Category Archives: Group Piano Level 1 +

Information for and about group piano Level 1 and above.

A Conceptual Christmas – Teaching Broad Music Concepts through Familiar Holiday Literature

Holiday Songs represent an evolving musical culture that spans 6 centuries and are the one body of songs that are more universal to our culture than anything else. Even though the harmonic treatments become more removed from the original with each passing year, there is still enough recognition of these songs even if they are now used to sell merchandise instead of their sacred original meaning.
The reinforcement students receive from family and friends by playing something “familiar”, as well as the short time span and goal of performance opportunities make students highly motivated to work on these songs.

However, in addition to the benefits to students mentioned above, these songs offer a treasure trove of opportunities to for discovering or reinforcing important basic music concepts that you are already teaching in other areas of your lessons. Don’t miss this golden opportunity for learning.

5-finger Patterns

Dreydl Song
Jingle Bells
Great for level 1 students. Have a spinner with 12 pentachord patterns on cards fanned around it. Students spin to transpose the song into the new key. To add extra zest, students give the jingle bells a shake after completing each scale.

Sequences
Have students discover the sequences in these songs.

Deck the Halls
We Wish You a Merry Christmas
O Christmas Tree
Angels We Have Heard on High
Ding Dong Merrily On High (one of the longest sequences I know)

Applying I and V7 chords
Use the formula, when the melody notes are 1, 3 and 5 use I chord, when on 2 and 4 use V7 to create a left hand for these melodies;

Dreydl Song
Jingle Bells

I IV V

Apply the same formula, adding the information that the 6th scale note goes with the IV chord.
Joy to the World
Silent Night (once the chords are established, apply broken chord style to bass for a simple but effective accompaniment pattern – if they are more advanced, they can apply ballad style (Root 5th 3rd above – use fingers 5 2 1)

Intervals
Look for the examples of these prominent intervals in these songs

Steps – The First Noel (the entire song is comprised of steps and fourths)
Skips –
4th and 5ths find the one fourth and one fifth, one skip, and the rest are repeated notes and steps
Octaves and major scales – Joy to the World

Major and Relative Minor Key Signatures
We 3 Kings
God Rest Ye Merry Gentlemen

Modes and Minor Keys
Use these songs to discover the difference between minor and dorian modes.
What Child is This
O Come O Come Emmanuel
Coventry Carol

Common Rhythm Patterns
Short Short Short Short Short Short LONG
Good King Wensceslas Looked Out
Jolly Old St. Nicholas
Compare to Twinkle Twinkle Little Star, Old MacDonald Had A Farm, Melody, by Schumann, Song by Kabalevsky., Haydn Surprise Symphony, and many others

Form – find songs that represent the following forms:
AABA (O Christmas Tree)
AABC (First Noel, Good King Wenceslas)
ABAB’(Jolly Old St. Nicholas, Jingle Bells)
Have students listen and guess which form that song follows.

Repeated Patterns
Students often are so focused on individual notes that they don’t notice broader patterns in the music. With your early level students, don’t make them learn all new notes of Jolly Old St. Nicholas for the second half when all they have to do is change the last note! This song is a great example of songs going “home” at the end, but ending on a dominant note “not home” in the middle.

The same applies to Jingle Bells – just learn the two differing parts of One Horse Open Sleigh first, then the rest of the song is mostly steps and repeated notes.

Acquiring Early Experience in Leading the Sing a Long

Help your students become valuable to their friends and community by getting them used to playing carols early; with the chording tools above they will realize they don’t always need to have music. Additionally they can transpose to singable keys (instead of C which is usually presented in early books because of ease of key signature)

Teach them how to use the last line of the song for a introduction, and to use body language (head nod) to start the group singing.
Teach them basic conducting patterns, by having students take turns, conducting, playing and singing.

Teach them how to work with other instrumentalists or vocalists by reading the chords of a fake book (or chords included in a song with traditional notation.) Many have friends who play guitar, etc.
Teach them a basic sing and strum method if the melody is provided by another instrument such as flute or vocals.

Jump in and have fun! Holidays only come around once a year!

Creative Summer Piano Groupings

Creative Summer Piano Groupings
Summer scheduling at The Lake Shore Music Studio is a patchwork. The schedule changes week by week, with students weaving in and out according to their family’s vacations, camps and other special projects. Summer brings a different tone to lessons. First, it seems that the students who stick around for summer are more motivated and interested generally in music than those who take the summer off. Secondly, new students arrive for whom summer is the time they have chosen to begin something new and exciting (music!) in their life. Third, students are much more relaxed and free in their minds away from the hectic pace of the school year activities. Fourth, just coming in shorts and sandals makes everything seem more relaxed (for teacher and student!)

As a group teacher, I have to be a little more general in my groupings. Students from several classes may join together, or I may do more groupings across ages or levels. For example I grouped two sisters together with their respective classmates. They were about a year apart in levels. The older sister delighted in being the teacher and the younger ones couldn’t wait to see what was on the horizon for them. By “teaching” it crystalized the material for the older one and made her proud of her accomplishments.
I did a similar grouping for another brother and sister combo. It made it easier for the parents to only come once a week. Let’s face it – they all need reinforcement in the same general things – note name recognition, rhythm and counting, and keeping their finger technique up to speed. For note names, games like Crazy 8ths, Spoons, Around the World or Bean Bag Grand Staff toss, or Bingo are the most often begged for games.
Sight reading for animals is another activity students enjoy. Each student finds an appropriate sight reading book, and collects a stuffed animal (for the day, they go back in the bin when the lesson is over!) for each song completed.
Duets are another great way to work across levels. Besides a wealth of fun easy duet collections to choose from, like Margaret Goldston’s Duets for Bear Lovers (Steps in the Forest is the favorite and easiest piece) most easy piano books have a teacher duet below. Some are a little more difficult, but some are simple I and V chords that an older sibling can master.
In July we typically focus on jazz, and the 12 bar blues gets a big workout. This is so easy to teach level one students, and you can expand in complexity from there. This gives a good jump on learning songs to be ready for our CAMTA jazz festival which seems to come up so quickly in November. Betsy Hannah’s Real Blues book presents the blues simply and offers a cool combo CD to play along with. Students like it when I play a walking bass and chords but they LOVE playing with the combo – (to their ears, that is the real deal.)
In another grouping situation, I had an adorable brand new 8 year old student so motivated to learn, she is coming 4 times a week. Her good friend came to the studio with a year or so of previous experience elsewhere. Although I began them individually, after a few lessons, I found common ground for them to work together, tic tac toe for reading small step and skip patterns, drawing a grand staff, improvising in various styles on the pentatonic scale (black keys) and the 12 bar blues, and transposing. These were concepts that the second student had not encountered in her previous study. Being good friends, they were thrilled to be able to work together.
In some cases an individual lesson format for students who have been faltering on a steady practice helps zoom in on and firm up basic skills that have been keeping them from making optimal progress during the year. I suggested twice a week lessons to a student whose total concept of “practice” is picking out songs by ear and now we get at least two solid days of reinforcement.
Adult students are another category of exciting summer students. For some this is their time to start something they always wanted to do. Summer shorter terms gives them that option to try it out.Others are snowbirds who will live in Florida or Arizona in the winter. This is a great opportunity to coordinate with colleagues in other states for reciprocal referrals (if you don’t want to do skype lessons with them directly.)
Some have a particular mission. For example, I have been delighting in helping a student become aware of the circle of fifths chord structure, and how she can apply it consciously to work out chords for songs she has been doing by ear for years. She is amazed, and absolutely thrilled that she can consciously put the chords she already knows into the songs according to the circle. Georgia and Autumn in New York are two of her favorites. I find the Hal Leonard Easy Thirties Fake Book a great place to find great standard songs that exemplify the ii V I or vi ii V I progressions.
For me, summertime is a golden time for lessons. What are your favorite summer projects?

Our “Funny” Clock

“I can’t read that clock,” exclaims a seven year old students in dismay about our clock on the studio wall. “Why does it have letters instead of numbers?” They want to know. After they figure it out, it’s like being part of a secret club or breaking a mysterious code.

We love our “circle of fifths” clock. The circle of fifths helps us understand the basic structure of musical composition that has been in use in so called western music from the early 1700s through the present time.

In our circle of 5ths clock, C is at the top. Counting five notes in order up the scale CDEFG brings you to G likewise GABCD brings you to D etc. Each key is 5 notes up from the previous one. Since we are using scale notes, the fifth note of B scale takes us to F# (A/K/A G flat) from F# we work our way back by 5ths up to C.

The circle represents many things to us, most importantly how scales are interrelated, and how chords follow a downward path of 5ths to resolution. In a simple example, a song ending in the key of C would always have a G chord (or G7) immediately preceeding it. Further it likely would go from D to G to C, or even further down the circle, from E minor to A minor to D minor to G to C. If the song were in the key of G, it would always need to end in D7 then come home to G. 300 years of conditioning have caused our ears to expect this resolution. As an example, think through Happy Birthday to You, but stop directly before the end of the song, on TO.. and notice the gravitational pulled toward YOU. It almost seems impossible to stop at “TO”.
Our students begin learning the first five notes of all 12 scales (which lay under 5 fingers comfortably), and they learn that every scale follows the same pattern of construction. From these scales we can change one note, and easily learn all 12 minor scales, as well as all 24 major and minor chords by playing only fingers 1 – 3 and 5; immediate transfer of learning from one concept to another. This is one of the unique aspects of the teaching approach we use. Students learn that we can transpose a song into any other key thus experiencing early the thrill of having the song “sound right” no matter what key they choose.

Being able to transpose a song into other keys is one of the primary skills of a competent keyboard musician because it allows him or her to accommodate the music according to the needs of other instruments and particularly singers who often need to change the key to accommodate their vocal range. This is a fundamental aspect of comprehensive musicianship and why what we teach is more than simply piano lessons. It is our goal that LSMS students be able to play music, not just play songs.

We learn to read and write key signatures. We learn a simple chord formula for applying the two important chords to a song (“when your melody uses notes 1 – 3 or 5, use the One chord, when it falls on scale degrees 2 or 4, use the Five chord”. Later, we fill in all 8 notes of each major and minor scale, learning additional chords and how to apply them to the other scale notes of the melody, and become familiar with other positions of the basic chords (inversions); more complex types of chords and applications of the chord formula.

Building this solid understanding of musical construction one step at a time makes music more accessible to students in many ways. First, they know how to interpret more intuitively (for example a “home: chord might be accented , or have a slight hesitation or ritard, a “five” chord might imply acceleration or crescendo) ; how to memorize more confidently and sight read more easily by knowing what chords will be involved in the piece; how to read chord charts or fake books; how to appreciate the structure of the piece and be in on the thrill of anticipating the expected sound and satisfaction of arrival; how to transfer the concepts that are so easy to see in the piano’s linear layout to other instruments which are not so visually obvious; how to compose their own pieces or apply accompaniments to music.

Next time you stop in, if you still can’t read the clock, ask your child. But don’t worry–there are little tiny numbers on the side if you need help.

Composers Card Game Featured by Ravinia

A few years back my brother Daniel Sailor was approached by U.S. Games Systems to produce a game focusing on classical music composers, based on the historically popular Authors card game, played by many children through the 20th century and into the 1960s (mentioned in the Louisa May Alcott novel “Little Women”).
He was excited to take on this project and wanted to contribute something to encouraging an interest in classical music by involving students in learning about the composers and their famous works.
A pianist and classical music lover himself, Dan pictured piano students playing this game. “So my first focus went to piano pieces, then also including other instrumental and vocal pieces that I felt were significant works.” he said. Every note of music, rests, staccatos and other symbols was meticulously and thoughtfully considered. “It was very painstaking but I enjoyed the process.”
Although the composers are in chronological order, Daniel was able to configure playful elements into the structure of the game and hopes players have fun things seeking out these musical “jokes” (or “scherzi”).
Bach was given the honor of being the ACE. Notice how the A Minor Prelude spells out the notes ACE in its theme. It was important that Beethoven be the number 5 card so that he could make the association with the famous 5th Symphony. Similarly, he planned Tchaikovsky to be the Queen so that the “Queen of Spades” opera could be represented on the appropriate card. The deck ends with Grieg and the “Hall of the Mountain KING”. Oh by the way, most of the HEARTS are love themes.
This summer, Ravinia Music Festival in Highland Park, Illinois has chosen to feature the Composers Game in their gift shop as a way of encouraging classical music among patrons, and will be issuing a significant number to concert attendees at selected CSO concerts this summer. “It is my hope that as people play the game it will add to their understanding and enjoyment of classical music.” says Daniel.
Playing the Game
The game includes 13 composers from Bach to Grieg in chronological order. There are four cards for each composer, with a different famous work on each card. Also on each card is the theme of the work represented in musical notation, as well as a portrait of the composer, and the names of the other three works by that composer. Biographical information is also laced throughout the cards.
As the game is set up just like a regular deck of cards, with numbers and suits and royal cards, they can be used for any card game, should the need arise, but why just play hearts when you can have fun with music as well?
The object of the game is to acquire complete sets of 4 works by the composers by asking opponents for the specific work by a specific composer. Whoever has the most complete sets at the end of the game wins. The object from a teacher’s point of view, of course, is to familiarize students with 13 classical and romantic composers and to become enamored of the beautiful pieces of music represented and want to be more involved with classical music.
As a group piano teacher, I always have a ready group of students who beg to play the game. Colleagues have told me their students look forward to it as a waiting room activity. Parents and students also find it to be a great family game for weekend or vacation fun.
Here are some aspects I have discovered from playing with my students.
Students will be excited to recognize popular pieces they may already be familiar with, such as Ode to Joy, Hark the Herald Angels Sing, In The Hall of the Mountain King, March from the Nutcracker Suite, and Eine Kleine Nachtmusik.
What is really nice about the game is that just by playing a fun game students develop a familiarity with composers (including how to pronounce their names correctly), their works and their relative place in the classical composer history. If you remember that Bach is the ACE, Beethoven is the 5th and Grieg is the KING you can easily see that Bach is oldest, Grieg the most recent and Beethoven falls between them. Students tell me that playing the game has helped them know the answers to musical questions on SAT/ACT tests, spelling bees and academic bowls.
Ideas for playing:
For younger students, play the game as a “go fish” game. Students ask for and collect pairs of two of a composer. Each takes a turn asking a specific player for a specific composer (one they already have one of in their hand). If they have it, they give it up. Student lays down the pair of two, face up. If they don’t have it the student has to “go fish” or “go composer” by picking one card from the center deck.
Then the play moves on to the next player. When someone goes out of cards, (or perhaps when you run out of budgeted time, if you are teaching in a class,) the game is over. The person with the most pairs is the winner.
Hint: Help students learn the correct pronunciations of composers and works by modeling the correct pronunciation. Be sure students ask for the composer, not just the number on the card. Have “bonus” cards be songs which students play or are familiar with.
For expanded learning:
Have students look up the works presented on You Tube to experience a full version of the work. Perhaps assign a different composer per week for a period of 13 weeks. Use the biographical information at the top of the cards as an offshoot for further study about the composers.
Let me know how you use the game!
Available through Lake Shore Music Studio at http://www.renoweb.net/rlam/Music%20Shoppe/HTML/composercards.htm#, www.amazon.com and Ravinia Gift Shop, Highland Park, IL www.Ravinia.org

Summer Pace Teacher Training

One of the things I love most about summer is introducing teachers to the creative and far reaching ideas included in the Robert Pace materials, and the fun of working together, sharing ideas.

Narjes Soliman, director of DaffodilMusicStudio.com and Charapin Pongtornpipat, member of Chicago Area Music Teachers Association, participated in this summer’s Comprehensive Musicianship Teacher Training Seminars at The Lake Shore Music Studio, and received certification in Music for Moppets (pre-school) and Level I Robert Pace curriculum from the International Piano Teaching Foundation.

Julie Lovison waves the “magic wand” to turn white keys to black, and black to white, as Charapin Pongtornipat changes the D 5 finger pattern to Db on the magnet board (E-ZNotes.com), and Narjes Soliman finds the keys on the piano. Studying D and Db as opposite patterns helps in memorizing the scales.

This Magic Wand was hastily created from electricians tape wrapped around a rod, and fancy wrapping ribbon, but one could be found easily at Halloween time. The magic wand creates a playful element that makes learning fundamentals more FUN.

In this example, everyone in the group has a role to play, which rotates so students get a turn to experience from different learning perspectives (tactile and visual), and help check each other as well.

Students in the Pace approach learn to transpose to all 12 five finger patterns in the early levels of study.

Stay tuned for next summer’s schedule of teacher training seminars at LSMS.

Ear Tunes

by Julie Lovison

Why is a big ear hanging on our wall in the studio? This reproduction of Michaelangelo’s David’s Ear sculpture is a fun way to bring focus to a favorite activity at LSMS – finding “ear tunes.” Ear Tunes is a term coined by us to represent a song that one has found strictly by ear – in other words trying various notes until your ear finds the right keys for a tune. Often students will bring in an ear tune of a song from the radio, a song from music class at school, or choir or church, or the ever popular Ode to Joy or Happy Birthday. We write them down on our Ear Tunes of the Week chart to give other students ideas for songs to try to find.

We actively encourage students to use their ears to find songs – Music is experienced and enjoyed with the ears. Therefore, the better your ears can discriminate the sounds the more rich your experience of music will be and the easier time you will have playing piano.

In the words of our mentor, Dr. Robert Pace, we want to develop “The ear that sees and the eye that hears.” That means, when you hear music, you form a mental image of the notes going up or down, and when you see printed music, you can hear the music playing in your head..

Some people naturally begin with an ability to play by ear well. Others may have a good relative sense of some notes’ relation to others. We find our students can improve this skill to a large extent through practice.

How do we develop this? We begin on a simple concept. Beginning with a 3 note range (we use 3 triplet black keys) –we develop the ability to hear whether the notes go up, down or repeat. Once this is secure, we add discriminating between a step (an adjacent key) or a skip (skipping over one key, making a larger interval between the first and second.) Once success within a 3 note range is achieved, this can be expanded to 5 finger positions (a range of five notes, and then to an 8 note scale.)

Some songs are easier because the intervals are smaller, and they stay within the 8 notes of the scale.

Others meander more and are more difficult.

Here are some “ear tunes” to try, to begin developing your ear.

3 note range (use three triplet notes or CDE)

Mary Had a little lamb on CDE *Hint – it starts by going down , not up (so play EDC or High Middle Low first)

Hot Cross Buns (also begins going down)

5 note range (CDEFG)

Ode to Joy (begin on E)

Alouette

6 note range

Twinkle Twinkle

Frere Jacques

Pentatonic (black keys only)

Amazing grace

Old MacDonald

Those Were the Days (from All in the Family, by Charles Strouse)

The Farmer in the Dell

Other popular starter ear tunes

Lean on Me

Happy Birthday

If you insist on beginning with Take Me out to the Ballgame or Star Spangled Banner

remember, you were warned, some songs are more complicated.