Piano magazine

SOCIAL MEDIA

AUSTRALIANCOMPOSERS

AMEB ONLINE

5 MINUTES WITH

I S S U E O N E 2 0 1 2

Australian Piano Teachers

Revolutionising theory

Are you connected?

In Print

you & your studentsINSPIREPiano teaching to

If BACH WERE ALIvE TODAy HIS NAME WOULD BELady GaGa

WhERE to bEGIN WITH ADULT BEgINNERS

CHRISTOPHER NORTON PIaNo FEStIvaLS ARE yOUR STUDENTS INvOLvED?

WHy PLAy duEtS?

PRICE vALUEvSOf BOOkS

P PLATE PIANOBooks 1-3

PIANO SErIES 16 (Preliminary to Grade 8)

Including gradebooks and handbooks

PIANO SErIES 15(Preliminary to Grade 7)

Including gradebooks and handbooks

Piano Sight Reading (2004)Piano technical WoRk (2008)AuSTrALIAN PIANO ANThOLOgy

(Preliminary to Fourth Grade)(Fifth to Eighth Grade)

PIANO STudIES ANd BArOquE wOrkS(First grade to Fourth Grade)

PIANO fOr LEISurE SErIES 3(Preliminary to Grade 7)

Including grade books and handbooks

Piano foR leiSuRe SeRieS 2(Preliminary to Grade 7)

Including grade books and handbooks

PIANO fOr LEISurE SErIES 1(Preliminary to Grade 7)

Including grade books and CDs and notes

outlined

Suitable for use with the AMEB Piano and Piano for Leisure syllabuses

The Australian Music Examinations Boards publication catalogue contains well over 250 titles. The titles cover most AMEB syllabus areas:

AMEBs catalogue of books and recordings covers the full range of repertoire from Classical to contemporary, Baroque to bossa nova. Teachers and candidates can rely on the high quality of all AMEB publications.

AMEB publications are a valuable resource for all teachers and candidates:

Grade books are an attractive and economic way to provide candidates with a range of repertoire relevant for each grade level for presentation at examination.

Technical Work books provide the full requirements for syllabus technical work.

Sight Reading and Aural Tests publications provide essential examples for practice prior to examination.

Recordings provide inspirational examples of syllabus works performed by leading Australian musicians.

Handbooks provide all the information necessary to answer the questions in Section III (General Knowledge) of practical exams, as well as building a wider picture of all works in grade books.

AMEB seeks to foster Australian composers by endeavouring to feature at least one work by an Australian composer in every grade book.

The entire catalogue is being updated constantly and is printed annually on the back cover of the AMEB Manual of syllabuses.

MUSIC CRAFT, THEORY OF MUSIC, MUSICIANSHIP AURAL TESTS AND SIGHT READING PIANO FOR LEISURE PIANO, SINGING AND SAXOPHONE STRINGS WOODWIND GUITAR SINGING BRASS CONTEMPORARY POPULAR MUSIC (CPM)

Issued under the authority of the Australian Music Examinations Board

www.ameb.edu.au

Item No. 1201 0636 39

ISMN 979-0-720110-41-7

Piano

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technical work book

Piano


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Item No. 1201 0881 39

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technical w

ork book

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PianoSERIES 2

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www.ameb.edu.au

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IES

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Music crAfT, ThEory of Music, MusiciAnship AurAl TEsTs And sighT rEAding piAno for lEisurE piAno, singing And sAxophonE sTrings WoodWind guiTAr singing BrAss conTEMporAry populAr Music (cpM)

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Music crAfT, ThEory of Music, MusiciAnship AurAl TEsTs And sighT rEAding piAno for lEisurE piAno, singing And sAxophonE sTrings WoodWind guiTAr singing BrAss conTEMporAry populAr Music (cpM)

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Preliminary Grade

Item No. 1201 0559 39

ISMN 979-0-720110-81-3

editors letterWelcome to our very first edition of the

PIaNo tEachER MaGazINE.We have really enjoyed putting this magazine together and have loved getting to know so many of you, the piano teachers of Australia, at workshops, conferences,

via email and on Facebook.

We hope you enjoy reading this magazine and finding out about the many great new publications that we hope will enhance and enrich your teaching. If you would like additional copies of this magazine for your studio or

teaching staff, please let us know.

A special thank you to the many piano teachers and others who have contributed to this edition of the magazine. Special thanks also to Yamaha Australia for the gorgeous image of the piano on our front cover (I bet we all wish

we had one of those in our homes/studios!).

We would love to hear your response to the magazine and also find out what you would like to see in the next issue. Please feel free to email your feedback through to

[email protected]

GINA WAKE

PIANOTEACHERI S S U E O N E 2 0 1 2

Magazine

PIANOTEACHERISSUE ONE 2012

Magazine

PIANOC L U B

Join our Piano Club and receive onevery special offer every month!

Nominate your favourite local store(s) to shop at, where you are likely to redeem your offer.

Enjoy fabulous new publications at great discounts all year long!

Enjoy a free welcome gift.

Join in 4 simple steps:

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Piano Teacher Magazine - Piano Club Att: Gina WakePO Box 5130, Cheltenham VIC 3192

contents10 Things You Should Do BeforeYour Child Begins Piano Lessons ....................................................... 4P Plate Piano ....................................................................................... 85 Minutes with... Australian Piano Teachers ................................... 12Australian Composers in Print.......................................................... 14Composer Profile- Christopher Norton ........................................... 20Adult Beginners ................................................................................. 22Social Media ..................................................................................... 23Hal Leonard Student Piano Library .................................................. 26Piano Duets ....................................................................................... 28Helen Marlais Succeeding at the Piano ........................................ 30AMEB Online ..................................................................................... 32Christopher Norton Piano Festivals ................................................. 33Urtext- Whats it all about? ............................................................... 34

6 more gorgeous pianistic arrangements from the best female artists of today. Adele, Sia, Jessie J, Demi Lovato, Kelly Clarkson and Christina Perri.

Piano Vocal GuitarcHartinG HitS

Item No 20128002

cHartinG HitSPiano Vocal Guitar

ALL MUSIC PUBLISHING & DISTRIBUTION PTY LTD

adele Set Fire to the rainKelly clarkson What Doesn't Kill You (Stronger)

Demi lovato SkyscraperDavid Guetta feat. Sia titanium

Jessie J Dominochristina Perri a thousand Years

ADELE KELLY CLARKSON DEMI LOVATO DAVID GUETTA FEAT. SIA JESSIE J CHRISTINA PERRIADELE KELLY CLARKSON DEMI LOVATO DAVID GUETTA FEAT. SIA JESSIE J CHRISTINA PERRI

adele Set Fire to the rain

Kelly clarkson What Doesn't Kill You (Stronger)

Demi lovato Skyscraper

David Guetta feat. Sia titanium

Jessie J Domino

christina Perri a thousand Years

OUT NOW! Piano Divas and now Piano Divas Encore

Join today and receive a free book!

My children love stories. We read anything they get their hands on. Although we are lucky enough to have a huge collection of books at home, we visit the library at least once each week, mainly so I do not get too bored as I am forced to read each story over and over again!

But there are 5 stories I never tire of reading to them. Since we discovered the Freddie the Frog books, my daughters (aged 4 and 2) have become familiar with the technical language of music.

The CDs that are packaged with the books are played in the car on long journeys and it warms my heart to hear the girls clapping rhythms, singing along with Freddie and Eli and using musical terms (so Mummy, largo must mean slowly Elvie aged 4).

I cant wait to see how quickly the girls progress when the time comes for them to begin formal music training!

Gina Wake Editor (Piano Teacher Magazine)

things you should do before your child begins piano lessons10

What does a frog have to do with my piano students?

Freddie the Frog books are available From yoUr FavoUrite mUsiC retailer

1buy a piano. This may or may not seem like a no-brainer to you. In case its not, let me explain. Your child will not make progress with-out a piano at home on which they can practice between lessons. So until you have a piano dont bother organising to take piano lessons... unless your goal is to pay for really expensive babysitting.

2Put the piano in a part of the house that isnt a. lonely and/or b. where the only tv is. Two of the biggest reasons children dont end up practising is because theyre either lonely in the glummest/most distant room of the house or because everyone else wants to watch the television and the piano is in the same room. Having the piano hidden away communicates that the piano is not something normal or use-ful; having the piano and tv competing for acoustic space is just asking for conflict in your family.

3If you have an acoustic piano, keep it tuned! This is more of an administrative burden than it is a major expense (you need to find a piano tuner, book them up, and then be at the house while they tune the piano), but if your piano is out of tune your child(ren) will find playing the piano far less pleasant, and you wont enjoy hearing the piano played all that much either.

4have the piano in your house for months even years before your child begins lessons. This is about developing a sense of the everyday about the instrument (the piano is a part of normal life) as well as allowing the child to explore the instrument quite thoroughly prior to lessons beginning. To which end.

For ParentsThis is a quick checklist of things to do, buy, learn and decide be-fore your child has their very first piano lesson. Working your way through this checklist will speed up your childs learning curve, pos-sibly by months (maybe more!), and once youve covered every item below you will be a superbly equipped parent entering into the role of nurturing the growth of a new little (or not so little) pianist.

FrEDDIE CrEATor AND AuTHor SHAroN BurCH

by Elissa Milne

things you should do before your child begins piano lessons10

5Encourage your child to play around with the piano prior to beginning lessons. You cant break a piano by playing it, and your child will develop a sense of familiarity with the layout of the keys (black notes in groups of 2 and 3 placed between white notes) and the way the keys make sounds (high sounds towards the right, low sounds towards the left) as well as different effects the piano can make (softer sounds when you press more gently, sustained sounds when you depress the pedal, etc.). This saves time in the first weeks of lessons and, more im-portantly, means that your child will have a confidence when being asked to try new things on the piano in these first few weeks and months.

6Purchase a chair/piano stool/piano bench that is height ad-justable. Sitting at the right height is a huge part of what makes playing the piano comfortable and effortless, and sitting at the wrong height can prevent the pianist from creating beautiful sounds. Dont make do with cushions organise a permanently available means for your child to sit with maximum ease at the piano.

7Notice what your child discovers at the piano, and (when the time is right) talk about their discoveries with them. Does your child play the same thing (or variations of the same thing) every time they get near the piano? or do they experiment with one kind of sound for a few days and then move on? Do they try to pick out tunes, or are they more interested in piano role-playing? Do they play across the full length of the keyboard, or restrict themselves to one area?

Noticing the way your child experiments is an essential foundation to being able to talk about what they are doing. And talking about what your child does is an essential part of validating and consolidating the discoveries they are making.

It doesnt matter if youre not sure of the exact musical term, talk about the kinds of feelings the sounds reflect, what the sounds remind you of, and ask your child to talk about their intentions, ideas and reflections. Some pianist gestures are gentle, others are cheeky, while yet others can be very sad indeed. Starting your childs pianistic journey by talking about emotion, attitude and texture (smooth/spiky, for instance) puts your child at an enor-mous advantage in communicating with others about their playing.

Im sure readers of this article will be able to contribute more great ideas for things parents can do before their child begins piano lessons, but these are my top 10. If every new student had these items covered Well, I can dream, cant I?!

Freddie the Frog books are available From yoUr FavoUrite mUsiC retailer

NEW!

8Make sure your child knows the difference between their right and left sides. This is a bigger is-sue than simply knowing the right hand from the left; having your child be aware that they can create an action on one side of their body and then mirror that action on the other develops physical-spatial awareness that will be immensely beneficial when learning new skills at the keyboard. Which is to say: having a child practice jumping to the left or jumping to the right will help them be better pianists. Anything that asks a child to do things with their body in terms of left and right will lay the foundation for physical fluency at the keyboard.

9Make sure your child knows their alphabet. From a to G. and maybe back again. This wont be covered in the first lesson (nor-mally), but if your child understands that the musical alphabet goes A B C D E F G A B C D E F G A B, etc., theyll save at least half a lesson. And if your child can think through those letters backwards youve probably saved two more whole lessons over the course of the first year.

10Show your child a treble and bass clef. and explain that the treble is for high notes, the bass for low notes. If you have no idea what a treble clef is then Google it. This is just a symbol, but the more familiar your child is with what these symbols look like the easier it will be for a teacher to introduce new ideas quickly during the first year or so of lessons. The treble clef in particular is an oft-used symbol to represent music your child may well have seen this symbol already and just never understood what it meant (it means the notes on it are in the top half of the piano). Being confident distinguishing these two symbols could save half a lesson or so at least three times in the course of the first 12-18 months.

PAGE 5

PIANOTEACHERISSUE ONE SPRING 2011

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Magazine

doctor Gradus ad Parnassum

(performance excerpt)

Golliwoggscake walk

(performance excerpt)

cLaSSIc

Schirmer Performance Editions are designed for piano students and their teachers as well as professional pianists.Pedagogical in nature, these editions offer insightful interpretive suggestions, pertinent fingering, and historical and stylistic commentary. Prepared by renowned artists/teachers, these publications provide an accurate, well-informed score resource for pianists.

You can see and hear examples at:www.halleonard.com

coLLEctIoNS

What is vellum paper? Vellum is a type of paper-like writing surface that has been used for centuries in various forms. Ancient vellum was made from the skin of mammals such as calves or goats.

Modern vellum is made from wood pulp cotton fibres that have been treated.

Vellum generally is more durable than paper and is most often used for special documents or other manuscripts that are meant to be preserved.

the creamy colour of vellum paper makes reading these editions easy on the eye.

can I use these editions for my exams?

Of course you can!

The Debussy Childrens Corner album featured here includes Jimbos Lullaby (Grade 6 AMEB), The Little Shepherd (Grade 6 AMEB Piano for Leisure), Golliwogs Cakewalk (Grade 7 AMEB

both syllabuses) and more besides!

For more information on each book you can go to www.halleonard.com, enter Schirmer

Performance Editions in the quick search box and hit enter. You can see excerpts, download

the contents list for each book and hear a performance excerpt.

PAGE 7


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P Plate Piano is a series of three books that take a beginner pianist from their first tu-tor to AMEB preliminary piano level. The music has been selected by respected music educa-tor Elissa Milne, with an emphasis on encouraging performance and creativity. Learning is supported through a dedicated P Plate Piano website with a range of teaching resources and stimulating ac-tivities for students. A Hall of Fame showcasing student performances via YouTube and an online student diary are other features of the website.

Mark Griffiths has been teaching piano profession-ally for more than 15 years. He has his own studio and directs the Young Beginner Keyboard/Piano programs and teaches Piano and Early Childhood Music at Queenslands Griffith university Young Conservatorium. His students range from the very young, through to students with special needs and

diploma students. Mark has also been an AMEB examiner for the past four years and is one of the first examiners to assess candidates completing the P Plate Piano program.

Mark uses the P Plate Piano program in conjunction with the more traditional tutors and a variety of other music so that his young students are provided with a range of musical experience and inspiration. He always involves them in the selection of repertoire so that the chosen program has a pedagogical basis as well as appeal for the child. Its so important to motivate students to keep going and I have learned over the years that offer-ing them music that they want to play is crucial to this, Mark notes. The range of styles and tech-niques covered in the P Plate Piano pieces has made it easy for me to guide the childrens selec-tion so that we can focus on particular technical aspects that need to be developed through learn-ing pieces they want to perform. The program makes a huge contribution to the repertoire avail-able for students who are no longer beginners but are not yet ready to prepare for Preliminary level exams, Mark said.

The pictures, stories and activities that come with each piece are great, Mark adds. They really engage the students imagination and there is so much to build my teaching on. I particularly like the pictures of the keyboard and fingers for each hand that are also good support for parents who are supervis-ing practice at home, he said. The books are

P Plate Piano piano teaching to inspire todays young musicians by Joan Skilbeck

Mark Griffiths says that the introduc-tion of the AMEBs P Plate Piano into his teaching program has helped inspire his students to want to learn. The pieces sound so good that the children re-ally want to play them. They are motivated to prac-tise and are inspired to keep studying the piano, Mark says. I put this down to the P Plate Piano program being developed for todays students. So many of the children I teach are looking for more instant gratification and like to take some control in their learning. With P Plate Piano, because they recognise and relate to the sounds and rhythms of the repertoire, they are determined to perform the pieces. They are also encouraged to make creative decisions about how they will play the pieces and this allows them to take ownership of the music.

uncluttered, inspirational and even little children, who cant necessarily read yet, can see the pictures and keyboard geography. Mark uses the P Plate Piano repertoire as part of his teaching program with six-year-old Scarlett and her eight-year-old brother Harry (pictured). Scarlett is working on The Sad Farmer in Book 1 at the moment, Mark says. In this piece shes experimenting with using flats and sharps and ex-ploring the major and minor tonal qualities that can

be created by interchanging them. Its a great way to bring this theory to life and at the same time Scarlett is able to make her own decisions about how she wants the piece to sound in performance.

Harry is preparing Tittle Tattle from Book 2 for the end-of-term concert, Mark adds. This has been an important piece for helping him develop dynamic control in each hand. The title of the piece already describes chattering voices so its easy to talk about which voice is leading the con-versation and needs to brought out in this con-text, rather than just telling him to make the left hand softer at bar six. Scarlett and Harry are very much looking forward to learning a duet from the P Plate Piano repertoire and performing it in a concert later in the year.

The P Plate Piano program is also prov-ing to be a great hit with the parents and Mark emphasises how important parent involvement is to student learning. As a teacher, I spend a great deal of time building the parent-student-teacher triangle. This is essential to mo-tivating the children and developing their self discipline to practise. I believe that when parents enjoy listening to the music and are enthusiastic about their childs playing, the child is more likely to enjoy making music and continue with their study. Ive found that with P Plate Piano, the par-ents love the pieces and there is a lot of scope for them to be involved in the music making. Their enthusiasm rubs off on the children. Mark notes that the dedicated P Plate Piano website is a terrific support to the students, parents and teachers and an important part of using todays technologies to enhance teaching and learning. When I told Scarlett that she could keep an online diary as part of the program, she was as excited about this as she was about per-forming her pieces and couldnt wait to go onto the website and enter her secret password, he

P Plate Piano piano teaching to inspire todays young musicians by Joan Skilbeck

says. recording my students performances has also become an important part of my teaching and the idea of watching other students per-forming the same pieces in the P Plate Piano Hall of Fame is a great way to challenge and motivate the children. The option of a non-graded assessment is avail-able on completion of each P Plate Piano book to introduce the exam experience to students. Each student receives a written report from the exam-

iner and a certificate at the end of the assessment. A P Plate Piano licence is awarded on completion of the assessment for Book 3. Through being a P Plate Piano examiner, Mark is amazed at how much the children enjoy the as-sessment experience. Childrens comments such as That was so cool and I even got a certificate at the end, have challenged his own thinking about students and exams.

Ive come to realise that enjoyment is the most important part of performance and thats what the students seem to gain from their P

Plate Piano assessment experience, Mark says. reports and marks are really only important to the teachers and parents. In the P Plate Piano setting, I focus on making each students exam a positive experience. The reports I write are for teachers to encourage their students in future les-sons, reinforcing what has hopefully been a great experience for the children. Ive noticed that the children coming into their second P Plate Piano exam greet me like an old

friend, Mark says. They are much more relaxed and confident than they were for their first exam. Mark would like to see teachers become more re-laxed about the P Plate Piano exams too. The idea is for the students to have fun performing. Its not about being 100% perfect and its certainly not a reflection on the quality of the teaching if total perfection isnt achieved, Mark emphasises.

Knowing Elissa Milne is behind the P Plate Piano program is a great selling point for Mark. Elissas enthusiasm is infectious. Her workshops and the online tutorials on the P Plate Piano website where she demonstrates the pieces and offers suggestions and tips for teach-ing them add a great deal of value to the program for both teachers and parents, he says. Elissa also emphasises the importance of not pushing our students too quickly but rather enjoying them and their learning thats a great philosophy. Mark believes that the P Plate Piano program demonstrates the AMEBs recognition of todays teaching and learning environment, particularly for young students. The program relates to the children of today, allows them to be actively in-volved in their learning and offers a great range of flexible repertoire for them to enjoy perform-ing from a young age. P Plate Piano contributes a broad early learning experience in a very appro-priate framework that is sure to help encourage students to continue their study and enjoyment of music through their life. For me, thats what teaching is all about.

Ive come to realise that enjoyment is the most important part of performance...

Scarlett and Harry enjoy playing the pieces from the AMEBs P Plate Piano program,

complete with costumes and props to make their performances come to life

PAGE 9


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...or Bruno Mars, Madonna, P!nk or Eminem.

Well, perhaps not but indeed J.S. Bach taught his sons using the music of his time popular dances, preludes and exercises by living composers. It would never have occurred to him to seek out pieces in the styles and rhythms one hundred years old. He expected his boys to thrive in the musical world of their time.A brilliant new series has been developed working on those same principles. The american Popular Piano (aPP)Series will have students:

Developing traditional pianistic and musical skills through music in contemporary popular styles; Being motivated to practice by working on music that is familiar, fun, and that they cant wait to play; Nurturing their creativity and spontaneity through a user friendly modular approach to improvisation; Enjoying regular ensemble playing

...and finding pleasure in a lifelong relationship with music!

Lady GaGatry this at home with one of your students...

american popularpiano1

OChristopher Norton & Scott McBride SmithSampler

american popularpiano

by christopher norton editor scott mcbride smith

popularstyles!

traditionalskills!

3

REPERTOIREamerican popularpiano


popularstyles!

traditionalskills!

2



popularstyles!

traditionalskills!

1

ETUDES



popularstyles!

traditionalskills!

8



popularstyles!

traditionalskills!

7



popularstyles!

traditionalskills!

6



popularstyles!

traditionalskills!

5



popularstyles!

traditionalskills!

4

REPERTOIRE

The Why

Why cant I play moremusic like this? askeda fourteen-year-oldpiano student. Myfriends like to hear meplay cool music.

Why not, indeed. J.S.Bach taught his sonsusing the music of histime popular dances,preludes and exercisesby living composers. Itwould never have occurred to him to seek out pieces in styles and rhythms one hundredyears old. He expected his boys to thrive in the musical world of their time.

American Popular Piano has been developed on the same principles. Studentsworking in this series will

develop traditional pianistic and musical skills through music in contemporary,popular styles;

be motivated to practice by working on music that is familiar, fun, and that theycant wait to play;

nurture their creativity and spontaneity through a user-friendly modular approachto improvisation;

enjoy regular ensemble playing;

and find pleasure in a lifelong relationship with music!

If Bach were alive today, his name would be...

Christopher Norton

The Girl On The Beach

RHYTHM SECTION

When played on one piano,

Piano Solo plays only lh one octave higher

Languidly q = 132

mp

5 9 cresc. 13

Novus Via Music Group Inc. 2006. All rights reserved.

dim. p

22

Notes:

Ensemble

Christopher Norton

The Girl On The Beach

PIANO SOLO

____ on G?

Languidly q = 132

mp

____ on F?

____ on A?

5 9 cresc.

Novus Via Music Group Inc. 2006. All rights reserved.

13 dim. p Detection Question: Label the intervals used in the left hand in mm. 1-7.

23

Notes:

INSTRUMENTAL BACKINGS

for Ensemble Repertoire and Improvisation Etudes

NovusVia M

usic Group Inc., 2009. All rights reserved.

www.nvmusicgroup.com

americanpopularpiano

8Compositions

Christopher NortonAdditional Compositions

and Arrangements

Dr. Scott McBride Smith

Orchestrations &Midi

Frank Mizen

Mixing &Post Production

Richard Kimmings



NovusVia M




7Compositions


and Arrangements



Frank Mizen


Richard Kimmings



NovusVia M




6Compositions


and Arrangements



Frank Mizen


Richard Kimmings



NovusVia M




5Compositions


and Arrangements



Frank Mizen


Richard Kimmings



NovusVia M




4Compositions


and Arrangements



Frank Mizen


Richard Kimmings


created by

scott mcbride smith

series composer

christopher norton

popularstyles!

traditional

skills!

2SKILLS


created by

scott mcbride smith

series composer

christopher norton

popularstyles!

traditional

skills!

1TECHNIC



NovusVia M




PCompositions


and Arrangements



Frank Mizen


Richard Kimmings

Skills Books

Each Skills Book rounds out the comprehensive course

of study. Paced to enhance progress in the

corresponding Repertoire and Etudes Albums, the

module structure ensures a smooth integration of

Ear-Training, Sight-Reading, and Technic.

Ear-training: reinforces the aural development

already achieved through the repertoire and

improvisation etudes;

Sight-reading: time-effective module structure

leads to regular practice the single most

important contributing factor to success;

Technic: provides a structured and measured

approach; prepares for the challenges ahead.

Technic Books

Each Technic Book sets out progressive exercises in three

broad categories to build the physical skills necessary for

successful piano study.

Scales: presented in a variety of rhythms and

articulations, develops fine motor skills, finger

strength, and ease with keys appropriate to the level;

Chords: practiced over the entire keyboard, refines

large muscle motion, reinforces clean attack, and

prepares harmonic understanding;

Drills: providing structured focus on specific elements,

improves tonal evenness, dexterity, and articulation.

Instrumental Backings CDs

At each Level certain elements are enriched by accompanying

instrumental backings the Ensemble pieces in the Repertoire

Albumand the Improvisation modules in the Etudes Album.

provides convenient practice and performance tempos

for realistic support of the learning process;

stimulates daily ensemble playing;

creates a full band improvisation experience;

makes reaching a polished performance just plain fun!



NovusVia M




1Compositions


and Arrangements



Frank Mizen


Richard Kimmings



NovusVia M




2Compositions


and Arrangements



Frank Mizen


Richard Kimmings



NovusVia M




3Compositions


and Arrangements



Frank Mizen


Richard Kimmings

...or Bruno Mars, Madonna, P!nk or Eminem.Lady GaGa

The How

The integrated, comprehensive course of study provided by American PopularPiano ensures the development of well-rounded piano fundamentals using acombination of classical and popular styles. Each of the eleven levels fromPreparatory for the first year of study, through the progressive levels 1-10 includes a Repertoire Album, a supporting Etudes Album, a Skills Book, and anInstrumental Backings CD.

Repertoire Albums



popularstyles!

traditionalskills!

4

REPERTOIRE



popularstyles!

traditionalskills!

3

ETUDES

Each Repertoire Album contains a wide selection ofpieces in three distinct categories: Lyrical: develops beautiful tone; reinforcescareful listening; nurtures musical expression;improves finger control;

Rhythmic: instills a steady beat; improvescounting; refines articulation; ensures securesyncopations; internalizes the pulse;

Ensemble: hones listening skills; encouragesregular ensemble playing; offers rich musicaltextures even in early studies; reinforcesmusical continuity.

Etudes Albums

Each Etudes Album complements the correspondingRepertoire Album with traditional technical etudes in bothclassical and popular styles and through a revolutionary,module-based approach to improvisation. Technical Etudes: builds solid fundamentals byfocusing on specific technical and musical elements;offers an enjoyable approach to improving facility;

Improvisation Etudes: delivers a practical frameworkfor learning improvisation; integrates effortlessly intotraditional piano lessons; module structure providesintuitive, progressive development from the very firstlevel; encourages creativity and spontaneity; trainscritical active listening skills.

The How

The integrated, comprehensive course of study provided by American PopularPiano ensures the development of well-rounded piano fundamentals using acombination of classical and popular styles. Each of the eleven levels fromPreparatory for the first year of study, through the progressive levels 1-10 includes a Repertoire Album, a supporting Etudes Album, a Skills Book, and anInstrumental Backings CD.

Repertoire Albums



popularstyles!

traditionalskills!

4

REPERTOIRE



popularstyles!

traditionalskills!

3

ETUDES

Each Repertoire Album contains a wide selection ofpieces in three distinct categories: Lyrical: develops beautiful tone; reinforcescareful listening; nurtures musical expression;improves finger control;

Rhythmic: instills a steady beat; improvescounting; refines articulation; ensures securesyncopations; internalizes the pulse;

Ensemble: hones listening skills; encouragesregular ensemble playing; offers rich musicaltextures even in early studies; reinforcesmusical continuity.

Etudes Albums

Each Etudes Album complements the correspondingRepertoire Album with traditional technical etudes in bothclassical and popular styles and through a revolutionary,module-based approach to improvisation. Technical Etudes: builds solid fundamentals byfocusing on specific technical and musical elements;offers an enjoyable approach to improving facility;

Improvisation Etudes: delivers a practical frameworkfor learning improvisation; integrates effortlessly intotraditional piano lessons; module structure providesintuitive, progressive development from the very firstlevel; encourages creativity and spontaneity; trainscritical active listening skills.

INSTRUMENTAL BACKINGSfor Ensemble Repertoire and Improvisation Etudes

NovusVia Music Group Inc., 2009. All rights r

eserved

.www.nvmusicgroup.com


Compositions

Christopher Norton

Additional Compositionsand Arrangements


Orchestrations & Midi

Frank Mizen

Mixing & Post Production

Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings


created byscott mcbride smith

series composerchristopher norton

popularstyles!

traditionalskills!

2

SKILLS




popularstyles!

traditionalskills!

1

TECHNIC



eserved


american popularpianoP

Compositions

Christopher Norton




Frank Mizen


Richard Kimmings

Skills Books

Each Skills Book rounds out the comprehensive courseof study. Paced to enhance progress in thecorresponding Repertoire and Etudes Albums, themodule structure ensures a smooth integration ofEar-Training, Sight-Reading, and Technic. Ear-training: reinforces the aural developmentalready achieved through the repertoire andimprovisation etudes;

Sight-reading: time-effective module structureleads to regular practice the single mostimportant contributing factor to success;

Technic: provides a structured and measuredapproach; prepares for the challenges ahead.

Technic Books

Each Technic Book sets out progressive exercises in threebroad categories to build the physical skills necessary forsuccessful piano study. Scales: presented in a variety of rhythms andarticulations, develops fine motor skills, fingerstrength, and ease with keys appropriate to the level;

Chords: practiced over the entire keyboard, refineslarge muscle motion, reinforces clean attack, andprepares harmonic understanding;

Drills: providing structured focus on specific elements,improves tonal evenness, dexterity, and articulation.


At each Level certain elements are enriched by accompanyinginstrumental backings the Ensemble pieces in the RepertoireAlbum and the Improvisation modules in the Etudes Album. provides convenient practice and performance temposfor realistic support of the learning process;

stimulates daily ensemble playing; creates a full band improvisation experience; makes reaching a polished performance just plain fun!



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings




popularstyles!

traditionalskills!

2

SKILLS




popularstyles!

traditionalskills!

1

TECHNIC



eserved


american popularpianoP

Compositions

Christopher Norton




Frank Mizen


Richard Kimmings

Skills Books

Each Skills Book rounds out the comprehensive courseof study. Paced to enhance progress in thecorresponding Repertoire and Etudes Albums, themodule structure ensures a smooth integration ofEar-Training, Sight-Reading, and Technic. Ear-training: reinforces the aural developmentalready achieved through the repertoire andimprovisation etudes;

Sight-reading: time-effective module structureleads to regular practice the single mostimportant contributing factor to success;

Technic: provides a structured and measuredapproach; prepares for the challenges ahead.

Technic Books

Each Technic Book sets out progressive exercises in threebroad categories to build the physical skills necessary forsuccessful piano study. Scales: presented in a variety of rhythms andarticulations, develops fine motor skills, fingerstrength, and ease with keys appropriate to the level;

Chords: practiced over the entire keyboard, refineslarge muscle motion, reinforces clean attack, andprepares harmonic understanding;

Drills: providing structured focus on specific elements,improves tonal evenness, dexterity, and articulation.


At each Level certain elements are enriched by accompanyinginstrumental backings the Ensemble pieces in the RepertoireAlbum and the Improvisation modules in the Etudes Album. provides convenient practice and performance temposfor realistic support of the learning process;

stimulates daily ensemble playing; creates a full band improvisation experience; makes reaching a polished performance just plain fun!



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings



eserved



Compositions

Christopher Norton




Frank Mizen


Richard Kimmings

christopher Norton & Scott Mcbride Smith

Each repertoire Album contains a wide selection of pieces in three distinct categories:

Lyrical: develops beautiful tone; reinforcescareful listening; nurtures musical expression; improves finger control;

Rhythmic: instils a steady beat; improves counting; refines articulation; ensures secure syncopations; internalises the pulse;

Ensemble: hones listening skills; encourages regular ensemble playing; offers rich musical textures even in early studies; reinforces musical continuity.

Repertoire albums

Each Etudes Album complements the corresponding repertoire Album with traditional technical etudes in both classical and popular styles and through a revolutionary, module-based approach to improvisation.

technical Etudes: builds solid fundamentals by focusing on specific technical and musical elements; offers an enjoyable approach to improving facility;

Improvisation Etudes: delivers a practical framework for learning improvisation; integrates effortlessly into traditional piano lessons; module structure provides intuitive, progressive development from the very first level; encourages creativity and spontaneity; trains critical active listening skills.

Etudes albums

Each Skills Book rounds out the comprehensive course of study. Paced to enhance progress in the corresponding repertoire and Etudes Albums, the module structure ensures a smooth integration of Ear-Training, Sight-reading, and Technic.

Ear-training: reinforces the aural development already achieved through the repertoire and improvisation etudes;

Sight-reading: time-effective module structure leads to regular practice the single most important contributing factor to success;

technic: provides a structured and measured approach; prepares for the challenges ahead.

Skills book

Each Technic Book sets out progressive exercises in three broad categories to build the physical skills necessary for successful piano study.

Scales: presented in a variety of rhythms and articulations, develops fine motor skills, finger strength, and ease with keys appropriate to the level;

chords: practiced over the entire keyboard, refines large muscle motion, reinforces clean attack, and prepares harmonic understanding;

drills: providing structured focus on specific elements, improves tonal evenness, dexterity, and articulation.

technic books

At each Level certain elements are enriched by accompanying instrumental backings the Ensemble pieces in the repertoire Album and the Improvisation modules in the Etudes Album.

Provides: convenient practice and performance tempos for realistic support of the learning process;

Stimulates: daily ensemble playing;

creates: a full band improvisation experience;

Makes: reaching a polished performance just plain fun!

Instrumental backings cds

If Bach were alive today, his name would be...

american popular piano

PAGE 11


Magazine


Magazine

5 minutes with...Australian Piano Teacherschristina bond - QLDI love to play.... music from the romantic period and Jazz. I also love Hungarian and Spanish music (so much passion)My ideal number of students.... enough that allows me to earn an income, but not so many that I cant give them individual attention and cater to their specific needs. Around 40 students.Id love to learn more about.... history of music and piano. My students are always asking those curly why questions and I like to explain things from an evolutionary standpoint.to unwind from a long day of piano teaching I.... surf the internet, looking for new teaching ideas.

angela turner - QLDIve always wanted to teach.... actors in movies and TV shows who pretend to play the piano many of them look far too awkward! My favourite time of the teaching year.... After mid-year break. Discovering how much the students have worked and learned themselves, or what new pieces they have started. or hearing about their holidays!Earliest/latest lesson youve ever given? The latest piano lesson finished at 1am! My student was recording a CD in a recording studio at the time. In a normal teaching week, there are two long days where I routinely finish at 10pm. best concert Ive been to recently.... Yvgeny Kissins recital at the Brisbane Festival. one of the most memorable concert experiences of my life.

tim topham - VICI find inspiration for my teaching.... from my teacher, Caroline Almonte! Every time I go for a lesson I feel inspired - by watching her play and how she teaches and it all rubs off on my students. Im also a voracious reader of biographies (eg. Chopin, Liszt, Barenboim), blogs from other teachers and books about teaching and talent development (Talent is overrated, The Talent Code, etc.). best concert Ive been to recently.... I love dance music so Ive been to quite a few dance parties but as far as recitals go, Jovanni-rey De Pedros performances in Wagga in July were absolute stand-outs. James rhodes at the recital centre recently was also great fun I dont think Im too likely to hear the f-bomb dropped so casually by a concert pianist on stage ever again!!

Kathryn Knoll - WAI find inspiration for my teaching.... from other teachers. I have learnt so much from meeting and talking with other teachers, and am grateful that we have a great network of them in my area. one of the best things for my teaching has been to start playing and having lessons again. It helps me remember what its like as a music student, and puts me more in touch with my own students. best concert Ive been to recently... I received a phone call at 10am on a Sunday morning, asking me to play the Timpani for a 2pm concert of Handels Messiah. I hadnt played that work before, but it was a real buzz! Playing Timpani for the Hallelujah Chorus was extremely exhilarating.

thembi Shears - QLDI love to play.... Chopin! And Tchaikovsky! Im such a romantic girl. best thing about teaching the piano in the 21st century? The ability to say Listen to as many different recordings as you can, search iTunes and YouTube, and recording pieces / difficult rhythms for students on their iPhones! My favourite time of the teaching year.... I love the end of the year period when AMEB exams are over, and we wind down with duets and carols. Although I just had a Halloween themed studio concert (complete with over-the-top decorations and costumes) which was so much fun.Id love to learn more about.... one day I would LoVE to study jazz piano.

andrea harrison -NSWMy favourite time of the teaching year.... just before exams when everyone can play their pieces & actually perform AND my Extravagandrea twice yearly student concert/parties!Earliest/latest lesson youve ever given? 7am is earliestbut many uni students lessons/discussions can go on towards midnight or later!Id love to learn more about.... everything, especially the universe, thanks to Professor Brian CoxI find inspiration for my teaching.... in everything! Every experience affects how you teach. But seeing & hearing or playing - music live probably has the biggest effect. Certainly going to teacher workshops makes a huge impression sharing ideas & strategies, hearing new ways of doing things & new pieces of music. The Norton/Milne workshop in July 2011 was awesome!

Kylie hall - SAI love to play.... Wonderful ballads that can take you on a musical journey full of interpretation and style. Disney music and musicals are also a favourite usually very melodic and some with a fun novelty style. Gershwin is also a favourite composer.My ideal number of students.... Teaching is not a chore for me, although my career is teaching and running a music school (with nearly 400 students). The number of students I currently teach is approximately 40. I find inspiration for my teaching.... Many of my teachers provide me with new, youthful and inspiring ideas, bringing their joy and love of music and teaching to students.

Megan Sullivan - VICIve always wanted to teach.... well into old age as my tutor did.best thing about teaching the piano in the 21st century? I meet fabulous young people (and I wont hear any criticism of the current generation), ipods, digital recording devices.to unwind from a long day of piano teaching I.... have a glass of red but only on 5 days - mandatory 2 AFDs per week.I love to play.... accompaniments, and make music with other people.My favourite time of the teaching year.... Local eisteddfod time when I can sit for 3 days relaxing and enjoying the performances.Id love to learn more about.... teaching tips from other teachers, how to organise technical work soires, how to organise Practice-a-thons.

brenda hunting - QLDI find inspiration for my teaching.... anywhere I can. Ive found lots of great teaching tips on Facebook recently! I enjoy our MTAQ teacher network meetings, where teachers can get together and pool their ideas. best thing about teaching the piano in the 21st century? Having access to the internet - looking up great performances on YouTube, finding recordings of unusual repertoire, uploading videos of my own students performances, accessing amazing student resources that I would never have enough time to prepare myself, having some Skype lessons with Edna Golandsky in New York (and musing about the possibilities of my teaching via Skype next year when one of my students will be moving too far away to travel) ... the list goes on.

Josie thomas - VICbest thing about teaching the piano in the 21st century?

The massive interaction possible with technology such as the exposure through You Tube, social media. observing many musical interpretations, research, access to fun musical games linked to many of the orchestras. The Australian Piano Teachers Hub has many excellent links to relevant music education matters!using music software to create!Perhaps best of all, the many excellent methods and information available, online and off line, enabling us to reach out to students. Learning music has become so varied and many fun ideas help to make it more relevant. This equals lifelong enjoyment and connection with people in a meaningful way. Whether or not students become professionals is irrelevant.

1.

2. 3.

angela Fox - SAMy favourite time of the teaching year.... Term 4 and Christmas time is great to re-enthuse students with Christmas carols etc. I love the look on beginning students faces when they play Jingle Bells and can actually hear what they are playing and can sing along! By the 10th student its time for another carol!!! Its also fun for the students who have done their exams. Fresh, fun repertoire to look forward to.best concert Ive been to recently... Wicked! for the second time. once in Melbourne, once in Adelaide. Love the musicals!to unwind from a long day of piano teaching I.... read a good book, watch mindless TV and search the internet for more music!!

PAGE 13


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AYPWR

Ian Ladd

Larry Sitsky

Margaret Sutherland

Miriam hyde

Ian Ladd is a Geelong born composer and teacher who believes that students should be exposed to as wide a variety of musical styles as possible. These two volumes of Piano Grooves are written for the elementary to intermediate pianist and introduce students to a range of contemporary styles, including rock n roll, blues and jazz. Ian had a lot of fun writing these pieces and he hopes that your students have just as much fun playing them. He issues a warning however remember, dont take these pieces too seriously!

dont take these pieces too seriously.

Larry Sitsky is regarded as one of the most important figures in Australian music, making his mark as a composer, pianist, teacher, author and scholar. His works have been commissioned by many leading Australian and international bodies including the Sydney International Piano competition, the ABC and Musica Viva. Fast fact: Larry Sitsky was the first Australian to be invited to the uSSr on a cultural exchange visit, organised by the Australian Department of Foreign Affairs in 1977.Century Piano Collection uses folk music from a range of cultures for which Sitsky feels a personal affinity. In essence it is a tribute to what Australia is now: a multicultural country.

even the simplest settings have some kind of twist.

Five Fast Facts: 1. Margaret Sutherland was born in Adelaide in 18972. She was a student of Sir Arnold Bax in London during the 1920s3. During World War II she arranged midday chamber music concerts for the red Cross4. She was instrumental in promoting the plan for the present Victorian Arts Centre5. Her work spans more than fifty-five years and over ninety compositions

It was Margaret Sutherland who pioneered new music in the first half of this century in Australia, at a time when Australian composers experienced public indifference and a profound sense of isolation. She also laboured under the extreme disadvantage of being a woman in Australia. But for her example, it is unlikely that Australia would have produced such a proliferation of women composers.

The music in this volume has been recorded by David Lockett in the ABC classics release -Margaret Sutherland: The Piano Music (ABC Classics 441 934 2)

As a composer, musician, teacher and pianist, Miriam Hyde has made an outstanding contribution to the musical culture of Australia, especially in the field of educational music.Hyde said of her music: I feel my music can be a refuge for what beauty and peace can still be omnipresent...the triumph of good over evil. I make no apologies for writing from the heart.Did you know?Miriam Hyde wrote her much-loved piano work reverie when she was 13.

comprehensive notes from the composer give a rare insight into each work.

IN PrINTAustralian Composers

AYPWR

AYPWR

Sonny chua

Elissa Milne

daniel McFarlane

christina de beus

Most of Sonny Chuas published music was primarily written as educational works for his students. These works were composed with attention to developing performance techniques and awareness of intelligent design. Chuas music is currently listed on all Australian examination syllabi. Sonny Chuas music reveals an accumulation and assimilation of seemingly incongruous ideas, displaying the use of a broad palette, with myriad influences from classical, pop, jazz, rock, folk to techno music.

Elissas hit series Getting to has revolutionised piano teaching. Encouraging students to learn at least 40 pieces each year, Elissa has pioneered a new breed of literary piano students. Elissas own compositions are represented on all major examination syllabi across the world.Elissas first foray into publishing was with her first compositions Little Peppers and Pepperbox Jazz. Elissas blog - Ideas about music and about playing, learning and teaching the piano, with unexpected extras is read by thousands of piano teachers across the globe. You can read it too: elissamilne.wordpress.com

Melbourne born composer Daniel McFarlane lives in Brisbane with his wife, Melanie (a former-piano teacher), dog Bella and soon-to-be baby number one! Daniel started composing in 2005 because his students needed more repertoire that sounded cool. His first piece Synko was so well received by his students that he just kept on composing! Synko is featured in his book: Supersonics Book Two. When he is not teaching piano, composing or examining, Daniel likes to keep fit. In fact, Daniel won a gold medal representing Australia at the 1998 World Junior Athletics Championships!Check out Daniels music at www.danielmcfarlane.com

Queensland based composer Christina De Beus is heavily represented on the ANZCA syllabus. Her playful tunes include Dancing Caterpillars, Cane Toad Tango, Mexican Jumping Beans, Fandango Flavours and Tiddley What? The titles of Christines books are just as fun: Cockroach Pie, Spider Milkshake, Pudgy Budgie Boogie, Slicky the Snail, Guinea Pig Jig, Slug n Bug Soup, and Termite Munchies.

IN PrINTAustralian Composers

AYPWRMore Australian Composers will feature in the next edition of Piano Teacher Magazine. Tell us which Australian composer your students love to play at [email protected] and we will send you a copy of one of the books featured here.

PREPARATION FOR PIANO EXAMS

EDITED BY ELISSA MILNE

HAL LEONARDSTUDENT PIANO LIBRARY

Works by

Allerme

Bastien

Davidsson

Gillock

Gretchaninoff

Handel

Klose

Mancini

Milne

Morricone

Norton

Rodgers

Saint-Saens

Schaum

Sebba

Strauss

Wedgwood

GETTIN

G TO

PRELIMIN

ARY - TH

E NEW

MIX

- BK

/CD

CD INCLUDED

PAGE 15


Magazine


Magazine

Whats NeW Brand New Piano Titles available from your favourite music store!

PIANO DUET

REFERENCE

EASY PIANO

Instrumental HIts for easy PIanoCherry Lane26 melodies from stage, screen and radio ar-ranged for easy piano, including: Baby Elephant Walk Bonanza Chariots of Fire Theme from E.T. The Godfather (Love Theme) Love Story The March of the Siamese Chil-dren Peter Gunn The Pink Panther Tequila Tubular Bells and more. 2501683

ragtIme PIano sImPly autHentIc 23 ragtime favourites! Players will enjoy the characteristic syncopation and accented stride piano style that makes these ragtime tunes simply authentic. Includes: Bees-Wax Rag The Chrysanthemum Cotton Time Crab Apples Dill Pickles The Entertainer Tiger Rag Too Much Mustard Wild Cherries Rag and more.312323

Boosey and HawkesPIano antHologyBoosey & HawkesNew collection featuring works by the most prominent Boosey & Hawkes composers in-cluding Bernstein, Britten, Carter, Copland, Ginastera, Kats-Chernin, Lees, Stravinsky, Thomson, and others. With previously un-published works by Argento and Grecki. Ideal for advanced high school and tertiary players. M051246601

classIc Jazz PIano solos Cherry Lane Music Lush piano solo arrangements with chord names for 23 spectacular jazz gems: Bags New Groove Bouncing with Bud Dol-phin Dance Filthy McNasty Lady Day Minor Swing Rifftide Un Poco Loco Up Jumped Spring Valse Hot Watermel-on Man and many more! 1529

Journey tHrougH tHe classIcsJennifer Linn This four-volume piano repertoire series is designed to lead students seamlessly from the earliest classics to the intermediate mas-terworks. The graded pieces are presented in a progressive order and feature a variety of classical favourites essential to any piano stu-dents educational foundation. 25 pieces by Gurlitt, Hook, Trk, Diabelli, Kohler, Pachel-bel, Reinagle and more. Book 1 296870 Book 2 296871 Book 3 296872 Book 4 296873

BIgtIme kIds songsFaber Piano Adventures Intermediate pianists will enjoy this fun-filled collection of favourite kids songs, arranged to show off their pianistic skills. A wide variety of styles and sounds allow students to entertain family and friends with expressive performanc-es. Songs include: (Meet) The Flintstones Cruella de Vil Flight of the Bumble Bee Im a Believer Linus and Lucy and more. FF3005

czerny PractIcal metHod for Beg oP 599 Czerny / Edwards Czernys popular piano exercises are now available in an easy-to-read edition with perfor-mance and historical notes. Includes two CDs of performances demonstrating how the pieces may be thought of as real literature rather than mechanical etudes. BK/CD. 296844

Jazz etude InsPIratIons IntermedIate PIano solosJeremy Siskind A collection of eight original piano etudes inspired by some of the most important jazz pianists in history. Etudes in the style of leg-endary greats will help students master some technical challenges posed by each artists individual style. Tunes include: Count on Me Hand Battle Jelly Roll Me Home Minor Tyner Oscars Bounce Pineapple Woman Repeat After Me Tears Falling on Still Water. 296860

nIneteen lIttle PreludesJ.S. Bach Bachs intermediate level little preludes are gems to be played for pure enjoyment, for any recital, or as steps toward the more chal-lenging Well-Tempered Clavier. Contains ex-tensive discussion and examples on Baroque ornamentation. BK/CD. 296786

tHIrty PIeces for cHIldren oP 27 Dmitri Kabalevsky Kabalevskys pedagogical works develop real musical culture in children. These unique and inventive works of piano litera-ture for the early intermediate student have earned their place as perennial favourites among teachers. BK/CD. 296753

lady gaga fugue Gaga / Dettori Pop and contrapuntal styles have never had so much fun together! Based on the hit song Bad Romance made popular by the pop artist Lady Gaga, this irresistible duet arrangement is crafted in the style of a three-voice fugue. The voices are carefully divided between the primo and secondo parts, making it easily accessible for intermediate-level students. 296880

PIano teacHers guIde to creatIve comPosItIonCarol KloseDesigned to assist teachers who wish to introduce their students to creative composition but have limited lesson time available and feel the need for some direction in starting and continuing the creative process. Suggestions in the concise Les-son Plans help bring about gradual changes and improvements that are enough to keep the piece developing, and, more importantly, to keep the stu-dent immersed and motivated in the process.296828

Whats NeW Brand New Piano Titles available from your favourite music store! PIANO

JAZZ

Jazz Hanon Peter DeneffMusicians Institute Press Now available with a play-along CD! This one-on-one lesson with Musicians Institute instructor Peter Deneff features 50 exercises for the beginning to professional jazz pianist, covering: angular lines, large intervals, pen-tatonic patterns, blues scales, irregular chro-matic melodies, double-note patterns, sug-gested fingerings, suggestions for practice, and more.BK/CD.696478

keyBoard style Intro to Jazz PIanoMark Harrison From comping to soloing, youll learn the theory, the tools, and the techniques used by jazz pros. The accompanying CD dem-onstrates many of the music examples in the book. Covers: jazz chords and progres-sions; jazz swing and bossa nova comping; voicings and patterns; melodic treatment; soloing techniques; how to play from a fake book; and more. BK/CD. 312088

PIano aeroBIcs Wayne Hawkins A multi-style, 40-week workout program for building real-world technique. Often when students decide to play in contempo-rary styles, they lack the chops for the job. The exercises in Piano Aerobics will introduce students to styles such as jazz, salsa, swing, rock, blues, new age, gospel, stride and bossa nova, and help them play with more musical flair. BK/CD.311863

Blues lIcks for PIano Blake Neeley Cherry Lane Music Playing the blues builds your finger dexterity, improves your improvisational skills, and gives you a better understanding of harmonic structure. Even if you already know something about the blues - its rhythm, scales, and special effects - youll still benefit from the many great blues licks and helpful hints that are packed inside. 2500036

Jazz PIano comPIngSuzanne DavisBerklee Press Comping is the practice of using chords to accompany a melody. The book begins with triads and voice leading, and progresses through altered seventh-chord spread voic-ings for two hands, covering many different techniques for using harmony and rhythm. The accompanying CD lets you practice with a small jazz combo. Suitable for all major jazz styles. BK/CD. 50449614

sIgHtreadIng BookFaber Piano Adventures Level 1 students can have lots of fun while developing strong sightreading skills. This inventive course uses sets of exercises based on melodic and rhythmic patterns from the Level 1 Lesson Book. Students play one exercise a day, while enjoying the entertaining musical art that guides their sightreading progress. FF3013

funtIme kIds Faber Piano Adventures This new collection of kids songs will entertain and en-courage the early intermediate pianist. Carefully graded for Level 3A-3B students to enjoy, this collection includes: Youve Got a Friend in Me Consider Yourself Be Our Guest Yellow Submarine Walking on Sunshine The Addams Family Theme and more. FF3004

adult PoPular favorItes 2 All I Have to Do Is Dream Georgia on My Mind I Just Called to Say I Love You Im a Believer Memory Never on a Sun-day On My Own One Fine Day Satin Doll Thatll Be the Day We Are the World Your Song. The accompanying CD includes orchestrated accompaniments at practice and perfor-mance tempos. BK/CD.296842

PIano adventures tecHnIque & artIstry Bk 4Faber Piano Adventures The new Level 4 Technique & Artistry Book combines two elements of pianism: technical skill and artistic per-formance. This smooth, integrated approach builds basic elements of piano technique, always directed toward an artistic goal. Four powerful exercises called Technique Se-crets help intermediate students build a strong technical foundation. Artistry Magic pieces at the end of each unit explore expressive playing. FF3012

PAGE 17


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This brilliant new Teacher Guide offers lesson plans, pedagogy pointers and a fantastic see it in action section where you can watch each piece being taught!

This really is the ultimate teacher guide, complete with DVD footage of every piece

To look inside the teachers guide go to the fabulous Piano Adventures website:

www.pianoadventures.com

aLL NEW!PIaNo advENtuRES PRoFESSIoNaL dEvELoPMENt

PR

IME

R L

EV

EL

TE

AC

HE

R G

UID

E

Faber Piano Adventures Primer LevelStudent-Centered Curriculum

PerformancePreTime Piano Primer Supplementary Series

TheoryTechnique & Artistry

LeSSon Book

Popular

Gold Star Performance

Popular Repertoire

Christmas Pre-Reading Christmas

Christmas

DuetTime Christmas

Classics Favorites Rock n Roll

Jazz & BluesAchievement Solo & Duet Sheets Hymns kids Songs

Flashcards

I Can Read Music Book 1

Teacher Guide

Sightreading

New!

dear colleagues,We are delighted to announce the 2nd edition of Piano Adventures Primer and Level 1. While we have made small improvements to Piano Adventures over the years, this is our first major revision.More and more students now move into Level 1 after completing the My First Piano Adventure series. While smoothing that transition, we also took the opportunity to refresh the Primer Level.

So what has changed?Six New Musical and Pedagogical Features:

our publications have always grown from he needs of the students in your studio. So were confident that youll see more achievement...and more student smiles!

Warmest wishes,

Nancy Faber randall Faber

FF10752

Table of Contents

UN

IT

1 Introduction to Playing

Sitting at the Piano 4 3, 4

Making a Round Hand Shape 5 3, 4

Finger Numbers 6 2 3, 4

Finger Flashcards 7

The Pecking Rooster (for Left Hand) 8 5

The Pecking Hen (for Right Hand) 9 5

Two Black Ants 10 5

Two Blackbirds 11 3 5

Into the Cave 12 4-5 5 2

Three Little Kittens 13 6-7 5

UN

IT

2 Basic Rhythms

The Quarter Note 14 8

The Old Clock 15

The Walking Song 16

Tightrope Walker 17 9

The Half Note 18 10

The I Like Song 19 6, 7 3

I Hear the Echo 20 11 4

The Whole Note 21

Old MacDonald Had a Song 22 12-13 8-9 5

UN

IT

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Piano magazine

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Transcript of Piano magazine