Words From the Author
I have spent my entire life sharing my passion for music with others; both as a musician and instructor. For more than 30 years the Rock House Method has been proven to work. I have personally taught thousands of students one-on-one, authored more than 40 books and DVDs and produced over 100 instructional products coaching music greats to teach in their own instructional programs. Now for the first time ever, I am sharing all of my knowledge of how I get results for the people who trust and rely on me to deliver a successful learning experience. If you follow my method, I truly believe that your students will enjoy the same level of success that mine have. Your business will become more profitable and your students will attain their dream of playing piano. I have designed and carefully designed this curriculum to help you effectively utilize my learning system, a modern method based on today’s player’s needs. Whether you are a seasoned instructor like me or someone who is just think- ing about starting an instructional business, you will be able to effectively teach each lesson to your students. Below are the sections that will correspond with each lesson.
Lesson Quick Tips – These are great to review before each lesson to insure the important topics are covered in the lesson. There are many new and creative ideas on ways to present each lesson.
Teacher Notes – Features full descriptions of how to present each lesson. If you are new to teaching, it will give you a blueprint to effectively teach each lesson. For experienced teachers, this is a good review to help spark new ideas.
Teacher Play Along – One of the most effective ways to help students learn is to play along with them. I have included examples that will allow you to easily interact with each student. This interaction also benefits the student by preparing them to play with other musicians.
Music Assignment – The Rock House Method is based upon a system of applied learning. These assignments will give your student the opportunity to apply what you have taught them in a musical manner.
As a teacher you have the gift of showing people how to be creative and speak the language of music. Be mindful you are running a business, so it is important for the continued success of that business that your students reach their goals. The following pages contain helpful information that will assist you in creating a positive educational experience for your students. You will learn more about teacher etiquette, how to set up a great teaching environment, interacting with parents and tips on how to build a student base. I am honored to share the Rock House Method with you. John McCarthy
2 Table of Contents
Quick Start Video ………….……………………8 Row, Row, Row your Boat/The Tie …………...... 36 Bass Staff ...... 38 Finger Numbers ……………………………….…8 Left Hand Notes on the Bass Staff …………....…39 Posture & Hand Placement ………………….…9 Lefty Lucy …………………...... …..….…………....40 The Musical Alphabet - Finding Middle C .…….10 Move to the Left …………………………………...40 Right Hand Notes Up from Middle C ………….11 Left Hand Finger Flexing ...... 41 Right Hand Finger Pattern – The Grand Staff …………………………………....42 The Repeat Sign...... 12 Two Thumbs on C ……………………………...... 43 Left Hand Notes Down from Middle C & Left Hand Finger Pattern ……………...... ….…13 SONGS USING TWO THUMBS Black Key Groups of Two & Three ……………..14 ON C HAND POSITION White Key Names Around Two & Three Black Keys …...... 14 Yankee Doodle ………………….....……………...44 Treble Staff & Staff Symbols ……………………16 London Bridge ………………....…………………..45 Right Hand Notes on the Treble Staff …………18 Twinkle Twinkle Little Star ………………...………46 Counting Beats ……………………………………19 Jolly Old Saint Nicholas ………………..…………48 Note Values - Quarter, Half Camptown Races …………………....……………49 & Whole Notes …...... 19 Two Hands Together ……………………………...49 Bingo/Ritardondo …………………………...... 50 THE STUDENTS FIRST SONGS We Three Kings …………………………………...51 Left Hand C Position Notes ……...………………52 Hot Cross Buns …………………………………..21 Aura Lee & Ode To Joy …………………………...53 By the Silv’ery Moonlight ………………...……..22 Rain Rain Go Away ………………………………23 SONGS USING C POSITION Go Tell Aunt Rhody ……………………….…..…24 BOTH HANDS
NEXT LEVEL SONGS C Position Both Hands …………….....……………54 Etude with Two Hands ……...... …………………55 Aura Lee ……………………...... ………..……..25 Old MacDonald …………………..………………..56 Jingle Bells …………………………....…...……..26 My Melody ……………...... ……………………..56 Good King Wenceslas …………………..………27 Nine to One …………...... ………………………..57 Metronome ……………………………………….28 Making Music …………………………...... ………..58 White Key Finger Flexing ……………….………29 Run Away Train ……………………...……………..58 A Tisket, a Tasket ………………………...………30 Bottoms Up ………………….……...... …….…..59 Dotted Half Notes / 3/4 Timing ...... 31 Surprise Symphony ……………………………..…60 I Saw Three Ships ………………………….……31 Practice Tips ……………………………………….61 Rests ………………………………………………32 Oh, When the Saints ………………………………61 Oh, When the Saints ………………………….…33 Fais Dodo …………………………….....…….....34 Away in the Forest …………..……………………35
6 Posture & Hand Placement
Proper Posture Hand Position
Proper posture and hand placement will help ensure your student progresses in a fast and effective manner. Students must be comfortable sitting at the piano to play at their highest potential. Here are tips to give your students:
• The seat should be a comfortable chair with no arms or a piano stool. • The chair height should be at a height that allows the upper arm and elbow to fall freely and allows the forearm to be parallel to the ground. • The best distance from the piano should allow the elbows to rest in front of them when their hands are in a neutral position on the keyboard. • Always sit straight up not slouching in front of the piano. • Small children may have trouble having their feet touch the ground. In these cases I use a foot stool to help them feel comfortable sitting at the keyboard. • Do not tighten up and become stiff. Always stay loose and relaxed. • The hand should have the fingers going straight down toward the keys and the thumb curved in. • Have the student pretend they are holding a small ball in their hand to show how to keep their hand open while playing. I actually have a small ball that I make them hold before they play to help them get the correct hand position. Teachers Inspiration
It is the supreme art of the teacher to awaken joy in creative expression and knowledge.
Albert Einstein
9 The Musical Alphabet – Finding Middle C W A - B - C - D - E - F - G MIDDLE
ABCDEFGABC DEFGABCDEFGABCDEFGABCDE G A B CF D E F GABCDE FGABC
A is the lowest key. Middle C C is the highest key.
• Explain that the letters of the musical alphabet are A – G, after G it goes back to A Lesson in a circle type fashion. Show the diagram in the book so they can see that these Quick letters represent the white keys on the piano. Tips • Show how to find “Middle C” on the keyboard. Find the two black keys together in the middle of the keyboard, the white key right to the left of the first black key is “Middle C.”
• Enforce that students memorize the musical alphabet and where “Middle C” is located.
• Use the worksheet with your student that corresponds with this lesson.
Here students start to learn the music language by learning the musical alphabet. Explain that these seven letters are the names of the white keys on the piano. The letters go from A through G then circle back to A again. There will not be any H, I or J notes in music.
Once they understand the musical alphabet they must learn the most important note “Middle C.” Here are the steps to walk your student through to find “Middle C.”
• Look at the whole keyboard and find the two black keys together located directly in the middle. • Play the white key located directly to the left of the first black key. • That is “Middle C.”
Music Assignment
Use the worksheet with your student that corresponds with this lesson either in the lesson M.A. or as an assignment for homework.
10 Black Key Groups of Two & Three
2 3 2 3 Black Black Black Black Keys Keys Keys Keys
MIDDLE
C
2 3 2 3 • Here the studentBlack beginsBlack to learnBlack the keyboardBlack layout. Lesson Keys Keys Keys Keys Quick • Have the student point to the groups of black keys starting from the lowest all Tips the way up the keyboard. MIDDLE
It’s easy to see that there are groupsC of two and three black keys across the Keyboard. Making the student aware of this is a great way to help them see how the keyboard repeats itself and is not this huge group of 81 different notes but it is small sections repeated across the keyboard. You job as a teacher is to simplify the learning process; in the beginning it is a lot for a student to take in so seeing 3this breakdown will help ease the 2learning process. Black Black Keys Keys
MIDDLE
White Key Names Around Two Black Keys W & Three Black Keys FGAB CDE
2 2 2 2 2 Black Black Black Black Black Keys Keys Keys Keys Keys
MIDDLE
CDE CDE CDE CDE CDE
14 3 3 3 3 Black Black Black Black Keys Keys Keys Keys
MIDDLE
FGAB FGAB FGAB FGAB This is the first time students will be reading music. Start by teaching the parts of a note, the head, stem and flag. Next go through each note type and explain what each looks like as follows: “A whole note has a hollow head” or “A quarter note has a solid head and a stem.” Talk about beats and how you will count for each note type. Explain that the notes tell you how long to let each note ring.
The three playing examples use the C – D and E notes. I have placed the note name inside each note for the playing example and first songs to help the student memorize the notes. These will be taken out after the first songs are learned. You should have the student call out the name of each note as they play it and count out loud.
Relate the note values to money. A whole note is the equivalent of a dollar, half notes are equal to half dollars or 2 quarters and quarter notes are equal to a quarter. Using this approach the students can visualize each note value. Start with a dollar bill and 4 quarters and explain the dollar is equal to 4 quarters and compare this to a whole note and 4 quarter notes. Then explain that 2 quarters equals a half dollar and also a half note and 2 half notes will equal a whole note as two half dollars equals a dollar. Using money allows a student of just about any age to understand how the beats keep dividing in half. Later in the program when teaching the eight notes teach them as eighth notes. By the time you have to explain those, the student should pretty much grasp the concept of the subdivisions.
Next, when explaining the note values, use a metronome and play middle C while counting out loud with the metronome. Play all three note timings with the metronome then have your student play along with you. This will allow the students to actually hear the differences of each note value. Follow this up by having your student play along with the metronome alone.
Finally, make sure your students are always counting out loud and playing along with a metronome as they are working through the book. The more they do this the stronger the sense of rhythm they will develop. A lot of students will tend to “clam up” when told to count out loud. However you need to explain that when they “count in their head” they tend to have their minds conform to what their hands are doing not to the pulse. This can deter them from actually doing it right and impede their rhythmic progress.
Certain timings are best addressed in the beginning by the use of feel. It is easier to “feel” a swing shuffle groove than it is to count it when initially learning.
The Students First Songs
The following four songs are the first songs your student will learn. This is an exciting time for the student but it is also very challenging. I have included the note names inside each note for these songs to help guide them through this first step. I have also included keyboard diagrams at the top of each song that depict what notes are being played in the song and what fingers are used to play the notes. There are audio backing track examples, slow and regular speed, for each song. These tracks should be used by the student at home. The two ways they should use the backing tracks are:
1. As the slow speed version is playing follow the notes on the music pointing to each as it is played. This will help the student hear and see how the song should be played and get familiar with the melody of each. 2. Next after the student has played through the song several times on their own they 20 should play along with the audio example slow, then regular speed as they learn the song better. 3. These tracks will help the student practice at home more efficiently. Before I created these audio examples many times students would come into a lesson and say “I could not remember how the song went so I didn’t practice.” This ensures they will not lose weeks in the learning process. You must enforce using these tracks with your students.
Hot Cross Buns CD Track 9-10
In this song the student will only be playing notes C – D and E but they will be using whole, half and quarter note timing. Make sure the student is using proper technique and has correct posture. The finger stroke is very important at this point. Make sure the hand stays stationary and the fingers go up high and hammer down crisply on each note. I have included the timing count under the staffs so the student can count along as well.
Teachers Inspiration
A teacher affects eternity: He can never tell where his influence stops.
Henry Adams
21 The Next Level Songs
In the next three songs students will have to play the notes by only the location on the staff. The note names are not inside each note. This can be challenging for students. Have the students say the name of each note out loud as they play it to memorize them effectively. There are still keyboard diagrams above the staff in case a student has trouble remembering the note name and location. After these songs the keyboard diagrams will be taken out unless there are new notes students will need to play within the song.
Aura Lee CD Track 17-18
Traditional RH 1434 52543234
1 434 52543234
In this song there are note jumps using the 1st to 4th fingers and the 2nd to 5th fingers. Isolate these with the student before they play the entire song. The backing tracks are very helpful for this song so make sure the students use these as guidance at home.
25 Metronome
• Show an example of how to use the metronome to practice using Lesson the picking exercise in the last lesson. Quick Tips • Set a starting metronome tempo and have students increase it in small increments each day and gauge their progress.
• Make blank tempo lines in the book to have students write in their tempo as they progress.
• Students can download a metronome if they do not have one from the Lesson Support Site.
Stress the importance of a metronome to your students. A student must realize that practicing their studies with a metronome will help their timing and aid them to be able to play with other musicians in a band format. The metronome, though difficult at first to get a feel for, is the perfect ruler to measure progress. The metronome is the accuracy mark for your students. Proper practice with a metronome will aid students to develop into better players. Music is a rhythmic art form and to practice without practicing any form of rhythmic control will only be half of the battle on the road to mas- tering their instrument.
Within the lesson setting I often recommend to have the metronome clicking away while working through the different studies.
Here are a few tips for working with the metronome in a lesson setting:
• The use of a digital metronome that breaks down beats into eighth notes, sixteenth notes, triplets, etc. is more ideal for the lesson setting. • Always start the metronome off at a tempo the student can play without making a mistake. • Increase the metronome after the student plays a study at least five times in a row perfectly. • When increasing the tempo, increase by 2 BPM (beats per minute). • When a student asks, “When I am home, what tempo should I set the metronome?” Always answer with “as slow as needed to play perfectly without any mistakes.” Then increase in 2 BPM increments after playing along five times perfectly. This is the same technique you are using with them, and using the same regimen at home is crucial to steady progress in the lesson room. • Have the students track their progress and keep a written journal of the lesson and tempos they are working on and have achieved. They can even write the tempo in their book next to each lesson.
28 Bass Staff W
5 A Always 4 F Fine 5 A Always 3 D Do 4 F Fine 2 B 3 D Boys Do 1 G Good 2 B Boys 1 G Good
4 G Grass 3 E Eat 4 G Grass 2 C Cows 3 E Eat 1 A All 2 C Cows 1 A All • The bass staff is used to play notes with the left hand. Lesson Quick • The bass clef or F clef is found at the beginning of the bass staff. Tips • Explain that there are 5 lines and 4 spaces like the treble staff but they will have different letter names.
• Start with the sayings Good – Boys – Do – Fine – Always for the lines; and, All – Cows – Eat – Grass for the spaces.
• As a homework assignment have the student come up their own saying for the lines and spaces.
• Have the student complete the worksheet for this lesson.
Now the student will learn to read music on the bass staff. The bass staff is designated by a bass clef or F clef at the beginning of the staff. It is called a F clef because it circles the F line on the staff. Explain the there is 5 lines and 4 spaces in this staff just like the treble staff but the letter names for these will be different. Have your student complete the worksheet for this lesson.
Music Assignment
As homework have your student come up with their own saying for the names of the lines M.A. and spaces on the bass staff. 38 Music Assignment
Give an assignment to write inside the book the metronome tempo setting they attain M.A. each day at home.
The Grand Staff W
G Clef MIDDLE
Brace
CDE FGABC DE FGABC Bar Lines F Clef RIGHT HAND
LEFT HAND
• Explain that from this point on students will be reading music with two hands Lesson using the grand staff. Quick Tips • The grand staff is just the treble and bass staffs connected by a bracket. • Have the student play all the notes one octave lower and higher then middle C and point out where each is located on the diagram in their book.
• Use the worksheet to test your student.
At this point in the book your students will be reading music for both hands using the grand staff. Explain that the grand staff is just the treble and bass staffs put together. They are combined using a brace at the beginning of the two staffs. The bar lines go straight down from the treble to the bass staffs connecting them as well. The treble staff will be used for the right hand and the bass staff for the left hand in this book. Explain that this is not always a rule, there will be times in certain songs where either hand can read the other staff as well.
Have your student play all the notes one octave lower and higher then middle C and follow along with the diagram in the book. Have them say out loud the note name and where it is on the staff. Even though they will not be playing all these notes right away they will get familiar with the way the notes on the grand staff follow the notes on the piano.
Use the work sheet for this lesson to test your student. 42 Songs Using C Position Both Hands
C Position Both Hands W
Left Right Hand Hand L.H.MIDDLE R.H.
CDEFGABCDEFGABC DEFGABCDE FGABC
DEC FD G C DE FG CDE 35 24 FG1 1 CDE23 45FG MIDDLEMIDDLE MIDDLE
This hand position will take your students through the rest of this book and into Book 2 as well. They have played songs with both hands separately now they will put them together. Point out each note on the diagram and have the student play each saying out loud its name and location on the staff. Explain that both hands will be playing the same name notes just in a different octave.
Make sure the hands and arms are in proper position and the fingers are lined up properly before they start playing the first songs in this hand position. Use the worksheet to quiz your student one last time before they jump into songs in this hand position.
54 Surprise Symphony CD Track 89-91
11 p 3 1 4 2 1
11 1 This is a song written by Joseph Haydn, a Classical composer born in 1732 and died in 1809. It was called Surprise because of its abruptly changing dynamics. Students love to hear a little background about the songs they are learning. The left hand notes have movement and are more complicated then they have played in the past. Isolate this line before they play both together. The right hand will shift down to play the B note in this song, I have shaded these sections so they can be aware of when they occur. There is a Play Along full band audio track for this song that will make it more interesting and fun for the student.
Teachers Inspiration
The true aim of every one who aspires to be a teacher should be, not to impart his own opinions, but to kindle minds.
F. W. Robertson
60 Practice Tips It is important to talk with your students about practice habits. I have included a few inside the book but below is an extended list of good practice habits:
Practice consistently. Students should practice every day. Try not to skip days. Explain that they are trying to gain muscle memory and the more consistent they practice the better results they will get.
Make sure to review previous lessons. A good idea is for students to review the past few songs as a warm up before they start their new lesson.
Use a metronome when practicing. They should always start at a slow speed and increase the tempo once they can play at a comfortable speed.
Record yourself if you have the capacity. With today’s’ technology boom there are many ways students can record their playing. When they listen back they will be more objective to any inconsistencies. They must learn to be their own biggest critic.
Oh, When the Saints CD Track 92-93 1345 1345 mf Oh, when the saints, Go march -ing in. Oh, when the saints, Go march-ing in. Count: 1 2 3 4 - 1 2 3 4 5 Count: 1 2 3 4 - 1 2 3 4 5 2 2 Oh, when the saints go march - ing in. Oh, when the saints go march - ing in.
61 Oh, Lord I want to be in that numb- er. Oh, Lord I want to be in that numb- er.
When the saints go march - ing in. When the saints go march - ing in. 13134545 Oh,Oh, whenwhen thethe saints,saints, GoGomarchmarch--inging in.in. 5 Count:Count: 11 22 33 44 -- 11 22 33 44 5
22 Oh,Oh, whenwhen thethe saintssaints gogo marchmarch -- inging in.in.
Oh,Oh, LordLord II wantwant toto bebe inin thatthat numbnumb--er.er.
WhenWhenthethe saintssaints gogo marchmarch -- inging in.in.
This is a very popular song that almost every student young or old will be familiar with. The left hand will play quarter, half and whole notes and the melody should be played lively. There are three pick up notes so make sure the student counts accordingly.
Teachers Inspiration
Be careful to leave your sons well instructed rather than rich, for the hopes of the instructed are better than the wealth of the ignorant.
Epictetus
Learn Piano 1 - Quiz 3 Have your students take the quiz on-line at home. Review the quiz results with the students and work with them on any lessons they need help with.
62 Student Appendix
63 A
C#
3
1 5
A E
Am
1 3 5
A C E
B
D# F#
35
1
B
66 Student Worksheets
71 RockHouseSchool.com Finger Numbers Name: Fill in the blanks diagrams below: 72 Fill the notes in on keyboard diagram below: Name: Musical Alphabet The C MIDDLE RockHouseSchool.com
73 Right Hand Notes Up From Middle C
Name:
Fill in the note names below: C DEFG MIDDLE MIDDLE
C
74 Left Hand Notes Down From Middle C
Name:
Fill in the note names below: FGABC MIDDLE MIDDLE
C
75 2 Keys Black 2 Keys Black 2 Keys Black MIDDLE RockHouseSchool.com 2 Keys Black 2 Keys Black Name: Fill in the note names below: White Key Names Around Two Black Keys Around Two White Key Names 76 About the Author John McCarthy Creator of The Rock House Method
John is the creator of The Rock House Method®, the world’s leading musical instruction system. Over his 20 plus year career, he has produced and/or appeared in more than 100 instructional products. Millions of people around the world have learned to play music using John’s easy-to-follow, accelerated program.
John is a virtuoso musician who has worked with some of the industry’s most legendary entertainers. He has theability to break down, teach and communicate music in a manner that motivates and inspires others to achieve their dreams of playing an instrument. As a musician and songwriter, John blends together a unique style of rock, funk and blues in a collage of melodic compositions.
Throughout his career, John has recorded and performed with renowned musicians like Doug Wimbish (who’s worked with Joe Satriani, Living Colour, The Rolling Stones, Madonna, Annie Lennox and many more top flight artists), Grammy Winner Leo Nocentelli, Rock & Roll Hall of Fame inductees Bernie Worrell and Jerome “Big Foot” Brailey, Freekbass, Gary Hoey, Bobby Kimball, David Ellefson (founding member of seven time Grammy nominee Megadeth), Will Calhoun (who’s worked with B.B. King, Mick Jagger and Paul Simon), Jordan Giangreco from the acclaimed band The Breakfast, and solo artist Alex Bach. John has also shared the stage with Blue Oyster Cult, Randy Bachman, Marc Rizzo, Jerry Donahue, Bernard Fowler, Stevie Salas, Brian Tichy, Kansas, Al Dimeola and Dee Snyder.
To get more information and about John McCarthy, his music and instructional products visit RockHouseSchool.com.
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