Playing the Piano, Do Re Mi: For Beginners: Volume 1

Hadlock, Christine Marie/ Payne, Jennifer

ISBN 10: 0981711529 / ISBN 13: 9780981711522

Edité par Building Blocks Press, 2016

A propos de cet article

1st edition. 170 pages. 11.00x8.50x0.39 inches. In Stock.

N° de réf. du vendeur zk0981711529

Détails bibliographiques

• Titre: Playing the Piano, Do Re Mi: For Beginners: Volume 1
• Éditeur: Building Blocks Press
• Date de parution: 2016
• Langue: anglais
• ISBN à 10 chiffres: 0981711529
• ISBN à 13 chiffres: 9780981711522
• Reliure: Paperback
• État de l'article: Brand New
• Poids: 0,51 kilogramme

A propos de ce titre

Synopsis

You've found the beginner's piano instruction Method that works.

Unlock your students’ inner pianist beginning with their very first lessons! The Playing the Piano, Do Re Mi method transforms piano study into an engaging, musical journey. Drawing on the celebrated Kodály philosophy, this method guides beginners—young and old—through the essential skills of beginning piano playing.

• Rhythm-reading mastery with "Ta, TiTi" syllables that make reading rhythms as intuitive as speaking.
• Do-Re-Mi (solfa) experience to anchor sight-reading, theory, transposition, and memorization.
• Timeless folk songs provide an early repertoire students can begin playing in a few weeks.
• Steps, skips, and target notes replace "Every Good Boy Deserves Fudge" so students can focus on what they know, then play, play, play!
• Wholistic music skills.
  • Vocal exploration and singing.
  • Creative composition exercises that help your students write—and proudly perform—their own music.

You also get these helpful tools:

• On-page practice record: students can record that they played their song three times each day
• Brief Glossary of musical terms
• Visual Reference of scales used in the book
• Flash card activities - cut out of the back pages of the book
• Lesson and assignment journal to record the pages covered and assignments for the upcoming week

In addition to the Kodály philosophy, author Christine Hadlock adds her own unique approaches, especially in her Level 1 supplemental resources The Piano Street, and The Music Mountain, to help students master fundamental concepts early on.

With these beautifully designed lessons and exercises, students build lifelong skills, and—most importantly—gain confidence every step of the way.

Whether you’re a private instructor seeking a turnkey curriculum or a parent ready to brush up your skills as you teach your child, this method sets a new standard in piano pedagogy.

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From the Foreword:

"A summary glance through Playing the Piano: Do Re Me will quickly show you that it is much more than a traditional piano method. The purpose of Playing the Piano: Do Re Me is to give music students the necessary skills to read music proficiently, to develop piano technique, to understand the essentials of music theory, to sing on pitch, and to begin to express themselves through writing their own music. Too many children make a hasty retreat from their early music education--usually with a sigh of relief from the frustrated parent. Music education can and should be much better than that."

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About the Author

Christine Hadlock is a composer, music teacher, and publisher. She has taught music in a variety of settings since age 14, when she began teaching piano lessons. Since then she has taught music to elementary-age school children and adult choirs, and written and arranged hundreds of solo, choral, and instrumental pieces. Christine received a BA in early-childhood education and a minor in music from Brigham Young University, where she also earned a Kodály music education certification.

Présentation de l'éditeur

Playing the Piano, Do Re Mi sets a new standard in exemplary piano lessons. Incorporating the renowned music education philosophies of Zoltán Kodály, this new method teaches music skills in ways people learn most naturally. Students (1) use rhythm syllables (ta, titi, etc.) to fluently read rhythms without hearing them first, (2) learn solfa (do, re, mi) as a foundation for sight reading, theory, transposing, memorizing and composing, (3) focus on steps, skips and target notes in learning to read notes on the staff, rather than learning “Every Good Boy Deserves Fudge”—a distracting extra step in reading music, (4) play folk songs, the most memorable tunes the world has to offer, within a few weeks of beginning the course, (5) explore their voice and sing, and (6) compose their own songs, because learning to write music is as important–and at least as much fun—as learning to read it. It’s a complete music education, a must for every music teacher and every aspiring pianist, young and old!