Achiever 1
Suggested Order of Pieces and Teaching Points
1. Root Position Chords
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Confirm the structure and shape of root position chords viz the shape
in relation to the music notation and the keyboard pattern.
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Develop an ideal hand position.
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Develop good tonal qualities through playing from the shoulders into
the piano/keyboard followed by a release action (wrist and arm).
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Distinguish between three different chord types, major, minor and
diminished and be able to play any of the chords at random.
2. La Cucaracha
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This piece is a musical extension of cadence chord playing ie where
there is a chord in the RH and the root of the chord in the LH. Encourage a longer and stronger LH sound
(think long mezzo staccato). RH
staccato chords are shorter and softer than the LH. Work on achieving wrist flexibility for both staccato and
sustained chords. Please note that the
melodic line has been printed to serve as a guide and the student is not
required to play this part.
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Students should be encouraged to play this piece in the following keys
and in the following order – C, G, D, A and E major.
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Please note that the keys of C and G major should be easily
achievable. Establish the link between
chord I in D major and the D major chord that is introduced in Chord Stomp. This same chord I shape (keyboard) is then used for the keys of A
and E major. Note that the keyboard
shape of V7 chords in G, D, A, E major are all the same.
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Develop a direct relationship (keyboard shape) between chords I and V7
in each key. This includes finger
patterns, notes in common and voice leading.
3. From The Top
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Combining a legato LH with a variety of RH articulations. Use the word pattern ‘from the top’ to match
the syncopated rhythm at the end of line 2.
Learn the LH thoroughly first and play this with the backing track so
that an appreciation of style is gained before attempting the RH. Learn and reinforce lines 1, 2 and 4 in the
LH before working on line 3. As with
most pieces, it is the rhythm and articulation that increase the level of
difficulty, therefore, the learning sequence will be more stable if
like-passages are achieved before the remaining contrasting sections. The 3 LH staccato notes in bars 7 & 15
and the opening staccato quavers in the RH are worth close scrutiny. Most students have difficulty controlling
their arm weight sufficiently to accurately articulate these passages. The last note is rarely played staccato
unless the teacher reinforces this point.
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Note the formal structure of AABA.
4. C Major Scale & Cadence
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Similar motion; Contrary motion; Cadence chords
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It is important that scale and cadence playing become part of the
students daily practice routine.
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Combining the two elements (scale and cadence playing) serves to
reinforce the student’s knowledge of keys and structures with in the keys.
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Scale playing should be considered an advanced technique because of the
many elements that in combination produce fluent playing.
5. Chord Stomp
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Rhythmic root position chord playing that combines staccato and
sustained chord playing. Link this
piece to the chords learnt in the first piece Root Position Chords and write in the chord symbols under each
chord. Learn the RH part first and get
used to the shifting hand position where students need to develop good
anticipation, coordination and rhythmic chord playing skills. Introduce the LH part when the RH is secure
and fluent.
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Explain and discuss the different sound and shape of the D major chord
in Chord Stomp as opposed to the D
minor chord in Root Position Chords.
6. Camptown Races
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Harmonising the RH melodic line with LH chords reading only the chord
symbols then reversing the parts/hands.
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Transpose in C major. At the keyboard.
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As an extension try transposing into other keys such as D, A and E
major.
7. G Major Scale & Cadence
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Similar motion; Contrary motion; Cadence chords
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Considerable importance needs to be placed on achieving the most
suitable finger shape in the RH when fingers 4 and 5 play F# and G at the top
of the scale. The position of the
elbows (they must be out) is an important consideration for achieving the best
outcome. Also check the distance that
the student is sitting from the piano.
LH descending often causes problems because of the F# and the early
passing under of the thumb.
8. Trouble
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This three-part keyboard ensemble introduces the accidentals of C sharp
& G sharp. Additional features are
the chromatic scale pattern and fingering in part 2 and the syncopated rhythm
of part 1.
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Teach part three first because this part is virtually sight
readable. Introduce the rhythm of part
1 through the following words:
Trouble begins with a
‘T’. Trouble begins with a ‘T’.
Trouble and fun follow
me. Trouble begins with a ‘T’.
Trouble trouble, trouble
trouble, We’re in trouble, big trouble now!
Trouble begins with a
‘T’. Trouble begins with a ‘T’.
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Follow this up with the pitch for part one. If you are working with a class group, divide the students into
separate groups for parts one and three and play as a two-part ensemble.
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The final step is the learning of part two. Explain the concept of the chromatic scale and the finger pattern
that is used. Note that this part may
be divided into four patterns. These
are the chromatic pattern starting on G, the chromatic pattern starting on C,
the middle section of the piece (line 3) and the final bar. Explain and teach each of these elements and
then place them within the piece.
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An extension activity would include teaching the full chromatic
scale. Some students may be capable of
playing parts 1 and 2 hands together.
9. Race Day
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Teach all the LH in the first lesson.
Most students are able to sight read and follow the familiar
patterns. Develop fluency with the
scale in the final 2 bars. This scale
is divided between the hands; however, omit the last 3 notes of the RH part
(for the first few weeks) to ensure that the scale is played with an
uninterrupted flow. The goals for the
first lesson would be to play the A sections hands together (except the RH in
bar 20) and the B section LH only.
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When teaching the RH part in line 3, find all the chord shapes
first. When these are known and
comfortable to play, work on the rhythm.
It is the rhythmic element and the coordination between LH and RH that
presents the biggest challenge. Tapping
the rhythm hands together for this line is a good preparation activity for
hands together playing.
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When adding the final 3 notes to the end of the piece, ensure that the
LH maintains a legato touch when the RH plays staccato.
10. Far And Away
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Teach/sight read the LH first.
Play this with the CD backing as soon as possible to gain an
appreciation and feel for the triple meter and the rhythm of the RH part. Learn the RH in phrases placing particular
emphasis on the rhythm.
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The challenge in this piece is not the notation but the rhythm.
11. Finger Zips
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Developing finger independence and acquiring a suitable hand and finger
shape.
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Students should be encouraged to release any retained tension at the
end of each phrase.
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This and most of the other Finger
Zips should be played hands separately so that any obvious weaknesses can
be identified and rectified.
12. Sight Reading
13. Chord Sight Reading
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Chord sight reading is designed to assist
students to read, understand and play chord symbols at sight. These examples may be included at any stage
in the teaching sequence for this book.
As a guide, it would be good to do one example each fortnight. Explain the chord shapes to the students
before asking them to play at sight eg C = Chord I in C major, G7 = Chord V7 in
C major and F = Chord IV in C major.
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Explain where the root of each the chord is located eg for the C major
chord it is found at the bottom of the chord whereas for G7 (as it appears in La Cucaracha) and D7 the top note is the
root of the chord. To facilitate
appropriate voice leading, several chords will need to be played in
inversion. Keep the explanation as
simple as the previous sentence. The
student will have already been playing several chords in inversion, therefore,
all they need to do is become familiar with the different positions and where
the root of the chord will be located (root position = bottom, first inversion
= top, second inversion =middle).
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Apart from block chords, also experiment with other accompaniment
styles such as alberti bass and a close position vamp where the bass note is
sounded on the first beat, followed by the remaining notes of the chord on the
other beats.
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Although the student is not required to play
the melody as well as the chords (the teacher plays the melody), those students
who are able to do this should be encouraged to do so.
14. March Slave
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Teach the LH first. Working on
a simple part such as this helps to establish a feel for the overall rhythm and
pulse of the piece. After the student
has found the first LH chord, ask him/her to recognize the musical contour of
the LH part ie top notes change while the lower note is repeated.
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The rhythm in bar 9 will need reinforcing before playing the notes on
the piano/keyboard. Time names are the
most appropriate and efficient way to achieve this.
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Aim to play the RH with a pure legato touch. Encourage students to play the repeated notes as long as possible
by playing deeply into the keys. When
playing hands together, develop the skill of maintaining a RH legato touch
while the LH lifts off to change chords within a phrase.
15. A Minor Scale & Cadence
16. Lamb’s Day Out
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This piece reinforces the root position chords learnt at the beginning
of the book. It also aims to develop
the technique of combining a RH legato touch (predominantly) with the LH
playing staccato.
17. Click Go The Shears
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Before starting this piece, students should be able to play cadence
chords in C and G major and A minor.
Once this skill is acquired the accompaniment of Click Go The Shears is sight readable. Transpose into G major at the earliest opportunity.
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The melodic line is a guide only and the point of the piece is to
develop keyboard harmony and accompaniment skills.
18. Struttin’
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Introduce the LH first. Explain
the accidentals and the position of those notes on the keyboard (B flat and F
sharp).
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The most difficult part of the RH is the rhythm. This is easily accomplished with the following
words: “It’s a long way, just struttin’ down Broadway”.
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When learning the RH part, combining pitch and rhythm in one step may
prove to be too difficult. Whilst the
use of words will help facilitate a feel for the rhythmic groove, ‘outline
playing’ where the only the pitches are played without specific time values
will help establish the melodic contour.
19. Improvisation
20. Slow Blues
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Note that all the quavers are swung and not
straight.
21. La Cumparsita
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As an extension activity learn the RH melody
and transpose the accompaniment into the new key E minor.
22. Matador
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This piece features a LH descending broken chord sequence that links
with the concept of root position chords that have been a feature of this
book. Introduce this piece through the
LH root position chord patterns. Label
each chord (Am, G etc) and play block chords before introducing the broken
chord patterns that are featured in the score.
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The RH triplet figure will need to be explained and approached as an
independent element. As a suggestion,
play bars 6 & 7 and 14 & 15 (the triplet bar and the one that precedes
it) with the CD backing before learning the other RH bars. This will prevent the student from baulking
at and distorting the triplet rhythm.
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Before attempting hands together playing, draw lines on the score
between the treble and bass parts to confirm which notes are actually sounded
together. Reinforce lines 1 and 2
together first before launching into the final 2 lines.
23. Finger Zips
24. Sight Reading to be introduced whenever appropriate
24. Chord Sight Reading to be introduced whenever appropriate
© 2002 Accent Publishing PTY LTD.