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The Piano Language

Part 3: Fingering the Music Language Classics, Folk, Hanon, Scales, Chords, Theory

Late Elementary - Early Intermediate

Marsha Dynes, N.C.T.M. Some Illustrations by Penny Fisher

Cover Art by Amber Seaman

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Contents & Skills Folk Songs, Contemporary Pieces: 15 White as Snow 17 Hickory Dickory Dock 19 Eency, Weency Spider 22 Canon: Rejoice 25 Canon: Donkey in the Moonlight 29 Love Somebody 31 Canon: Row, Row, Row Your Boat 33 Twinkle, Twinkle, Have You Any Wool? 35 Twinkle, Twinkle, Have You Any Wool? 37 Canon: Three Blind Mice 41 Turnip Greens 43 Michael, Row Your Boat Ashore 45 Kumbaya 47 Happy Drums Thacker 49 Rorisa Morena 51 Yankee Doodle’s Miss Macroni 55 Canon: Stretch Forth Thine Hand Fisher 59 Canon: Good Night 60 Know My Heart 66 South Winds Dynes 67 Tiptoeing Dynes 69 Canon: Sing Together 72 The Music Man Technique: 8 The Virtuoso Pianist No. 1 Hanon 12 Single Finger Drops onto 3, 2, 4 Minor 5-Finger Patterns and Chords 16 Analysis of Forte and Piano, Staccato and Legato 17 Body Technique, Hand Shape, Positioning Your Body 21 Cross-Over Scales The Virtuoso Pianist No. 2 Hanon 22 Tetrachords of the Major Scale 23 Pussy Willow, Tetrachord Scales 24 C, a, G, e Two-Octave Scales, Major and Natural Minor 28 Authentic Cadence 30 Plagal Cadence 38 The Virtuoso Pianist No. 3 Hanon 40 Play the Primary Chords 42 Harmonization of Major and Minor 5-Finger Patterns 44 Group 1 Two-Octave Arpeggios 48 M5FP’s Perfectly 52 The Virtuoso Pianist No. 4 Hanon 56 F, d, D, b, Two-Octave Scales 61 Penny’s Favorite Cadence Scale Fisher 64 Group 2 Two-Octave Arpeggios 66 Chromatic Scale 67 The Virtuoso Pianist No. 5 Hanon 70 B-Flat, g A, E, Two-Octave Scales

Classics: 1 A Little Joke Kabalevsky 3 Dance Gurlitt 5 Dialogue Bartók 7 Marching Kabalevsky 9 Vivace Gurlitt 10 Melody Kabalevsky 11 Polka Kabalevsky 13 Song Kabalevsky 27 The Shepherd Pipes Salutrinskaya 39 Arabia Tansman 53 Funny Dialogue Kabaleveky 58 The Shepherd’s Pipe LeCouppey 65 Folk Dance Bartók 71 Adagio Söchting 74 Folk Song Bartók 76 Pastorale LeCouppey Theory 2 Major 5-Finger Pattern Summary (M5FP), Chord Letters, Time Signatures 4 Memory Note Questions. A-C-E Letters High and Low, Interval Analysis 7 Memory Notes and Intervals 11 Memory Note Intervals 14 Time Signatures, Dotted Quarter – Eighth Rhythm 16 M5FP Letter Riddles, Enharmonic M5FP Letters 20 Simple Time Rhythm Dictation 24 Identify each 5-Finger Pattern 26 Primary Triads, Chord Progressions 30 Compound Time Rhythm Dictation 34 Key Signature Rules 36 The Root of Major Keys and of Major and Minor Chords 36 Melody Dictation 42 Chords of the A Major Scale 44 Draw Accidentals, Key Signature Rule of Seven’s 49 Draw Major and Minor Chords 50 Draw Primary Chords for Major Keys, Interval Rule of Nine’s 52 Intervals By Ear 64 Matching Major Keys, Scales, Signatures, Primary Triads 68 Note Value Rule of Minus Halves 75 Dot Rule of Plus Halves

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Fingering: 6 Seven Fingering Changing, Generalizations 11 “My dog runs and chases sticks” 46 Early to Bed 48 All Through the Night 57 Jon Brown’s Coal Mine 63 Pussy Cat Musicality/Success: 12 Invent Your Own – “A Happy Day” 13 Feeling a Crescendo and a Diminuendo 15 Sounding Musical 16 The Music Composition Eras 20 Defining Practice, Practice Commitment, Practice and Lesson Ingredients

Musicality/Success: 23 Invent Your Own – “Here we go exploring” 32 Question and Answer Phrases 40 Invent Your Own – Primary Chord Pieces, Flowing Fluidly with Fluency 42 Harmonization of Known Melodies 46 Invent Your Own – Whatever You Wish 54 Oom Pah One, The Four Motions of the Piano Language 62 Harmonization: Sanctuary Thompson 77 Music Dictionary 79 Manuscript Paper 80 Top Ten

Preface

The Piano Language Part 2 presented all staff reading, ten memory notes, intervals through 6th’s, and all twelve major five-finger patterns. It presented all basic 4/4 rhythms and all basic 6/8 rhythms. The Piano Language Part 3 includes: 1. All of the original classics that students of this level should need, except for favorites, of course. 2. A thorough study on how to choose good fingering for pieces. 3. Canons, to develop hands-together coordination. 4. Pieces to harmonize with basic primary chords in many different keys. 5. Hanon Book 1, No. 1 – 5. 6. Most of the Major and natural minor scales. 7. Written theory, by pattern. 8. Chords, arpeggios, chord accompaniment patterns. 9. Charts to explain music issues––signs, terms, how to practice, how to sound musical. Although the needed theory is summarized in this book, some students will still need written theory supplements, for practice. Most students will still be using a regular method lesson book side-by-side with The Piano Language. A jazz book or a special interest book would be a very appropriate addition. I have not tried to fill in these areas. “To help the student achieve his own goals” should be the primary goal of each teacher!! Student goals do fluctuate, affected by his stage of life, his stage of study, and definitely affected by the influence and attitude of the teacher. To exert the teacher’s goals without care for the goals of the student, however immature or frivolous, is to dampen his spirit, kill his motivation, and eventually spoil his potential for achievement. The teacher can help the student view himself as a learner, considering his needs carefully––affection, belonging, achievement, independence, social recognition, and self-esteem. To motivate the student to strive for his maximum potential, learning should occur on several levels. His understanding of theory (written and ear training) should keep up with his reading ability. He should have pieces at reading level that can be learned in one or two lessons. He should have sight-reading material on an easier level that needs little or no teaching. And, he should have one or more special pieces that need more time. A minority will find The Piano Language traveling at just the right speed (at reading level). He may have the time and the need for supplementary pieces. Thank you to all my Musical Shapers. Some are: My piano students since 1969 (Oh, and those three students back in 1956!). Music Teachers National Association, many Alaska Music Teacher’s Association Adjudicators, Aileen Stroberger, Dr. James Johnson, Paul Sheftel, Lynn Freeman Olson, Jane Smisor Bastien, Robert Vandall, Martha Mier, Dennis Alexander––and, Bach, Mozart, Beethoven, Chopin, Brahms, Debussy, Kabalevsky. And, thanks to God, who loved people enough to consider music important enough to create! Marsha Dynes www.ThePianoLanguage.com info@thepianolanguage.com N.P.K.S. © Copyright MM International Copyright Secured, PA Registration 1-024-186, 10/02/2000 5th Edition 2010