FABER

Index

Welcome to Faber Piano Adventures ...... 2–3

My First Piano Adventure® ...... 4 – 9 Primer Level ...... 10–15 Level 1 ...... 16 – 21 Level 2A...... 22. – 27 Level 2B...... 28. – 33 Level 3A...... 34. – 39 Level 3B...... 40. – 45 Level 4 ...... 46 – 51 Level 5 ...... 52 – 57

Accelerated Piano Adventures® ...... 58 – 59

Adult Piano Adventures® ...... 60 – 61 Piano Literature Collections...... 62 – 63 About the Fabers...... 64.

1 Welcome to Faber Piano Adventures® Piano Adventures® is the leading piano Concurrent with individual note reading, the student is curriculum in North America . required to read by the contour of the musical line – step or skip, up or down. This intervallic reading approach Why? Because it works! promotes fluency, recognition of melodic pattern, and understanding of the musical line. Piano Adventures® is notably student-centered. The At Level 2A, with the student firmly grounded in note exciting variety of sounds and styles entertain and reading, a multi-key approach is taken. Here the student educate. The Technique & Artistry books and pianistic learns the major and minor 5-finger patterns in C, G, D, repertoire of the course lay the foundation for expressive and A. Not so many as to overwhelm the student’s reading playing. And, the pedagogy of Piano Adventures®, which or to become tedious, but enough to grasp transposition so effectively combines the strengths of intervalic, and basic chord recognition. At level 2B, the complete multi-key and Middle C approaches, has become the major scale is introduced along with key signatures and standard for today’s piano teacher. Here’s why: primary chords in the keys of C, G, and F. Approach to Reading Pianistic Music Every teacher has experienced the frustration of students Pianistic arranging is one of the hallmarks of the Fabers’ who have difficulty reading music. Have you heard material. All of the music in Piano Adventures® is students perpetually ask, “What hand position am I in?” specifically written or arranged for the piano. Perhaps you’ve heard a concerned parent remark, “But n The pieces feel right and sound right at the piano. she still doesn’t know her notes!” Piano Adventures® has established the new model for piano methods with its n Easy and effective use of the damper pedal opens up composite approach to note reading. The ability to read the rich sonority of the instrument. music is developed by effectively integrating three skills: n The pieces incorporate essential pianistic gestures – 1) discrete note recognition, 2) intervallic reading, and 3) the motions and phrases that are integral to playing a multi-key understanding. These are carefully sequenced the piano. and reinforced to ensure success. n Pianistic pieces develop fluent piano technique. This pedagogy has several important benefits: The pieces are written to encourage freedom at the n It prevents the student from equating a particular keyboard, to promote a relaxed wrist, and to introduce note to a particular finger. gestures that carry the hand across the full range of n It teaches the precise relationship between a note the instrument. and the keyboard. Artistic Music n It allows for a free and balanced drop of the arm and The pieces included in Piano Adventures® are eminently hand into the finger. musical. A method can only be as good as its music, and the music of Piano Adventures® shines. The course n It avoids the overuse of two thumbs on C. combines technique and artistry so that the teacher may n It reduces the student’s dependence on preset hand bring out maximum expression in the student’s playing. positions. Parents notice the musicality…students thrive on it…and The fingering for the first note in either hand of each piece the teachers appreciate the artistic results. is set up for the student to identify the note name, write it The Technique & Artistry books in Piano Adventures® are on a blank, then place the hand according to the note and groundbreaking and unparalleled in teaching technical finger number given. The student learns the fundamental gesture for artistic playing. The “Technique Secrets” and procedure of music reading and becomes self-sufficient in exercises deliver the pianistic tools to play with ease and this process. No longer will the teacher be plagued by the expression. The “Artistry Hint” and “Artistry Piece” that student asking, “What hand position?” conclude each unit bring student awareness of sound and musicality to new heights.

2 Student Appeal One of the highlights of the website is the online Teacher ® Students are attracted to the pieces and sounds of Piano Guide for the Piano Adventures Primer Lesson book. Adventures®. Ten years of painstaking pilot testing has This guide features over 50 videos of Nancy Faber ensured that the method has wide student appeal. teaching—a video and commentary for every piece in Literally, over one hundred pieces that did not pass the the book! test of student enthusiasm were discarded and replaced, Each year, Randall Faber conducts workshops and clinics until the method met the standards and musical taste of on musical artistry and talent development for audiences both piano student and teacher. The tremendous appeal of of music educators around the world. These sessions— the music has been confirmed by hundreds of letters and based on years of research combined with real world comments from teachers and students across North experience—offer teachers an insight into the intrinsic America. factors that guide a student’s musical journey toward artistic expression. Supplementary Library that In this resource guide you’ll find a pedagogy article by Motivates Practice Randall Faber for each level of Piano Adventures®. We’ve The PreTime® to BigTime® Piano Supplementary Library also included teaching ideas that apply our “A-C-E” correlates with Piano Adventures® to provide a broad instructional theory: Analysis, Creativity, and Expression selection of music to meet each individual student’s combine for deeper knowledge and broader application. interest – at the precise level of difficulty. With styles that We hope these ideas will help in making each student a include Popular, Classics, Rock ‘n Roll, Jazz & Blues, “piano ace.” Children’s Songs, Ragtime & Marches, and Hymns, the teacher can choose the style that motivates the student and Your Partner in Piano Education be assured that it is arranged to meet the pedagogical Faber Piano Adventures is committed to supporting piano demands of the level. PreTime® to BigTime® offers the teachers and students on their musical journey. It is an right fit between student interest and student repertoire. honor to be invited into your teaching studio each week. Teacher Support Faber Piano Adventures is dedicated to supporting piano teachers. A wide array of teacher support materials are offered on the website www.PianoAdventures.com, including publication descriptions, audio clips, and pedagogy articles. The popular Piano Club Discussion Forum provides an online community for Piano Adventures® teachers—to share tips, questions and insights. MY FIRST PIANO ADVENTURE® for the young beginner (ages 5-6) THE “A” BOOKS Pre-Reading

The LESSON BOOK and WRITING BOOK include:

five musical “friends at the piano” directional pre-reading notation basic rhythms (Œ, Ó, „) technique through games and songs white key names: A B C D E F G folk, blues, and classical sounds creative discovery at the keyboard eye-training and ear-training

About the CD The CD for this book offers a unique listening experience with outstanding orchestrations and vocals. The recordings demonstrate a key principle of the course: when children listen, sing, tap, and move to their music, they play more musically.

Writing Book A FF1620 00420260 $6.95

Lesson Book A FF1619 00420259 $9.95

4 MY FIRST PIANO ADVENTURE® for the young beginner (ages 5-6)

A look inside the “A” Books . . . Songs Technique Improvisation

Catchy pre-reading songs move hands Technique is developed with chants, Students improvise from the first around the keyboard. games, and songs. lessons.

Eye-training Ear-training

Blinker, the owl, loves to Tucker, the dog, loves to LISTEN LOOK and leads the eye-training. and leads the ear-training.

5 MY FIRST PIANO ADVENTURE® THE “B” BOOKS for the young beginner THE “B” BOOKS Steps on the Staff

The LESSON BOOK and WRITING BOOK include:

”friends at the piano” return step-wise reading on the staff notes from Bass C to Treble G technique through games and songs composer friends, Beethoven and Mozart classic themes, pop, and jazz sounds music history Fun Facts and Games ear-training and eye-training

About the CD The CDs for the A and B Books are a hallmark of the series. The child may listen to the CD from beginning to end at home or in the car. After a piece is learned, the CD track may be used as an optional play-along accompaniment. Enjoy!

My First Piano Adventure

®

Writing Book B MY FIRST FF1622 00420262 $6.95 WRITING Book B

Steps on the Staff

Fo R THe yoUNG EAr-tr by N ancy and BeGINN Randall eR A inin Faber G

GAMES

NEW SiG Lesson Book B ® htrEAdin proviSAtion FF1621 00420261 $9.95 iM G

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6 MY FIRST PIANO ADVENTURE® THE “B” BOOKS for the young beginner

A look inside the “B” Books . . . Songs Technique Music History

A Note from Mozart: Treble Clef D My sister Nannerl and I loved to play Hide-and-Seek. Beethoven’s Help Nannerl hide by playing “thumb whispers.” Treble D looks a little like Middle C—except there’s no whisker! Thumb Whispers: Is D a LINE or SPACE note Fun Facts and Game ? 1. Tap your L.H. thumb quickly and lightly 8 times on your • head • shoulder • knee Beethoven’s Message: Game: Number the pictures 1 2 3 to show Fun Fact: By the time Beethoven & At the keyboard: “There are a thousand princes; Beethoven growing up. was 12, he was earning a living w for his family by composing and 2. Play and notice the and signs. there is only one Beethoven.” M playing the organ. I 3. Use a “whisper thumbf” at measuresp 5-7. 40 D What are some of the ways you Hide-and-Seek Circle each letter in Beethoven’s D help your family. (Your teacher or name that is a note in music. L Wolfgang Amadeus Mozart parent can help you write.) E Bright and happy (from Sonata for Four Hands, K19d) Ex. C D WOLFGANG’S PART LUDWIG Thumb Whispers Tips from Katie: : 4 VAN 1. Your teacher will make up a rhythm(s) on treble clef D. Copy it back. Now do one for your teacher. & 4 Shout, (2 - 3) “I’ll find you!” Shout, (2 - 3) “I’ll find you!” BEETHOVEN 2. Play and sing letter names, then words. f 7 Tub Time! . (write) ?4 ˙ œ . Fun Fact: Macaroni and cheese was Brightly repeated notes TECHNIQUE GAME 1 on Can you say the chant ? ˙ ˙ ˙ 5 3 œ ˙ ˙ one of Beethoven’s favorite foods. 1 2 4 __? What is one of your favorite foods? (write) 5 NANNERL’S PART Shhh! play 3 together & 2 3 5 1 Tuck -d er dog,˙ where areœ you?˙ You’re hidœ - ingœ fromœ me. Woof! p œ œ œ ˙ Fun Fact: Beethoven composed his greatest music after he had gone & Whis - per soft - ly, whis - per soft - ly, “Hidœ - ing is so fun!” (2 - 3 - 4) œ œ w deaf. Over twenty thousand people ? p w came to his funeral. Prepare L.H. finger 3 on the LOWEST F. Play the LOWEST F on the piano. Would you like to learn more music ? œ œ œ œ œ œ œ œ œ of Mr. Beethoven f F3 1 (write) ? 18 �|WRITING BOOK 14 -15 FF1621 72 �|WRITING BOOK 52-53 FF1621 FF1622 �|LESSON 12 9

New notes are introduced systematically Technique Games like “Silent Jumps” and Music history about Mozart and with appealing songs. “Star Crossing Over” make technique fun! Beethoven are taught with Fun Facts and Games. Eye-training Ear-training

LOOK CLAP for Sightreading LISTEN Apples or Oranges Ear-training: Hearing Same or Different The word sightreading means to play through a piece for the first time. Your teacher will play two short melodies. Listen! If they are the same, circle the two apples. Follow these 4 steps. If they are different, circle the apple and orange. Eye-training: — Count

1. C O UNT and clap the rhythm. — Look 1. 2. 3. 2.LOOK at the first note. Is it on a line or space? Find it on the piano. — Attention 3. ATTENTION on what’s next! Up, down, or same?

4.PL AY . To begin, set a steady beat — Play 4. 5. 6. by saying “1-2-3 GO.”

Hint: Keep your eyes on the music. Notice the forte sign! 1 on __?

For Teacher Use Only: (The examples may be played in any order. The teacher may create more “same” or “different” examples for the student.)

5 . 1 4 . > > > > > & 3 ? 4 Œ œ- œ- œ- bw- 4 ? 4 œœ œœ 3 œ œ œ ? 4 œ. . œ. œ œ & & œœœœ œœ œœ & . 5 œœ œ 1 œ œ ˙ œ œ ˙ œ œ œ œ ˙ 4 œ œ œ œ œ œ 4 4 . . . . œœ˙ 4 1 4 ˙ 4 œ. œ. . . f F or for f or f or f or p or 5 5 4 ? . > > > > . 3 ? 4 Œ œ- œ- œ- bw- 4 ? 4 œ œ . 3 œ œ œ ? 4 œ. & & œœœœ œ œ œ œ & . 5 œ œ 4 œ œ œ œ 4 4 . . . . œœ˙ 4 1 . 4 ˙ 4 œ. œ. . . F œ œ f f f f p 20 �|LESSON 24 FF1622 FF1622 �|LESSON 47 39

Blinker, the owl, loves to LOOK Tucker, the dog, loves to LISTEN. and presents CLAP for SIghtreading - Enjoy “Same or Different,” Count-Look-Attention-Play! “Playback,” and more activities.

7 MY FIRST PIANO ADVENTURE® THE “C” BOOKS for the young beginner THE “C” BOOKS Skips on the Staff

The LESSON BOOK and WRITING BOOK include:

”friends at the piano” are growing up C and G 5-finger scales skips: line-line and space-space continuation of Technique Games composer friends: Beethoven, Haydn, classic themes, pop, and jazz sounds Mozart, Tchaikovsky, Brahms ear-training and eye-training music history Fun Facts and Games

Lesson Book C Skips on the Staff k C FF1623 00420263 $7.95 BOO My First Piano Adventure LESSON

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MY FIRST gINNER Writing Book C BE OUNg THE y FF1624 00420264 $6.95 ® OR F by Nancy MYand FIRST WRITING Book C

My First Piano Adventure Skips on the Staff

Fo R The youNG EAr-tr by N ancy and BeGINN Randall eR A inin Faber G

GAMES

NEW SiG NEW ® htrEAdin proviSAtion iM G

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Primer Gold Star Performance Supplement the C books with the Primer Gold Star Performance book. The Gold Star CD has children’s vocals and orchestrations, as well as solo piano recordings. Delightful! Book with CD FF1602 00420255 $7.95

8 MY FIRST PIANO ADVENTURE® THE “C” BOOKS for the young beginner

A look inside the “C” Books . . . Songs Technique Improvisation

Find these keys!

L.H. R.H. What is the heaviest thing you can imagine? Falling Elephant Rockin’ with Skips! M I an elephant? L.H. Improvisation with F-A-C D a tuba D ? L a big truck? E E B C E F G A B improvise — to make up 5 1 1 2 3 4 5 (your idea) Tips from Millie and Marta: Let’s rock, 1. First, set L.H. fingers 5-3-1 over these keys. Tips from your friends: everybody. Listen and feel the beat of the teacher duet. 1. Name and find the first note. Feel the beat! Hint: Think of the name of the little mouse! 2. Now improvise an F-A-C tune with the duet. Use the keys in any order! 2. Notice the opening leap from fingers 1 to 5. F A C Leap for the Piñata 3. To end, play a long note on , , or .

With energy Falling elephant 5 5 Repeat! F A C 1 1 3 4 1 : L.H. 5 3 1 4 œ œ ˙ Œ . & œ œ œ . Teacher Duet: (Student plays L.H. on a HigHer F-A-C.) 4 Leapœ for the piœ - ña - ˙ta, Hap -py, hap -pœy, hapœ -pœy day!œ Treats in the pi - ña - ta, 5 > > > 5 3 3 2 3 5 2 2 5 1 2 1 1

f Technique Game R.H. >b >œ >œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ?4 e . ? 4 Œ bœ œ Ó Œ bœ œ Ó Œ bœ œ Ó Œ bœ œ Ó bœ nœ bœ nœ bœ nœ œ bœbnœ ˙ 1 œ œ Œ . L.H.b 4 4 5 œ1 Œ bœ nœ œ1 Œ bœ nœ œ Œ bœ nœ œ Œ bœ œ Œ Œ œ Œ bœnœ œ œ 2 œ œ œ œ œ œ œ œ œ œ 2 F 5 3 3 5 3 Teacher Duet: (Student plays 1 octave higher.) 5 4 5 2 5 3 3 2 1 1 2 5 1. Hold your LeFt arm straight in front of you. 3. Did you feel the weight of your arm come 1 4 1 1 Pretend you are holding an elephant! falling down? 3 4 3 b R.H. . . . . >. >. >. Fine œ œ œ œ œ œ œ œ œ œ œ > » w . . 2. When you can’t hold the elephant any longer, 4. repeat Falling Elephant with your rIGHt arm. ? #œœ œœ œœ œ œœ œœ œœ œ Œ œ bœ nœ #œœ œœ œœ œ bœ œ w . Œ œ Œ œ Œ œ Œ œ Œ Œ œ œ œ œ Œ let your arm drop freely into your lap. b œAœ bœ . ? 4 œ œ1 Œ Œ œ Œ Œ œ Œ Ó œ ˙ œ œ œ œ œ œ œ . œ5 œ œA L.H.4 œ œ œ œ œ œ œ œ œ . œ bœ œ ˙ w 1 œ Œ 1 2 3 œ œ œ œ 1 œ œ œ œ 5 5 . . . . œ . F 5 . 5 > ...... >. >. >. FF1624 30 |WRITING BOOK 30–31 > > FF1623 48 FF1623 35

For a firm foundation in note-reading, Technique is developed with games such Improvising with F-A-C skips is the pieces move the hands around the as “Falling Elephant,” “Fingertaps,” and celebrated with a rock-blues duet. keyboard. “Mouse House.” Rhythm Theory

Unit 1 Musical Form: A metronome Time for Rhythms Music is made up of different sections. clicks at different speeds and helps us feel a 1. First, play this song and notice the words. steady beat. Try it out! 2. Now, above measure 1, draw a square 1. Tap these rhythms on the closed keyboard. with an A inside it. This is section A. Count aloud! 3. Where does section B start? The music changes. Draw a circle and write B inside. 4. Where does section A return? Label it! A Song with Form 1 on __?

R.H. 4 up-stems & 4 This is sec - tion A. (2 -3-4) This is sec - tion A. (2 -3-4) Sec˙ - tion˙ B˙ will˙ L.H. 4 f p down-stems œ œ œ œ œ œ ˙ ˙ ˙ 4 œ œ œ œ œ œ ˙ ˙ ˙ ?4 œ œ œ œ w œ œ œ œ w 1 on 4 __?

2. Your teacher may ask you to tap to the steady tick of the metronome. 7 Draw a “happy face” to show you did it! 1

& r i t a r d a n d o change,˙ you˙ see! (2 -3-4) Can you name the form? (2 -3-4) Can you name the form? (2 -3-4) = 76 = 100 q q w fœ œ œ œ w œ œ œ œ ? 1 w

The form is

FF1624 4 .|Lesson 4–5 FF1624 36 .|Lesson 36–37

Young students explore the metronome Students learn about A B A form while while tapping rhythms. reinforcing skips.

The Next Step

After completing the “C” books the student is ready to start Piano Adventures® Level 1.

9 PRIMER FABER PIANO ADVENTURES PRIMER LEVEL

Flashcards LESSON BOOK

Technique Theory & Artistry I Can Read Music Book 1 PreTime® Piano Supplementary Performance Series

Popular

Gold Star Performance

next higher E Popular Christmas Classics Children’s Pre-Reading 3 ´ Repertoire Songs Christmas next higher E3 E Rather slowly Listen! p 3 on __? ˙ F f ˙ p 4 f & 4 ˙ p ˙ f ˙ Lift gently. ˙ 3 ˙1 on __? 4 on __? ? 4 5 Achievement 1 as softly was possible ® 5 ˙ Solo & Duet Sheets DuetTime œ ˙ w Christmas Favorites Hymns ˙ w1 œ ˙ 5 Bluebird on My Shoulder (duet) Christmas & p œ Jesus Is My Friend œ œ ? œ5 Once I Caught a Fish Particularly Pleasing Piano Piece Pete, the Repeat Bird Pony Express Wee Small Bear Jazz & Blues Rock ‘n Roll Zoom, Zoom, Witch’s Broom 10 PRIMER FABER PIANO ADVENTURES

Primer Concepts

hand position and finger numbers ®√ and ´´√ time signatures note values (Œ, Ó, Ó˘, „) steps and skips on the staff key names: A B C D E F G staff notes: Bass C to Treble G the tie the quarter rest

Teach with...Analysis Always look for patterns! From the earliest lessons, encourage the student to think beyond the notes. Be “music detectives.” Give clues to build musical awareness. “David, pretend you work for the Allegro Detective Agency. Draw one big circle around measures 1 and 2. Next, investigate the notes and circle the same pattern again. Good!”

. 37 . Teach with...Creativity Beginning students are especially receptive to creative

Performance p. 23 Theory p Theory 23 p. Performance activities at their piano lessons. These can add delight and reinforce

49 important concepts. “Did you know that an elephant can

FF1075 weigh up to 16,000 pounds? Let’s try the song very low, starting on the lowest G. Play slowly on firm fingertips. Imagine the elephant’s heavy, 2-ton legs.”

Teach with...Expression 3 Expression begins with listening. Sharing a

Theory p. 38 Theory p. 22, 2

conversation that personalizes the piece can enhance 50

listening and musical expression. Performance p. 24 “Olivia, have you ever seen a beautiful sunset? FF1075 Where were you? Let’s pretend that each E for the R.H. is the sunset color fading from brilliant forte to soft piano. Use your arm weight to drop into the the key. Use less arm weight as the sound fades piano (soft).

Artistry Magic! forte (loud) and the other hand can play one hand sounds in your playing! to piano. Keep listening!” artistry , and piano A pianist with forte, mezzo forte Create and listen for Peaceful Sunset next higher E ut the piece. 3 ´ next higher E3 Hold the right foot pedal (damper) down througho E Rather slowly Listen! p 3 on __? ˙ F f ˙ p 4 f & 4 ˙ p ˙ f ˙ Lift gently. ˙ 3 ˙1 on __? 4 on __? ? 4 5 as softly

1 63 p. Lesson was possible 5 ˙ œ ˙ w ˙ w1 œ ˙ 5 & 29 p œ œ œ ? œ5

FF1096

11 PRIMER FABER PIANO ADVENTURES

A Particularly Pleasing Let’s Boogie! Piano Piece Listen to the Drums Pony Express Lullaby and Goodnight Pterodactyls, Really Neat The Opposite Song A Rainbow is a Smile (Turned Upside Down) Rainy Day Roller Skate Ride Rex, the Tyrannosaurus Squinchy-Pinchy Shoes School Bell Is Ringing! Theme and Variations Lesson Book Theory Shepherd’s Flute Flashcards FF1076, 00420169 Zoom, Zoom, Witch’s FF1075, 00420168 Song About Cats Broom FF1168, 00420218 $6.95 $6.50 Train’s A-Comin’ $5.50 Trumpet Song All My Friends Writing 80 color flashcards Twinkle, Twinkle Allegro Sightreading Note drilling Alouette Ear Training Wind in the Trees Intervalic reading Balloons Bells of Great Britain Best Friends Bugle Boys C Position Warm-up C Song Christmas C-D-E-F-G March FF1137, 00420205 Come See the Parade! $3.95 Copy Cat Away in a Manger Dance Band Technique & Artistry Popular Repertoire Go, Tell It on the Mountain Elephant Ride FF1096, 00420189 FF1256, 00420234 Good King Wenceslas The Escalator $6.95 $6.50 Jingle Bells Frogs on Logs Catch a Falling Star Technique Secrets Jolly Old Saint Nicholas Gorilla in the Tree Happy Birthday to You I Can Read Music, Artistry Magic Pieces: We Wish You a Merry Grandmother All the Stars are Shining I Got Rhythm Christmas Book 1 Hey, Hey, Look at Me! Alouette, Special Ending I’d Like to Teach the World Sightreading Activities FF1048, 00420157 to Sing Hey, Mr. Half Note Dot! Canoeing Upstream $5.50 Lean on Me Honking Cars Catch Me If You Can The Lion Sleeps Tonight Beginning note speller I Hear the Echo Finger Hops The Planets (Animaniacs) Background The I Like Song Leading the Parade The Rose Accompaniments Into the Cave Peaceful Sunset Star Wars (Main Theme) Lemonade Stand Wheels Going ‘Round Let’s Play Ball! Activity Pages March on D-E-F Lesson Book CD CD1001 00420068 $10.95 Men from Mars MIDI 3-Disk Set Merrily We Roll Along GM1001 00420266 $24.95 Middle C March (accompaniments for Lesson, Mister Bluebird Performance, and Technique & Artistry books) My Invention Popular Repertoire CD Ode to Joy CD1017 00420084 $10.95 The Old Clock Popular Repertoire MIDI Old MacDonald Had a Performance GM1013 00420275 $10.95 PracticeTime Song FF1077, 00420170 Once There Was a Princess Assignment Book Our Team $6.50 FF1167, 00420217 Partners at C Are You Sleeping? $5.50 Petite Minuet Banana Split Gold Star Rodeo Chimes! Performance - with CD Russian Sailor Dance Classical March FF1602, 00420255 Ten-Second Song Cowboy Joe $7.95 Three Little Kittens Dancing with Frankenstein Donkeys Love Carrots Bluebird on My Shoulder Two Black Ants (Duet) The Doorbell Two Blackbirds Cartoon Stories The Happy Stream Two Questions Clown Car Horseback Riding Walking Song Parakeet Waltz Hot Cross Buns Yankee Doodle Bananappeal I Like Roller Skating Chugging Choo-Choo NFMC In the Jungle CHOICE Eternally Music Inchworm Practice & Progress French Cathedrals Hello to the Drum Lesson Notebook I Found a Penny FF1024, 00420133 NFMC $5.95 I Love Rain! CHOICE

12 PRIMER FABER PIANO ADVENTURES

PreTime® Piano Supplementary Series Solos/Duets

I’ve Got the Joy, Joy, Joy Jesus Wants Me for a Sunbeam O, How I Love Jesus Praise God, from Whom All Blessings Flow Praise Him, Praise Him Rejoice in the Lord Always PreTime® Popular PreTime® Favorites PreTime® Whisper a Prayer FF1042, 00420151 FF1012, 00420121 Jazz & Blues $4.95 FF1047, 00420156 $4.95 Hymns MIDI Disk The Candy Man (Willie Alouette $4.95 GM1030, 00420291 $9.95 Achievement Solo Wonka and the Chocolate Baa! Baa! Black Sheep Cool Breeze Waltz Factory) & Duet Sheets Hush, Little Baby Dinosaur Stomp Groove Tune Bluebird on My Shoulder London Bridge Fish Story, A (Duet) I Just Can’t Wait to Be On the Bridge Hound Dog Blues AD3002, 00420001 $2.50 King (The Lion King) NFMC Pop! Goes the Weasel CHOICE Ice Cream Blues Jesus Is My Friend If I Only Had a Brain (The ASA7006, 00420021 $2.50 Wizard of Oz) Row, Row, Row Your Boat Jazz Man Shoo, Fly Once I Caught a Fish It’s a Small World Jazz Walk A2033, 00420060 $2.50 Ten Little Indians NFMC The Merry-Go-Round CHOICE King of Hearts Particularly Pleasing Broke Down The Muffin Man Penguin Blues Piano Piece Oompa-Loompa Wheels on the Bus So Many Toys PreTime® A2003, 00420032 $2.50 Doompadee-Doo (Willie Yankee Doodle Wonka and the Chocolate Christmas Pete, the Repeat Bird Factory) FF1015, 00420124 A2037, 00420063 $2.50 Pony Express Part of Your World (The $4.95 Little Mermaid) A2019 00420046 $2.50 The Pirates Who Don’t Do Away in a Manger Wee Small Bear Anything (Veggie Tales) Good King Wenceslas A2032, 00420059 $2.50 Scooby Doo I Saw Three Ships Zoom, Zoom, Jingle Bells Witch’s Broom Jolly Old Saint Nicholas A2024 00420051 $2.50 PreTime® Over the River and PreTime® Through the Woods Children’s Songs Silent Night Rock ‘n Roll FF1032, 00420141 Up On the Housetop FF1107, 00420198 $4.95 Fall 2010 We Three Kings of Orient Are $4.95 A-Tisket, A-Tasket Celebrate with Rock ‘n Bingo PreTime® Classics Roll! The Dwarfs’ Yodel Song FF1017, 00420126 Engine Number Nine (The Silly Song) Hard Rock Candy ® $4.95 Happy Birthday to You DuetTime Old MacDonald Had to Mail Myself to You Christmas, Primer Bridal Chorus Rock Mickey Mouse March The Can-Can Pebbles, Stones, and Rocks FF1025, 00420134 On Top of Spaghetti $4.95 Horn Call Recess Rock The Train Song A Little Night Music (Eine Rockin’ in Your Socks Winnie the Pooh Good King Wenceslas Kleine Nachtmusik) Rockin’ on the Soccer Field Pre-Reading Jolly Old Saint Nicholas Morning Stegosaur Rock Christmas Jingle Bells Ode to Joy FF1050, 00420159 O Come, Little Children Shepherd’s Song $5.50 Go, Tell It on the Mountain Theme from the “London” God Rest Ye Merry, Symphony Away in a Manger Gentlemen Trumpet Voluntary Counting the Days We Wish You a Merry Deck the Hall Christmas Good King Wenceslas Jingle Bells ® PreTime Hymns Jolly Old Saint Nicholas FF1028, 00420137 Merry Christmas to You $4.95 Ring the Bells! The B•I•B•L•E The Perfect Christmas Tree Deep and Wide The Tree Hunt God Is So Good

13 PRIMER FABER PIANO ADVENTURES

Synergy at the Primer Level

There is much to share with our beginning students. With Arm Weight limited lesson time, how do we maximize our results? The Primer Technique & Artistry Book introduces arm weight Fortunately, the Primer Level presents three elements as Technique Secret 4, using an exercise called Heavy Wet of pedagogy that have exponential value when taught in Ropes. The student experiences the feeling of heavy arms by combination: imagining them as waterlogged ropes. The release of heavy n introducing new notes with varied fingerings to develop arms into the lap gives the sense of dead weight. note-reading skill The ability to release the weight of the arm into the keyboard n utilizing arm weight for tone production and technique is essential. Failure to use arm weight in piano playing place development excessive burden on the fingers. Instead of over-taxing the n using a braced third finger for rounded hand shape and finger muscles and tendons (with the risk of inuring physical firm fingertip problems like tendinitis), the pianist should use gravity efficiently to overcome the weight of the key. The weight While each element has a unique function, the three concepts of the arm can be dropped, thrust, tossed, balanced on the reinforce each other in synergistic fashion when the teacher fingertips, and transferred finger to finger. This effective conscientiously integrates them. handling of arm weight forms the basis for good tone production and an effortless, virtuoso technique. Varied Fingering There is ample opportunity to apply the concept of arm One of the hallmark features of Piano Adventures® is the weight in the Primer Lesson book, beginning with the pre- introduction of new notes using varied fingerings. This reading pieces that traverse the range of the keyboard. In allows us to teach a specified set of notes without a fixed, each of these, a brief preset hand position. Middle C March, for example, pattern is initiated with introduces Middle C as played by fingers 1, 2, then 3. a drop of arm weight, Consequently, the student does not equate Middle C with and is finished with finger 1. a lift of the hand that initiates a new drop into the next octave. The Old Clock is played using a steady, rhythmic drop of arm weight into alternating arms: right-left right-left. This delivers a strong sense of pulse and puts the student in touch with the larger motions of piano playing. All the Stars Are Shining in the Technique and Artistry book explores arm weight applied to a grand gesture and the implications of arm weight for dynamic change. Treble G, the next note introduced, is played with finger 3 In discussing varied fingering, we observed the frequent as often as with finger 5. Similarly, Bass F is played by LH use of finger 3 for a given note. Finger 3 invites a drop of finger 3 in upcoming songs, as well as with finger 5. Using arm weight. In contrast, fingers 1 and 5 tend to tense the this varied fingering enhances note recognition and prevents hand and pull the wrist down. Finger 3 also promotes a tall equating a finger number with a given note. In addition, knuckle, which itself carries the weight of the arm. Contrast varied fingering has technical value when related to the this to fixed hand positions, which foster tension and concept of arm weight. minimize coordinated involvement of the arm.

14 15 PRIMER FABER PIANO ADVENTURES

Braced Finger 3 If this sounds esoteric, don’t be dismayed. The braced The thumb can be a useful brace for a flattened fingertip. fingertip and/or Making O’s handle the issue of alignment Placed behind the tip of an offending finger, just below the beautifully. And it can be done on the keyboard—right when last knuckle, the bracing thumb rounds the hand and firms a the problem occurs. If a fingertip collapses or the finger potentially collapsing fingertip. The student’s first activity at and arm appear out of alignment, ask the student to “Make the keyboard occurs in the Lesson Book with The Pecking an O” with the finger still on its key. Making an O not only Hen and The Pecking Rooster. Here the braced finger 3 curves the errant fingertip, but it brings the arm, wrist, hand, is used to round the hand as the student explores pitch knuckle, and finger into alignment, restoring a balanced direction—pecking higher, then lower, up and down platform for arm weight. the keyboard. We have seen that bracing finger 3 implicitly aligns the finger, hand, and arm. Thus a braced finger 3 is ideal for experiencing a drop of arm weight into the key. At the same time, the concept of varied fingering provides ample opportunity to use a braced finger 3. Notice the value, for example, of using finger 3 to kick off the downbeats in My Invention and The Dance Band. A braced finger 3 can be used here to ensure alignment and to increase the sensation of arm weight.

“Right” from the Beginning It takes effort and concentration for the student to recognize and associate a note with its corresponding key—but much In the Technique & Artistry Book, the bracing technique is less effort than having to erase learned finger-number hinted at in Making O’s, the exercise for Technique Secret associations. It also takes effort and concentration to help 3—firm fingertips. This drill accentuates a firm fingertip by a student balance arm, wrist, and finger in coordinated bringing the thumb and each fingertip together, then looking fashion—but much less effort than having to undo years of for the “O.” With just a slight adjustment of the thumb, practiced tension. The creative combination of pedagogical Making O’s becomes effectively synonymous with the braced elements in the Primer Level will help your students “get it finger technique of The Pecking Hen. Making O’s and the right” the first time. braced finger 3 reinforce each other to make the concepts of rounded hand shape and firm fingertip more vivid and the exercises more effective. Online Primer Teacher Guide www.PianoAdventures.com/guide Integration While varied fingering, use of arm weight, and the braced fingertip are each effective in individual context, these three concepts work together for great results. To understand this integration, we need to explore the concept of alignment. When the arm, hand, and playing finger are in a straight line, arm weight can flow directly into the fingertip. If the playing finger and forearm show an angle at the wrist, there is a misalignment which breaks the distribution of arm weight. The tall knuckle and rounded hand shape facilitate use of arm weight by preventing a collapsed knuckle and collapsed wrist. The finishing touch is to align a tall knuckle over the playing finger to provide a platform for balancing the arm.

15 LEVEL 1 FABER PIANO ADVENTURES LEVEL 1

Flashcards

LESSON BOOK

Achievement Technique Theory I Can Read Music Skill Sheet #1 Book 1 Major 5-finger & Artistry patterns ® (challenging) PlayTime Piano Supplementary Performance Series

Gold Star Performance Classics

Popular

Popular Christmas Favorites Rock ‘n Roll Jazz & Blues Repertoire

Achievement Solo & Duet Sheets The Bunny With No Name (Duet) Happiness Runs (Duet) I’m Ready! ® Children’s Hymns DuetTime Once Upon Look What I Can Do! Christmas Songs Christmas a Rainbow Plurals Book 1 Prayer at the Piano Shout Boo! 16 LEVEL 1 FABER PIANO ADVENTURES

Level 1 Concepts

reading across the grand staff legato and staccato touches 2nd, 3rd, 4th, and 5th, and octave quarter, half, and whole rests half steps, sharps and flats C and G 5-finger scales tonic and dominant notes I and V7 chords in C and G

Teach with...Analysis Begin pieces with an analysis of various musical elements. The student might name the 5-finger scale used, find a rhythm pattern, or discover why a forte dynamic makes musical sense. Begin to use the word “analyze” at lessons and compliment students for good thinking! “Michael, can you discover the 5-finger scale used for this piece?” “Emily, let’s analyze. Does the L.H. begin on the tonic or the dominant note?”

Teach with...Creativity Creative activities engage students and bring smiles. Short creative forays at the lesson allow the student’s personality to emerge, reinforce theory skills, and are fun to do! “David, will you read the words as I demonstrate the piece? Then choose your own dynamic marks to write in the boxes.” “Megan, will you write the last sentence of Legend of the Buffalo to complete the story?”

Teach with...Expression Use technique secrets with imaginative similes to draw students into the music. “Patrick, imagine your left hand is weightless—as if it was in outer space! Let it float up and over your right hand for the final E.” “Melissa, pretend your fingers are astronauts skipping over the craters. Keep firm fingertips as you travel.”

17 LEVEL 1 FABER PIANO ADVENTURES

I’ve Got Music Monster’s Midnight March Jack and the Beanstalk Most of All I Like A Merry March Rainbows Miniature Sonatina Mouses or Meese NFMC My Blue Canoe Three Pirates CHOICE Ode to Joy Painting With Pastels Rain Dance Rusty Old Bike San Francisco Trolley Showboat Level 1 Theory Spanish Guitar Achievement Skill FF1079, 00420172 Square Dance Sheet #1: Major Lesson Book Two Little Marches FF1078, 00420171 $6.50 5-Finger Patterns $6.95 Writing AS5001, 00420022 Alarm Clock Sightreading $2.95 Au Clair de la Lune Ear Training Bongo Drummers Christmas Boogie on Broadway FF1138, 00420206 Solos/Duets Boy on a Bicycle $4.95 Sheet Music The Bubble Angels, We Have Heard C Chord March on High Bunny With No Name A2035, 00420062 $2.55 Car Honks Deck the Hall Happiness Runs (Duet) Classic Dance Jingle Bells AD3003, 00420002 $2.95 Dinosaur Stomp O Come, All Ye Faithful I’m Ready! Ferris Wheel O Come, Little Children A2018, 00420045 $2.50 Firefly Popular Up on the Housetop Look What I Can Do! Forest Drums Repertoire We Three Kings of A2009, 00420038 $2.50 Girl on a Bicycle FF1257, 00420235 Orient Are Plurals Grumpy Old Troll $6.95 Sightreading Activities A2006, 00420035 $2.50 Half-Time Show Technique & Artistry Prayer at the Piano Fiddler on the Roof ASA7001, 00420016 $2.50 The Haunted Mouse FF1097, 00420190 Background I Taut I Taw a Puddy-Tat Shout Boo! Jazzy Joe $6.50 Matchmaker Accompaniments A2025, 00420052 $2.50 The Juggler Technique Secrets Once Upon a December Jumbo’s Lullaby Artistry Magic Pieces: Over the Rainbow Kite in the Sky Carousel Lesson Book CD Superman (Theme) CD1002 00420069 $10.95 Legato Skips/Steps Floating Balloon Boogie Woogie March Lightly Row MIDI 3-Disk Set Journey by Camel This Is It! GM1002 00420267 $24.95 Li’l Liza Jane Kaleidoscope Colors We’re Off to See the Wizard (accompaniments for Lesson, The Lonely Prince (The Wonderful Wizard of Oz) Performance, and Technique & Legend of the Buffalo Artistry books) Magnetic March Activity Pages Roses Are Red Popular Repertoire CD Merlin the Wizard The Wild Colt CD1018 00420085 $10.95 Mexican Jumping Beans Tom Cat Howl Popular Repertoire MIDI My Pony Trading Baseball Cards GM1014 00420276 $10.95 No Moon Tonight Paper Airplane Party Song Once Upon a Rain Forest Rainbow - Book 1 Row, Row, Row Your Boat Runaway Rabbit FF1103, 00420194 Russian Sailor Dance $4.50 Sailing in the Sun At the End of the Rainbow Scarf Dance A Double Rainbow Shepherd’s Song Gold Star I’m a Walking Rainbow Sneaking Past the Sleeping Most of All I Like Dog Performance - with CD Rainbows Soaring Eagle FF1603, 00420256 A Rainbow is a Smile Song for a Scarecrow Performance $7.95 I Can Read Music Rainbow, Rainbow The Super Secret Agent NFMC Storm and the Rainbow FF1080, 00420173 Bullfrog Blues CHOICE Book 1 The Talking Tuba Canoe Song FF1048, 00420157 Tap Dancing $6.50 Chinese Painting When the Saints Go Apple Tree Waltz Colorful Sonatina $5.50 Marching In Bells! Bells! Bells! Dance of Two Seahorses Beginning note speller Young Hunter The Clock Shop NFMC Haiku CHOICE The Crawling Spider Happiness Runs Flashcards The Crazy Clown Little Bunny Foo Foo FF1168, 00420218 Handbell Choir (Duet) $5.50 18 LEVEL 1 FABER PIANO ADVENTURES

PlayTime® Piano Supplementary Series

PlayTime® Popular PlayTime® Favorites PlayTime® PlayTime® Hymns DuetTime® FF1001, 00420110 FF1013, 00420122 Jazz & Blues FF1000, 00420109 Christmas, Level 1 $5.50 $5.50 FF1044, 00420153 $5.50 FF1026, 00420135 ABC Are You Sleeping $5.50 Fall 2010 Come Thou Almighty $4.50 King NFMC Do-Re-Mi Aura Lee Ain’t She Sweet CHOICE Away in a Manger NFMC Meet the Flintstones Camptown Races Baby Left Me Blue Do Lord CHOICE The Holly and the Ivy Music Box Dancer Down in the Valley Don’t’ Sit Under the Apple Fairest Lord Jesus Jingle Bells Puff, the Magic Dragon Good-Night, Ladies! Tree For the Beauty of the Earth Joy to the World NFMC Rocky Top Grandfather’s Clock Fat Cat Holy, Holy, Holy CHOICE O Little Town of Star Wars Home on the Range Five Foot Two Jesus Loves Me Bethlehem Supercalifragilisticexpiali- O Susanna I’m Always Chasing Joyful, Joyful We Adore Pat-A-Pan Thee docious (Mary Poppins) Oh Dear, What Can the Rainbows Silent Night O Worship the King Take Me Out to the Ball Matter Be? It Don’t Mean a Thing (If It Up on the Housetop Game Reveille Ain’t Got That Swing) Stand Up, Stand Up It’s Only a Paper Moon for Jesus NFMC This Land Is Your Land She’ll Be Comin’ Round CHOICE PlayTime® Jeepers Creepers This Little Light of Mine the Mountain Accompaniments Sleep, Baby Sleep Moon River What a Friend We Have in Jesus Snake Dance The Way You Look Tonight Christmas CD CD1036, 00420101 $10.95 Sweetly Sings the Donkey Classics CD Taps CD1008, 00420075 $10.95 This Old Man Favorites CD When the Saints Go CD1009, 00420076 $10.95 Marching In Christmas MIDI GM1042, 00420301 $10.95 Classics MIDI GM1018, 00420280 $9.95 Favorites MIDI GM1017, 00420279 $9.95

® Hymns MIDI PlayTime Classics GM1031, 00420292 $9.95 FF1018, 00420127 $5.50 ® PlayTime® PlayTime Assignment Country Dance Children’s Songs Christmas The Elephant FF1039, 00420148 FF1002, 00420111 Notebooks Finale, Brahms $5.50 Finale, Dvorák $5.50 Fall 2010 Away In A Manger PracticeTime Finale, Saint-Saëns PlayTime® Father’s Old Grey Assignment Book La Cinquantaine Whiskers First Noel, The Rock ‘n Roll Ferdinand the Bull Holly Jolly Christmas FF1167 00420217 Lullaby FF1019, 00420128 $5.50 March Slav I Swallowed My Gum! Jingle Bells Romance $5.50 The Little Red Fox Joy To The World Sleeping Beauty Waltz Blue Suede Shoes The Little White Duck Night Before Christmas Practice & Progress The Trout Come Go with Me M-I-S-S-I-S-S-I-P-P-I O Come, All Ye Faithful Lesson Notebook Turkish March Cool Strut The Mulberry Bush Rockin’ Around The FF1024 00420133 Christmas Tree The Green Mosquito My Dog’s Bigger Than $5.95 Rudolph The Red-Nosed Peanut Butter Your Dog Ten Chocolate Cookies Reindeer The Purple People Eater Silent Night Rock Around the Clock When I See An Elephant Fly We Wish You A Merry Rockin’ Robin Willie the Whistling Christmas Surfer Girl Giraffe When Santa Claus Gets Walk Right In Yogi Bear Song Your Letter

19 LEVEL 1 FABER PIANO ADVENTURES

Articulation and the Wrist

Articulation and the Wrist n Height of the wrist This is established at the Primer An essential concept of Level 1 is beginning articulation, Level with the Technique & Artistry secret called “Thumb specifically legato and staccato. These terms are so Perch.” Playing on the side tip of the thumb (instead of a familiar to us as music teachers that we might overlook the horizontal thumb) eliminates a sagging wrist, which is so importance of these touches in developing technique and common at this level. musical expression. Perhaps you have noticed that there are no articulation marks at the Primer Level—no slurs and no staccato marks. We delay teaching legato to ensure that a modicum of finger independence develops before insisting on connected touch. When a student’s finger and small muscle coordination is undeveloped (common, and not a cause for concern), n Range of wrist motion “Relaxed Wrist,” the Level an insistence on legato playing can cause tension in the One Technique & Artistry Secret No. 2, establishes the range hand. This happens when pressure is maintained against of motion for the wrist in the exercise “Wrist Float-Off.” the keybed. In most cases, the playing of a key should With hands on the closed keyboard lid, an imaginary balloon be followed by immediate relaxation, maintaining only pulls the wrist upward until only the tip of finger 3 is in sufficient balance of the hand and arm to keep the contact. This precludes a locked wrist and models the gesture key depressed. for a phrase ending. We commonly hear young primer-level students play all notes detached, poking at each key with a pump of the wrist or a stab with the elbow. While we want to minimize (but not necessarily eliminate) the wrist pumping, this non-legato touch inserts a relaxation between each note, which can be beneficial. The student is naturally building coordination by practicing a relaxation response after each finger plays. Granted, it doesn’t sound good to a musician’s ear, but it does seem to improve coordination (and rhythm as well).

Wrist Gesture n The wrist gesture At Level 2A (Technique & Artistry What does it mean to play legato? Yes, it is a connected Secret No. 5), the exercise “Moon Walk” applies the Wrist touch, but—more importantly—it is the playing of several Float-Off to playing keys across the keyboard. notes in a single gesture. It is initiating a phrase with a drop of arm weight and passing (transferring or “rippling”) that weight from finger to finger. In Piano Adventures®, the component parts of the legato touch are isolated and sequenced over several levels in the Technique and Artistry books, so that each element can become an automatic skill. This spiral approach offers both n review of a previously learned skill and expansion of the The slur gesture The drop and release of arm weight technical concept, polishing the gesture and practicing its through several notes is specifically practiced at Level 2B applications over advancing levels. with the Technique & Artistry exercise called “Painter’s Brush Stroke.” Here the student perfects the “down-and-up” motion of the slur gesture.

n The tapered ending At Level 3A, the focus is on “rounding off” the phrase ending. The wrist gesture carries the weight off the key to soften the last note of the slur.

20 21 LEVEL 1 FABER PIANO ADVENTURES

Legato and the Wrist This is possible because of the technique acquired early So what do we expect of the student at Level One? We in the level (and the compositional placement of the want a flexible, relaxed wrist that freely moves up within accompanying chords on beats where the melody is an established range of motion. We don’t focus on down sustained, not played). motions of the wrist here, as these tend to collapse the fingertip and lock the wrist low. We do focus on the up motion. It is the flip side of the arm-weight drop. The student drops into the phrase with arm weight and releases the weight with the Wrist Float-Off. This needn’t be complex. We simply encourage the student to apply the wrist float-off at certain points in the music.

Summary In summary, the Wrist Float-Off and the Light Hand Bounce constitute essential wrist gestures that derive from their There are countless applications when we look beyond just counterparts—legato and staccato. These gestures provide a phrase endings. The Wrist Float-Off is tremendously valuable technical foundation on which more refined technique can for preparation. The rising wrist can carry the hand to its new be developed. And, importantly, whether through shaping placement in crossovers, octave leaps, and position changes. a phrase, softening an accompaniment, or adding elegance It also lends grace to closing chords. And, long-held notes to an ending, these gestures add a great degree of musical come alive by replacing a static hand with a wrist that slowly artistry . . . which is especially appreciated at this early level. rises through the duration of the note.

Staccato and the Wrist There is no single way to play staccato. Staccato playing is always contextual—that is, the execution of the staccato depends on the musical context. For this early level we choose the wrist staccato (Secret No. 3, “Light Hand Bounce”), a technique that essentially dribbles the hand from a slightly elevated wrist. Notice how well this complements the Level 1 theme of relaxing the wrist and finding its appropriate range of motion. With the exercise Woodpecker Taps, this staccato technique applies fittingly to the repeated notes and repeated intervals that characterize much of the repertoire at this level. This gentle hand bounce not only relaxes the wrist, but also provides a technique for playing soft, accompanying chords. This has big payoff at Unit 8 where chords are first introduced. Instead of loud, clunky chords that overwhelm the melody, the left hand effectively plays soft, staccato chords in the first pieces with block chord accompaniment.

21 LEVEL 2A FABER PIANO ADVENTURES LEVEL 2A

Achievement Skill Sheet #1 Major 5-Finger Patterns Flashcards

LESSON BOOK

Developing Technique Theory I Can Read Music Artist Book 1 (remedial) Preparatory & Artistry

Piano ® Literature ShowTime (challenging) Piano Supplementary Performance Series

Gold Star Performance (challenging)

Popular

Popular Christmas Achievement Favorites Classics Jazz & Blues Repertoire Solo & Duet Sheets Home Run Harry Lullaby for a Grizzly Bear There’s Nothing Like a Circus They’ll Be Back ® DuetTime Toytown Children’s Hymns Christmas Christmas Walk in a Rainbow Songs

22 LEVEL 2A FABER PIANO ADVENTURES

Level 2A Concepts

8th-note rhythm patterns 5-finger transposition crescendo and diminuendo the phrase and phrase mark whole step: W-W-H-W D and A major 5-finger scales Cm, Gm, Dm, Am 5-finger scales andante, moderato, allegro

Teach with...Analysis The Elf’s Silver Hammer Name the 5-finger position. _____ 1 Analysis comes from the Greek word analyein, “to loosen up” or “to 2 Notice that both hands are written in the treble clef. œ œ w Playful and fast œ ˙ break apart.” Through analysis we look at separate parts in order to 3 œ œ . œ. œ p œ. œ. œ 4 F w3 understand how these parts relate to form the whole. We loosen up, & 4 2 p ∑ w deepen, and stretch the student’s learning process. 4 œ ŒÓ & 4 1 on __? w œ.5 on __? œ œ 5 œ œ ˙ 3 œ . œ. œ “Philip, which 3 lines of music are almost the same? œ. œ. œ & w Now let’s analyze how the lines are different.” w 2 ∑ 1 ŒÓ 4 >. You Can Compose! œ 1 >. >. œ & œ œœ œœ œ Œ . ˙ ˙ 3. You can compose (make up, create) the piece below. 9 2 . ˙ “Hannah, where do you think the elf is pounding the 1 . ˙ a. C Position notes . œ. œ œ Œ f 11 Choose your notes from C Position. Use the rhythm given above each measure. . œ. œœ Œ œ Œ œœ œ œ loudest? Why?” C Position notes ? œœ œ.œ œ>. œ œ œ œ œ & ˙ >. > L.H. œ Œ ˙˙ ˙ ? Œ œ1 œ œ. C Position notes œ œ.3 . œ œ œ œ œ 1 œ œ b. Complete your piece by drawing phrase marks and dynamicR.H. markings ( œ2œ œ. . . w & . . œ Œ c. Play your composition! œ œ Œ C Position notes & 13 œ ˙ œ p

œ Performance p.10 Theory p. . . œ œ œ œ œ œ œ . . œ œ rit. Teach with...Creativity , œ , œ Œ w & p F , etc.). & F Œ œ.œ w œ œ œ œ œ If You Meet anf Alligator p œ. Create comes from the Latin word creatus, “to ∑ w r teacher. ŒÓ 1œ Words by Crystal Bowman & œ ? 15 R.H. œ œ œ œ. ’s Silver Hammer make.” Structured creative assignments help œ œ Which 3 lines of musicThe begin Elf exactly the same way? Show you 4 œ œ DISCOVERY &4 œ œ Can you memorize dynamic œ œ Can you transpose this piece to G Position? œ œ students consolidate basic skills while they marking ____ Ifœ you meetœ anœ œ œ ˙ al -li-ga - tor, œ FF1081 bet - ter run the compose and “own” their creative ideas. othœ œ œ œ -erœ way.˙ L.H. œ œ œ œ œ ? œ œ 5œ œ œ œ œ œ “Olivia, many songs are co-written by two people. These lyrics If you see a œ œ ˙ hun - gry li - on, œ you should not de - œ œ are written by Crystal Bowman. Now you be the composer— cide to stay. ˙ 5œ R.H. œ œ œ œ œ œ the other half of the creative team.” œ œ & œ œ œ œ But if youœ should œ dynamic œ œ œ ˙ marking ____ findœ a bun -ny “Philip, you create the dynamics of your piece. What orœ a kit - ten orœ a mouse,œ ˙ œ œ L.H. œ œ dynamic mark do you think expresses the mouse?” œ œ œ ? œ œ œ 1 œ œ œ œ œ œ œ Yo Lesson p. 18 FF1082 umay pet it œ œ ˙ ver -y gent œ -ly, œ then bring it in œ Teach with...Expression to your house!˙ We can bring out the expression by tapping the student’s 13 3 phrase

UNIT desire to listen to his or her sound. Inspire our expression. Shaping the Phrase inuendos. students through your own expressive When we speak a sentence, our voice rises and falls with Musical phrases also rise and fall. We can “shape a phrase” with small crescendos and dim demonstrations. A relaxed wrist will help you “shape” beautiful phrases.

wrist float-off (p.3) as your daily warm-up. “Adam, play your favorite 5-finger scale Do Moon Walk Famous Phrases (for R.H.) up and down. At the end, ritard and do a

wrist Circle the and signs with a float off Optional: 4 wrist float-off into your lap. Pretend it’s colored pencil as a reminder to “shape” each phrase. 2 1 3 Silent Night phrase mark 5 Slowly ˙. a performance.” 3 . p peace.˙ œ œ œly 3 -en- &4 ˙ œ heav SleepP in “Tatiana, listen as I demonstrate

2 5 several phrases. When you Scarborough Fair Gently . 1 œ ˙ œ œ œ Fair?p œ œ Scar - bor - ough 3 hear a crescendo, raise your œ go - ing to &4 ˙ Lessons 16 p. pAre you arm up slowly. Lower it for a 5 1

Joshua Fought thecross Battle over of Jericho3 2 œ ˙ Lively 2 1 œ ˙ diminuendo. Great! Now, let’s 1 œ œ œ - cho.> œ œ -i œ œ œ fJer FF1098 4 œ œ reverse and you play.” &4 œ -uœ# a fought the bat - tle of PJosh stone. out a y with - cher -r 14 The Riddle Song gave my love a ˙. Gently I ˙ ˙ œ p ˙2 4œ œ œ 5 œ œ ? 44 œ F p low. fel - 23 y good jol -l U a ˙. For He’s a Jolly Good Fellows Brightly he’ 1 For ˙. œ 2 (stretch) œ œ œ f ˙3 ? 34 œ5 F

5 3 ˙ œ 4 œ The Snake Charmer œb 1 œ Slowly œ ˙5 œ ˙b ˙4 œ 3 ? 44 œ5 p LEVEL 2A FABER PIANO ADVENTURES

Level 2A Technique & Artistry Popular Repertoire Christmas Achievement Skill Lesson Book FF1098, 00420191 FF1258, 00420236 FF1139, 00420207 Sheet #1: Major FF1081, 00420174 $6.50 $6.95 $4.95 5-Finger Patterns $6.95 Technique Secrets If I Were a Rich Man The First Noel AS5001, 00420022 Aardvark Boogie Artistry Magic Pieces: Meet The Flintstones Go, Tell It on the Mountain $2.95 Andante Colorful Sunset Merrily We Roll Along Jingle Bells Band on the Field Hummingbird Wings Merry Old Land of Oz O Christmas Tree The Bell Tower Malaquena Splish, Splash Pat-a-Pan Changing Moods Race Car Rag Tiger Rag (Hold That Silent Night Double Decker Bus Riddle Song, The Tiger) We Wish You a Merry The Elf’s Silver Hammer Spotlight on the Left Hand Tomorrow Christmas Famous People Spotlight on the Right Will You Be There Sightreading Activities George Washington’s Party Hand Activity Pages Hot Cross Thumbs Star Traveler Background I Am the King Accompaniments Ice Cream Jazz Blast Leftover Popcorn Lesson Book CD The Mermaid CD1003 00420070 $10.95 Achievement Solo Moonlight Melody MIDI 3-Disk Set & Duet Sheets GM1003 00420268 $24.95 More Ice Cream Home Run Harry (accompaniments for Lesson, My Daydream Performance, and Technique & A2020, 00420047 $2.50 Our Detective Agency Artistry books) Lullaby for a Grizzly Bear Pirate of the North Sea Popular Repertoire CD A2008, 00420037 $1.95 The Puppet Show CD1019 00420086 $10.95 There’s Nothing Like a Circus The Queen’s Royal Entrance Popular Repertoire MIDI Gold Star GM1015 00420277 $10.95 A2010, 00420039 $2.50 Roller Coaster Rhythm Performance They’ll Be Back Skip to My Lou Performance - with CD A2026, 00420053 $2.50 Snake Charmer FF1083, 00420176 FF1604, 00420257 Toytown Starry, Starry Night $6.50 $7.95 Flashcards A2022, 00420049 $2.50 Storms on Saturn Building a Snow Fort Concert Sonatina FF1168, 00420218 Walk in a Rainbow (Duet) Sword Dance First Snowflake of Winter $5.50 A2001 00420030 $2.50 Coconut Shuffle This Old Man Five-Note Sonatina Dance of the Irish Whirling Leaves Grandpa Leprechaun Green Frog Hop Woodchuck Chucks Wood Home Run Harry Home on the Range Hunters’ Chorus Horseman’s Night Ride I Love the Mountains Italian Children’s Game Little Ghost’s Recital The Juggler Morning Has Broken The Loch Ness Monster Snappin’ Harriet March of the English Guard There’s Nothing Like a Circus Mr. McGill Toy Town Rhino in the Mud Road Runner Rocky Mountain Train I Can Read Music Theme and Variation Weeping Willow FF1048, 00420157 $5.50 Theory Note speller FF1082, 00420175 Beginning reading level $6.50 Writing Sightreading Ear Training

24 LEVEL 2A FABER PIANO ADVENTURES

ShowTime® Piano Supplementary Series

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25 LEVEL 2A FABER PIANO ADVENTURES

Pattern Recognition and Five-Finger Scales

Pattern Recognition n Level 1 introduces five-finger tonality in C and G, with Why are five-finger positions a necessary part of piano emphasis on tonic and dominant scale steps. pedagogy? Because our hands have five fingers. So the n Level 2A addresses multi-key playing with transpositions relevance of five-finger patterns applies at virtually any level to D, A, and to minor five-finger patterns. of piano playing. n Level 2B adds meaning to triad recognition with Major and minor five-finger patterns are taught in Level awareness of key, key signature, the full major scale, and 2A of Piano Adventures®—after the basics of reading are recognition of primary chord functions—I, IV, and V7. acquired in the Primer and Level 1. With the fundamentals of note recognition and intervallic reading firmly in place, n Level 3A reinforces and expands recognition of chord this multi-key approach can take hold without liability. names and chord function. After students learn the basics of reading, we can use five- finger positions to enhance reading skill by eliciting visual, n Level 3B introduces chord inversions and minor kinesthetic, and aural pattern recognition. tonalities. n Level 4 reinforces these minor key patterns with special Contour and Context focus on the V7 in root position, and reviews chord inversion A student who reads only note-by-note misses the musical recognition. picture. Why? Because music is coded in contour and n context. Contour of musical line depicts phrasing and the Level 5 introduces new flat-key patterns and recognition expressiveness of changing pitch. Contour is decoded of I, IV, and V chords in any inversion and any key. through recognition of pitch direction and interval. Context suggests another level of pattern recognition Context Intervallic Reading provides harmonic meaning through recognition of chords, Decoding contour requires recognition of direction (up, key, tonic/dominant relationships, and so on. Context down, same) and interval span (step, skip, fourth, fifth, provides artistic meaning through recognition of form and and so on). This reading skill is not a substitute for note motivic relationships, as well as more subtle relationships recognition, but a skill to be learned concurrent with note found through conscientious study of the score. naming. For this reason, the Primer level merges note-name recognition with intervallic/directional reading. These skills From the standpoint of artistry, understanding of contour go hand-in-hand. and context can reduce a dense score to relative simplicity, and thus provide musical meaning that leads to expressive Note-name recognition is essential for student confidence. playing. From the standpoint of reading skill, an ability to Yet, directional/intervallic reading is not of secondary grasp contour and context simplifies the reading process by importance. It is essential for grasping musical contour allowing visual information to be processed in “chunks” and for fluent sightreading. Intervallic reading is pattern through recognition of familiar patterns. recognition in its most elemental form, and rests on a foundation of note recognition. Piano Adventures® systematically builds skill in pattern recognition:

n The Primer introduces intervallic reading and Level 1 reinforces it.

26 27 LEVEL 2A FABER PIANO ADVENTURES

Pattern Recognition and Five-Finger Scales

Five-Finger Scales of black and white, which is visual. We also stress the feel The importance of major and minor five-finger patterns may of the pattern. The pairing of D and A Major highlights both be obvious, but let’s cite three reasons: their visual and kinesthetic similarities.

n Major and minor five-finger patterns (pentascales) reinforce recognition of major and minor triads.

n Major and minor five-finger patterns prepare the student for major and minor scales.

n Major and minor five-finger patterns highlight the tonic and dominant notes. Because five-finger patterns lie stepwise under the hand, this context is ideal for reinforcement of intervallic reading and for transposition. Many pieces at Levels 1 and 2A require moving the hand between familiar positions. This movement Rhythmic “Chunking” between positions sharpens the student’s reading, mitigates Eighth notes are not presented in Piano Adventures® position dependence, and invites motion that can prevent a until Level 2A. This allows the student to be at ease with locked wrist. rhythm at the Primer and Level 1. The beat can be quite fast, unhampered by intruding eighth notes. This promotes a rhythmic fluency based on meter, instead of a slow, interrupted beat. Teachers readily recognize the increase in musicality. By not yet subdividing the beat, these early levels present a limited set of rhythmic values which the student can readily “chunk” into macro patterns, such as 1 1 1-2 or 1-2 1-2. When eighth notes are introduced at the beginning of Level 2A, they are presented in rhythmic groupings.

Thus the student is led to read eighth notes, not as individual There are three modalities involved with five-finger pattern counts or sub-counts, but in the context of a meaningful recognition: rhythmic pattern that is felt kinesthetically, not just intellectually. n Staff recognition is visual

n Keyboard topography is kinesthetic Summary Repetition of predictable patterns leads to recognition of n Aural perception of five-note tonality is auditory these patterns. We can’t assume that random occurrence of Since music making involves these modalities in principal patterns will lead to recognition. We need to equip combination, the pedagogical use of five-finger scales students with tools of pattern recognition through systematic provides a playing field for exploring the integration of presentation of patterns and a matching repertoire. elementary patterns—visual, kinesthetic, and auditory. Through transposition, “question and answer,” Occasionally, it’s helpful to spotlight a specific modality. harmonization, ear training, and a carefully conceived For instance, the shift from major to minor (or vice versa) is repertoire, five-finger patterns lay a foundation of pattern aurally striking. We introduce five-finger patterns in terms recognition that ultimately leads to a keen sense of tonality and intelligent, fluent music reading. ❙

26 27 LEVEL 2B FABER PIANO ADVENTURES LEVEL 2B

Achievement Achievement Skill Sheet #7: Skill Sheet #2: Elementary I-V-I Minor 5-Finger Cadences Patterns (challenging) Flashcards

Developing Artist Preparatory Piano Literature LESSON BOOK I Can Read Music Book 2

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28 LEVEL 2B FABER PIANO ADVENTURES

Level 2B Concepts

five Cs across the grand staff cross-hand arpeggios interval of a 6th C, G, and F major scales connected pedaling I, IV, and V7 chords in C, G, and F eighth rest, dotted quarter note Musical form (AB and ABA coda)

Teach with...Analysis Teach to make the students’ grasp of a new concept (ex. major scale) flexible so that they can both understand the idea and apply it to a variety of contexts. C b a g “Katie, let’s play Twinkle, Twinkle by ear. How are tonic and dominant f e d notes used at the beginning of the tune?” C “Bryan, let’s make up a L.H. accompaniment pattern that uses the tonic note moving DOWN to the dominant note.

T h e o r y p. 10 Teach with...Creativity Children grow musically with short creative

FF1084 encounters that relate to the larger concepts

DISCOVERY being taught. Each new musical concept is

14 an opportunity for a creative encounter. “Philip, will you play your G major scale from memory and say the letter names? Now, let’s complete this melody that is built from the G scale. Tell me, does the B section end on the tonic or dominant?” “Patrick, could you harmonize your G scale melody with I and V7 chords?”

Teach with...Expression a or b for each of the following.) (Circle Artistry Quiz: Full understanding of terms and concepts refers to (a) the dynamics (b) the slurs, staccatos, and accents 1. Articulation

refers to (a) the loud and soft sounds in the music such as articulation, dynamics, and 2. Dynamics (b) the sharps, flats, and naturals

refers to (a) playing heavily, hesitating at each bar line (b) the forward direction of the notes; musical flow forward motion is an ongoing 3. Forward motion process. Students move from shallow to deeper knowledge through their exposure to Practice Warm-up: . , and dynamics Winter Wind First practice s-l-o-w-l-y for (C minor) notes, articulation N. Faber artistic teaching and expressive Winter Wind Challenge: allegro! Create the mood of a howling Play 3 2 winter wind with exciting dynamics and forward motion. 2 3 repertoire. 3 œ 3 2 œ 2 œ Allegro 1 œ œ 3 œ œ œb > œ œ 3 œ œ >œb œ ˙˙b “Michael, in which measures & 4 œb œ œ œ ˙ œ > ˙b 1 f ˙ œ5 3 do you have a sense of ˙b 1 ? 3 3 4 5

5 4 œ Lessons20 p. > 1 ∑ swirling, forward motion 4 œ 5 Œ œœ œ ∑ œ œ. œ over the bar lines?” . œb œ œ œb 3 œ 1 2 . 1 2 & ˙ ˙. over F œ œ# 1 œ FF1099 œb 2 œ. œ. œ œ 1 ? œ œb “Sarah, where would you use a light hand bounce 16 as part of the articulation?”

29 LEVEL 2B FABER PIANO ADVENTURES

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30 LEVEL 2B FABER PIANO ADVENTURES

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31 LEVEL 2B FABER PIANO ADVENTURES

The Power of Primary Chords

Perhaps the favorite application of music theory in piano The Chord Accompaniment instruction is the teaching of I, IV and V7 chords in that It is not enough merely to read the notes of a chord, or familiar cluster surrounding the root-position I chord. This even to recognize the notes as a chord. A student needs to aspect of piano pedagogy is a guiding concept for Level 2B understand the role of chords in accompanying a melody. So, ® ® of Piano Adventures and the corresponding ChordTime immediately after introducing the three-note V7, we present Piano series. a two-hand accompaniment for Camptown Races with the This simple chord formula is favored for good reason: melody displayed on a third staff. This “piano/vocal” score provides much insight for the student: conceptualization n The chords are easily accessible of melody and accompaniment, the utility of I and V n They reduce the harmonic language of many diverse harmonies, the concept of chord progression, and exposure styles to a common denominator to ensemble playing.

n They provide a basis for creative applications in arranging or composing. Reading Chord Symbols With each new key (C, G, and F), chord patterns are presented under the heading “Reading Chord Symbols.” Staging the V7 Chord After the student blocks the chords, have them play an The earlier levels of Piano accompaniment that follows the given chord progression. Adventures® work with a two-note V7 chord that lies readily under the hand. This allows for easy and rapid switching between I and V7 chords. Using the more common three-note V7 chord at early levels can sabotage the student’s rhythm at the bar line because of the difficult shift of finger five. In contrast, a The teacher can draw bar lines between the chord symbols two-note V7 chord allows the student to maintain rhythmic (see above) to show a chord chart more specifically. fluency and, importantly, the musicality of a flowing meter. Time spent listening, memorizing, and transposing these chord progressions is time well spent. Then, let your student loose to create melodies and various accompaniment patterns based on the chord progressions. The creative questions that end each unit will provide nudges toward such work. For most students, though, you’ll want to push the creative activities even more. It’s amazing how much similarity there Thee next steps toward using three-notes for the V7 are is among chord progressions, and how much value is derived presented in stages at Level 2B: the interval of a 6th and the from working them over and over. leading tone. In teaching the major scale, we help the student hear the leading tone move by half step to the tonic. Then we help the student hear the leading tone of the V7 chord resolve The IV Chord to its tonic note. Indeed, this leading tone is the new note of The hip, barrelhouse LH of Boxcar Rumble reinforces the V7 chord. By addressing the V7 in stages across Levels the 6th and hints at an alternating I-IV pattern. You might 2A and 2B, we eliminate the technical hurdle and promote a revisit this piece after the IV chord is learned, adding the heightened aural sense of the V7. omitted chord tones to the LH pattern. For a somewhat easier variation, repeat each chord before changing harmony. You’ll still want to play a chord on every beat, but the harmonic rhythm slows to a change of chords every two beats instead of every beat.

?#4 œ œ œ œ . ?#4 œ œ œ œ . 4 œ œ œ œ . 4 œ œ œ œ .

32 LEVEL 2B FABER PIANO ADVENTURES

Accompaniments That Dance Tipping over “Snowman” Chords We have all heard plenty of thumping thumbs in left-hand Students typically recognize chords on the staff only accompaniments. Yes, the left-hand accompaniments can use when notes are stacked in thirds. I call this the “snowman repetitive practice, but they also require the right technique. chord” syndrome. Our goal is to tip the chord over so that That’s where the Technique & Artistry Books shine. For a harmony is recognized when it spans horizontally across example, Technique Secret No. 3 at Level 2B specifically the measure and vertically over both treble and bass clefs. works for a light thumb to remedy—or better—to prevent the The first tool in this perceptual transformation is the Cross- thumping thumb. In fact, all of the “technique secrets” at this Hand Arpeggio, which distributes chord tones over several level converge to provide coordination and beauty in a left- measures and between clefs. The skill continues to be hand accompaniment: sharpened as the student moves through the higher levels of Piano Adventures®. n A drop of arm weight (Heavy Arms) initiates the LH pattern. Whether we synthesize accompaniments from a given chord pattern as in n The energy flows through a slur gesture (Painter’s Reading Chord Symbols, or Brush Stroke). we analyze to find chord patterns in an otherwise n The Weightless Thumb ensures a lightness for the complex piece, primary non-downbeats. chords provide a common denominator to which we can relate aurally, visually, and kinesthetically. The power of primary chords is in their simplicity. And, as a watchword for both the student and professional artist, “Always The entire level is designed to achieve beauty and efficiency look for the simplicity.” by playing several notes with a single gesture. This is applied specifically to left-hand accompaniments through a combination of “drop” and “up” touches.

33 LEVEL 3A FABER PIANO ADVENTURES LEVEL 3A

Achievement Skill Sheet #3: 1-Octave Major Scales and Arpeggios

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34 LEVEL 3A FABER PIANO ADVENTURES

Level 3A Concepts

binary and ternary form ostinato and alberti bass interval of a 7th common time and cut time ´´≤ , ¥≤ , the triplet ledger lines swing rhythm one-octave arpeggios

Teach with...Analysis Analysis is not just for the student; it also applies to us as teachers. Reflective analysis of our own teaching leads us to improvements that keep our students winning at piano. Ask yourself. Would my student be able to describe an Alberti bass pattern? Is my student ready to transpose the A section to the key of

p. 10 T h e o r y p. 6, 7, 8 G major? Would my student rise to the challenge of a more difficult piece with the Alberti bass, such as (Pedal Rhythms), Canario from the Developing Artist Preparatory chnique p.3 Piano Literature book?

Performance p.6 Te Teach with...Creativity To select an appropriate creative activity, FF1087 first assess the difficulty of the underlying concept being taught. Is the challenge rhythmic? 12 Technical? Theoretical? “Kristin, let’s choose chord tones to build a melody over the Alberti bass. Now play it very high and turn it into a music box. Or, perhaps it is an old-fashioned ice-cream truck!” “Ryan, well done on composing Your Own Sonatina! For next week, can you transpose it to G Major?”

MAGIC Teach with...Expression ARTISTRY Giving names to the technical gestures makes them Soft Playing (forte)? as loudly Did you know (piano)that it takes more skill and just as firm fingertips to play softly memorable and helps the teacher and student softest? ____ communicate more easily. The named Artistry Quiz: dynamic mark in this piece? ____ the loudest 1. What is the As you play this atmospheric, misty piece, use a light, “feather touch” gestures provide a technique with your right hand.

2. Find and mark 3 places in the music where you can use a “round off.” (Write R.O. for “round off.”) toolbox for expressive playing. “Vivian, how does the sound

Yellow Moon on a Misty Lagoon change with the round-off see. hard to k it is 3 1 3 The mist is so thic 2 TAL 3A Yellow Moon1 on a Misty LAgoon p28. gesture? Find and mark three 3 œ# 2 1 œ 1 3 œ# 3 œ 1 œ Andante, in two (Ó = 72-80) œ œ# œ œ# places in the music where you œ# œ Ó œ Count:C 1 and 2 and w & ˙ can use a round-off.” p ˙ 2 ˙ 1 1 3 3

? C 5 1 Lessons 41 p. 1 3 œ 3 1 œ 3 1 œ œ# 3 1 Ó 3 1 œ ˙ œ œ œ œ Ó œ œb œ ˙ ˙ ˙ 1 ˙ ˙ 5 2 & ˙ 1 3 FF1100 w ! ?

28

35 LEVEL 3A FABER PIANO ADVENTURES

Level 3A Technique & Artistry Popular Repertoire I Can Read Music, Developing Artist Lesson Book FF1100, 00420193 FF1260, 00420238 Book 3 Piano Literature FF1087, 00420180 $6.50 $7.50 FF1227, 00420233 Book 1 - with CD $6.95 Technique Secrets Amimaniacs $5.95 FF1030, 00420139 7th St. Blues Artistry Magic Pieces: From a Distance Early intermediate $6.50 Amazing Grace Back-up Singers I Swear note speller Adagio and Allegro, J.C. Campbells Are Coming Bittersweet Blues I Will Always Love You Bach & F.P. Ricci Cool Walkin’ Bass Chariot Race Puff, The Magic Dragon Bagatelle, Hook Cossack Ride Eagle on the Wind Superman (Theme) Busy Machine, Dubliansky Echoes of the Harp The Kentucky Derby That’s the Way It Is Canario, Von der Hofe Eine Kleine Nachtmusik Olympic Torch The Pink Panther Gavotte in C, Telemann Ice Dancing Scale Monster Tiny Toon Adventures The Highlander, Mouret Joshus Fought the Battle of Snowy River Activity Pages The Hunt, Gurlitt Jericho Tropical Fish Little Dance, Turk Land of the Silver Birch Yellow Mood on Little Prelude, Schytte Looking-Glass River a Misty Lagoon Melody for Left Hand, Lunar Eclipse Schytte March Slav Minuet, Hook Mockingbird Morning, Diabelli Morning (from Peer Gynt) Achievement Skill On the Ocean Floor, Alt Night of the Tarantella Sheet #3: 1-Octave Pantomime, Faber Promenade Major Scales & Procession in G, Praetorius Sakura Arpeggios Quadrille, Haydn Scarborough Fair Shepherd Pipes, AS5003, 00420024 Salutrunskaya Snowflake Rag $2.95 Sonatina in G, Attwood Sonatina in C Tarantella, Lynes Song of Joy Christmas Two Preludes, Spindler Wedding March FF1141, 00420208 Waltz for Four Hands, Performance $5.50 Wohlfahrt FF1089, 00420182 Angels We Have Heard on High $6.50 Bring a Torch, Jeannette Allegretto Isabella America, the Beautiful Carol of the Bells Carnival of Venice Dance of the Sugar Plum The Erie Canal Fairy Fanfare Minuet Jesu, Joy of Man’s Desiring The Fly’s Adventure Jingle Bell Boogie Funiculi, Funicula O Holy Night The Great Wall of China Sightreading Activities Discover Blues Hot Summer Blues Impovisation Intro to blues and Theory Malagueña Background improvisation Accompaniments FF1088, 00420181 Morning Has Broken Book and Enhanced CD Developing Artist $6.50 Novela FF1155CD 00420215 $14.95 Piano Sonatinas Persian Market Writing Includes Background Book 1 Song of Kilimanjaro Lesson Book CD Accompaniments Sightreading Vivace CD1005 00420072 $10.95 (audio and MIDI) FF1110, 00420199 Ear Training MIDI 3-Disk Set $5.95 GM1008 00420270 $24.95 Sonatina, Biehl (accompaniments for Lesson, Performance, and Technique & Sonatina, Czerny Artistry books) Sonatina in C, Gurlitt Popular Repertoire CD Sonatina in C, Biehl CD1027 00420093 $10.95 Sonatina in C, Duncombe Popular Repertoire MIDI GM1035 00420296 $10.95 Sonatina in D, Saliutrinskaya Sonatina in G, Attwood 36 LEVEL 3A FABER PIANO ADVENTURES

FunTime® Piano Supplemental Series

O Christmas Tree O Come, All Ye Faithful O Little Town of Bethlehem Rockin’ Around the Christmas Tree Rudolph The Red-Nosed Reindeer Silent Night The Night Before Christmas Song We Wish You a Merry Christmas FunTime® Popular FunTime® Favorites FunTime® FunTime® Hymns FF1007, 00420116 FF1054, 00420163 Jazz & Blues FF1033, 00420142 Audio Products $6.50 $6.50 FF1010, 00420119 $6.50 Colors of the Wind Arkansas Traveler $6.50 Fall 2010 Amen Eleanor Rigby Chopsticks Brain Sprain America Christmas CD He’s a Pirate (from Pirates Give My Regards to Frankie and Johnny Christ The Lord is Risen CD1039 00420104 $10.95 of the Caribbean) Broadway Frim Fram Sauce Today Classics CD I Saw Her Standing There Glow Worm House of the Rising Sun Every Time I Feel The Spirit CD1011 00420078 $10.95 La Bamba Greensleeves In the Mood Fairest Lord Jesus Favorites CD CD1012 00420079 $10.95 The Lion Sleeps Tonight Hello, My Baby Jump, Jive and Wail Glory Be to The Father Christmas MIDI Moonlight Sonata I’ve Been Working on the Love Potion No. 9 Go Down, Moses (Beethoven) Railroad GM1045 00420304 $10.95 Misty In The Cross of Christ I Music Box Dancer Scarborough Fair Glory Classics MIDI Piano Playin’ Chocolate Pachelbel Canon Skaters’ Waltz Jesus in the Morning GM1024 00420286 $9.95 Eater’s Blues Favorites MIDI Phantom of the Opera Song of the Volga Boatmen Royal Cat Blues Joshua Fought the Battle of Jericho GM1023 00420285 $9.95 Star Wars (Main Theme) Two Guitars St. James Infirmary Now Thank We All Our God Hymns MIDI A Whole New World Tuxedo Junction GM1034 00420295 $9.95 (Aladdin) Rejoice, Ye Pure in Heart Saviour, Like a Shepherd Lead Us Achievement Solo Standin’ in the Need of Prayer & Duet Sheets Swing Low, Sweet Chariot Classic Sonatina in G Take My Life and Let It Be A2015, 00420044 $3.50 While By the Sheep Willow Tree Waltz A2002, 00420031 $2.50

FunTime® Rock ‘n Roll ® FunTime® Classics FunTime FF1023, 00420132 Ragtime & Marches FF1022, 00420131 $6.50 Fall 2010 FF1008, 00420117 $6.50 All I Have to Do Is Dream $6.50 Barber of Seville Bye Bye Love American Patrol Blue Danube Waltz Come Go with Me The Ants Came Marching Dance of the Sugar Plum Great Balls of Fire FunTime® Christmas Fairy Dixie Hey, Jude Eine Kleine Nachtmusik The Easy Winner FF1006, 00420115 Hound Dog In the Hall of the Mountain The Entertainer $6.50 Howl at the Moon King Glad Cat Rag Angels We Have Heard on Light Cavalry Overture Mumbo Jumbo Maple Leaf Rag High Musetta’s Song Party Monster Parade of the Tin Soldiers Carol of the Bells Peter and the Wolf Theme Rockin’ Pneumonia and the Snowflake Rag Deck the Halls Boogie Woogie Flu Pomp and Circumstance Stars and Stripes Forever God Rest Ye Merry, Gentlemen Rockin’ Robin Scheherazade Theme When the Saints Go I Heard the Bells on Runaround Sue Toreador’s Song Marching In Christmas Day Stand by Me “Unfinished” Symphony Jingle Bells Theme Let It Snow! Let It Snow! Waltz Let It Snow! The Most Wonderful Day of the Year

37 LEVEL 3A FABER PIANO ADVENTURES

The Role of Review

We’ve all seen an occasional precocious student move up Moving Too Fast the levels with impressive speed. We regard this speedy What happens if we move the student into difficult progress through the method as a reliable predictor of future repertoire too soon? We lose the opportunity for review and success… and we are thus seduced. The high-numbered level repetition. Familiar concepts are buried in a complex setting makes the teacher look good and the parent beam with pride. and thus overlooked, instead of reviewed. New concepts So we tend to push students, hoping to see nine-year old Erin are encountered that the student does not and cannot yet in Level 4, or ten-year-old Jason playing Für Elise. understand. Old skills do not become automatic. Instead, But the actual variable that predicted success with a fast- they are skipped through before they are developed and moving student is the ease with which the student moved eventually are buried under an accumulation of hidden up the levels—an exceptional capacity in some students that physical tensions and habits. makes it possible to progress quickly. A teacher’s push to get Because this danger becomes acute at the intermediate level, there fast does not itself predict success. Indeed, it the role of Piano Adventures® Level 3A becomes clear: can backfire. n to provide review that consolidates knowledge The fast track can leave knowledge gaps, feelings of uncertainty, and may insidiously undermine technical and n to provide repetition that automatizes skill musical development even when the student is apparently keeping pace with the decoding of notation. It is important to n to structure an appropriate pacing for advancement understand that a student’s level of advancement and speed of We tend to think of a method as the means to introduce advancement are not the measures of good teaching. A better new material. In light of the above discussion, let’s instead measure is how much the student knows and how much the reframe the role of Piano Adventures®. The method provides student can do at his or her current level—regardless of what a structure that both prevents premature advancement and level that may be. promotes adequate review and practice. The goal is not to get out of the method as soon as possible; the goal is to fully Review and Repeat employ the method to yield sufficient review for retention The late-elementary student must absorb and apply and sufficient practice to develop deep-rooted skills. The knowledge of note reading, rhythmic notation, chord method is more than a bridge to the literature; the method is structures, and musical expression—all while grappling with an engine for deep learning along the way. the physical mechanics of hand shape, arm weight, finger coordination, and wrist relaxation. At the same time, the Spiral Curriculum student is expected to be listening—indeed hearing—what Instructional pacing should routinely dip back to review he/she is playing, evaluating sounds as they pass in time, and concepts already learned before adding new instruction. adjusting to the idealized sound envisioned in the mind’s ear. When we cue the recall of earlier concepts before adding This is not going to happen readily and does not happen fast. something new, we help our students integrate the new Knowledge needs review so that it will endure in long-term knowledge, instead of just accumulating unrelated facts. memory and be readily accessed. Skills need practice so Jerome Bruner coined the term “spiral curriculum” to that they become automatized—played without conscious describe this instructional process of review. Each time attention. Review and repetition, then, become operational a concept is revisited, it is clarified for more precise basics for the piano teacher. We consolidate knowledge understanding or amplified for broader application. The key with fastidious review while we steadily move forward. We point here is the necessity for review—to keep coming back consolidate skills by practicing what the student can do well to principal concepts and enriching them with expanded instead of practicing incorrect playing. We use repetition knowledge and application. This idea of a spiral curriculum to make well-executed skills become automatic, freeing is designed into the theory, technique, and repertoire of attention for new challenges. Level 3A.

38 LEVEL 3A FABER PIANO ADVENTURES

Expanding Theory Aptitude Level 3A, and even to the playing of a full one-octave scale The primary chords (I, IV, V7) that characterize Level 2B are in a single gesture (8-Note Scoops). Notice how expression reviewed in Unit 1, then explored in expanded contexts: with is developed through gesture. syncopation, with expressive articulations, and using Alberti Bass. The interval of a 7th is introduced by highlighting its notational similarity to 3rds and 5ths, all notated as line-to- line or space-to-space. The chromatic scale builds on the half-step presentation at Level 2A, expanding the chromatic fragments to the full octave. Simple binary form introduced at the beginning of Level 3A expands to ABA; then, by the end of the level, to ABA with Repertoire to Reinforce both Introduction and Coda. We want our students to develop a depth of skill . . . and this takes time. With the leveling, 2A-2B, 3A-3B, the student feels a sense of accomplishment by graduating from one Building Expressive Technique book to the next, but doesn’t encounter too much difficulty The carefully sequenced handling of the wrist in the too soon. Technique & Artistry Books reaches a culmination at Level ® 3A with the Round-Off. The Thumb Perch at the Primer The FunTime Piano series also offers an opportunity to Level established the wrist height. The Wrist Float-Off at consolidate skill, through familiar tunes in a variety of Level 1 established the range of wrist motion. Levels 2A and musical styles. A teacher can harness this series to adjust the 2B established the slur gesture. The Round-Off at Level 3A method pacing. We frequently put a student through several ® refines the phrase ending, adding polish to both sound FunTime books, one at a time, before moving up to Level ® and gesture. 4 or BigTime Piano. Students often discover a favorite musical style while becoming increasingly comfortable with Rotation, an important Technique Secret at Level 3A, the process of reading music. incorporates a throwing of arm weight with rebound, thus building on the Arm Weight secret taught at both the Primer and 2B levels. Deeper Understanding and Broader The “pedal by ear” secret, Pedal Rhythms, builds on the Application connected pedaling technique secret of Level 2B, now Yes, we maintain high aspirations for our students. But requiring the student to depress the damper pedal more instead of being concerned about speedy progress up the quickly—on the “and” of the beat, and asking for more levels, we should focus our teaching on developing depth careful listening. Pedaling is approached in stages throughout and breadth at the student’s current level. Piano Adventures®: holding the pedal throughout a piece at The payoff is not just in the student’s future success, with the Primer and Level 1, up-down pedal notation at Level 2A, the ease in which repertoire will be mastered. There is payoff connected pedal at Level 2B, and more refined pedaling at here and now. Theory comprehension isn’t deferred until Level 3A. advanced study, but occurs with each piece at the current There is a continuing progression toward playing multiple level. Artistry is not postponed for later piano literature. notes in a single gesture. The three-note slur of Painter’s Artistic playing can be heard now—in the next piece your Brush Stroke at Level 2B expands to 5-Note Scoops in student plays.

39 LEVEL 3B FABER PIANO ADVENTURES LEVEL 3B

Achievement Skill Sheet #4: 1-Octave Minor Scales and Arpeggios Developing Artist Piano Literature Book 1 (easier)

Achievement LESSON Skill Sheet #8: Developing Artist Intermediate Piano Literature BOOK Cadence Booklet Book 2 (challenging) (challenging)

Technique Theory & Artistry Developing Artist Discover Blues Piano Sonatinas ® Improvisation FunTime (easier) Book 1 Piano Supplementary Performance Series

Popular Repertoire Classics

Popular

Christmas Once Upon Achievement Christmas Favorites Hymns a Rainbow Solo & Duet Sheets Book 3 Etude Drammatico Hallelujah Chorus Millions of Stars Whispers of the Wind Would You Go In? Jazz & Blues Ragtime & Rock ‘n Roll Marches

40 LEVEL 3B FABER PIANO ADVENTURES

Level 3B Concepts

playing octaves key of A minor; i, iv, and V7 chords natural/harmonic minor scales in Am grace notes motive and sequence key of D minor; i, iv, and V7 chords natural/harmonic minor scales in Dm the 12 major and minor triads triads in root, 1st and 2nd inversion 16th-note rhythm patterns

Teach with...Analysis As a student progresses to higher levels, patterns and analysis that are apparent to the teacher are still not always evident to the student. Maintain a healthy review of earlier concepts and explain new concepts with student-friendly, everyday language. For example, a presenation of 16th notes could begin with “pea-nut but-ter, pea-nut but-ter” before moving on to “1 e and a.” “Jeremy, let’s hear the peanut butter rhythm D minor Scales: Natural Minor and Harmonic Minor 4. Write each (See page 18D in minor the scale . (Use whole notes.) Then shade the black keys. first. Then we’ll try the more advanced metric Lesson Book if you need review.) D natural minor scale counting—1 e and a, 2 e and a. Way to go! “ ? b D harmonic minor scale w ? b Thew 7th tone is raised a 5. a. Circle half step. D natural minor scale for the scale used in each cadenza passage. Teach with...Creativity or b. Then play each cadenza on the piano.D harmonic minor scale Bravo Cadenzas! cadenza —a dramatic The early-intermediate student may explore R.H. Cadenza passage played freely. FF1180 Freely D natural minor scale 1 3 or DISCOVERY creativity with his or her own interpretation D harmonic minor scale U U 5 & b 4 3 4 1 of a passage or piece. For example, the teacher can ˙ ˙ œ œ œ 38 f œ œ L.H. Cadenza œ œ œ œ œ œ œ œ œ inspire students to perform a cadenza freely; to set a personal, Freely D natural minor scale œ rit.œ œ œ œ or ˙ 3 D harmonic minor scale U 3 ? œ œ 3 slow tempo for an adagio movement; or to create an artistic 4 œ# 3 b4 1 œ œ œ œ œ 3 2 3 œ 4 œ 3 f 1 œ œ œ œ 3 Hands-Together Cadenza œ œ 1 œ œ ending in the latest pop piece. 1 œ œ œ > 4 3 œ œ Freely D natural minor scale rit. œ œ

or D harmonic minor scale ˙ 5 U ß 4 3 “Alex, there are many ways to play the cadenza. Remember, & b 1 œj 5 U 2 4 œ w 3 3 5 œ w 1 œj 4 w œ 3 w ƒ1 > œ w œj 3 3 w œ œ ? 5 > 1 œ ˙ œ œ œ# you control the time! So dramatically hold back on the 4 ˙ U 2 ˙ œ œb œ b ˙ 5 œ 4 ˙ ˙ U œ œ 5 ˙ U rit. œ œ ˙ 5 FF1181 ˙ ˙ ˙ Lessons p.19 notes with fermatas. Do you feel an accelerando for the > >˙ ˙ > ! ! ˙ 8th notes? Try out a powerful drop on the final √> sforzando.” 17

ARTISTRY MAGIC of a piece refers to the mood of the music. The character —Quickly, mischievously Tempo II This piece has two different sections, each with its own character and tempo. Teach with...Expression —Slowly, with drama; Gypsy Camp Tempo I Key of ____ minor Create the contrasting moods of this piece with your fine technique and artistry! N. Faber Musical expression is supported by using

5 31 3 1 3 1

4 24 2 œ the proper technical gestures. At Level Slowly, with5 drama (Tempo I) œj œ œ 1 > Ó œœ ˙ w> œ# œA œ ˙> œj˙ w 4 Ó œ ˙ > 3B, a cupped hand for scale passages, b 4 big tone> & > ˙1 w5 ƒ w open hand > > w1 5 for extensions √ ˙ 2 ˙ Fine open hand for extensions, arm weight ˙ 5 > ˙1 4 3 ? 5 ! b 4 5 1321 U 2 ˙ ! 3 4 > 1 4 œœ to voice the melody, and the uptouch are 1 œœ œ w 5 2 œ rit. > œœ ˙ ˙ U œ œ œ œ > > > 2 œœ ˙ œ > ˙ 4 essential Technique Secrets. Teach with b Ó œj˙ > ˙ ˙ & ˙˙ ˙ ˙ w ˙ ww ! this vocabulary consistently and your ˙˙1 ! 5 2 ! ? 4 2 b ˙ ! 3 ! voicing the melody5 jœ ! ! 1 . students will be well on the way to œ œ 9 Quickly, mischievously (Tempo II) .. œ œ œ . œ. Œ œ œ P . . œ œ. œ artistic playing. 2 ∑ œ. . œ œ & b 4 œ. . œ œ . œ. . œ .. œ p . œ œ Lessons p.42 . . œ œ cupped hand for scale passages4 . œ œ œ 1 1 “Sam, in which passage will you use 2 œ 2 ? 5 3 4 b 4 œ œ œ 2 > œ œ œ œ> 13 3 4 œ a cupped hand for the scales? > . ˙ œ# œ. œ. FF1289 b œ œ. ∑ & . œ. . œ What technique secret will help for . œ œ. œ œ œ œ. 1 ? b œ 2 the soft staccato 3rds?” 36

41

100% no reduction view at 100% and 200% LEVEL 3B FABER PIANO ADVENTURES

Achievement Skill Level 3B Technique & Artistry Popular Repertoire Sheet #4: 1-Octave Developing Artist Lesson Book FF1289, 00420240 FF1290, 00420241 Minor Scales & Piano Literature FF1180, 00420220 $6.50 $7.50 Arpeggios Book 2 - with CD $6.95 Technique Secrets Angel Eyes AS5004, 00420025 FF1034, 00420143 Andante Artistry Magic Pieces: Honky Cat $2.95 $6.50 Fiesta España Cat Patrol I Believe I Can Fly Air in D Minor, Speer Gavotte Deer in the Woods I Got Rhythm The Bear, Rebikov Highland Jig Etude Energico I’ll Be There for You Bourrée, Graupner House of the Rising Sun Gypsy Camp Inspector Gadget Dance in F Major, Mozart Humoresque Loxodanta Africana Jeopardy Theme Ecossaise, Beethoven Minuet in F Nightfall The Rose The Happy Farmer, Pachelbel Canon Sonatina Theme Sunrise, Sunset Schumann Phantom of the Keys Activity Pages In the Garden, Gurlitt Rage Over a Lost Penny King William’s March, Clarke Rhythm Puzzle Long Gone Blues, McKay Sea Chantey Mazurka, Szymanowska Snowfall Menuet en Rondeau, Swing Low, Sweet Chariot Achievement Skill Rameau Tropical Island Sheet #8: Cadence Minuet in C Major, Mozart Tum-Balalaika Booklet Minuet in G Major, Westminister Chimes Penzold AS5008, 00420029 Old French Song $3.95 Polka, Hummel (Duet) Prelude in A Minor, J.C. Bach Performance The Return, Gurlitt FF1182, 00420222 Christmas Russian Folk Dance, $6.50 FF1201, 00420226 Beethoven Soldier’s March, Schumann All Through the Night $6.50 Sonatina in G Major, Bagatelle in G Coventry Carol Beethoven Fascination God Rest Ye Merry, Waltz Macabre, Faber Funeral March of a Gentlemen Yi-Ki, A Mesopotamian Marionette Hallelujah Chorus Elephant, Poe Glad Cat Rag Joy to the World Theory Guitars of Seville Parade of the Tin Soldiers FF1181, 00420221 Hava Nagila Silent Night $6.50 Legend of Madrid Toyland Developing Artist Minuet in G Twelve Days of Christmas Writing Piano Literature Piano Concerto No. 1 Sightreading Activities Book 1 - with CD Sightreading The Piano Playin’ Choco- Ear Training late Eater’s Blues FF1030, 00420139 Background $6.50 The Return Accompaniments The Star-Spangled Banner See Level 3A for contents The Tempest Lesson Book CD CD1006 00420073 $10.95 Lesson Book MIDI Developing Artist GM1009 00420271 $14.95 Popular Repertoire CD Piano Sonatinas CD1028 00420094 $10.95 Book 1 Popular Repertoire MIDI FF1110, 00420199 GM1036 00420297 $10.95 $5.95 See Level 3A for contents

42 LEVEL 3B FABER PIANO ADVENTURES

FunTime® Piano Supplemental Series

Christmas MIDI GM1045 00420304 $10.95 Classics MIDI GM1024 00420286 $9.95 Favorites MIDI GM1023 00420285 $9.95 Hymns MIDI GM1034 00420295 $9.95

Achievement Solo FunTime® Popular FunTime® Favorites FunTime® FunTime® Hymns & Duet Sheets FF1007, 00420116 FF1054, 00420163 Jazz & Blues FF1033, 00420142 Etude Drammatico $6.50 $6.50 FF1010, 00420119 $6.50 A2038, 00420064 $2.50 Hallelujah Chorus Colors of the Wind Greensleeves $6.50 Fall 2010 Amen ASA7002, 00420017 $2.50 Eleanor Rigby The Arkansas Traveler Brain Sprain America Millions of Stars He’s a Pirate (from Pirates Chopsticks Frankie and Johnny Christ The Lord is Risen ASA7003, 00420018 $2.95 of the Caribbean) Give My Regards to Frim Fram Sauce Today Whispers of the Wind I Saw Her Standing There Broadway House of the Rising Sun Every Time I Feel The A2012, 00420041 $2.50 Spirit La Bamba Glow Worm In the Mood Would You Go In? Fairest Lord Jesus A2028, 00420055 $1.95 The Lion Sleeps Tonight Hello, My Baby Jump, Jive and Wail Glory Be to The Father Moonlight Sonata I’ve Been Working on the Love Potion No. 9 (Beethoven) Railroad and more... Misty Music Box Dancer Scarborough Fair See Level 3A for contents Piano Playin’ Chocolate Pachelbel Canon The Skaters’ Waltz Eater’s Blues Phantom of the Opera Song of the Volga Boatmen Royal Cat Blues Star Wars (Main Theme) Two Guitars St. James Infirmary A Whole New World Tuxedo Junction (Aladdin)

Once Upon a Rainbow, Book 3 FunTime® FF1105, 00420196 Christmas $4.50 FF1006, 00420115 ® FunTime $6.50 Rock ‘n Roll ® FunTime® Classics FunTime Angels We Have Heard on FF1023, 00420132 Ragtime & Marches High FF1022, 00420131 $6.50 Fall 2010 FF1008, 00420117 Carol of the Bells $6.50 All I Have to Do Is Dream $6.50 Deck the Halls Barber of Seville Bye Bye Love God Rest Ye Merry, American Patrol Gentlemen Blue Danube Waltz Come Go with Me The Ants Came Marching I Heard the Bells on Dance of the Sugar Plum Great Balls of Fire Fairy Dixie Christmas Day Hey, Jude Eine Kleine Nachtmusik The Easy Winner Jingle Bells Hound Dog In the Hall of the Mountain The Entertainer Let It Snow! Let It Snow! King Howl at the Moon Glad Cat Rag Let It Snow! Discover Blues Light Cavalry Overture Mumbo Jumbo Maple Leaf Rag and more... Impovisation Musetta’s Song Party Monster Parade of the Tin Soldiers See Level 3A for contents Intro to blues and improvisation Peter and the Wolf Theme Rockin’ Pneumonia and the Snowflake Rag Boogie Woogie Flu ® Book and Enhanced CD Pomp and Circumstance Stars and Stripes Forever FunTime Rockin’ Robin FF1155CD 00420215 $14.95 Scheherazade Theme When the Saints Go Accompaniments Runaround Sue Includes Background Toreador’s Song Marching In Stand by Me Accompaniments “Unfinished” Symphony (audio and MIDI) Theme Christmas CD Waltz CD1039 00420104 $10.95 Classics CD CD1011 00420078 $10.95 Favorites CD CD1012 00420079 $10.95 43 LEVEL 3B FABER PIANO ADVENTURES

Playing Fast

This is what the student has been waiting for—a chance Rotation to play fast. “Now I can really show off!” Then we tell the Rotation refers to the back-and-forth turning of the forearm, student, “The first lesson in playing fast is … slow practice.” as if turning a doorknob or a key in a lock. The efficacy of We’ve just taken the wind out of their sails. Well … almost. forearm rotation is that it plays two notes with the effort of There are secrets to playing fast. And if we let students in one. In Interval Review the tenuto notes are played with the on these secrets, they are usually more than willing to go forearm rotating toward the thumb and the recurring Cs are through the necessary paces to achieve fast playing. played effortlessly on the rebound. The many notes of the passage are thus reduced to a simple descending major scale. Building Speed Efficiency is gained by employing the natural fall of a turned It is tempting to push for virtuoso playing when we see hand and its rebound.

potential, but pushing into big repertoire almost always 1 5 4 3 2 backfires if we fail to ramp up through prerequisite stages. R.H. 4 Jœ - œ œ œ œ œ œ œ. w In fingerwork, for example, the student must develop &4 œ œ- œ œ 2nd 3rd- 4th5- th œ 6th7œ thœ 8ve w F - - (octa. ve) coordination that allows instantaneous contraction followed by relaxation, and precise contraction that does not also tense up neighboring muscles. This takes time to develop Gesture and requires specific practice routines. Virtuosity cannot be Much of what enables speed at the keyboard is the playing forced; virtuosity unfolds from well-practiced repetitions that of several notes in a single gesture. For example, in Phantom are based on correct information and appropriate monitoring. of the Keys, the RH eighth-note passages should be initiated by a single drop of arm weight that carries through the entire Pulsing passage. This drop takes the wrist rather low as it transcribes The Level 3B Lesson Book opens with Beethoven’s Rage the lower half of a “wrist circle.” Over a Lost Penny, providing a review of cut time. Why What do pulsing, rotation, and slur gesture have in common? does cut time so effectively increase speed? Because it All of these techniques carry many notes on a single invites pulsing every two beats instead of pulsing every beat. impulse. This gives efficiency and motion, technical fluency, Consider a set of four eighth notes. If we provide a metric and musical artistry. pulse on both quarter-note beats, the passage bogs down with heaviness, as if running with boots in the sand. If we pulse only on the first of the four eighth notes, we get fluency Slow Practice and musicality. So, how do you practice slowly, yet execute the gesture? The simplest way is to use slow practice to exaggerate the gesture. Slow practice just for finger work has limited workability because the gesture required for speed and expression may be absent. Bringing the gesture into the slow practice makes slow practice exponentially more valuable. Sometimes you need to “sprint” with a passage to find the gesture, then execute it in slow motion. With a facile technique, this can all be done in very little Measure 3 invites a drop of arm weight into the first of the time. But students need yet to develop a facile technique. four eighth notes (beat 1) and a wrist float-off at the end of Developmental steps need to be taken to build fundamental the slur (beat 3). Match this “down-up” motion in the left finger coordination. hand. The four quarter-note chords are played as “DOWN- and-UP-and.” The down-up motions match that of the right Note, however, that we’re not going for building muscles or hand and the “ands” are played with a light ripple. Notice “finger power.” We’re looking for instantaneous, precision how the half-note pulsing of this down-up gesture matches “firing” of very specific muscles, with simultaneous the feel of cut time. It propels the beat, not only through half- relaxation of the surrounding muscles. Thus, coordination note pulses, but from measure to measure. is key; strength is not. (Arm weight, rotation, and forearm thrust provide sources of impact that are much more effective than finger strength.)

44 45 LEVEL 3B FABER PIANO ADVENTURES

For students at the early stage, the firing of a finger generates many contractions in a generalized area. Specificity is weak; generalized tension is high. Slow practice can provide a relaxation immediately after the note is played, thus allowing the inappropriate contractions to relax. Over time, generalized tension diminishes and finger contractions become very specific with concurrent relaxation of proximate muscles. This is how slow practice, done correctly and over time, can build the neurological basis for speed. In Piano Adventures®, we accelerate the development of this sophisticated neurology through specially developed exercises. We help build “fast fingers” by incorporating the process of “play-relax” with slow practice and repetition. (See the Technique Secrets of Levels 2A and 2B.) Adding the correct gesture provides the formula for expressive virtuosity. Uptouch Alignment We’ve discussed arm weight at previous levels. But We open the Level 3B Technique & Artistry Book with a efficient playing also utilizes what we call the “uptouch.” secret called “Closed, Cupped Hand for Scale Passages.” Here the hand springs from the surface of the key, with Here we contract the hand, bringing the fingers close together active fingers and a thrust of the forearm. The spring of the with visibly tall knuckles. This contracted position allows the up-touch sends the hand and fingers to upcoming notes, arm and bridge of the hand to align with the finger that plays. in precise preparation for the next chord or passage. The We avoid any angle between the playing finger and arm, touch is effective for either loud or soft chords, and makes a preferring straight alignment. In this way the weight of the wonderful counterpart to the “drop-touch” of arm weight. arm can transfer finger-to-finger for efficiency and evenness In summary, we work slowly with smart practice to build of touch. The contracted, closed, cupped hand invites speed. Students want to play fast, so let’s give them the tools continuous alignment through stepwise passages. A slight to do it correctly. We can harness our students’ motivation adjustment is made by the wrist and forearm for each finger for speed to elicit hours of practice. Then being played. You can easily check the alignment at any time students can indeed show off—with by touching the thumb to the tip of the playing finger, then flying fingers and the groundwork releasing. This brings the hand (with its tall knuckle) and the for virtuosity. forearm into balance over the fingertip. This is an advanced application of the Primer Level 5 technique-secret “Making Os,” which builds a firm fingertip. At Level 3B, the “closed, cupped” hand- 4 shape essentially brings the “O” to the keyboard for effective passagework. 3

14 2

1

44 45 LEVEL 4 FABER PIANO ADVENTURES LEVEL 4 Developing Developing Artist Piano Artist Piano Literature Literature Book 3 Book 2 (easier) (challenging)

Achievement Skill Sheet #5: 2-Octave Major Scales and Arpeggios

Developing Artist Piano Sonatinas Book 2 LESSON To Be BOOK Released 2011

Developing Artist Technique Theory Achievement Selections from the Skill Sheet #8: Notebook of Anna & Artistry Intermediate Magdelena Bach Cadence Booklet BigTime® Piano Supplementary Performance Series

Popular Repertoire Classics

Popular

Christmas Achievement Christmas Favorites Hymns Solo & Duet Sheets Ave Maria Halloween Sonatine Jesu, Joy of Man’s Desiring Nocturne Shimmering Waterfalls Sonatina in G Major, Beethoven Jazz & Blues Ragtime & Rock ‘n Roll Marches

46 LEVEL 4 FABER PIANO ADVENTURES

Level 4 Concepts review of 16th-note rhythm patterns 16th notes in ¥≤ time pattern and sequence more study of chord inversions Am, Dm, Em natural/harmonic scales V7 chord in root position all sharp key signatures 2-octave scales: C, G, D, A, E, B

Teach with...Analysis We might think of each student as having a “musical biography”—a portfolio of learned skills. Analysis plays an important part. Level 4 students should know chord inversions, key signatures, and minor scales as part of their growing portfolio. “Ben, for this theory page, let’s examine each “chord specimen” closely. What is the root of the chord? Is it in root position, 1st inversion, or 2nd inversion? And is the chord major or minor?

Teach with...Creativity Analysis of chords prepares students to compose with chords and inversions. Consider having students write their own 1st Theme based on the Sonatina in C by Frank Lynes.

The opening two measures are simply a C chord and inversions played against a LH tonic note. Measures 3 and 4 feature a stepwise passage played against the dominant. The first theme continues similarly on the dominant at mm 5-6, then back to the tonic at mm 7-8. Voila! A first theme!

Teach with...Expression Students are now literate enough to discuss many descriptive words. The tempo for Ceremony for Peace is marked Majestically. We might also use words such as, “impressive, noble, dignified.” Discuss with the student which techniques might be needed for such a majestic piece. “Ingrid and Kai, point out measures in which we use an extended hand position. In what passages would arm weight be especially important?”

47 LEVEL 4 FABER PIANO ADVENTURES

Level 4 Performance Christmas Developing Artist Developing Artist Lesson Book FF1092, 00420185 FF1142, 00420210 Piano Literature Piano Sonatinas, FF1090, 00420183 $6.50 $5.50 Book 3 - with CD Book 2 $6.95 Arabesque Ave Maria FF1056, 00420162 FF1111, 00420200 Fum, Fum, Fum Bridal March Ceremony for Peace $9.50 $6.95 Housetop Boogie Dance Theme and Variation A Little Flower, Gurlitt Sonatina (Op. 157, No. 1), Burlesca It Came Upon the Midnight Chanson Distant Bells Clear Allegro in A Major, Spindler Drummer at the Keyboard Greensleeves Silent Night L. Mozart Sonatina (Op. 36, No. 1), Clementi The Gondola Gypsy Legend Waltz of the Flowers Allegro in F Major, Haydn Liebestraum We Wish You a Merry Arabesque, Burgmüller Sonatina (Op. 39, No.1), In the Hall of the Mountain Lynes King Medieval Fair Christmas Avalanche, Heller Sonatina (Op. 55, No. 1), Maple Leaf Rag Nickelodeon Piano Ballade, Burgmüller Kuhlau Night Ride Soldier’s March Chinese Figurine, Rebikov Sonatina in A Minor, Prelude in C, JS Bach Song of India Cowboy Song, McKay Jacoby Prelude in D Minor Three Blue Pieces Fanfare in C Major, Sonatina in C, Latour Procession Dumcombe Sonatina in C, Haslinger The Sailor’s Story Gavotte, Reinecke Sonatina in F, Diabelli Seaside Suite German Dance in D Major, Sonatina in F, Attwood (I), Beethoven Sonatina in C, Lynes Sonatina in G, Beethoven German Dance in D Major, Wild Flowers (II), Beethoven Sonatina in G, Latour German Dance in D Major, Haydn Harmony of the Angels, Burgmüller Achievement Skill A Little Flower, Gurlitt Sheet #5: 2-Octave March in D Major, C.P.E. Bach Major Scales and Melody, Schumann Popular Repertoire Arpeggios Minuet in A Minor, Krieger FF1315, 00420244 AS5005, 00420026 Minuet in D Minor, Lully $7.95 $2.95 Minuet in G Major, Anon. Achievement Skill Minuet in G Major, Haydn Ashokan Farewell Minuet in G Minor, Pezold Change the World Sheet #8: Cadence Moons of Jupiter, Faber Theory The Greatest Love of All Booklet Developing Artist FF1091, 00420184 Musette in D Major Selections from the I Will Remember You AS5008, Playing Soldiers, Rebikov $6.50 If You Believe 00420029 $3.95 Rondo for Four Hands, Notebook of Anna Writing Jurassic Park Diabelli Magdalena Bach Sightreading King of the Hill’ Etude Solfeggio in D Major, FF1049, 00420158 Ear Training Mr. Bojangles J.C. Bach $4.95 New York, New York Sonatina in C Major, Minuet in G, Pezold The Way It Is Clementi Minuet in Gm, Pezold Activity Pages Sonatina in C Major, Haslinger Minuet in Dm Sonatina in G Major, March in D, C.P.E. Bach Diabelli Popular Repertoire CD Minuet in G CD1029 00420095 $10.95 Sonatina, Jacoby Musette in D Popular Repertoire MIDI Song of the Range Rider, Polonaise in Gm McKay GM1037 00420298 $10.95 Minuet in Cm Spinning Song, Ellmenreich Minuet in G, attr. to Mr. Boehm Tambourin, Gossec Developing Artist March in G, C.P.E. Bach Wild Rider, Schumann Piano Literature Polonaise in Gm, C.P.E. Book 2 - with CD Bach FF1034, 00420143 $7.50 See Level 3B for contents 48 LEVEL 4 FABER PIANO ADVENTURES

BigTime® Piano Supplemental Series

It Came Upon the Midnight Clear Jesu, Joy of Man’s Desiring Let It Snow! Let It Snow! Let It Snow! O Come, O Come, Emmanuel O Holy Night Rockin’ Around the Christmas Tree Rudolph the Red-Nosed Reindeer BigTime® Popular BigTime® Favorites BigTime® BigTime® Hymns Silent Night Jazz & Blues What Child Is This? FF1009, 00420118 FF1191, 00420224 FF1435, 00420251 Winter Wonderland $6.95 Fall 2010 $6.95 FF1011, 00420120 $6.95 NFMC 100 Years Beautiful Dreamer CHOICE $6.95 Fall 2010 All Hail the Power of Cruella De Vil Bill Bailey, Won’t You All of Me Jesus’ Name Dancing Queen (Mamma Please Come Home? All the Things You Are All Night, All Day BigTime® Mia) Cielito Lindo Autumn Leaves Break Thou the Bread of Life Accompaniments I Saw Her Standing There Clair de Lune Big City Blues NFMC Lean On Me Fanfare on America CHOICE Come, Ye Thankful People, Cast Your Fate to the Wind Come Love Song (Sara Bareilles) Good Morning Blues NFMC CHOICE Desafinado Crown Him with Many Classics CD The Medallian (Pirates of Haloween Sonatine Equinox Crowns CD1023 00420090 $10.95 the Caribbean) I Love a Piano Locomotive Blues Deep River Classics MIDI Music of the Night I’m Henry the Eighth, I Am GM1026 00420288 $9.95 (Phantom of the Opera) Lullaby of Birdland Glorious Things of Thee Morning Has Broken Are Spoken Favorites CD On Broadway Misty Oh! You Beautiful Doll It Is Well With My Soul CD1022 00420089 $10.95 Star Wars Night Train Spy, The Perdido Jesus Shall Reign Favorites MIDI What a Wonderful World GM1027 00420289 $9.95 Tarantella Italiano Just As I Am You Raise Me Up Satin Doll Theme from the Moonlight Take the A Train A Mighty Fortress Is Sonata A Taste of Honey Our God Unforgettable O Master, Let Me Walk with Thee Achievement Solo & The Old Rugged Cross Duet Sheets Praise God, Whom All Ave Maria Blessings Flow ASA7005 00420020 $2.50 Rock of Ages Halloween Sonatine Shall We Gather at A2034 00420061 $2.50 the River Jesu, Joy of Man’s Sweet Hour of Prayer Desiring ASA7004 00420019 $2.50 Nocturne A2004 00420033 $2.95

® Shimmering Waterfalls BigTime Classics A2021 00420048 $2.95 FF1031, 00420140 BigTime® Sonatina in G Major, Beethoven Rock ‘n Roll ® $6.95 BigTime AL6003 00420007 $2.95 Songs of India FF1029, 00420138 Ragtime & Marches Arioso $6.95 Fall 2010 FF1144, 00420211 Canon in D Bad, Bad Leroy Brown $6.95 Danse Macabre Do You Wanna Dance? Champagne Rag The Great Gate of Kiev The Game of Love Chatterbox Rag Habanera I Feel the Earth Move Dill Pickles’ Rag Hornpipe I Hear a Symphony BigTime® Christmas Enterance of the Gladiators Hungarian Dance No. 5 I Heard It Through the The Entertainer FF1016, 00420125 Liebesfreud Grapevine $6.95 Rondeau I May Have Lost My Funeral March of a Marionette Russian Sailor’s Dance Girlfriend But I’ve Still Got Carol of the Bells March of the Toys Spring Song My Car The First Noel Solace Tales from the Vienna My Special Angel Hallelujah Chorus Woods Rock Around the Clock Washington Post March Hark! The Herald Angels Theme From Symphony Strawberry Malt Wild Cherries Rag Sing No. 40 When a Man Loves a Yanlee Doodle Dandy A Holly Jolly Christmas Woman I Heard the Bells on Christmas Day

49 LEVEL 4 FABER PIANO ADVENTURES

Lyric Playing and “Personal Sound”

At Level 3B, we appealed to the student’s interest in fast Motivation isn’t the only benefit of exploring many styles. playing. At Level 4 the student learns lyric playing—the A variety of styles invites a range of fundamental ability to project and beautifully shape a melody. We competencies which coalesce into the essentials of positioned lyric playing after fast playing because it requires intermediate piano playing: note-reading, chord recognition, more mature expression. We like to discuss the excitement steady tempo, dynamic contrast, pedal coloring, coordination of speed and the expressive quality of lyric playing as of fingers, wrist, arm and torso, technical gestures, long line, contrasting modes of expression—both powerful in melodic shaping and projection, and so on. different ways. While this list is not intended to be comprehensive, even Almost every student can relate to facile speed at the for elementary piano pedagogy, it nonetheless suggests a keyboard, but most need to be coached into the expressive range of skills with an implication of sequence. The method mode. With exposure, most students find the more subtle levels provide proper sequence, and the special repertoire expression personally rewarding. characteristics of each level help provide focus. Lyric playing isn’t entirely new to the student. Back in Level 2A we even devoted a unit to Shaping the Phrase. Building Focus of Repertoire on the Level 1 Wrist Float-off, the Technique & Artistry It is easy to assume that once taught, a concept is learned. secrets gradually develop more sophisticated wrist gestures. Experience tells us otherwise. Neuroscience informs us Painter’s Brush Stroke at Level 2B particularly addresses that cognitive patterns and motor skills must be repeated shaping the slur. At Level 3A, the Round-Off ensures the to be retained. If at level 3B we didn’t immerse the student student hears a softened phrase ending, and the Wrist Circles in the coordinated movements of fast playing, motor of Level 3A employ the wrist to shape a longer phrase. Level patterning would not become automatic. If we taught I, IV, 3B Technique & Artistry worked with Voicing the Melody V only in a single unit, there would be little or no recall to develop melodic projection. Now, here at Level 4, the of this a year later. So the entirety of Level 2B focuses on repertoire is specifically tailored for beautiful handling the primary chords, the bulk of Level 3B focuses on fast of melody. playing, and Level 4 focuses on lyric playing. By immersing the student in the defining character of the level, motor Variety of Repertoire patterns, perceptual patterns, and cognitive patterns become In most teaching studios, there is a range of musical tastes reasonably lasting—not yet robust, perhaps—but sufficiently among students. Some students tell us their preference stable for the move to the next level. upfront, but, generally, we have to explore a range of sounds to find the style that really resonates with the individual. Lyricism Broad exposure to various sounds and styles helps the Let’s examine the Level 4 characteristic—lyricism. The teacher and student uncover a special interest—a personal lyric is the text of song, so lyricism refers to the singing sound. Once identified, we might celebrate this interest with quality in instrumental playing. The pianist does not simply a tailored supplement from the PreTime® to BigTime® accompany the singer; the pianist library or from literature collections in The Developing emulates the singer. We breathe the Artist Library. phrase, project the phrase, shape The motivational impact of this customization can the phrase, and we imbue it be dramatic. In addition to harnessing the magnetic with meaning—just as the attraction to an individual’s favorite musical sounds, voice does so naturally. this process personalizes piano study. This shift in “locus of control” from teacher to learner constitutes a major move toward intrinsic motivation. We find more attentiveness, better retention, more practice, and a significant change in the communication dynamics. The right music makes all the difference.

50 LEVEL 4 FABER PIANO ADVENTURES

In lyric playing, we give meaning to each phrase without Does the melody fall away (characteristic of Viennese words. Our goal in lyric playing is to bring the melody to Classical) or move toward (as in the late Romantics)? How the fore with intention and sensitivity. We don’t just play the does the wrist assist phrase shaping? Does the passage invite melody, we speak the melody through our instrument. When wrist circles that can help transfer arm weight we give each note meaning—as in the spoken word— finger-to-finger? a melody takes on special magic. It becomes a personalized, Consider, for example, Chanson (French, meaning “song”), poetic communication—indeed, a song without words. which is explicitly melody over accompaniment. The melody The magic of melody often comes from its context. In other is intentionally long and beautiful. Though the first gesture is words, a melody derives its character, in part, from the colors a simple 3-note slur, the melody continues to unfold across of the accompanying voices. The setting critically frames the seven measures. Use the pedal to sustain the D and take a melody. How is the melody set against the accompaniment? new drop into the continuing phrase (pickup to measure 2). To what degree does it contrast in dynamic? Does the The long line invites awareness of direction in melody. accompaniment invoke the mood? Probably the highpoint of expressive lyricism would be the Invariably, students play the melody too softly. Students coloratura soprano singing an operatic solo cadenza. So we need to be taught to project the melody way above the give this to the student pianist in Wild Flowers. background setting. Not just louder—a lot louder. This is accomplished with the drop of arm weight and its roll through the melodic phrase, but also with the softening of the accompaniment. We’re after big projection, but also big contrast, which is made possible by intentionally softening the accompanying voices. Lyricism requires sensitivity to the contour of the melody. The expressive quality of the cadenza is enhanced by the Are there expressive leaps? If so, might we stretch time color tones of the forte chord at measure 27 which sustain through the larger interval? beyond the fermata. The singer ascends freely to the high B with a crescendo, but also with subtle 2-note diminuendi in the appoggiaturas B-A, E-D, G-F, A-G. Soften the second note in each of these stepwise pairings while maintaining a legato throughout. Remind the student of the expressive quality of the FΩ that begins the resolution. It is borrowed from the parallel minor (and from the B section) and also forms a tritone (three whole steps) against the preceding B. The finishing expressive gesture places the V chord atop the I chord (E major atop A major) through a molto ritardardando. The student learns that expression derives from the musical content, and yet needs to be infused by the performer. We find hints for expression in our analysis—our analysis of phrase shape, and even our theory analysis. Informed by the simplicities and subtleties of the score, we add the warmth and expressive power of human emotion.

51 LEVEL 5 FABER PIANO ADVENTURES LEVEL 5

Developing Developing Developing Artist Piano Artist Piano Artist Piano Literature Literature Sonatinas Book 3 Book 4 Book 3 (easier) (challenging)

Achievement Skill Sheet #6: 2-Octave Major Scales and Arpeggios

Developing Artist Piano Sonatinas Book 4 (advancing) LESSON To Be BOOK Released 2011

Developing Artist Technique Theory Achievement Piano Literature Skill Sheet #8: for a Dark and & Artistry Intermediate Stormy Night Cadence Booklet AdvanceTime® Piano Supplementary Performance Series

Popular Repertoire

Christmas Achievement Solo & Duet Sheets American Frontier Prelude in C, J.S. Bach Dance Brillante Solfeggietto, C.P.E. Bach Für Elise, Beethoven Sonata in G Major, Beethoven Ghost in Our Piano Egyptian Rhapsody Pachabel Canon Toccata in Morse Code Chinese Dragons Beyond Level 5 The Keyboard Artist

Claire Tarantella Rondo Prelude in La fille aux cheveux Three Easier Three Four Lyric de lune Pieczonka alla Turca D-flat Major de lin, Debussy Waltzes Mazurkas Pieces Debussy Mozart Chopin Chopin Chopin Grieg

52 LEVEL 5 FABER PIANO ADVENTURES

Level 5 Concepts

I, IV, V7 chord inversion studies cadences in major and minor keys time signature more repertoire in E major 182 perfect intervals (4th, 5th, octave) major/minor intervals (2nd, 3rd, 6th, 7th) circle of 5ths two-octave arpeggios: C, G, D, A, E, B flat key signatures two-octave flat scales: F, B≤, E≤ three forms of minor scales changing time signatures

Teach with...Analysis Recognition of triads in all inversions is important at the early intermediate level. At Level 5, work with the student’s recognition of the primary chords (I, IV and V) in any inversion. This is not achieved by playing the music, but only through deliberate analysis. “Steven, let’s find the chord names and label them above each measure. Look across both the bass and treble clefs. Can you bring the chord tones together under the hand?” “Laura, what is the chord function of C7 in this context? Does it resolve to I? Below each of these measures, let’s write I, IV or V7.”

Teach with...Creativity In addition to reading chords, we want the student to feel and manipulate chord tones under the hand. The ability to see chord tones across the keyboard can be a basis for improvisation and composition. “John, let’s move this LH pattern to other chords. Staying within our key signature, can you play the pattern a step higher?” is a set of pieces for two pianos ed by the cello. 10 4:13 PM Page 14 Carnival of the Animals is play The Swan FF1095•print_ FF1095•print 3/4/ and orchestra. Each piece is named for a different animal. The beautiful melody of

The Swan) Carnival of the Animals (from the Teach with...Expression Camille Saint-Saëns Performance Hints: (1835-1921, France) melody over the soft, arranged • Play smooth left-hand arpeggioscantabile* for the harp-like opening. The piano lies silent until the hands are placed • Bring out the expressive murmuring left hand. R.H. 2 Andante (Œ = 72-84) œ on the keys. The music unfolds and expression L.H. œ œ œ œ œ2 # 3 1 œ 4 4 2 & œ 1 becomes the artist in action. π œ œ 1 2 3 œ 4 ? # 1 4 œ 2 5 R.H. 1 “Tim, let’s make this LH

3 œ L.H. accompaniment a watercolor œ œ œ œ œ2 # 1 œ 4 2 & œ 1 œ œ backdrop for the melody. Think 2 # œ 4 ? 2 œ 2 œ œ muted LH tones so the RH 5 1 ˙ 5 5 œ œ œ # œ œ œ œ œ melody can soar over top.” œ1 œ cantabile œ œ2 & œ œ œ œ p œ œ œ œ œ ! 3 1 œ 2 1 ? # 5 œ 3 1 œ ! 3 œ

œ Lessons p.28 2 œ œ ! 1 œ œ 8 œ 4 œ # ˙ œ œ œ 1 œ ˙. œ2 & œ Œ œ 2 œ1 FF1095 œ œ œ œ5 ! ? # œ œ œ ! (pronounced con-TAH-bee-lay) – means singing * cantabile!

14

53 LEVEL 5 FABER PIANO ADVENTURES

Level 5 Performance Achievement Skill Achievement Solo & AdvanceTime Lesson Book FF1095, 00420188 Sheet #6: 2-Octave Duet Sheets Christmas FF1093, 00420186 $6.50 Major Scales & American Frontier FF1124, 00420203 A2011 00420040 $2.95 Allegro in A Major Arpeggios $6.50 $6.95 Dance Brillante After You’ve Gone Appalachian Trail AS5006, 00420027 A2007 00420036 $2.95 Auld Lang Syne Around the World Bearcat Boogie $3.95 Für Elise, Beethoven Celebration of Carols Autumn Ballad Come Back to Sorrento AL6002 00420006 $2.95 Dance of the Reed Pipes Ballade The Danube Waves The Ghost in Our Piano Go Tell It on the Mountain Blue Etude Gypsy Prayer A2029 00420056 $2.95 God Rest Ye Merry, Gentle- Carillon Fantasia Mazurka in G Minor Prelude in C, J .S . Bach men AL6006 00420010 $2.95 The Chase Poetic Theme and Jingle Bells Variations Solfeggietto, C .P .E . Bach Choral Reef Etude March (Nutcracker Suite) Simple Gifts AL6004 00420008 $2.95 Hot Pursuit Over the River and Through St. Anthony’s Chorale Sonata in G Major, the Woods Jazz Reflection Beethoven The Swan Silent Night Naming Intervals AL6009 00420013 $3.50 Waltz in E Flat Skaters’ Waltz Pomp and Circumstance Egyptian Rhapsody A2014 00420043 $3.50 We Wish You a Merry Rhythm Flight Christmas Risoluto Pachelbel Canon Rolling River Etude A2013 00420042 $2.95 Shenandoah Achievement Skill Sheet #8: Cadence Toccata in Morse Code Smoky Mountain Prelude AD3001 00420000 $3.50 Sonatina Booklet Chinese Dragons St. Louis Blues AS5008, 00420029 AD3005 00420004 $3.50 Tumbleweed Blues $3.95 Two Guitars When the Sun Rises… Whirlwind

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54 LEVEL 5 FABER PIANO ADVENTURES

Musette in G Major, J.S. Bach Beyond Level 5 Prelude in B Minor, Chopin Prelude in C Major, J.S. Bach Prelude in E Minor, Chopin Presto, Pescetti Ride of Pegasus, Faber Sailor’s Song, Grieg Scherzo in D Minor, Gurlitt Solfeggietto, C.P.E. Bach Sonatina in A Minor, Developing Artist Benda Developing Artist Piano Literature Sonatina in C Major, Piano Sonatinas, Book 3 - with CD Kuhlau Book 4 Sonatina in G Major, FF1056, 00420162 Clementi FF1113, 00420202 Clair de lune, Four Lyric Pieces, $9.50 Sweet Dream, Tchaikovsky $9.95 Debussy Grieg See Level 4 for contents Waltz in A Minor, Chopin Rondo a la Turk, Mozart AL6007, 00420011 FF1187, 00420223 Watchman’s Song, Grieg Sonata (Hob. XVI/13, Winter Painting, Faber Third Movement), Haydn $2.95 $4.50 Sonata (K. 545), Mozart Sonata (Op. 49, No. 2), La fille aux chevex Three Easier Beethoven de lin, Debussy Waltzes, Chopin Sonatina (Op. 36, No. 4), AL6011, 00420015 Clementi FF1154, 00420213 Sonatina (Op. 36, No. 6), $2.50 $4.50 Clementi Sonatina (Op. 54, No. 1), Prelude in D-flat Three Mazurkas, Gurlitt Major, Chopin Chopin Sonatina, Keller Sonatina (Op. 88, No. 1), AL6001, 00420005 FF1153, 00420212 Kuhlau $2.95 $4.50 Developing Artist Sonatina (Op. 88, No. 3, 3rd Movement), Kuhlau Piano Literature Rondo alla Turca, Book 4- with CD Developing Artist Mozart FF1282, 00420239 Piano Sonatinas, AL6005, 00420009 $15.95 Book 3 $2.95 Adagio and Furiant, Fibich FF1112, 00420201 Allegro in A Major, $8.95 Tarantella, W.F. Bach Sonatina (Op. 157, No. 4), Pieczonka Bourrée in E Minor, Spindler AL6010, 00420014 J.S. Bach Sonatina (Op. 20, No. 1), Bronco Bill, McKay Kuhlau $3.50 Canoeing, Beach Sonatina (Op. 36, No. 2), Clementi Sonata in C Major Concerto in C, Haydn Sonatina (Op. 36, No. 3), Dance with a Bell, Rebikov Clementi A2014, 00420012 Distant Sierras, McKay Sonatina (Op. 4, No. 10), Developing Artist $3.95 Folia, Scarlatti Wesley Piano Literature for Für Elise, Beethoven Sonatina (Op. 49, No. 1), Lichner a Dark and Stormy Giant Purple Butterflies, Rossi Sonatina (Op. 55, No. 3), Night Kuhlau FF1175, 00420219 In the Forest, Rebikov Sonatina in A Minor, Intrada, Graupner Benda $4.95 L’Orage, Burgmueller Sonatina in C, Mozart Allegro con Fuoco, Little Prelude in C Major, Sonatina in D, Camidge Diabelli J.S. Bach Sonatina in F, Beethoven Avalanche, Heller Little Prelude in F Major, Etude in C Minor, Bertini J.S. Bach The Ghost in the Fireplace, Mazurka in F Major, Kullak Chopin Storm and Stress, Gurlitt Miniature, Gurlitt The Wild Horseman, Minuet in D Minor, Schumann Buttstedt Minuet in G Major, Beethoven

55 LEVEL 5 FABER PIANO ADVENTURES

The I-IV-V Tapestry

As we read and create The last three measures of this piece offer opportunity for music, we weave through improvisation. Taking the short rhythmic motive given, a I-IV-V tapestry of explore any tones from the B-flat major “thread.” It is primary chords. At Piano surprising to see—and to hear—how easy this can be. Adventures® Level 5, we ensure that the student can see and feel this structural tapestry for each tonal piece.

Scales “Why learn scales?” Well, yes, there is that issue of fumbled fingering. students ask. Our Fortunately, the flat-key scales give special opportunity to answer? A scale reduces simplify fingering, which is why we devote Level 5 to the flat key signatures. Here’s the rule: 88 keys to seven. Five keys are eliminated in each octave (12 chromatic tones minus five leaves seven diatonic scale For RH flat-key scales, the thumb plays on C and F. steps), and each of these seven tones retains its own meaning So we always have RH fingers 1-2-3 on C-D-E, and fingers regardless of octave. 1-2-3-4 on F, G, A, B. So when playing the Pachelbel Canon in D, for instance, n Without shifting this image, we can ignore one third of the keys on the keyboard and let’s flat the B under finger 4. visualize a simple thread of the D major scale weaving n Now also flat the E in the through seven tones per octave, across the entire keyboard. 3-finger pattern up from C. Whether reading or improvising, attention is delimited to this n Now add A-flat to the D major thread for security, predictability, and confidence. 4-finger pattern. Consider When the Sun Rises . . . from the Level 5 Lesson n Back to the 3-finger pattern for D-flat, etc. Book (p. 36). The piece is essentially an “improvisation” in B-flat major, excepting a brief color detour with the A-flat And so we go around the flat in measures 6-9. By delimiting the keyboard to the notes of side of the circle of 5ths: C-F- the B-flat major scale, and imagining this “scale thread” of B≤-E≤-A≤-D≤-G≤. two black keys interspersed with five white keys, the piece In every case, the RH fingering becomes easy to read and easy to play. Furthermore, there is is consistent: three fingers built little chance of a bad note sounding because the scale tones up from C, and four fingers built all relate to the tonality. up from F. Work this over in blocked fashion—three fingers, four fingers—without beginning on the actual keynote. Then block it out in this same fashion, but going up several octaves. Now play the actual scale. (It’s not really important which finger plays the black key opening tonic.) With this fingering in mind, let’s revisit When the Sun Rises and improvise on measure 6, where we find an A-flat chord over the B-flat pedal point. Place RH fingers over C-D-E≤ and/or F-G-A≤-B≤ and improvise over the LH ostinato. One might return to B-flat major accompanied by the opening ostinato. Also consider exploring alternative scale passages modeled after those in measures 13 and 14. (See Level 5 Lesson Book p. 37.) We composed these scale passages to begin with thumb on F (measure 13) and thumb on C (measure 14)

56 LEVEL 5 FABER PIANO ADVENTURES

to reinforce the flat-key fingering rule. In improvising, one Notice that Blue Etude (p. 11) is a primary-chord etude might use the prescribed hand placements, but begin on in F, preparing for Tumbleweed Blues (p. 12). Similarly, any note. Rolling River Etude (p. 14) drills the primary chords in A major using the LH pattern of Shenandoah (p. 15). As the Chord Etudes student progresses to new keys, come back to Blue Etude, transposing, for example, to B-flat (especially for those Scales are invaluable, but it is the combining of scale tones in pre-jazzers who will be playing in B-flat with brass players). thirds that gives tonal music its harmonic structure. Recalling Revisit Rolling River Etude as preparation for the pieces in our metaphor, we use the scale “thread” to weave the chord C minor and G minor when these are encountered later in tapestry. First and foremost, we weave the tapestry of I, IV, the book. and V chords—in all inversions. As Level 5 progresses through various keys, each piece is preceded by a short etude, disguised by a title. Coral Reef Popular Repertoire ® Etude, for example, opens the book as a primary-chord study A look at Piano Adventures Popular Repertoire Level 5 in C, featuring all inversions of I, IV, and V. To maximize the gives insight into the importance of chord comprehension. effectiveness of this and similar etudes: Consider Elton John’s Candle in the Wind. The entire verse (mm. 5-20) simply alternates between I and IV chords (G n Play by memory. Encourage students to look at their hands and C in the key of G major). Yet, how many students fail to for these etudes so that the keyboard patterns are recognize this simple chord pattern and struggle to decode visually imprinted. 150 notes instead of two chords? So we pair the arrangement n Play with eyes closed. Highlight the feel of the keys and with an “Accompanying Activity” that drills I-IV chords in a the feel of the thirds and fourths. pop accompaniment style. The arrangement then reduces to n Transpose. Use Coral Reef Etude as a generic warm-up for simplicity. every piece, in any key, whether major or minor. In a different context, we again explore the repetition of Coral Reef Etude is the harmonic grid, the primary-chord I and IV in Wind Beneath My Wings. The corresponding tapestry. It is essential for the student to grasp these chord activity page, titled “The Bass Beneath My Wings,” patterns that combine the student’s understanding of primary explores aural recognition of the bass line and various chords with understanding of chord inversions. This is the accompaniments for the I-IV chord progression. bridge to the intermediate repertoire. The Power of Primary Chords In the Level 2B, we discussed “The Power of Primary Chords.” Indeed, one can’t overestimate the value of recognizing fundamental harmonies—for reading, for memorization, and for musical creativity. We recapitulate this concept here at Level 5 by weaving an elementary understanding of primary chords into a patterned “I-IV-V Tapestry” that includes chord inversions. The warm-up etudes in Piano Adventures® Level 5 provide some very effective tools. But learning the etudes once, in the key written, will not make a real musician. We need to roll up our sleeves and help students transpose these etudes to many, if not all, keys. Do so in conjunction with learning each new scale and each new piece. With this higher expectation, we can indeed develop a “I-IV-V Tapestry” that won’t fade by next week’s lesson.

57 ACCELERATED COURSE FABER PIANO ADVENTURES for the older beginner ACCELERATED BOOK 1

Flashcards Achievement Skill Sheet #1: Major 5-finger patterns

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58 ACCELERATED COURSE FABER PIANO ADVENTURES for the older beginner ACCELERATED BOOK 2

Flashcards Achievement Skill Sheet #2: Minor 5-finger patterns Developing Artist Preparatory Piano Literature

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59 ADULT PIANO FABER PIANO ADVENTURES

ADULT PIANO ADVENTURES® All-in-One Lesson Book 1

Learn to read music with an approach that is easy to understand and apply. A wide variety of music: classical, folk, jazz & blues, and spirituals. Sightreading and ear-training are integrated into the course. Lead sheets give an opportunity to read chord symbols and create accompaniments. 3-Minute Technique offers effective exercises for fingers, wrists, and arms. Music Theory pages review concepts such as intervals, chords, and scales.

All-in-One Lesson Book 1 FF1302 00420242 $15.95 Background Accompaniments Enhanced CD (audio and MIDI) CD1025 00420092 $12.95 All-in-One Lesson Book 1 with CD FF1302CD 00420243 $26.95 Songs Technique Theory

Rhythm Warm-up: Clap (or tap) the R.H. rhythm for The Lion Sleeps Tonight measures 1–4. Count aloud, “1-2-3-4.” Name the pentascale used: ___ Feel the tie over the bar line. 1. First, sightread these G major pentascale melodies. Words and Music by George David Weiss, Let your R.H. wrist gently lift, gracefully leading Then, add harmony by writing G or Gsus4 in the boxes. Hugo Peretti, Luigi Creatore, and Solomon Linda Flowing gently your hand to the next higher chord. The quarter Listen and let your ears guide you. 1 4 prepare the next chord. Chord Etude Lastly, play each melody with the chords. 4 Slow and peacefully as written Key of C & 4 In the junœ# -œ gle, the˙# might˙ - œ# y jun - gle, the F 5 5 G Gsus4 ˙ œ œ œ œ œ ˙ 5 3 5 3 5 Count:F 1-2 3 4 1 2 3-4 3 1 3 1 3 1 lift lift 1 lift lift 1 lift Moderato √ 1 ? 4 #w w w w œ œ œ w1 w w1 w 4 Œ œ Œ œ Œ œ Œ Œ 5 4 3 & 4 œ ˙. 3 œ œ œ œ œ œ 5 5 œ ˙. &4 œ œ œ œ œ œ ˙. p P Ó ∑ . & ? 4 w2 w ˙ Œ ˙# li - o˙n sleeps to˙# - night.˙ Moderato ˙ 4 3 5 5 3 Slowly Csus4 5 1 4 5 4 5 w w œ œ œ œ ˙ 4 1 4 as written 4 ˙ ˙ . ? Ó 1 1 1 œ œ œ œ #œ œ Œ Œ w1 w &4 œ œ ˙ 3 œ œ œ œ. œ œ ˙˙. 9 5 optional pedal √ & 4 œ œ œœ œœ œœ f P Œ œ Œ œ Œ œ Œ . Œ œ œ œœ œœ 5 & œœ ˙˙. 2. Your teacher (or friend) will play a short example? that# 3 willœ end œ œ ˙ . on the G or Gsus4 chord. Circle the correct answer for4 the5 last chord. 5 & ˙ ˙ ˙ F In theœ# junœ -œ gle,œ# the might - œ# y junœ -œ gle,œ the˙ Hint: The G chord sounds restful and complete. ! w w ˙. Slowly MarchSlowly tempo ? 1 The Gsus4 chord sounds restless and incomplete. Œ 11 ? #w w w w # # >. >. w w w1 w G7 3 œ G ˙ G G# 43 œ G œ œ˙ 5 5 & 4 œ œ œ œ œ œ & 4 œœœ œ œ œ œ œ ˙ 13 7 5 4 5 a. b. c. & 4 œ d. œ 4 1 4 as written f 1 1 P Gsus4 Gsus4 Gsus4P Gsus4>. >. √ œ œ œ œ œœ œœ ˙ œ ˙ œ œœ œœœœ ˙œœ ?# 3 5 5 ?# 43 œ œ Ó ∑ œœ œœ œœ 4 4 5 5 & Œ œ Œ œ Œ œ Œ . Œ For Teacher Use Only (The examples may be played in any order.) ˙# li - o˙n sleeps˙ to˙# - night.˙ rit. w# & œœ ˙˙. ! ! œ ˙ . MarchSlowly tempo p 1 MarchModerately tempo f 1 > > 1 ? w w œ œ œ œ ˙ #w w w ˙. # 4 œ. œ. # 3 ˙. ˙. ˙. >. >. ˙. w w Ó w ? Œ & 43 œœœœ œœ œ œœ œ œ ˙ ˙ & 4 ˙œœ. œ œ˙˙.œ ˙. œ œ ˙˙˙. Duet: (Student plays 1 octave higher, without pedal) f 73 2 45/46 P > > Ff > > 5 C . . . . R.H. 2 5 ˙ œ ˙ œ œœ œœœ ˙œ œ˙ œ œ ˙ . œœ œœœ ˙ . 10 5 3 5 ˙ œ ˙ œ œ œœ ˙œ ˙ ˙˙ œ œ ˙˙ as written ?# 34 œ œ ?# 34 3˙ ˙ œ œ ˙ 3 1 3 4 5 5 4 ?# 4 ˙ œ œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ w w 1 1 L.H. # 4 √ w5 w w w w w Ó œ ˙ œ œ œ ! 9 13 œ œ œ MarchModerately tempo GentlyModerately P Œ œ Œ œ Œ œ Œ 1 & œ w >. >. # œ œ ˙ œ ˙ ˙ œ w # 43 ˙. ˙˙. ˙. œ œ ˙˙. # 34 ˙Ó. œ˙œ˙œ. Ó ˙. œœœ˙˙w. ?## ˙ œ œ ˙ œ œ œ ˙ ˙ ˙ w w w P π & 4 ˙œœ. œ œ˙.œ ˙. ˙˙. & 4 ˙. œ ˙. ˙. œ ˙w. w w Ó œ ˙ Ff > > F w w w w rit. w ? . . F œ œ w Copyright © 1961 Folkways Music Publishers Inc. œ œ œ p œ˙ œ œ ˙˙. œœ œœœ ˙˙. œœœ œœ . œ œ œ . Copyright Renewed 1989 by George David Weiss, Luigi Creatore and June Peretti. w w ˙ ˙ ?# 3 ˙ ˙ œ œ œ ˙ ?# 4 œ ˙ œ œ œ ˙w ?# 4 3 ?# 3 3 Ó Ó Copyright Assigned to Abilene Music Inc. c/o Larry Spier Music, LLC, & The Estate of Solomon Linda. √ 4 4 This arrangement © 2001 Abilene Music Inc. c/o Larry Spier Music, LLC, & The Estate of Solomon Linda. 87 2 72/73 FF1302 International Copyright Secured. All Rights Reserved. Used by Permission. 117 FF1302 ! ! 97 146 FF1302 GentlyModerately Gently # 4 . œ . . œ . # & 43 ˙Ó. œœ˙˙œ. Ó ˙. œœ œ˙˙w. & 4 Ó œœœœ Ó œœœœ w F F Fœœœ œ œ œ œ w œ œ œ œ w ?# 34 œ œÓ ˙. œ œ œÓœ ˙w. ?# 4 œœ œ œ w 4 3 4 Ó Ó ! ! ! !

Gently # Christmas for All& 4 Ó œœœTimeœ Ó œœœœ w – Book 1 Lead Sheets F œœ œ œ œœ œ œ w ?# 4 Ó Ó ! ! Lead Sheet in G Major G Celebrate the season with sacred 1 Now that you have learned the primary chords (I-IV-V7) in the Key of G major,3 explore playing the melody and harmony from a lead sheet in G major. 5 w ?# w and seasonal favorites! Designed

Chord References: Practice the chords used in ForG He’s a Jolly Good Fellow. C 1 1 2 for adult beginners and those 3 5 5 w F w ?# w ?# ≥ w G B D G C E C D reacquainting with the piano. G C D7 1 1 1 3 2 2 5 5 w 5 w w ww ?# ?# ?# wa Christmas Book 1 C D7 1 1 2 2 5 w 5 w ?# w ?# wwa with Enhanced CD

Directions: D7 FF1370 00420248 $14.95 1 For He’s a Jolly 1. First, play the melody2 only. 5 ww 2. Then add?# L.H. blockedwa chords on beat 1 of Good Fellow Includes Background each measure as indicated by the chord symbols. Traditional Accompaniments G C G Moderately 1 4 # (audio and MIDI) & 43 œ ˙ œ œ œ œ ˙. ˙ œ F For he’s a jol - ly good fel - low, for

D7 G 5 2 # ˙ œ œ œ ˙. & he’s a jol - lœy good fel - low,˙ forœ

60

108% enlargement view at 93% and 187%

108% enlargement view at 93% and 187%

108% enlargement view at 93% and 187% ADULT PIANO FABER PIANO ADVENTURES

ADULT PIANO ADVENTURES® All-in-One Lesson Book 2

Begins with a review of fundamentals: rhythm, dynamics, intervals, C and G scales. ALL-IN-ONE LESSON ADULT Solos • Technique • Theory An outstanding song selection continues with BOOK famous classical, folk, and jazz melodies. 2 Connected pedaling broadens expressive A COMPREHENSIVE

by Nancy and Randall PIANO Faber playing across the keyboard. COURSE The theory of major and minor scales is clearly explained and reinforced. 3-Minute Technique develops skill with new rhythms, scales, chords, and arpeggios. Applied Music Theory offers chord playing using lead sheets of familiar songs.

All-in-One Lesson Book 2 FF1334 00420246 $15.95 Background Accompaniments Enhanced CD (audio and MIDI) ® CD1031 00420097 $12.95 All-in-One Lesson Book 2 with CD FF1334CD 00420247 $26.95 Songs Technique Theory

unit minor The Russian composer Rimsky-Korsakov penned scales this theme for his orchestral work Scheherazade. 8 T HEORY OF M INOR SCALES The composer took his inspiration from an exotic tale of a young woman named Scheherazade, as Open your R.H. with the palm facing up. told in The Arabian Nights. Theme from Bring your fingertips and thumb together. Notice your cupped hand. A piece in a minor key may sound mysterious, sad, or dark. tall knuckles. Repeat with the L.H. Scheherazade A piece in a major key generally has a brighter quality. 1 Arpeggiated (Rolled) Chord 3 5 ˙. Key of ____ Major Play the notes quickly, from bottom to top. g˙. ? g Nicolai Rimsky-Korsakov Use a slight upward motion of the wrist. (1844 –1908, Russia) cross arranged Allegretto* p over 1 2 2 2 4 Relative Minor Key # 3 œ. Jœ œ & 4 œ œ œ. œj œ ˙. Every major key also has a minor key that shares the same key signature. p Technique Hints: This minor key is called the relative minor because it is related by key signature. ˙. ˙. ˙. Look for a “tall knuckle” for finger 3. To find the relative minor scale, start on scale degree 6 of the major scale. g ˙. ˙. g ˙. • ? # 43 Œ Œ g g Play the thumb lightly, perched on the side tip. • Listen for even triplets that “ripple” up and down ! ! the A natural minor scale. Rippling Triplets 4 C major scale 3 2 3 2 1 2 6th scale 2 4 4 (for R.H.) degree half step Allegro half step Allegro 2 # 1 1 2 œ œ œ œ œ 1 2 3 1 1 1 1 1 1 & Œ œ œ œ œ œ œ œ œ ˙. 1 2 3 1 1 1 1 œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ scale& degrees: 1 2 3 w4 w5 6 7 8 (1) w w ˙. &4 œ 3œ œ œ 3œ œ w w ˙. ˙. #˙. &4 œ 3 w & w g ˙. g ˙. g ˙. g ˙. 3 F tonicw scaledominant degrees: 1 w2 w3 w4 5 6 7 8 (1) ? # g g g 1 g 1 p F tonicw dominant 3 3 3 p 5 ped. simile 5 3 2 1 3 3 3 2 2 1 3 3 3 3 3 3 2 8 ! ! œ 3 3 3 A natural minor scale 1 3 œ œ œ œ œ œ œ œ œ 3 œ 3œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ # & 3 œ œ œ œ œ œ œ w w Œ œ. Jœ œ p w w w w w & œ œ œ œ œ ˙. p w w whalf stepw & w half stepw w scale degrees: 1 2 3 4 &5 w6 w7 8 (1) œ #˙. n˙. ˙. Rippling Triplets tonic scaledominant degrees: 1 2 3 4 5 6 7 8 (1) œ ˙ ˙ ˙. tonic dominant ? # Œ Œ 2 2 1 4 4 3 Allegro (for L.H.) Allegro 3 3 12 3 3 œ œ œ œ œ œ œ Playing and Listening: ? 4 3 2 1 3 œ œ œ œ œ œ œ3 œ œ œ3 œ œ2 ? 4 3 2 œ1 3 œ œ œ œ œ œ3 œ œ œ3 œ œ 2 # 4 œ œ œ œ œ œ œ3 œ œ 3 3 3 Play the C major scale above and listen to the sound. 4 œ œ œ 3 3 1. & ˙ œ œ œ œ œ œ. œj ˙. p F The major scale has half steps between scale degrees 3–4 and 7–8. 1 p F 3 2. Now play the A natural minor scale (the relative minor scale). 5 . . ? # ˙. ˙. ˙ ˙. Listen to the difference in sound. ˙. 1 ˙b . 1 œ œ œ The natural minor scale has half steps between scale degrees 2–3 and 5–6. 2 3 ? œ1 œ2 œ3 œ œ œ œ œ œ 1 1 1 2 ? 1 œ 1 œ œ œ1 œ œ œ œ œ œ1 œ œ1 1 2 *Allegretto—cheerful; rather fast (a tempo mark between Moderato and Allegro) 2 3 1 1 œ 1 œ œ œ œ œ œ œ œ œ œ œ 1 œ œ œ œ œ œ œ Notice that the natural minor scale uses only notes from the relative major scale. 76 FF1334 p 96 p FF1334 84 FF1334 Lead Sheets Christmas for All Time – Book 2 Traditional carols, seasonal favorites and popular Christmas The Londonderry Air is a 17th-century Irish folk melody. It has been put to song with countless lyrics, including the highly popular Danny Boy, penned in 1913. The plaintive melody, often played by bagpipes, has been heard at the memorial service of John F. Kennedy and at ceremonies honoring heroic police officers and firefighters. songs ring in the season.

Directions: 1. First play the melody alone, carefully observing Christmas Book 2 the fingering. 2. Then add L.H. blocked chords on beat 1 of each measure, as indicated by the chord symbols. The Londonderry Air with Enhanced CD (See next page.) Key of F Major Lead Sheet Notice there is no chord on the opening upbeats. FF1371 00420249 $14.95 Traditional Moderato F B 4 2 2 b 1 1 5 4 1 3 1 Includes Background 4 Œ œ œ & b 4 œ œ ˙. œ œ œ œ œ * Pœ ˙ Accompaniments 5 (repeat B ) F C7 1 b 2 3 4 4 2 1 3 œ (audio and MIDI) & b Œ œ œ œ ˙. œ œ œ œ w F 9 (repeat C7 chord) F B 1 4 1 4 2 1b 3 1 œ & b Œ œ œ ˙. œ œ œ œ œ œ Pœ ˙ 13 F C7 F B F 1 4 5 4 b U & b Œ œ œ ˙. œ œ œ œ œ w w œ 19 1 38

61 PIANO LITERATURE FABER PIANO ADVENTURES

The Developing Artist WITH CDs PIANO LITERATURE Original Keyboard Classics from Baroque to Contemporary

Preparatory Book 1 Book 2 Book 3 Book 4 Beyer, Bolck, Köhler, Löw, Alt, Attwood, J.C. Bach, J.C. Bach, Beethoven, C.P.E. Bach, J.C.F. Bach, C.P.E. Bach, J.S. Bach, W.F. Praetorius, Turk, Vogel, Diabelli, Dubliansky, Faber, Clarke, Faber, Graupner, Beethoven, Burgmüller, Bach, Beach, Beethoven, Wilton Gurlitt, Haydn, Hook, Gurlitt, Hummel, McKay, Clementi, Diabelli, Benda, Burgmüller, Mozart, Pezold, Poe, Duncombe, Ellmenreich, Buttstedt, Chopin, FF1027 00420136 James Hook, Lynes, Mouret, Praetorius, Rameau, Rebikov, Faber, Gossec, Gurlitt, Clementi, Faber, Fibich, $5.95 Salutrinskaya, Schytte, Schumann, Speer, Haslinger, Haydn, Heller, Graupner, Grieg, Gurlitt, Spindler, Telemann, Turk, Szymanowska, Jacoby, Krieger, Haydn, Kuhlau, McKay, Von der Hofe, Wohlfahrt Tchaikovsky L. Mozart, Lully, McKay, Pescetti, Rebikov, Rossi, Morovsk, Pezold, Rebikov, Scarlatti, Tchaikovsky FF1030 00420139 FF1034 00420143 Schumann $6.95 $7.50 FF1056 00420165 FF1282 00420239 $9.50 $15.95 Correlation with PIANO ADVENTURES®

Level 2A-2B Level 2B Level 3B Level 4

Accelerated Level 3A-3B Level 4 Level 5 Books 1 & 2

Accelerated Books 1 & 2

Selections from the Notebook Piano Literature for a for Anna Magdelena Bach Dark and Stormy Night FF1049 00420158 $4.95 FF1175 00420219 $5.95

Use with Level 4 Use with Level 5

62 PIANO LITERATURE FABER PIANO ADVENTURES

The Developing Artist PIANO SONATINAS A Comprehensive Well-Graded Series of Authentic Keyboard Sonatinas

Book 1 $5.95 Book 2 $6.95 Book 3 $8.95 Book 4 $9.95 FF1110 00420199 FF1110 00420200 FF1110 00420201 FF1110 00420202

Level 3A-3B Level 4 Level 5

ACHIEVEMENT LITERATURE SHEETS Piano Repertoire from Baroque to Contemporary • Edited by Randall Faber Baroque Classical Romantic Impressionistic J.S. Bach: Prelude in C C.P.E. Bach: Solfeggietto Chopin: Prelude in D-flat Debussy: Clair de Lune AL6006 00420010 $5.95 AL6004 00420008 $2.50 Major “Raindrop” AL6007 00420011 $2.95 Beethoven: Für Elise AL6001 00420005 $2.95 Debussy: La fille aux AL6002 00420006 $2.95 Pieczonka: Tarantella cheveux de lin Beethoven: Sonatina in G Major AL6010 0042001 $3.50 AL6011 00420015 $2.50 AL6003 00420007 $3.50 Beethoven: Sonata in G Major AL6009 00420013 $3.50 Mozart: Rondo alla Turca AL6005 00420009 $2.95 Mozart: Sonata in C Major AL6008 00420012 $3.95

THE KEYBOARD ARTIST Edited by Randall Faber Chopin: Chopin: Greig: Three Easier Waltzes Three Mazurkas Four Lyric Pieces FF1154 00420213 $4.50 FF1153 00420212 $4.50 FF1187 00420223 $4.50 Waltz in A Minor (Op. Posthumous) Mazurka in F Major (Op. 68, No. 3) Waltz (Op. 12, No. 2) Waltz in B Minor (Op. 69, No. 2) Mazurka in G Minor (Op. 67, No. 2) Watchman’s Song (Op. 12, No. 3) Waltz in A-Flat Major (Op. 69, No. 1) Mazurka in B-flat Major (Op. 7, No. 1) Puck (Op. 71, No. 3) Sailor’s Song (Op. 68, No. 1)

63 About the Fabers Nancy and Randall Faber have combined their backgrounds as composer and performer to become leading supporters of piano teachers and students. The husband and wife team has authored over 200 publications, including the bestselling Piano Adventures® method and the PreTime® to BigTime® Piano Supplementary Library.

Nancy Faber was named “Distinguished Composer of the Year” by the Music Teachers National Association for her award-winning composition Tennessee Suite for Piano and String Quartet. Her flute quartet Voices from Between Worlds was the winning composition for the National Flute Association’s Professional Chamber Music Competition. Nancy’s music has been heard on network television and public radio. Teachers of composition include Joan Tower, William Albright, and British composer Nicholas Maw; piano studies were at the Eastman School and Michigan State University.

Randall Faber has performed extensively as a classical pianist and has lectured on musical artistry and talent development around the world. His performances have aired on television and public radio. He was a master teacher for the World Piano Pedagogy Conference, the Music Teachers National Association Conference and the National Conference on Keyboard Pedagogy, and has presented as guest artist at universities throughout North America and Asia. Randall holds three degrees from the University of Michigan and a Ph.D. in education and human development from Vanderbilt University.

The Fabers advocate piano study not only for personal expression and performance success, but also as a vehicle for the student’s creative, cognitive, and personal development. Their philosophy is reflected in their writing, their public appearances, and in their own teaching.

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