CLASS CONTENT

Music is a language--and like any language, there are many basics which must be mastered prior to advancing to more complex applications. During a course of study, I attempt to cover all areas of musicianship: theory, technique, formal analysis, harmony, ear-training, sight-reading, and a comprehensive study of musical literature in a progressive fashion.

Please bear in mind that no two students are exactly alike, and children (as well as adults) learn at different rates of speed. Even brothers and sisters within families differ radically in motivation and temperament. Therefore, I approach students as individuals and attempt to challenge each according to their own unique potential. Music is not easy and may not always be "fun". However, given sufficient time and structured practice, it does become enjoyable to master the many different aspects of this art.

Piano Adventures® from Faber and Faber has set a new standard for quality educational publications. This innovative and exciting method series continues to enjoy an unprecedented response from teachers and students around the world. Piano Adventures® offers 8 levels plus Accelerated Piano Adventures® for the Older Beginner, Adult Piano Adventures®, and My First Piano Adventure® for the Young Beginner.

​My First Piano Adventure for beginning students ages 5 to 6.
My First Piano Adventure captures the child's playful spirit. Fun-filled songs, rhythm games and technique activities develop beginning keyboard skills. My First's three levels, A, B, and C, each have a Lesson Book with CD and a Writing Book.  
 

Piano Adventures for beginning students ages 7 to 9.

All students need the Lesson Book and Theory Book.
 

Accelerated Piano Adventures for the Older Beginner for older beginners ages 10 and up.

This course begins with Book One, eliminating the use of a primer. The pieces and illustrations are appropriate for an older age. The repertoire is sufficiently different from the basic course to allow two siblings to both use Piano Adventures. The Lesson Book is essential, supported by the Theory Book.

A proficient student in the Accelerated edition may go directly into a PlayTime Piano book midway through the Lesson Book. ("PlayTime" = Level 1) The older beginner progresses from Book 1 to Book 2 of the Accelerated course, then into Level 3A of the basic course.  
 

Adult Piano Adventures for adult beginners. 

"All-In-One" books. Book 1 introduces the concepts of music notation, chord playing, rhythm, harmony, and musical form—all through engaging music. Book 2 applies the basics of music theory using "lead sheets" with chord accompaniment patterns. Each unit includes a "3-Minute Technique" page to develop finger dexterity and a "Music Theory" page to develop understanding of rhythm and harmony.  
 

Every student should have an assignment book.

Piano Adventures PracticeTime is fun, effective, and provides correlated listings for the PreTime to BigTime Piano Supplementary Library. Older or advancing students may use the Practice and Progress Assignment Notebook to ensure effective practicing.

What Makes Piano Adventures Different from Other Methods?

1. Approach to Reading
Piano Adventures has established the new model for piano methods with its composite approach to note reading. The ability to read music is developed by effectively integrating three skills: 1) discreet note recognition, 2) intervallic reading, and 3) a multi-key understanding. These are carefully sequenced and reinforced to ensure success.

Students begin by learning a limited set of notes—the notes of Middle C Position—yet they play these notes with varied fingerings. For example, the student plays Middle C with finger 1, finger 2, and then with finger 3. As the student learns Treble G (the next in a series of important “Guide Notes”— Middle C, Treble G, Bass F), the piece requires the student to play finger 3 on G, and then 5 on G. Similarly, varied fingering is used for Bass F and other notes presented. This pedagogy has several important benefits:

• It prevents the student from equating a particular note to a particular finger
• It teaches the precise relationship between a note and the keyboard
• It allows for a free and balanced drop of the arm and hand into the finger
• It avoids the overuse of two thumbs on C
• It reduces the student’s dependence on preset hand positions
• The notes of Middle C position include all seven tones of the major scale, allowing the student to play numerous familiar melodies from the PreTime Piano (primer level) and PlayTime Piano (Level 1) series
• The fingering for the first note in either hand of a piece asks “3 on ___?” This requires the student to identify the note name, to write it on the blank, then to set the hand according to the note and finger number given. The student learns the fundamental procedure of music reading and becomes self-sufficient in this process. No longer will the teacher be plagued by the student asking, “What hand position?” Concurrent with individual note reading, the student is required to read by the contour of the musical line—step or skip?—up or down? This intervallic reading approach promotes fluency, recognition of melodic pattern, and understanding of the musical line.At Level 2A, with the student firmly grounded in note reading, a multi-key approach is taken. Here the student learns the major and minor 5-finger patterns in C, G, D, and A. Not so many as to overwhelm the student’s reading or to become tedious, but enough to grasp transposition and basic chord recognition. (The student is encouraged to learn all 12 major and minor 5-finger positions in exercise format.) Minor is included early to tantalize the ear and to offer appealing sounds. At level 2B, the complete major scale is introduced along with key signatures and primary chords in the keys of C, G, and F.

2. Pianistic Music
A hallmark of the Fabers is pianistic arranging. The music of Piano Adventures¨ is specifically written (or arranged) for the piano.

• The pieces feel right at the piano.
• The pieces sound right at the piano.
• The pieces make easy and effective use of the damper pedal, opening up the rich sonority of the instrument.
• The pieces incorporate essential pianistic gestures—the motions and phrases that are integral to playing the piano.
• Pianistic pieces develop fluent piano technique. The pieces are written to encourage freedom at the keyboard, to promote a relaxed wrist, and to suggest gestures that carry the hand across the full range of the instrument.

3. Artistic Music
The music of Piano Adventures is eminently musical. A method can only be as good as its music, and the music of Piano Adventures shines. The course dovetails technique and artistry so the teacher may bring out maximum expression in the student’s playing. Parents notice the musicality; students thrive on the musicality; and you the teacher will appreciate the musicality. The Technique & Artistry books in Piano Adventures¨ are groundbreaking and unparalleled in teaching technical gesture for artistic playing. The “Technique Secrets” and exercises deliver the pianistic tools to play with ease and expression. The “Artistry Hint” and “Artistry Piece” that conclude each unit bring student awareness of sound and musicality to new heights.

4. Student Appeal
Students are attracted to the pieces and sounds of Piano Adventures. Ten years of painstaking pilot testing has ensured that the method has student appeal. Literally a hundred pieces that did not pass the test of student enthusiasm were discarded and replaced until the method met the standard and musical taste of the piano student and teacher. The tremendous appeal of the music as published has been confirmed by the hundreds of letters and comments from teachers and students across the United States.

5. A Supplementary Library that Motivates Practice
The PreTime to BigTime Piano Supplementary Library correlates with Piano Adventures to provide a broad selection of music to meet each individual student’s interest—at the precise level of difficulty. With styles that include Popular, Rock ‘n Roll, Classics, Jazz & Blues, Ragtime & Marches, Children’s Songs, Favorites, Hymns, and More Popular, the teacher can choose the style that motivates the student, and be assured that it is arranged to meet the pedagogical demands of the level. PreTime to BigTime offers the right fit between student interest and student repertoire.

It is rewarding to watch our students’ musical skills develop. We observe routine improvements in note reading, technical dexterity and increasingly difficult repertoire, but also witness profound development that is subtle and not readily measured. Consider the evolving aspects of artistry: creativity, expression and sensitivity. Or, what about discipline, focus, tenacity, deep analysis, and flexible learning strategies?

That is quite an impressive list. And, importantly, these abilities can develop with excellent piano teaching. We elevate our teaching objectives by cultivating an artistic mindset. Insightful analysis, creative daring, and expressive sensitivity are potent qualities that are valued throughout a student’s life. These attributes of artistry are captured in the acronym A-C-E—Analysis, Creativity and Expression—and take center stage in Piano Adventures.

The Discovery question with each piece invites analysis, each unit includes a creative activity, and the Technique Secrets along with Artistry Magic pages develop expression.

Analysis and creativity imply the left and right hemispheres of the brain, respectively. Modern neuroscience additionally finds that the “analytical” left brain manages expertise and the “creative” right brain processes the new and novel. Artistry requires integration of both hemispheres. Indeed, for a trained musician, music activates the whole brain.

What about the third attribute of artistry? How does expression fit our model? Perhaps we simply acknowledge that expression comes from the heart. The metaphor could not be more fitting. Whole brain education is compelling, but perhaps incomplete. As piano teachers we can have transcendent influence. We develop musical minds… and hearts.  ©2020 Faber Piano Adventures

Reasons for Studying Piano

The influences of music go far beyond the intellectual and physical development of a child. Music experiences contribute to the growth of well-balanced children in sensitivity, expressiveness, and the spirit essential for functioning in a complicated world. Learning about music in a classroom setting provides growth for children in other areas as well:

1. Confidence and Poise: Music making offers children a chance to perform with and for others, and to develop confidence in their ability to make presentations for groups.

2. Perseverance and Commitment: As children become more skilled in singing, moving and playing instruments, they can see and hear the results of their efforts.

3. Coordination: The many movement activities associated with music experiences develop both small muscles and large muscles. The awareness of internal steady pulse, coordinated with external movements, helps children regulate their behavior.

4. Self-respect and Satisfaction: As musical skills develop, children feel a strong sense of satisfaction in their progress and develop a feeling of self-respect that transfers to other situations in life.

5. Creativity and Self-expression: Music experiences often invite individual creative responses and encourage children's imagination in other creative endeavors.

6. Pride in Achievement: Sharing music with peers and family reinforces the value of each child in the classroom, and children develop a sense of pride in their musical achievements.

7. Concentration and Problem-solving: Learning about music requires concentration and focus. When children are asked to analyze, compare and contrast sounds, they are actively engaged in problem-solving experiences.

8. Fun and Relaxation: Singing, moving, playing instruments and listening to music are all enjoyable experiences. Music making can provide hours of personal entertainment and relaxation throughout one's entire life.

Educators and psychologists from the beginning of the twentieth century to the present have attested to the value of music study on the development of the child. According to Jean Piaget (1896-1980), the noted Swiss psychologist, a child's early years are the optimum period for intellectual development. He believed that children and adults think in different ways. During the "pre-operational" learning stage (ages 2-7), children begin to think and react through symbols (language, drama, drawings and dreams). This stage is perfect for starting the process of learning music.

Jerome Bruner (b. 1915), an important American cognitive psychologist, believes that the foundations of any subject can be taught to anybody at any age. In his theories, he places great emphasis on teaching the structure of the subject. He developed a spiral curriculum where general principles are presented and applied to various learning situations in ever-increasing complexity. Learning should be structured to serve the future.

The study of music at a young age is supported by the humanist theories of Abraham Maslow (1908-1970) and leads to a fully realized, complete human, person (self-actualized). Harvard psychologist Howard Gardner (b. 1943) sets forth a theory that some children seem to "think musically" at a very young age. These children represent a small percentage of our society, but Gardner suggests that the numbers might increase if music were taught at a young age. Young children have the ability to understand music intuitively through performance and/or composition. In addition, they seem to have a genetic predisposition to hear, remember and produce musical patterns regardless of whether of not they are products of musical environments.

Several recent studies show improved spatial-temporal task scores and pattern-recognition scores for children in different age groups who had received piano instruction as compared to the same-age control groups without piano instruction. These studies report that piano instruction is far superior to computer instruction in enhancing a child's abstract reasoning skills necessary for learning science and math. In research reported by Frances Rauscher (University of Wisconsin, Oshkosh) and associates in the February 1997 issue of Neurological Research, children who had received music instruction (including keyboard lessons) scored higher in spatial task ability than those who had not. The March 1999 issue of Neurological Research describes a study led by Gordon Shaw (University of California, Irvine) which showed improved math scores among elementary school children who took piano lessons.

While the validity of these studies has been rigorously questioned by scholars and researchers, they have received coverage by the press that has raised interest in early childhood music among the general public.

Most importantly, the study of music at a young age increases the quality of the child's early life experiences. Music can soothe, stimulate or entertain children. It provides pleasure, joy and an outlet for creative expression; it helps develop listening and auditory discrimination skills; it contributes to motor skill development (both large muscle and small muscle); and it increases the range and flexibility of the voice. Music can soothe emotions, invite enthusiasm and bring immense pleasure to the listener.