SKU: F0.W9247

UPC: 674398217014.

This pre-reading piece utilizes the black keys starting on the D flat just above middle C for the LH, with the RH extending to the E flat an octave above. Written in an ABA form, the B section contains hands-together playing for eight measures. This piece has a good variety of dynamics for your pre-reader to practice dynamic contrast, and contains a teacher accompaniment that contributes to the harmonic support of the student part. Both teacher and student will enjoy this enchanting piece.

About FJH Written For You Piano Solos

Sparkling and lyrical pieces which promote musical expression.

SKU: A0.1296630

Finally, a piano skills book that you don't have to lug around! This 260+ page book fits on your phone or tablet and can be opened in any PDF reader, like Adobe Acrobat or forScore.
 
Pocket Piano Proficiency: a revolutionary way to learn the skills you need offers basic piano skills in a new way. Author and veteran piano instructor Deborah Rambo Sinn wanted to find a solution for getting students to learn these solidly and efficiently­–along with finding a way to combine this with developing excellent aural skills. Ultimately, she sought a way to quickly make these skills relevant to understanding larger concepts of music theory.
 
Traditionally, it takes a long time of learning individual skills before a student can grasp how they all work together. Pocket Piano Proficiency flips this model, introducing tasks in chunks of like material. The circle of fifths appears from the first pages, demonstrating connections between keys from the start. The book’s pedagogical organization moves students from the easiest to more complex skills, allowing them to scaffold successfully from one chapter to the next.
 
The eBook format allows for a new way of learning these skills that a black and white printed book does not afford. Each page contains several layers of helpful material that can be accessed by zooming in and out. Because only one level of information can be accessed at a time, students need to assimilate information from around the page to successfully complete each task (see video.) Additionally, the use of color cues for tasks further organizes each chapter. As an example, red is used for the simplest keys or most common concepts.
 
Additionally, the use of color cues for tasks further organizes each chapter. As an example, red is used for the simplest keys or most common concepts.

SKU: A0.984738

This document is an instructional unit in the MIW Basic Keyboard Skills Method. This unit is intended to be studied in the student's first lesson. It begins with several basic exercises to help orient the student to the keys at the middle of the keyboard. The rest of this unit consists of opening bars to a group of children's and folk songs. It provides material for the first several weeks of lessons.

The exercises and pieces are designed so that they can be folded or cut out and placed behind the black keys at the middle of the keyboard. The notes of the tablature fit and match the locations of the keys. Students can follow the notes which appear exactly above the keys that they identify. Students locate both the black keys and white keys with equal ease. Most students end the first lesson being able to read and play several of the tunes.

For more information on this and other units of the Basic Keyboard Skills Series, you can refer to the Teacher's Manual for the Series - Unit PK-01. You will find it listed along with the other publications of the Music Innovator's Workshop on this site.

SKU: A0.862509

A three-part set based on the topography of the keyboard, and its sonic possibilities and implications. The minor triads of C#, D# and G# all have white keys immediately above and below the chords. The Major triads of C and G have black keys immediately ABOVE the lowest and BELOW the highest notes. These two elements, along with the Major triads on the three sharp-key chords, have been combined into a haunting and ethereal setting, with the left-hand accompaniment stating these shapes, and the melody in the treble taking its cue from the scale implied by the chords below. Octaves, triplets, and 16ths are all part of the swirling mist of melody that surrounds the highly stable and uniform accompaniment. Each measure begins with the low octave on the root, and jumps up to state the shape being used, using dom 7ths to transition to the next sound and shape. Chopin and Liszt did not share many musical values, but they DID both utilize the shape and particular formations of various keys to suit their expressive needs. And, so we salute them both here, in this first of three pieces using this time-honored tradition of pianistic, yet evocative composition. MBB.