purpose - alfred music€¦ · · 2017-08-26purpose to suggest an order of lesson activities that...

PURPOSE To suggest an order of lesson activitiesthat will result in a systematic and logicalpresentation of the material in Lesson Book, Level 1Bof ALFRED’S BASIC PIANO LIBRARY. It gives theteacher considerable flexibility and is in no wayintended to restrict the lesson procedures.

PRESENTATION This Guide is basically presentedin 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. The teacher’s discretion will apply ineach individual situation. Each page in this Guide isnumbered identically with Lesson Book 1B for easyreference.

PROBLEM-FREE PROGRESS To avoid GAPS thatwould impede progress, the authors have usedOVERLAPPING CONCEPTS throughout the course.(After a concept has been introduced, it continues tobe reinforced simultaneously with the introduction ofnew concepts — overlapping concepts.)

INTERVAL READING Continued reading byintervals is stressed in Lesson Book 1B. The piecesare very appealing and provide much motivation forstudents to move forward in the book.

INTERACTION On almost every page, there arecomments leading to “Interaction” between theteacher and student. Such interaction is valuable tothe teacher in ascertaining whether specific conceptsactually have been learned. Interaction is valuable tothe student because such focused discussion anddemonstration leads to quicker and more lastingmusical development. If the student is insecure withconcepts, the teacher may wish to review them. Theteacher is especially urged to assign Alfred’s BasicFlash Cards, along with the pages of Theory Book 1Band Recital Book 1B as they are recommended in thisGuide. These materials strongly reinforce everymusical principle introduced in the Lesson Book andprovide attractive additional opportunities forlearning theory and building repertoire.

IMPORTANCE OF SUPPLEMENTARYMATERIALS Other important materials that arecarefully coordinated with Lesson Book 1B includethe following: Composition Book 1B, Duet Book 1B,

Ear Training Book 1B, Ensemble Book 1B, Fun Book1B, Graduation Book 1B, Hymn Book 1B, Jazz/RockCourse 1, Merry Christmas! Book 1B, NotespellerBook 1B, Sight Reading Book 1B, Theory Through theYear 1B, Top Hits! Christmas Book 1B, Top Hits! DuetBook 1B, Top Hits! Solo Book 1B and Theory SoftwareGames for Windows and Macintosh computers. Anumber of solos are also published that fit perfectlywith Level 1B.

ASSIGNMENTS The suggested assignments remindthe teacher of all of the coordinated materials that fitperfectly with each page of Lesson Book 1B. Theteacher can select as much or as little of thesuggested material as seems appropriate for eachindividual student. This precisely graded material isdesigned to enrich the student’s musical experiencewhen introduced as suggested.

MUSICAL GROWTH By the end of Lesson Book 1Bof ALFRED’S BASIC PIANO LIBRARY, the studentwill have a broad base of musical skills and conceptsthat will be developed further in subsequent books.The student learns something new on practicallyevery page, and the new concepts are constantlyreinforced and reviewed. The use of thesupplementary materials mentioned above willprovide additional reinforcement, and students willenjoy playing a variety of pieces well suited to theirneeds and abilities. It is good to remind students thatthey are constantly making progress as they movethrough the books. Sincere praise from the teacher isone of the most motivating factors in teaching piano.Praise rather than admonish.

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 willprovide a source that is useful in planning eachlesson, and that the results will be beneficial forteachers and students alike.

WILLARD A. PALMER, MORTON MANUS,AMANDA VICK LETHCO

Alfred’s Basic Piano Library

TEACHER’S GUIDEto Lesson Book 1B

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

ISBN 0-7390-0864-1

REVIEW

OVERLAPPING CONCEPTSFROM LESSON BOOK 1AThe entire page.

GOAL

Review of concepts learned by students whohave successfully completed Level 1A ofAlfred’s Basic Piano Library.

IMPORTANT

Lesson Book 1B may also be used as the firstbook for students who have had some priormusical experience, but have not had pianolessons. This is also an excellent book tostart transfer students. The first 15 pagesare a complete review of everythingintroduced in Lesson Book 1A. Teach thesepages quickly if the student understands allconcepts. However, it may be necessary toemphasize specific concepts the studentneeds to review.

CONCEPTS REVIEWED

• Grand Staff

• Brace

• Bass Clef

• Treble Clef

• Measure

• Bar Lines

• Double Bar

• Relationship of notes on the staff to the keys on the keyboard

• Dynamic signs

• F (mezzo forte)

•44 Time Signature

• Note Values: q (count 1), h (count 2), w (count 4)

• Rest Values: Œ ∑- -Ó

EMPHASIZE

Each of the concepts reviewed is essential to readingand playing.

INTERACTION

Students use page 3 to point out each elementreviewed on page 2, with the exception of quarter andhalf rests. They may point out the quarter rest andthe half rest on page 2, explaining each rest.

SUGGESTED ASSIGNMENTS

• Page 3 of Notespeller Book 1B.

• Pages 2–3 of Theory Book 1B.

2

REVIEW

C Position

OVERLAPPING CONCEPTS

Student has used page 3 to point outelements reviewed on page 2. Thisinteraction assures success when the studentplays page 3.

GOAL

To play comfortably and correctly in C position, including the following:

• Playing and saying letter names of notesin C position.

• Clapping (or tapping) q, h and w rhythmsin “Step Right Up!”

• Playing and counting out loud.

• Playing and singing the words.

• Observing tempo mark: Moderately slow.

• Observing � (repeat sign).

EMPHASIZE

Steady rhythm

SUGGESTION

REMIND STUDENT: to play with rounded hand, tocount aloud, to keep eyes on the music and to listen!

INTERACTION

• Student points to and explains � and �• Then student points to notes in “Step Right Up!”

and names each note.

• Student points to and explains �• Student plays notes that match “step right” and

explains that “step right” goes up the keyboard.Student plays notes that match “step left” andexplains that “step left” goes down the keyboard.


• Page 3 of Ear Training Book 1B.


• Page 4 of Theory Book 1B.

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

*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 file number.

3

CD 2

GM 1 (43)*GENERAL

REVIEW

C position review of Melodic Intervals: 2nds,3rds, 4ths and 5ths


• 44 time signature

• F

• -Ó

• �GOAL

Preparation to assure success in playing themelodic intervals found in “The Carousel.”

EMPHASIZE

• Melodic 2nds move from a line to the nextspace or from a space to the next line.

• Melodic 3rds move from a line to the nextline or from a space to the next space.

• Melodic 4ths move from a line to a space,skipping a line. They may also move froma space to a line, skipping a space.

• Melodic 5ths move from a line to a line, skipping aline. They may also move from a space to a space,skipping a space.

INTERACTION

Student names all melodic intervals in “TheCarousel.” Student says note names of each note in“The Carousel.”




• Page 2 of Sight Reading Book 1B.



4

CD 3

GM 2 (44)GENERAL

REVIEW

• Legato = play smoothly connected

• Slur = the indication to play legato

• Slurs often divide music into phrases

• Phrases = musical thoughts

• Dynamics: p (piano) = softf (forte) = loud



• C Position

• F

• Œ ∑- -Ó

• �GOALS

• To play legato.

• To observe p and f dynamic indications.

• To observe whole rests, half rests andquarter rests EXACTLY.

• To observe � in “Hail to Thee, America!” and in“Brother John.”

INTERACTION

• Student points to and explains how to observe slurson page 5.

• Student points to and explains meaning of alldynamic markings on page 5.

• Student points to and defines all rests on page 5.

• Student points to and defines �• Student names intervals on page 5.

• Student says letter names of notes on page 5.


• Page 2 of Composition Book 1B.


• Begin Group 1 Exercises of Technic Book 1B.

• Pages 6–7 of Theory Book 1B.

5

CD 4 & 5

GM 3 (45) & 4 (46)GENERAL

REVIEW

Notes played together make HARMONY.Intervals between these notes are calledHarmonic Intervals:

Harmonic 2nds

Harmonic 3rds

Harmonic 4ths

Harmonic 5ths



• C Position

• F

• -Ó

• �GOAL

To learn fluent response in playing harmonic intervals.

IMPORTANT

The words to “Good Sounds” reinforce and define the HARMONIC INTERVAL being played.

CONTINUING

This piece may also be used to encourage ear training.The student recognizes 2nds, 3rds, 4ths and 5thswhen heard because of singing the words to “GoodSounds.”

INTERACTION

• Student plays random 2nds, 3rds, 4ths and 5ths onthe keyboard.

• Student names intervals in measures 3, 4, 7 and 8of “Good Sounds.”





• Pages 2–3 of Recital Book 1B.


• of Theory Book 1B.


6

CD 6

GM 5 (47)GENERAL

REVIEW


• h .



• C Position

• F

• Harmonic Intervals: 2nds, 3rds,4ths and 5ths

• Slurs

• �GOALS

• Fluent response to harmonic intervals inthe left hand while playing melodicintervals in the right hand.

• Understanding 34 time signature.

• Rhythmic security on h q \ q q q \ h . \

patterns

INTERACTION

• Student defines 34 time signature.

• Student points to each h . in “The Cuckoo” andcounts aloud “1-2-3.”

• Student plays the left hand of “The Cuckoo” aloneand names each HARMONlC INTERVAL.

• Student plays right hand alone and names eachMELODIC INTERVAL.

• Student traces slurs with a finger and definesmeaning of slur.




• Pages 2–3 of Hymn Book 1B.



A second piano part for this piece is contained in thebook Second Piano Parts for Selected Pieces fromLesson Books 1B and 2 (#18120) on page 2.

7

CD 7

GM 6 (48)GENERAL

CD 8

GM 7 (49)GENERAL

REVIEW

The Sharp Sign



• Dynamic contrast by exact observance of f and p indications

• Left hand harmonic intervals

• Right hand melodic intervals

• Exact observance of -Ó

GOALS

• Recognition of sharps.

• Playing the 4 sharped notes in “Money Can’t Buy Everything.”

• Fun!

REMEMBER

When a sharp sign appears before a note, itapplies to that note for the rest of themeasure.

INTERACTION

• Student draws several sharps at top of page 8.(Remind student that sharps look a lot like a tic-tac-toe diagram.)

• Student defines sharps: “Next key to the right,whether black or white.” (Teacher emphasizes thatthe definition makes a rhyme.)

• Student plays and names random sharps on the keyboard.

• Student plays “Money Can’t Buy Everything”while singing the words with the teacher.


• Pages 2–3 and 4–5 of Duet Book 1B.


• Pages 2–5 of Ensemble Book 1B.

• Flash Cards 69 and 70.

• Page 2 of Fun Book 1B.







8

REVIEW

Staccato


•44 time signature

• F and f

• Œ and ∑-

• Harmonic 2nd

GOAL

Review of staccato articulation.

INTERACTION

• Student draws several q ’s at top of page 9,and places a dot over or under each toindicate staccato.

• Student defines staccato: “separated ordetached notes.”

• Student plays several random staccatonotes on the keyboard.

• Student names harmonic intervals in RHof “Ping-Pong.”

• Student names letter names of each note in “Ping-Pong.”


• Page 4 of Duet Book 1B.




• Page 10 of Theory Book lB.


9

CD 9

GM 8 (50)GENERAL

REVIEW

Incomplete Measure

Upbeat = incomplete measure.

Downbeat = first beat of the measure whichfollows the upbeat. A downbeat is the firstbeat of any measure.



• p and F

• Staccato

• Œ ∑- -Ó

• LH harmonic intervals

• RH melodic intervals

• �GOALS

• Exact observance of the overlappingconcepts.

• Understanding of incomplete measure atthe beginning of the piece.

PRACTICE SUGGESTION

Student plays the incomplete measure very quietlybecause it is an upbeat, which leads towards astronger downbeat.

INTERACTION

Student counts last measure out loud plus theincomplete measure at the beginning of the piece,thus understanding that the sum of the last measureplus the first measure equals four beats. Four beats is equal to one full measure of

44 when the piece is repeated.





• Pages 8–9 of Recital Book 1B with page 10 or 11.



10

CD 10

GM 9 (51)GENERAL

REVIEW

Tied Notes

When notes of the same line or space arejoined by a curved line, we call them tiednotes. The key is held down for thecombined value of the notes



• f

• Incomplete measure

• Staccato

• Œ and ∑-

NEW CONCEPT

March Time

GOAL

Ease in playing RH legato melody with LHstaccato harmonic 2nds and 3rds in measuresix through the last measure.

EMPHASIZE

The left hand plays the same notes as the right handin measures 2, 3, 4 and 5, but one octave lower andone measure later.

INTERACTION

• Student counts out loud on the last measure andthe first measure, thus discovering that the sum ofboth measures equals one whole measure of

44 .• Student plays staccato 3rds and 2nds with

LH alone.

• Student plays RH melody legato in line 2.

• Student then combines LH with RH in line 2.








11

CD 11

GM 10 (52)GENERAL

CD 12

GM 11 (53)GENERAL

REVIEW

• G position

• G position letter notes in the bass clef

• G position letter notes in the treble clef



• F and f

• -Ó

• �GOAL

Fluent recognition of note names inG position.

EMPHASIZE

The words to “G’s in the Bag” actually tellthe student the letter names of the notes inthe song.

INTERACTION

• Student says the note names in “G’s in the Bag”before playing the piece.

• Student plays and sings “G’s in the Bag.”




• Page 11 of Theory Book 1B with pages 12–l4.


12

REVIEW

Dynamic Signs

•<crescendo (gradually louder)

•>diminuendo (gradually softer)

• LH harmonic intervals in G position

• RH melodic intervals in G position



• G Position

• p, F and f

• Slurs

GOAL

Student understands and performs <and >.

IMPORTANT

When the sign gradually becomes bigger(<), the tone gradually becomes bigger.

When the sign gradually becomes smaller(>), the tone gradually becomes smaller.

EMPHASIZE

LH harmonic intervals move from a 5th to a 4th to a3rd to a 4th to a 5th.

INTERACTION

• Student names notes in LH of “Join the Fun.”

• Student names notes in RH of “Join the Fun.”

• Student claps rhythm of “Join the Fun,” clappinglouder or softer as indicated by <or >.

SUGGESTION

Student should begin <with less tone so acrescendo is possible. Likewise, student should begin>with more tone so a diminuendo is possible.This concept is of prime importance in every piece thestudent ever plays!






• Page 10 of Recital Book 1B.




13

CD 13

GM 12 (54)GENERAL

REVIEW

The Accent Sign



• G Position

• Fand f

• Staccato in both hands at the same time

• Œ ∑- -Ó

• �NEW CONCEPTS

• LH legato melody with RH staccato inmeasures 9, 10, 12, 13 and 14.

• After playing the entire piece twice,the LH plays one octave lower thanwritten when the last two lines arerepeated again.

GOALS

• Understanding that accented notes mustindeed be louder than unaccented notes.

• Playing “Oom-Pa-Pa,” observing accented notes andunaccented notes.

INTERACTION

• Student draws four q ’s at top of page 14 and puts

an accent over or under each q .

• Student claps rhythm to “Oom-Pa-Pa,” and clapslouder on accented notes than on unaccented notes.

• Student plays “Oom-Pa-Pa,” being careful to playexactly in rhythm when the LH moves one octavelower than written on the last two lines.




• Flash Card 71.




14

CD 14

GM 13 (55)GENERAL

REVIEW

• The Flat Sign

• D.C. al Fine (Da Capo al Fine) = repeatfrom the beginning and play to the end(Fine).



• G Position

• p, F and f

• LH melody alone

• RH melody alone

• RH melody played with harmonic intervals in LH

• Slurs and tied notes

•<>• Accents

GOALS

• Recognition of b ’s.

• Playing 10 flatted notes in “The Clown.”

• Ease and fluency in playing the note before theaccent and the note after the accent not as loud asthe accent.

REMEMBER

When a flat sign appears before a note, it applies tothat note for the rest of the measure.

INTERACTION

• Student draws several b ’s at the top of page 15.(Remind student that a b looks like a line with halfof a heart on the right side of the line.)

• Student defines b ’s: “Next key to the left, whetherblack or white.”

• Student plays and names random b ’s on the keyboard.

• Student points to the 10 flatted notes.

• Student plays “The Clown” while singing the wordswith the teacher.

• Teacher reminds student to make accented noteslouder than notes before and after the accent.

• Student defines D.C. al Fine and moves a fingeralong each line in “The Clown” to show how theD.C. al Fine is observed.










• Pages 8–9 of Theory Through the Year Book 1B.

15

CD 15

GM 14 (56)GENERAL

NEW CONCEPT

• Middle C Position

• New notes for the LH are A and B belowMiddle C. LH thumb plays Middle C.



• RH stays in C position

• F

• -Ó

• �GOAL

Fluency in playing in a new LH position (RH stays in C position).

EMPHASIZE

The words to “Thumbs on C” tell the studentthe names of the notes being played.

INTERACTION

• Student places both thumbs on Middle C.

• Student plays and says letter notes in the newposition.

• Student plays “Thumbs on C” while singing the words.

• Without playing, student names the notes in “Thumbs on C.”



• Flash Cards 72–74.





16

CD 16

GM 15 (57)GENERAL

NEW CONCEPTS

• Tempo is an Italian word meaning “RATE of speed.”

• Tempo Marks are words which indicaterate of speed in playing music.

• LH melody with RH accompaniment.

NEW WORDS

Allegro—quickly, happily

Moderato—moderately

Andante—moving along, walking

Adagio—slowly



• Middle C position

• p and F

• LH melody line played with RH staccato2nds and 3rds

• Slurs and ties

• Œ and -Ó

•<>

GOALS

• Understanding of the Italian words that are usedfor tempo marks.

• Continued ease and fluency in Middle C position.

• Observance of <and >.

• Very quiet RH staccato 2nds and 3rds.

• More tone for LH melody.

INTERACTION

• Student defines tempo.

• Student defines allegro, moderato, andante and adagio.

• Student claps each line of 34 , observing a different

tempo mark in each line.

• Student claps LH of “Waltz Time,” clapping the<and the >in exact rhythm.

• Student claps RH of “Waltz Time” very quietly.

SUGGESTION

Student repeats “Waltz Time” with both hands oneoctave higher. Also repeat the piece with both handsone octave lower.


• Pages 6–7 of Duet Book 1B.








• Page 14 of Theory Book 1B with pages 17–18.



17

CD 17

GM 16 (58)GENERAL

CD 18

GM 17 (59)GENERAL


• Allegro moderato (moderately fast)



• f, p and F

• Slurs

• b ’s

•<>• -Ó

GOALS

• Fluency with b ’s.

• Fluency with melodic line divided betweenthe hands in measures 13–16.

PRACTICE SUGGESTIONS

Echo the 2nd line. Begin the last line quietlyenough to be able to crescendo.

SUGGESTION

Student may play the last note in every lineslightly quieter than the previous notes.

INTERACTION

• Student points to notes that will be flatted.

• Student plays only the flatted notes.

• Student claps rhythm to “Good King Wenceslas,”observing the dynamics.






18

NEW CONCEPT

U (fermata)


• Andante (moving along)

• Adagio (slowly)



• p and f

•<>• Slurs

• Œ

• b

GOALS

• Understanding and observing andante andadagio in the same piece.

• Understanding the U (hold the note underthe fermata longer than its value).

INTERACTION

• Student points to and defines U (the fermata).

• Student reviews the meaning of andante and adagio.

• Student claps rhythm of “The Rainbow,” being verycareful to observe the fermata.






• Flash Card 80.

• Pages 8–9 of Fun Book 1B.






• Pages 2–3 of Top Jits! Solo Book 1B.


19

CD 19

GM 18 (60)GENERAL


• Allegro (quickly, happily)


• F

• U

• Slurs


GOAL

Ease in playing “Good Morning to You” withcareful observance of rests in measure 2 and4 as well as the two fermatas in the lastmeasure.

EMPHASIZE

Exact rhythm is essential because this piecewill serve as the lead-in for eighth notes tobe presented on the next page.

INTERACTION

• Student reviews the concept of theincomplete measure.

• Student claps the rhythm, being careful to observethe U ’s.

• Students enjoy inserting their own name or afriend’s name in the song. This personal touch addsmuch to the success of “Good Morning to You” and“Happy Birthday to You.”




20

CD 20

GM 19 (61)GENERAL

NEW CONCEPT

Eighth Notes


• Allegro


• F

• Slurs

• U

• Œ


GOAL

Understanding and playing eighth notes.

EMPHASIZE

“Happy Birthday to You” is exactly the sameas “Good Morning to You” except for theeighth notes.

IMPORTANT! Two eighth notes are playedin the same time as one quarter note.

INTERACTION

• Student claps (or taps) 34 q q q \ q

∑∑

q q

∑∑

q q

∑∑

q \

several times while counting aloud.Count “one-and” or “quar-ter” for each qCount “one-and” or “two-8ths” for each pair ofeighth notes.

• Student draws six q ’s at top of page, then makes

the six q ’s into three pairs of eighth notes.

• Student claps (or taps) entire song.

• Student plays “Happy Birthday to You,” being sureto observe the U ’s.

• Student inserts name on last line of song.






• Flash Card 81.








• Pages 4–5 of Top Hits! Solo Book 1B.

21

CD 21

GM 20 (62)GENERAL

CD 22

GM 21 (63)GENERAL

NEW CONCEPT24 time signature


• Allegro moderato

• F

• Eighth Notes

• -Ó and Œ

•<>

GOALS

• Understanding that in 24 there are two

beats to each measure. A quarter note stillgets one beat.

• Further experience with eighth notes.

INTERACTION

• Student claps and counts several times:24 q

∑∑

q q

∑∑

q \ q q \ q

∑∑

q q

∑∑

q \ h �• Student points to each of the above notes

and tells what kind of note it is.

• Student claps “Yankee Doodle,” before playing it.

• Student plays duet with teacher.



• Page 12–13 of Duet Book 1B.


• Flash Card 82.





22

NEW CONCEPTS

• Ritardando (gradually slowing the tempo)

• Ritard. or Rit. = abbreviations forRitardando

• A tempo = resume the original tempo


• Andante


• p and F

• q

∑∑

q

• U

• #

GOAL

Understanding and playing subtle changes oftempo within a piece: ritardando and a tempo.

INTERACTION

• Without looking at the music, student claps several measures of

34 , ending with a measure of ritardando.

• Without looking at the music, student claps severalmeasures of

34 , then a measure of ritardandofollowed by several measures of a tempo.

• Student points to measures that ritard in “The Windmill.”

• Student points to measure in which the original tempo is resumed.

• Student claps windmill rhythm, carefully observing the ritardando and the a tempo.






• Page 2 of Jazz/Rock Course 1.






23

CD 23

GM 22 (64)GENERAL

NEW CONCEPT� � Double dots inside double barsindicate that everything between the doublebars must be repeated.


• Moderato


• F, f and p

•>• Tied notes

• >

• Staccato

• Ritardando

• U

• �• b ’s

GOAL

Understanding and playing the piece,

observing the � � signs.

INTERACTION

• Student defines � �• Student says words to “Indians.”

IMPORTANT! It is almost impossible to say thewords to “Indians” in the wrong rhythm.

• Student points to each line, telling how it will beplayed and/or repeated.




• Flash Card 85.



• Page 2 of Jazz/Rock Performance 1.




24

CD 24

GM 23 (65)GENERAL

NEW CONCEPTS

• LH plays in G position ONE octave higherthan before.

• LH plays D above Middle C.


• Moderato


• F

• ∑- and Œ

•<>• Right hand remains in same G Position.

GOALS

• Expanded keyboard experience.

• Learning one new note for LH (D above Middle C).

INTERACTION

• Student places hands in previous Gposition, then moves LH to new G positionone octave higher.

• Student plays and names LH letter notes in new G position.

• Student points to new D in the piece.

IMPORTANT

The lyrics reinforce the notes in the song.




• Flash Card 86.

• Page 12 of Fun book 1B.







25

CD 25

GM 24 (66)GENERAL

NEW CONCEPTS

• The damper pedal.

• The function of the damper pedal.

• The sign that shows when thedamper pedal is to be used.


• Adagio


• New G Position

• F

• Œ and -Ó

• �GOAL

Understanding the use of the damper pedal.

EMPHASIZE

Right foot is used on the damper pedal.ALWAYS KEEP YOUR HEEL ON THEFLOOR. USE THE ANKLE LIKE A HINGE.

INTERACTION

• Student pedals the damper pedal several times,without playing. BALL OF FOOT STAYS INCONTACT WITH PEDAL. RELEASE PEDALSLOWLY TO AVOID “SWISHING” NOISE.

• Student draws a pedal sign:

• Student plays “Pedal Play” while LISTENING tothe lovely sound.




• Flash Card 87.


hold pedal pedalup

pedaldown

26

CD 26

GM 25 (67)GENERAL

NEW CONCEPT

F–p (1st time F, 2nd time p)



• New G Position

• Damper pedal

• Slurs

• �GOAL

Expanded use of the damper pedal.

EMPHASIZE

Various ways to play “Harp Song”:

1. 3rd and 4th measures of each line 8va.

2. 1st and 2nd measures of each line oneoctave lower than written.

3. Any combination of the above.

INTERACTION

• Student reviews pressing the damper pedal downwithout playing.

• Student points to places on “Harp Song” where the pedal goes down, where it holds and where it comes up.

• Without playing, student places hands over G positions as required in optional ways to play “Harp Song.”

• Student plays “Harp Song” in optional ways.






27

CD 27

GM 26 (68)GENERAL

NEW CONCEPT

8va—The sign which indicates that we moveone octave higher.




• New G position

• p and f

• b ’s


•<>• Further use of damper pedal

• D.C. al Fine

• Expanded experience in playing bothhands an octave higher.

GOALS

• Expanded keyboard range.

• Expanded use of the damper pedal.

• Understanding and observing 8va.

IMPORTANT

8va is another way of writing 8 notes (one octave) higher.

EMPHASIZE

8va is in effect as far as the dotted line goes.8va applies only to the staff below it unless both hands is added.

INTERACTION

• Without playing, student places hands in the G positions indicated in the piece.

• Without playing, student counts “Concert Time”aloud and pedals as indicated.

• Student plays “Concert Time” without pedal.

• Student plays “Concert Time” with pedal.





• Flash Card 88.







28

CD 28

GM 27 (69)GENERAL


• Allegro


• F

• Eighth notes

• legato

• �• 8va, both hands 8va

• Ritardando

• Tied notes

GOALS

• Steady eighth note rhythm.

• Smooth LH accompaniment.

• Long ritardando the last time the piece isplayed, in imitation of Music Box “runningdown.”

PRACTICE SUGGESTION

Student plays LH several times, noticingrecurring patterns. Student plays RH alone,observing the long ritardando.

INTERACTION

• Student points out measures where LH 5 playswith RH 5.

• Student plays “Music Box Rock” hands alone, thenhands together.




29

CD 29

GM 28 (70)GENERAL

NEW CONCEPTS

• Lazily

• Western effect: playing pairs of eighthnotes a bit unevenly



• New G position

• p and F

• Œ ∑- and -Ó

• Ritardando


• � �GOALS

• To play a longer piece.

• F right hand melody.

• p left-hand accompaniment.

• Always: exact observance of rests.

• (Optional) Western effect in LH.

INTERACTION

• Student claps LH quietly (p ).

• Student claps RH F.

• (Optional) Student claps LH in a lilting style:

q

∑∑

q q

∑∑

q

long short long short

• Student plays LH saying “long short long.”

• Student plays “A Cowboy’s Song,” listening verycarefully for contrast between F and p.

SUGGESTION

Student plays “A Cowboy’s Song” with LH 8va lower,in the old G position.





• Pages 6–7 of Jazz/Rock Course 1.


• Page 23 of Notespeller Book lB.



30

CD 30

GM 29 (71)GENERAL

NEW CONCEPTS

• ‰ Eighth rest—rest for the value of aneighth note.

• Single eighth notes e,E

, e ‰

Count “one-and” or “two-8ths.”



• Old G position

• p, F and f

• Pairs of eighth notes q∑∑

q

• Staccato

• Tied notes

• b ’s

• Œ ∑- and -Ó

•<>• �• > (accents)

GOALS

• Understanding and observing ‰ ’s.

• Understanding single eighth notes: e or E

.

• LH sometimes staccato.

• RH melody legato.

(Notice that the LH staccato is played alone except forthe last measure.)

SUGGESTION

Tell the student that the rest looks like a seven (7) butis an eighth rest.

INTERACTION

• Student draws several eighth rests.

• Student claps (or taps) rhythm at top of page.

• Student points to and names each rest in “The Magic Man.”

• Student points to tied notes.

• Student plays “The Magic Man” hands alone,counting aloud.

• Student plays RH measures containing eighthrests, counting aloud.

• Student plays “The Magic Man” hands together.

32

CD 31

GM 30 (72)GENERAL










• Pages 22–23 of Recital Book.



• Page 21 of Theory Book with pages 32–33.



33

NEW CONCEPTS

• Middle D Position: both thumbs on Middle D.

•UŒ Fermata over a rest in RH while

LH plays q ’s with fermatas.


• March time

• F and f

• # ’s

• > Accents

• Tied notes

• ∑- and Œ

• U

• LH melody with RH accompaniment

GOALS

• Understanding and ease in playing inMiddle D position (RH 5 is on A).

• Observance of U ’s on successive beats in one measure.

• Fun!

INTERACTION

• Student places hands comfortably in Middle D position.

• Student points to fermatas in “The Greatest Showon Earth.”

• Student points to tied notes.

• Review: Student names RH harmonic intervals.

• Review: Student points to the notes with accents.

• Review: Student points to and plays the notes thathave a sharp before them.







• Pages 6–7 of Jazz/Rock Performance 1.


• Page 24–25 of Recital Book 1B.



• Pages 22–23 of Theory Book 1B with pages 34–35.

• Pages 2–5 of Top Hits! Duet Book 1B.



34

CD 32

GM 31 (73)GENERAL

NEW CONCEPTS

• Middle D “Half Step” position

• Each black key may be named two ways:

C# or Db

D# or Eb

F# or Gb

G# or Ab

A# or Bb

• The natural sign (n) is used to cancel asharp or flat. A note after a natural isalways a white key.


• F

• A sharp sign (#) raises a note a half step.

• A flat sign (b) lowers a note a half step.

• �• -Ó

SUGGESTIONS

• Hold down any key with a pencil eraser andask the student to play a half step above or a halfstep below the key that is being held down.

• Teacher plays any black key and asks the studentto tell both its names.

INTERACTION

• Student plays any black key at random, saying itstwo names.

• Student defines a half step.

• Student plays any key at random, then a half stepabove it, then a half step below it.

• Student places hands in Middle D “Half Step”position and plays line at bottom of page 36.





• Page 26 of Notespeller Book 1B with pages 36–37.


36

CD 33

GM 32 (74)GENERAL

NEW CONCEPT

LH crosses over RH in the last measure.




• Middle D “Half Step” position

• p and f

• #, b, n

• -Ó

• U

• Slurs

• �• Damper pedal

•<>• Ritardando

GOALS

• Understanding and ease in playing halfsteps.

• Review of sharps and flats.

• Introduction of n in a piece.

• Longer crescendo and diminuendo.

• Greater keyboard range when LH crosses over RH.

EMPHASIZE

The words to “Whirlwind” help in feeling the rhythm,as well as the crescendos & diminuendos.

INTERACTION

• With RH in Middle D “Half Step” position, thestudent crosses the LH over the RH and plays C and E with LH 2 and 4.

• Student points to all sharps; student points to allflats; student points to all naturals.

• Student says note names in “The Whirlwind.”Student claps rhythm, observing dynamics.











37

CD 34

GM 33 (75)GENERAL

NEW CONCEPTS

• Whole steps (two half steps equal onewhole step).

• A sharp or a flat continues in effect whena note is tied to the following measure.



• A sharp sign (#) raises a note a half step.

• A flat sign (b) lowers a note a half step.

• �• -Ó

• Tied notes

GOALS

• Ease in playing in Middle D “Whole Step” position.

• Further ease in recognition of sharps and flats.

• Understanding and playing whole steps.

SUGGESTIONS

• Hold down any key with a pencil eraser and ask thestudent to play a whole step above or a whole stepbelow the key that is being held down.

• Teacher plays any black key and asks the studentto tell both its names.

INTERACTION

• Student plays any black key at random, saying itstwo names.

• Student defines a whole step.

• Student plays any key at random, then a whole stepabove it, then a whole step below it.

• Student places hands in Middle D “Whole Step”position and plays line at bottom of page 38.



• Flash Card 98.



38

CD 35

GM 34 (76)GENERAL

NEW CONCEPT

1st and 2nd endings


• Andante


• Middle D “Whole Step” position

• p

• # ’s, b’s

• Damper pedal

• -Ó Œ U ŒU

• 8va

• LH crosses over RH in last measure


GOALS

• Further ease in playing whole steps.

• Producing the beautiful sound resultingfrom use of the damper pedal whenplaying whole steps quietly.

INTERACTION

• Student moves a finger along the measures of thepiece, observing first and second ending.

• Student says note names in “The Planets.”

• Without playing, student counts aloud and usesdamper pedal according to indications.











39

CD 36

GM 35 (77)GENERAL

NEW CONCEPT

The series of whole steps and a half step in a special pattern: W W H.


• Half steps

• Whole steps

GOAL

Understanding and playing of tetrachords.

EMPHASIZE

The notes of a tetrachord must be inalphabetical order.

INTERACTION

• Student defines a tetrachord.

• Student plays the top tetrachord on page40, saying whole step, whole step, half stepas the tetrachord is played.

IMPORTANT

The pages introducing half steps, whole steps andtetrachords are of utmost importance. This knowledgeis vital to later understanding and musical growth.



• Flash Card 99.


40

NEW CONCEPTS

• Pattern for the major scale.

• The key-note is the beginning and endingnote of any scale.

• C Major Scale (no sharps, no flats).

• G Major Scale (1 sharp, F#).

• LH plays lower tetrachord;RH plays upper tetrachord.


• Half steps

• Whole steps

• Tetrachords

• #

GOAL

Understanding and playing the pattern forthe major scale.

INTERACTION

• Student reviews the pattern for atetrachord.

• Student plays “C Major Scale Piece,” saying the words.

• Student writes whole or half steps between eachnote in “C Major Scale Piece.”

• Student writes whole or half steps between eachnote in “G Major Scale Piece.”

• Student says pattern for the major scale.

• Student plays “G Major Scale Piece,” saying the words.

EMPHASIZE

The words to the scale pieces tell us the pattern forthe major scale.




• Flash Card 100.






41

CD 37 & 38

GM 36 (78) & 37 (79)GENERAL

NEW CONCEPTS

• A piece based on the G major scale is inthe key of G major.

• Key Signature—the F# at the beginning ofeach line tells us to sharp every Fthroughout the piece.

• Transposition—“Carol in G Major” mayalso be played in C.


Pattern for the C Major Scale

GOAL

Understanding and ease in playing in G major and in C major.

INTERACTION

• Student places LH 5 4 3 2 and RH 2 3 4 5over G major scale position, being sure RH 4 is on F# .

• Student places hands in C major scaleposition.








• Begin Group 9 Exercises of Technic Book lB.


42

CD 39 & 40

GM 38 (80) & 39 (81)GENERAL

NEW CONCEPT

Moving LH from G position to C position,then back to the G position in the same piece.


• G Major Scale

• RH stays in G position

• LH begins in G position

GOALS

• Ease in moving LH to a different position.

• Remembering to sharp the F# ’s in the LHon the last line.

INTERACTION

• Student places LH in G position, thenmoves gently and easily to C position,then moves back to G position for the D.C. al Fine.

• Student moves a finger along themeasures of the piece, observing the repeatsigns and D. C. al Fine.











43

CD 41

GM 40 (82)GENERAL

NEW CONCEPTS

• RH moves from C position to G position.

• Change from key of C to key of G and thenback to key of C.


• LH stays in C position

• RH begins in C position

• Key signature for C

• Key signature for G

• Natural sign (n)

GOALS

• Longer piece with RH changing positionswhile LH stays in the same position.

• Remembering to sharp the F’s in the LHwhen the key signature changes from C major to G major.

INTERACTION

• Student moves hands from C majorposition to G major position.

• Student points to the notes in the LH that will besharps because of the key signature of G major.

• Student points to and defines every musical termon pages 44 and 45.






• Pages 28–29 of Hymn Book lB.


• Pages 8–9 of Jazz/Rock Performance 1.







44

CD 42

GM 41 (83)GENERAL


• Œ

• #

• > (accents)

• First ending, second ending

• Tied notes

This piece sums up many of the musicalelements presented in this book.

INTERACTION

Ask the student how to practice this piece!This will reveal what has been retainedregarding learning steps. Of course, if thestudent is hesitant, the teacher will makesuggestions for practicing the piece.


• Pages 21–22 of Composition Book 1B.




• Pages 31–32 of Notespeller Book 1B.







46

CD 43

GM 42 (84)GENERAL


All the elements presented in the Review.

IMPORTANT

Student should be able to give definition ofeach term or know what term is beingdefined when only the definition is seen.

INTERACTION

• The student finds an example of each termin the Review by looking back at the pagesin Lesson Book 1B.

• The student demonstrates each term.

If the student needs further reinforcementbefore continuing with Level 2, assign piecesfrom the Graduation Book 1B.The Graduation Book contains solos thatinclude all the fundamentals introduced inLevel 1B and serves as a refreshinginterlude before continuing to Lesson Book 2. All the music was composed by Dennis Alexander and Martha Mier.

47

Teacher's G

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Alfred’s Basic Piano LibraryWillard A. Palmer . Morton Manus . Amanda Vick Lethco

A P I A N O C O U R S E F O R B E G I N N E R S O F A L L A G E S

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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