24–25 of Recital Book 1A.







55

CD 37

GM 36 (77)GENERAL

OVERLAPPINGCONCEPTS

G Position still used. Noproblems in fitting handstogether occur, because allL.H. notes are wholenotes.

GOAL

• Understanding themeaning of the flat sign.

• Instant recognition andplaying of Bb.

• Review of tied notes.

• Review of legato touch.

• Review of harmonic 5ths in L.H.; all melodicintervals in R.H.

INTERACTION

• Student quickly plays any black key flat the teacherasks for. (White key flats may also be discussed, atthe teacher’s discretion.)

• Ask the student the difference between the sharpand the flat. Have student play G#, then Ab. Pointout that the same note may be written 2 differentways.












You may assign the following sheet music solos fromAlfred’s Basic Piano Library at any time between nowand the end of the book:

• Indian Celebration

• A Happy Secret

• Mumbo-Jumbo

• Itsy Bitsy Bird

56

CD 38

GM 37 (78)GENERAL

OVERLAPPINGCONCEPTS

No new concepts arerequired to play the notesand rhythms of the piece.

GOALS

• Understanding andobserving D.C. al Fine(Da Capo al Fine).

• Review of b ’s

• Dynamic contrasts:4 measures of f,4 measures of p, etc.

• Continued experiencewith interval reading.

KEY WORDS

• Da Capo

• Al fine

• Forte

• Piano

• Tom-toms

• Legato

INTERACTION

• Student claps rhythm of R.H., clapping loudly inforte measures and softly in piano measures.

• Student points to each note that is a flat.

NOTE

“Indians” in Lesson Book 1B (page 24) makes aperfect duet with this piece. It may be played aswritten by a 2nd piano, or the R.H. of “Indians” maybe played by a student at the same piano. In thelatter case, the L.H. of “Indians” is omitted.



• Flash Card 66.






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CD 39

GM 38 (79)GENERAL

OVERLAPPINGCONCEPTS

This piece is a review ofthe C Position. Notessimply ascend anddescend by 2nds to makethem as simple aspossible while a newconcept is being learned.

GOALS

• Understanding andobservance of staccatoarticulation.

• Review of pianodynamic level.

• Fluency at alternating L.H. and R.H.

KEY WORDS

• Staccato

• Separated

• Detached

EMPHASIZE

R.H. notes are “copy cats” of L.H. notes.

IMPORTANT

Dots over or under a note indicate staccato.

CONTINUING

Release the key the instant it is played for a clean,crisp staccato.

INTERACTION

Student plays L.H. 1, 2, 3, 4, 5, then R.H. 1, 2, 3, 4, 5in G Position—first legato, then staccato.




• Flash Card 67.






• Page 19–20 of Composition Book 1A.

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CD 40

GM 39 (80)GENERAL

OVERLAPPINGCONCEPTS

This is a review piece inG Position. The only newconcepts are the signs forcrescendo anddiminuendo. Oldestrhythms learnedpredominate.Diminuendo wasprepared with “graduallydying away” in “MyRobot” (page 55).

GOALS

• Understanding andobserving crescendo anddiminuendo signs.

• Review of harmonic and melodic 2nds and 3rds in GPosition.

• Review of b sign, first use of b in L.H.

• Review of staccato.

• Review of quarter, half and whole rests.

EMPHASIZE

As the sign <grows bigger, the tone should growbigger.

As the sign >grows smaller, the tone should getsmaller.

REMEMBER

< implies beginning with less tone, to makegrowing larger possible.

> implies beginning with more tone, to makegrowing smaller possible.

INTERACTION

• Student claps 8 quarter notes, making a crescendo.

• Student claps 8 quarter notes, making adiminuendo.

• Student claps L.H. of “It’s Halloween!,” observing alldynamics while clapping.

SUGGESTIONS

Have student play “It’s Halloween!” with both handsan octave lower for added keyboard experience andfor a special “spooky” sound.








• Flash Card 68.


• Pages 28–29 of Recital Book 1A.

The title “It’s Halloween!” becomes “Hide and Seek” inthe Universal Edition.

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CD 41

GM 40 (81)GENERAL

OVERLAPPINGCONCEPTS

This piece is a review ofthe C Position andcontains no new concepts.It is an effectivesummary of many of themost important conceptsof Lesson Book 1A.

GOALS

• Review of all harmonicintervals in L.H.

• Review of legato touchin R.H.

• Review of crescendoand diminuendo.

• Review of incomplete measure.


• Page 40 of Theory Book 1A with pages 60–61.

• Page 36 of Ear Training Book 1A with pages 60–61.

• Page 31 of Notespeller Book 1A with pages 60–61.

• Pages 22–24 of Hymn Book 1A with Pages 60–61.

• Page 32 of Sight Reading Book 1A with pages60–61.

• Pages 22–23 of Composition Book 1A with pages 60–61.

• The remainder of Theory Through the Year (pages 20–24) at your discretion.

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CD 42

GM 41 (82)GENERAL

NOTE

The use of L.H. harmonicintervals in the 2nd lineof this page is in thisorder: 2nd, 3rd, 4th, 5th.

INTERACTION

• Have student play L.H.2nd, 3rd, 4th, 5th, whilemaking a crescendo.

• Have student play L.H.5th, 4th, 3rd, 2nd, whilemaking a diminuendo.

• Have student clap R.H.of this piece, observingall dynamics.

Ask student, “Which measures are incomplete?” Havestudent clap the last measure, followed by a repeatback to the beginning upbeat, several times, to showthat the two combine to make one complete measure.


• Optional: Pages 30–31 of Recital Book 1A or withthe beginning (review section) of Lesson Book 1B.

• Optional: Page 32 of Recital Book 1A or with thebeginning of Lesson Book 1B.


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REVIEW PAGESSUGGESTION

The test may be filled inat home if desired, or anentire lesson may betaken to administer the test.

SUGGESTEDASSIGNMENTS

• Begin Group 10Exercises of TechnicBook 1A.

• Page 37 of Ear TrainingBook 1A with pages 62–63.

• Page 32 of NotespellerBook 1A with pages 62–63.

If the student needs further reinforcement beforecontinuing with Level 1B, assign pieces from theGraduation Book 1A. The Graduation Book containssolos that include all the fundamentals introduced inLevel 1A and serves as a refreshing interlude beforecontinuing to Lesson Book 1B. All the music wascomposed by Dennis Alexander and Martha Mier.

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Teacher's G

uid

e for Lesso

n B

oo

k 1A • Palm

er/Man

us/Leth

co

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Alfred’s Basic Piano Library offers nine perfectly graded beginning series which are designed to prepare students of all ages for a successful musical learning experience. With the exception of Alfred’s Basic Adult Piano Course, which is complete in itself, all of the beginning series are interchangeable at several levels (see arrows below), and lead into the main Alfred’s Basic course, which is complete through Level 6 (seven levels all together). This course, then, is the most flexible of any method in allowing the teacher to personally design a specific curriculum according to the age and needs of each individual student. On completion, the student is ready to begin playing the great piano masterworks.

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Documents

ABPL, Level 1A Teacher's Guide