Page 4 - Don't skip this. Use it to establish a TWO way dialogue.
5 - Also not to be glossed over. Goal is to establish a command of the keyboard, the lack of which is at the root of most technical problems. With the wrist at the correct height, the fingers naturally curve. The more a student FEELS what is correct, the better the technique.
6 - Nail comment meant to be serious. As teachers, we need to uphold standards for our studios. Ditto stuff like digital piano vs. keyboard, etc.
7 - Opportunity for arm weight and rainbow arcs. The Fabers, like Suzuki teachers, use the imagery of a rainbow for moves
8 - Exploration with 3rds. Also have them pick a bass note to hold down while playing 3rds. With Teen Units, aim for exploration at the same time you are introducing something. An exercise like this gives them something fun to mess with while practicing
10 - Rhythm Flag - Teacher play the bass line on 11 while they play. They could also do this with a 3rd for fun.He zips through the pre-reading in 1 lesson.
14 - Point out 3rds line to line, space to space on the staff part
15 - Braced 3rd is a takeoff of the Pecking Hen & Rooster. If you don't know how important "the brace" is to the method, go back and read his synergy article in the PA Teacher magazine
16 - Fingers varied so notes not equated with numbers.The secret of good music reading is a marriage of knowing note names + interval + pattern recognition (particularly via incorporating elements of KVA - the kinesthetic, visual and aural.) The KEY to making it work is the sequencing of it all.
Aside from moi: THIS is where people who skip the early levels in this method miss the boat!
24-25 - "wrist lift" at the end of each slur. Note how the preparatory exercise repeats with a move, forcing a natural lift so they can experience it before affecting it in the piece.
37 - French Minuet - Throws in a little challenge as a check to make sure they are where we want them to be; checks to see if they are reading by contour "step-ping down up skip"
50 - FACE For preparation he has his students write FACE several times the regular way, then stacked, then the diagonalThe artist's (judge's) perception is usually not where the student is at nor necessarily where he's capable of going. As teachers, we need to temper our lofty expectations and be willing to get the students there in increments. In other words, be happy with points B,C & D before Z.
If you want more let me know. Next is the T&A Accelerated.....
[ 08-26-2004: Message edited by: Lisa Kalmar ]