20Q & As for Piano Literature Book 1

About the Level

1. How does the leveling coordinate with standard periods of classical music?

The selections in Piano Literature Book 1 are divided into the Baroque, Classical, Romantic, and Contemporary periods. In general, within each period the pieces become longer and more challenging.

2. What keys are used in Piano Literature Book 1?

The key range in this collection is C major, G major, A minor, and D minor.

These keys are quite attainable for late elementary students and make it easier not only to explore balance, finger coordination, and articulation— but also harmonic analysis and transposition.

3. At what level of the Piano Adventures method could a student begin Piano Literature Book 1?

A student could start Piano Literature Book 1 at Level 3A or Level 3B depending on the student’s interest and ability.

4. Is there a Correlation Chart between the pieces in Piano Literature Book 1 and pieces in Level 3A and 3B?

Yes! The Piano Literature Book 1 Correlation Chart lists every composition in the book. It then links each composition with pieces in the 3A Lesson Book based on similar characteristics.

There is a wide path into classical literature, so the compositions are also correlated with pieces in the 3B Lesson Book.

Making musical connections between the Literature pieces and the Method pieces can be quite helpful in lesson planning. It gives teachers the opportunity for “musical chats” with the student— to compare form, keys, harmony, accompaniment patterns, and phrasing.

The Correlation Chart offers musical connections for classical adventures!

5. When in the Accelerated and Adult method books could a learner start Piano Literature Book 1?

The older beginner could also start Piano Literature Book 1 after completing Accelerated Book 2 and starting the 3A Lesson Book. Teachers and students could follow the Piano Literature Book 1 Correlation Chart described above.

An adult learner might consider starting Piano Literature Book 1 in the Adult Course Book 2, UNIT 4, when major and minor triads are introduced.

6. Should a student be doing any harmonic analysis?

At this later elementary level, harmonic analysis can focus on:

• cadence points at the end of sections (tonic or dominant).
• movement to the relative major or minor.

Surprise your students with this interesting harmonic activity!

• First review I, IV, and V7 blocked chords in the key of the piece.
• Then ask the student to play the RH melody harmonized with blocked primary chords for a section of the piece.

Students will be amazed at the simplicity of the harmony. They will also slowly begin to see single LH bass notes as part of a larger harmonic framework.

Here are a few suggestions to harmonize with blocked chords:

Piano Literature Book 1

Harmonize mm. 1-16 with I, IV, and V7 chords in C major.

7. Do you recommend transposing any of the pieces?

Transposing is highly recommended. Using the ear, thinking intervals, seeing rhythmic and melodic patterns, and relating tonic and dominant to transposing all build theory understanding.

A few suggestions:

Piano Literature Book 1

8. There is a Dictionary of Musical Terms at the end of the book. Should a student know all the terms?

The teacher may choose how much to use the Dictionary of Musical Terms in a formal way. Aim for the student to be familiar with each term.

Here are just a few ideas:

• Simply ask questions. “What does Vivace mean? Review as needed.
• Draw symbols. “Draw a quarter note with a tenuto ”
• Demonstrate concepts on the piano. “Play 4 C chords with a tenuto on the last chord.

Musical terms can be fun to review through telling, drawing, and demonstrating.

Piano Literature Book 1

About the Music Periods

9. Why is it important to divide the book into Baroque, Classical, Romantic, and Contemporary music?

Organizing the book into these sections has these advantages:

• Each piece is set into a specific period of music history. Teachers can coach students to see musical influences from one period to the next. They can also see new compositional techniques emerge as composers sought fresh ways of musical expression.
• Students that study several pieces from a certain period (Baroque, for example) start to understand the characteristics of Baroque music. This nourishes their intellect in listening, learning, and even loving Baroque music.

Students may start to develop their own tastes based on a personal connection to a specific composer, or a certain stylistic sound at the piano.

10. What are musical characteristics of the Baroque period?

The following may be helpful teaching points for the Baroque section.

1. Decorative notes such as trills or mordents.

Note: The teacher may coach the student to add these at the end of sections for “baroque seasoning.” Though these may not be written in the music, this was common practice at that time—a kind of pleasing “decoration.”

2. Dance-like articulations for Baroques dances: minuet, air, bourée.
3. Terraced dynamics for echo effects between repeated passages.
4. Counterpoint, where two or more musical lines weave together —literally “note against note.”
5. Popularity of binary and rounded binary musical forms.
6. Use of the harpsichord. (Try pieces on a digital piano using the harpsichord setting for historic fun!)

For Download:

• Piano Literature Book 1: Standard Periods of Music Chart.
  Enjoy having it on hand at lessons for an easy reference!

11. What are musical characteristics of the Classical Period?

The following may be helpful teaching points for the Classical section.

1. Well-balanced, elegant melodies.
2. Symmetrical “question and answer” phrases.
3. Use of sonata and sonatina (“little sonata”) forms.
4. “Homophonic” textures of melody plus accompaniment.
5. Simple harmony that stays within the key known as diatonic
6. Only occasional passages of counterpoint.
7. Use of contrasting

For Download:

• Piano Literature Book 1: Standard Periods of Music Chart.
  Enjoy having it on hand at lessons for an easy reference!

12. What are the musical characteristics of the Romantic Period?

The following may be helpful teaching points for the Romantic section.

1. Programmatic titles such as “The Hunt.”
2. Song-like melodies with more colorful harmonies.
3. More dramatic dynamics and use of accents.
4. Greater use of the damper pedal for expressivity.

Little use of counterpoint.

For Download:

• Piano Literature Book 1: Standard Periods of Music Chart.
  Enjoy having it on hand at lessons for an easy reference!

13. What are the musical characteristics of the Contemporary Period?

The following may be helpful teaching points for the Contemporary section.

1. Music that is less lyrical than in the Romantic period.
2. Use of cluster chords and dissonant sounds.
3. Use of “bitonality” (two key centers played at the same time).
4. Use of percussive effects; staccatos, sforzando, other accents
5. More accidentals and passages outside the primary key.

For Download:

• Piano Literature Book 1: Standard Periods of Music Chart.
  Enjoy having it on hand at lessons for an easy reference!

14. Are there any duets in the book?

There is a pleasant history of four-hand duets and classical piano literature. Young Amadeus Mozart and his sister Nannerl come to mind!

In that spirit, one four-hand duet has been included in each collection: Literature Books 1, 2, 3 and 4. (Many duets are in Preparatory Piano Literature.)

Duets also create a fuller “musical picture” for the classical style.

Piano Literature Book 1

About Technique

15. Are there technique exercises or a technical “regimen” you could recommend for Piano Literature Book 1?

To explore technique for Piano Literature Book 1 consider these:

1. Level 3A Technique & Artistry Book

The unique 3A “Technique Secrets” and exercises pair well with Piano Literature Book 1. The Piano Lit Book 1 Correlation Chart may guide the order of learning.

Here are some sample pages:

2. Level 3B Technique & Artistry Book

This book also has unique “Technique Secrets” and exercises to use with Piano Literature Book 1. The Correlation Chart may guide the order of learning.

Here are some sample pages:

3. Piano Adventures Scale and Chord Book 2

This book presents one-octave scales in all major and minor keys.

Each scale uses a Scale Routine.

• • The scale is played hands separately with a crescendo and
  • Without stopping, the scale is played in parallel and contrary motion.
  • Pedaled Primary Chords create a rich harmonic ending to the Routine.

Each Scale Routine leads to a Scale Challenge.

• • Each Challenge presents a new pianistic scale pattern as a workout.
  • This scale pattern is transposed to other keys.
  • The student’s technique grows in practicing and transposing scale patterns found throughout classical piano music.

One-octave major/minor arpeggios are also included in the book.

Here are some sample pages:

16. Should every piece be learned to a high-performance standard? Should the student learn every piece?

Ideal and perfect performances may not be realized at this early level of “dipping our toes” into the classics. However, artistic performances can certainly be achieved.

Most important is to introduce the refined classical sound to the student’s ear. To understand that classical music is based on easily learned theory concepts: major and minor scales, simple musical form, and symmetrical phrases. It can even be transposed around the keyboard!Students may not remember every classical piece studied, but they can remember the theory gleaned through adventurous teaching that builds on understanding.

About Online Support

17. What are the Adventure Learning Videos? Are they available for pieces in Piano Literature Book 1?

Adventure Learning Videos for the Literature Books are currently being created.

The Piano Literature Book 1 will feature close-ups of the hands with simple text that taps the student’s “musical mind” with theory analysis and technique tips.

Please check back!

The Adventure Learning Videos can be useful in different ways.

• The teacher has the student watch a Piano Literature Book 1 video at home for a piece presented at the lesson. Since it offers unique practice support, the video reminds the student of key musical points for a successful next lesson.
• The teacher may assign a new Piano Literature Book 1 piece not presented at the lesson. This fosters independent learning. Students “adventure” on their own and grow in confidence in their ability to learn.
• The teacher may invite the parent to view the video with the child at home. Thus the parent joins the learning process and may learn as well.
• The teacher shares an Adventure Learning Video at a Zoom lesson. The student reads the text aloud in order to participate as well as watch.
• The teacher shows the video at a group lesson to introduce the piece.

The Adventure Learning Videos will also be available for each Lesson Book of the Basic Piano Adventures method. Check back to explore videos for the Level 3A and Level 3B Lesson Book.

18. Could students begin a piano literature piece on their own using the Adventure Learning Video?

Yes! A student could tackle select pieces as an independent learner. The teacher might assign a piece to “learn all on your own.” As students process information on their own they become more confident learners.

You could also use Adventure Learning Videos for a holiday vacation project.

19. Are there audio performances with scrolling scores for Piano Literature Book 1?

A musical example is often worth a thousand words. We are pleased to include audio recordings of the selections by pianist Randall Faber. Access audio via the code on the inside front cover of your book.

In addition, Piano Adventures Teacher Atlas members can cue up the audio recordings directly from the onscreen pages. Just click the music note icon next to each title.

Videos that display the notated score in synchronization with the audio are also available. See the Repertoire Library inside Faber Technique & Artistry Online and assign videos for study via the Student Link feature.

20. Is it possible to teach these pieces via Zoom through screen sharing? What are some ideas?

Yes, it is completely possible to teach Piano Literature Book 1 in a Zoom lesson.

The best way to do this is through subscribing to the Teacher Atlas and using its screen sharing capability. All books in the Faber Library are available for viewing and screen sharing—including Piano Literature Book 1!

Here are some ideas for teaching Piano Literature Book 1 in a zoom lesson.

• Have the student become very familiar with the score before playing.
• Accomplish this through questions that require active responses from the student. Keep the discussion light, upbeat, and “congratulatory” for correct answers.

Apply this to the first piece “Canario”.

Piano Literature Book 1

These are sample ideas. Teachers can create original questions and responses.

1. This piece is in the world’s favorite key, after C major. What is it?
   “Correct, G major!”

2. What does the “C” at the beginning of the piece mean? Was there a mistake and we’re really in the key of C?
   “Yes! Common time.”

3. This is a Baroque piece. Baroque music often uses something called terraced dynamics—sudden contrasts between loud and soft.

Look through the music. What’s the first dynamic?
“Right, forte.”

In what measure does it change to piano?
“Yes, m. 5.”

4. Where does it change back to forte?
   “Good, m. 9.”

Then to piano?
“Exactly, m. 13.”

We see the terraced dynamics. That’s a good term to remember.”

5. Can you name the accompaniment pattern used in the first measure?
   “Yes, Alberti bass.”

6. Would you play mm.1-8 with just the LH for me? Imagine someone taking steady dance steps.
   “Very good.”

7. Did you notice that in every other measure the LH departs from the Alberti bass pattern? It’s almost like the LH joins in a little duet pattern with the RH.
8. Listen as I play the first two measures. (Do) We’ll be on the watch for those little duet patterns when it’s your turn to play.
9. Look at the last measure on the page, m. 9. Do both hands begin on the tonic or the dominant?
   “Yes, the dominant.”

The dominant is a “power note.” First the RH forte, then the LH forte.
The composer wanted a dramatic, dominant change!

10. I’m going to play m. 9 and then you imitate me. (Do)
    “Well done.”

11. And now we return to the beginning—a very good place to start. Measure 1 may be the most challenging. See what you think.

The trick is to keep the LH legato while the RH makes a lift on finger 3.

Listen to me play it slowly. Then your turn. Let’s do it several more times.
“Excellent!”

I would love to hear you play “Canario” hands together s-l-o-w-l-y—the whole thing! Ready?

“Bravo. Enjoy learning “Canario” really well this week.

This kind of energetic back and forth using screen sharing keeps the student focused on the score and follow-up playing. The teacher’s role is to pique the student’s “musical mind” through questions.

This method is not new, but very old, dating all the way back to Socrates and his student Plato. This system of learning was known as the “dialectic method.” A teacher asks questions to help the student define terms and make clear and correct observations. The student may also actively ask questions.

Perhaps in our modern time, dialectic and digital directions can go hand and hand for proactive piano teaching!