A newsletter for the piano pedagogy community

Volume 9 • Issue 1

InsideThe Teacher’s Corner

Page 1 & 2

The Student’s CornerPage 3

Introducing SchirmerPerformance Editions

Page 4

In Touch Special OfferPage 5

Dealer Spotlight:Rockley Music Center

Page 6

2005 Hal Leonard Piano Day Spa

Page 7

MTNA Preview Page 8

www.halleonard.comemail: piano@halleonard.com

Invigorate Your RoutineBy Mona Rejino

continued on page 2

If only we lived in a perfectmusical world where everystudent practiced consistentlyand always came to theirlessons well prepared – If onlypiano lessons took precedenceover sports and other extra-curricular activities – If only allparents really took the time tomonitor their children’spractice schedules and helped

them learn to budget their time properly – If only –Imagine how easy our jobs would be as piano teachers!Ah, but it is amazing how creative and imaginative wecan become when faced with the hurried lives ourstudents lead today. The challenge is similar to sneakilygetting them to eat their vegetables disguised assomething else. We have to find a way to get themexcited about music study, to encourage them to gettheir “foot in the door” and experience a facet of musicmaking that is truly fun and inspiring. Our job goes waybeyond critiquing pieces week after week, placing thatshiny sticker on the top of the page (whether the pieceis mastered or not), and trudging on.

Here are some musical tricks taken from the Hal Leonard Student Piano Library (HLSPL) forthose “rainy days” when students come to their lessonsunprepared, or just for the times when you both needa diversion from the regular routine. Each of theseactivities has a musical purpose, and your students willleave their lessons knowing that they have learnedsomething special about playing the piano.

“The art of teaching is the art of assisting discovery.”~ Mark Van Doren

A young student once asked me “what makes the bluenote sound blue?” (Don’t you love those questions thatare impossible to answer?) The only way I knew to getto the heart of her question was to experiment withpieces containing a “blue” note that she had alreadylearned. We first turned to Party Cat on page 25 ofPiano Lessons Book 1 (HL00296001), and substitutedB-naturals for the B-flats. WOW! She was amazed tofind that eliminating the “blue” note completelychanged the mood and character of the music. We thenfocused on the first activity on page 32 of the PianoPractice Games Book 2 (HL00296003). Here A LittleLatin is written without B-flats. Students are asked toplay it this way, and then to write in the B-flats andlisten to the difference the “blue” note makes.

Many years ago I was accompanying my daughter onToes In The Sand found on pages 14-15 of Piano SolosBook 1 (HL00296003). During the “B” Section she wassupposed to improvise on A - B - C - D - E. She wasreally getting into the improvisation and accidentallyplayed an E-flat. I’ll always remember the look on herface. It was as if she was thinking “I know that blackkey isn’t one I’m supposed to be playing, but I sure likethe way it sounds!” Now every time one of my studentslearns this song I ask them to experiment by playing anE-flat. Yes, I know it doesn’t say to do that in theinstructions, but what a wonderful opportunity forstudents to experience the magical sound of a flatted fifth.

Let’s face it, learning the I - IV - V triads is not the mostexciting activity on the planet. The Hal LeonardStudent Piano Library introduces the primary triads ina musical setting in Take It Easy found on page 22 ofLessons Book 4 (HL00296026). Played along with theteacher accompaniment or the disk, the musictransports you to an exotic island, even though thestudent is only playing blocked and broken chords.

As a follow up activity, give your students theopportunity to read and improvise over these harmoniesas they experience playing the 12-bar blues. Write outthe chord pattern below either using letter symbols,Roman numerals, or both. (Each chord gets 4 counts.)

C (I) C (I) C (I) C (I)

F (IV) F (IV) C (I) C (I)

G (V) F (IV) C (I) C (I)

*Over the C chord improvise on G - B-flat - C.

*Over the F chord improvise on C - E-flat - F.

*Over the G chord improvise on D - F - G.

This activity can be done with one student, or severalin a group. At a private lesson you can play the chordsand have your student do all of the improvisations, thentrade parts. At a group lesson you can divide thedifferent parts, having one student play the chords, onestudent improvise only over the C chords, one over theF chords, and one over the G chord. Then they cantrade parts with each other. This is similar to playing ina bell choir. You have to know exactly when it is yourtime to play by reading the chord pattern and listeningto the other students.

Mona Rejino

2

Below is a list of other repertoire in the Hal LeonardStudent Piano Library that gives students moreexperience with the 12-bar blues:

Walk Around The BlockLessons Book 3(HL00296011), page 35

Spike’s BluesTechnique Book 3(HL00296114), page 39

Two-Four-Six-EightLessons Book 4(HL00296026), pages 16-17

Six Ate BeetsSolos Book 4 (HL00296028), pages 10-11

“You don’t understand anything until you learn it more than one way.”

~ Marvin Minsky

Children are told in school that copying is notallowed. Well, I believe that when they come totheir piano lesson, this rule does not apply! The following ear-training exercise is one that canbe used with students of all ages and levels. Both you and the student place your L.H. fingers4 - 3 - 2 on the three black keys and your R.H.fingers 2 - 3 on the two black keys. First theteacher plays a short, simple melody. Then thestudent tries to “copy” it. (With younger studentsyou can begin with just the 2 black keys or the 3black keys, then combine them later.) I am alwayspleasantly surprised at how well my students canimitate not only the pitches, but also the rhythmsthat I play. Later on the student can play first andhave you imitate his melody. But watch out! Thestudents’ melodies tend to get long and complex,so you better be listening.

For some students, learning swing eighth notes isa real challenge. Bill Boyd has given teachers amarvelous remedy. The final two pieces in Bill’sJazz Prelims (HL00290032) will solve thisdilemma. In Follow The Leader on page 23 andImitation on page 24, the teacher plays the swingmelody in the accompaniment first, then thestudent answers with the same swing melody. Iguarantee this is foolproof!

“You must never tell a thing.You must illustrate it.

We learn through the eye and not the noggin.”

~ Will Rogers

It is good to remind ourselves that some of thegreatest music ever written began with one simple“motive.” Even our youngest students recognizeBeethoven’s famous four-note motive from his 5thsymphony. In the My Own Song improvisationsfrom page 10 of Lessons Book 5 (HL00296041),students learn to sequence a given motive usingonly the notes of the F major scale and the Dminor scale. This activity allows them tounderstand the concept of motive and sequence,and also reinforces their knowledge of the notescontained in those scales. There is a wonderfulfollow up to this page in Theory Workbook 5(HL00296042), page 8, called Making A RepeatAppearance! Here students are given longermotives to sequence, creating two lovely littlepieces. This type of musical activity can becomethe basis of much bigger composing andarranging projects.

“A good teacher is one who helps you becomewho you feel yourself to be.”

~ Julius Lester

Many years ago I had the privilege of teaching avery unique student. Elliott studied with me from3rd grade through 12th grade. He was dyslexic,and had some other learning issues as well.Reading music was always a struggle for him,although he greatly improved through the years.He had a terrific ear, and a phenomenal creativeknack to boot. One year, Elliott was struggling withone of Bach’s Two-Part Inventions for theChristmas recital. As December drew nigh, wewere both getting nervous that his piece would notbe ready for the performance. One day he walkedinto the studio and told me that he had picked outGreensleeves by ear that week and had composeda theme and variations on it. (His school orchestrawas playing a version of this at the time.) You can’timagine what a treat was in store for me. As I satback and listened to the music pouring out ofElliott’s heart I realized that Elliott knew himselfmuch better than I did. His performance of his ownarrangement of Greensleeves was the hit of therecital. It gave a kid who continually struggled ahuge boost of self-confidence, and it taught me alesson I will never forget.

So, when you find yourself wishing for thatperfect world, a perfect student, or the perfectstudio, remember that with imagination andcreativity, all things are possible.

~Mona Rejino

Lessons Bk/CD 1 (00296117)

Solos Book 1 (00296003)

Practice Games Bk 2(00296003)

Lessons Bk/CD 3 (00296179)

Technique Book 3 (00296114)

Lessons Bk/CD 4 (00296180)

Solos Book 4 (00296028)

Lessons Bk/CD 5 (00296026)

Theory Book 5(00296003)

Jazz Prelims (00290032)

Visit www.halleonard.com for completedescriptions on these and other resources.

An accomplished pianist and teacher, MONA REJINO is co-authorand contributing composer and arranger for the Hal Leonard StudentPiano Library. Ms. Rejino maintains an independent piano studio inCarrollton, Texas, where she has taught students of all ages and levelssince 1983, as well as teaching privately at the Hockaday School inDallas. She frequently adjudicates festivals and competitionsthroughout the area.

Mona is a member of Who’s Who of American Women. Other professionalachievements include two recordings, Music for the Adult Student and

Pupil Savers, produced and distributed by the National PianoFoundation. Her compositions have been featured in Keys magazine.

Ms. Rejino received her Bachelor’s Degree in Music at West Texas StateUniversity, and completed her Master of Music in Piano Performanceat the University of North Texas where she studied with pianist Joseph Banowetz. She and her husband, Richard, frequently worktogether presenting programs on a variety of topics for music teacher associations throughout the Dallas area and at state andnational conventions.

Music Resources from Hal Leonard

See your favorite music store for moreinformation or to order these publications.

3

Notespeller for PianoBook 3

Written by Karen Harrington

Hal Leonard grants permission to photocopy this page for your students.

This activity is found in Notespellerfor Piano Book 3 (HL00296167) andcan easily be used with any student toreinforce reading skills. We hope youand your students enjoy this activity!

1. 2.

8.7.

9.

11.

12.

14.

13.

3.

10.

4. 6.5.

1.

ly ki t s

9.

Rol l r l

10.

i y l

12.

R

6.

t r in o Sk

7.

y s r Pl

8.

S i l

11.

in

2.

Sun th

3.

s l l

4.

Sk t h

5.

y h s s Pl

13.

ir h w t

14.

v un H

Across Down

1. Solve the crossword clues by naming the notes.2. Complete the crossword puzzle.

Symphony Park

4

Milwaukee, WI • June 17 - 21, 2005 (Semi-Final & Final Rounds)

Preliminary Round videotape deadline: March 7, 2005Open to all young pianists ages 14 through 18.

For more information call: 414-962-3055 • e-mail: pawisc@earthlink.netvisit the website: www.PianoArts.org

PIANO ARTSCOMPETITIONPIANO ARTS

COMPETITION

We are excited to bring you the debut of a new piano series, The Schirmer PerformanceEditions, jointly published by G. Schirmer and Hal Leonard Corporation.

I’m certain that many musicians undoubtedly grew up with the familiar volumes of theSchirmer Editions on our piano racks. The distinctive yellow cover is truly an icon in theteaching world, and rightly so. As a young pianist, I remember that being given one of the‘yellow-cover’ books meant I had reached a very important milestone in my own piano study.

Many pianists still have a great fondness for Schirmer’s piano scores. The Library of PianoClassics has enabled all pianists – amateurs, students, and professionals – to gain ready accessto a huge store of classical repertoire for more than a hundred years. And so, Hal Leonard isdeeply honored to work with Schirmer on this new collection of piano music, the SchirmerPerformance Editions.

Many hours of planning went into the development of this new series. We constantly thoughtof teachers and students when we worked on our goal of creating a new library of “classics.”We believe it will serve as a valuable resource for today’s pianists and hope it will becomethe piano library of the 21st century.

Each of the pedagogical volumes in the series will include a CD recording of the solos in thebook, performed by the artist/editor. We hope that these recordings will serve as an excellentmodel or performance ideal for students and accomplished pianists alike. The series, whichwill be developed over a period of several years, will eventually encompass a wide range ofrepertoire and will include editions for students as well as advanced standard literature.

We invite you to explore this new series in your own studio through the In Touch specialoffer on the next page. Be among the first to review book/CDs from this informative, newclassical-repertoire series.

By Margaret Otwell - Director of Educational Keyboard Publications, Hal Leonard Corporation

Allegretto (q = 88-100)

I Muzio ClementiOp. 36, No. 2

Sonatina in G Major

`` 2

p

1

5

2 3 1 3 3

legato4 2 1

5

3

5

3 5

fz

42

1

p

3 5 1 3 2

15

15

10

5 1

cresc.

3 2 5

f

3 2

5

1

3

5

3

13

14

42 3

1 5 3 2 1 3 23

1 5

cresc.

3

18

1

23 1 3

1 2 1 35 4

2 4

1

17

Invention No. 1J.S. Bach

BWV 772

3 1 3 1 (sempre)

1 4

2

5 2

5 3 31 1

4 1

4

3

5 1 2 simile 2 3 2 4

4

simile

1

2 1

5

3 1 3 5

3 1 2 1

1

1 3 31 1

3 2

4

4

3 1

7

1 1 12 2

4

52

3

simile

9

Copyright © 2004 by G. Schirmer, Inc. (ASCAP) New York, NYInternational Copyright Secured All Rights Reserved

Warning: Unauthorized reproduction of this publication isprohibited by Federal law and subject to criminal prosecution.

[ ] 3

5 4

2 1 3 4

1 3 2 1

5

2 3 1

10

Moderato (q = 112)

InnocenceJ. Friedrich Burgmüller

Op. 100, No. 5

p grazioso

41 4 1 4 1 3

5 1

135

4

3

cresc.

43 1 2 1 4

1 4 14 2

f

2

5

135

135

125

35

1

82

dim.

3

dim.

p

2 leggiero

13 1 2 1 1 3

12

1

12

2

mf

1 1 2 1 13

f

51

3 14

8va

35

15

5

sf

4

dim.

4 53

cresc.

14 1

5

f

12

12

5

16

ClementiSonatinas, Opus 36HL00296466/$9.95

BachTwo-Part InventionsHL00296463/$9.95

Burgmüller25 Progressive Studies,Opus 100

HL00296465/$9.95

Notable hallmarks include:

• A respect for the original intent of the composer by carefulconsultation of urtext scoresand contemporary scholarship.

• Careful attention to the look of the score on the page. Allbooks are newly engraved in aclear, uncluttered format, andprinted on vellum paper thatis easier for the eyes to read.

• Covers are a beautifullydesigned to invite a pianist –especially students – to openthe books and begin to play.

• Also included in eachvolume is a CD recording of the repertoire in the book, performed by theartist-teacher/editor. Theseperformances enhance the value of these books.The recordings aptlyilluminate the conceptsdiscussed in the prefatory“Performance Notes” –through artistic, illus-trative interpretations thatothers will value long afterthey have mastered therepertoire.

IN TOUCH SPECIAL OFFER

SHIP TO:

Name

Address

City State Zip

Daytime Phone Number(in case we have questions about your order)

E-mail Address

OFFER EXPIRES MARCH 1, 2005

Select one book of your choice of the 3 listed here, and we’ll send you acomplimentary reference copy

for your studio.One book limit please.

5

Clementi Sonatinas, Opus 36HL00296466/$9.95

Bach Two-Part InventionsHL00296463/$9.95

Burgmüller 25 Progressive Studies, Opus 100HL00296465/$9.95

To request your complimentary copy

E-MAIL US ATpiano@halleonard.com

Please mention Dept. Code ITF05

PHONE:

1-800-322-1127FAX:

414-774-3259

RETURN THIS FORM TO:Hal Leonard

7777 W. Bluemound RoadP.O Box 13819

Milwaukee, WI 53213

Please order additional copies for your students

from your favorite retailer.

6

dealerspotlight The Next Generation

of Print MusicColorado’s Rockley MusicCenter ended 2004 with its58th Anniversary Sale inDecember. The AnniversarySale capped a year filled withchange and excitement assecond-generation ownersBob and Nina Rockley, retired,turning over the business tothe next generation, Liane andTobin Rockley.

Rockley Music’s humblebeginnings started in 1946 asa musical instrument andappliance store. Mel Rockley,founder of Rockley Music,was the band director andprincipal of a local highschool. The store was bornout of a love of music and adesire to service the

community. At nearly 1/10th its current size, Rockley Music sold washers,dryers, band instruments, small appliances and some print music. The printmusic in 1946 was a very small section filed alphabetically by instrument.Records were the big seller and made up the bulk of print music until the1970’s when eight-track and cassette tapes came into vogue. In 1973 NinaRockley, daughter-in-law to Mel, eliminated the records and took the nextevolutionary step in print music by organizing it into four large departments- Piano, Instrumental, Vocal and Choral. Nina also pioneered thedealer/teacher relationship with her charter membership in the FoothillsMusic Teachers Association, part of Music Teachers National Association.

The 80’s and 90’s brought tremendous growth in the print departments,especially in piano music. Rockley Music’s now extensive selection helpedprovide local teachers with a place to browse, compare editions, and playthrough music before purchasing it. Displaying the music in inviting, oakbrowsing bins instead of filing cabinets turned teacher sale day into a socialtime for teachers to get together and share ideas and favorite pieces witheach other.

Where are we headed now? Teachers have different needs today than theydid even five years ago. They are less likely to take the little time they haveto come browse through music and are more apt to buy online. As a leaderin the music industry, Rockley Music participated in a national teachersurvey for Music Teachers National Association (MTNA) and the Retail PrintMusic Dealers Association (RPMDA). Survey results were tabulated andpresented at the 2004 RPMDA convention in Philadelphia and a joint taskforce was formed to address the changes in the teacher/dealer relationship.Liane Rockley of Rockley Music and Peggy Otwell of Hal Leonard aredeveloping the public relations module for the task force.

The task force recommendations charge print music dealers and teachers tofind new and innovative ways to re-energize and encourage professionalgrowth and development in their community.

For Rockley Music, being at the forefront of new technologies and ideashelps us meet this challenge. Our website and email newsletters reachteachers in the comfort of their own homes, on their schedule. Hostingunique workshops like the Hal Leonard Piano Day Spa stimulateprofessional growth in a fun, relaxing new environment. On the instrumentside of the business, Rockley Music provides pianos to schools andinstitutions though participation in a piano loan program. Liane and Tobinhave continued their “hands-on” approach to the local community byproviding opportunities like the Pramberger Piano Festival and Competition,and the Denver Central Federation Festival. The Rockley Music print staffattends local music-teacher association meetings, volunteering time tosupport these organizations.

The MTNA/RPMDA survey also emphasized the importance of selection andknowledge of staff members. With over 350,000 titles in stock and decadesof experience in print music, Rockley Music meets this challenge. As our60th Anniversary approaches in 2006, our business focus is clearer than ever.We are in business for the love of music, to support our families, and toservice the musical needs of our community by providing the products andthe warmth of service that our family can offer.

Please visit us at the 2005 MTNA Convention in Seattle! You can also visitus online at www.rockleymusic.com.

Original location in 1946

Inside Rockely Music From left to right: Liane Rockely, Aaron Shields, and Boni McIntyre (Print Music Management)

7

THE PIANO DAY SPA is a unique experience which combines

elements from traditional piano workshops with the nurturing

environment of a real spa. Designed to restore balance and recapture

the creative spirit in your daily teaching schedule, the Day Spa will

help you discover new opportunities, explore your potential and

follow the path to being the best possible piano teacher.

H A L L E O N A R D P R E S E N T S

2005

COLORADOSaturday, August 6, 2005Lakewood Cultural Center470 S. Allison Parkway

Lakewood, CO

WISCONSINSaturday, August 20, 2005Wisconsin Lutheran College

Center for Arts & Performance8815 W. Wisconsin Avenue

Milwaukee, WI

CALIFORNIASaturday, September 17, 2005

Roland Corporation US Headquarters

5100 S. Eastern AvenueLos Angeles, CA

2005 PIANO DAY SPA DATES AND LOCATIONS:

Call or e-mail for information and more PIANO DAY SPA dates and locations for 2005!

E-mail: piano@halleonard.comwww.halleonard.com

Co-Sponsored by: Presented by:

1-800-322-1127

Prsrt Std RateU.S. Postage

PAIDPermit No. 24Winona, MN

Fred Kern Mona RejinoBarbara Kreader Phillip Keveren

Call:1-800-322-1127

E-mail:piano@halleonard.com

to become a member today!

Join the Hal LeonardStudent Piano Library

$30 for a 1-year membership

SHEETMUSICCLUB!

Join us for the exciting debut of the

Hal Leonard Adult Piano Method

MTNA Showcase Date: April 3, 2005Time: 8amLocation: Room 615

Washington State Convention & Trade Center

Right from the start, adults want to play rewarding music and enjoy theirpiano study. They deserve a method that lives up to those expectations,keep them interested, and eager to learn more. Great music, superbCD/GM accompaniments and helpful tips combine to make it all happenin this exciting new adult method. Join HLSPL authors Barbara Kreader,Phillip Keveren, Fren Kern and Mona Rejino as they demonstrate why,for adults just as for children, their guiding principle remains the same –“The Music Still Makes the Difference!”

MTNA 2005 April 2 - 6 • Seattle, WA

Special Offer Inside!