Posts Tagged ‘pre-school piano preschool piano’

Greetings!!  Welcome to this installment of Mr. Severino Presents.  I think you’ll have fun going through today’s music lesson.

Look at the picture.

What animal do you see?

The lion is known as “the King of Beasts”.  Kings and lions can be described with the word MAJESTIC.  Majestic describes things that are grand and noble or stately and dignified.







Now what animal do you see?

Of course, we have a picture of a turtle.  Turtles do not move very fast.  In fact, because they are so slow, people may express things as being as slow as a turtle.  If you are on a trip and caught in traffic you may say a turtle is moving faster than this traffic.  We characterize turtles as being slow.  Or, maybe we could say it like this …      S___L___O___W !  !  !



What is our next animal?

How would you describe a monkey?  Did you ever go to a zoo and observe the monkeys?  If you went to the zoo and saw the monkeys how did you react?  Did you ever see monkeys in cartoons?  Did the monkeys make you happy?  We can describe monkeys very well with the single word PLAYFUL!




Finally, what is being described in our fourth animal card?  The butterfly!   Butterflies are a favorite part of summer.  Their beautiful colors make them very fun to watch.  A very good word to describe the butterfly is to say they are FLIGHTY.  They fly from place to place, from flower to flower. They move to each destination with grace and motion.



We described each of our four animal creatures with a characteristic word.

Lions are MAJESTIC.

Turtles are SLOW.

Monkeys are PLAYFUL.

Butterflies are FLIGHTY.

Music also can be described with words because music also has character.

We are now going to listen to 4 examples of music that can also be said to be MAJESTIC, SLOW, PLAYFUL and FLIGHTY.  Your job is to tell me if we are listening to …

LION MUSIC (majestic)


MONKEY MUSIC (playful) or


There will be two short quizzes.

QUIZ ONE will have 4 questions.  QUIZ TWO will have 4 questions.

Before beginning, print out the Character in Music QUIZ SHEET  [Click HERE]  Play each musical example.  Decide what animal creature best fits with the musical example.  Put the example number in the upper right hand corner of each creature you decide upon.  If you wish, color each animal creature on the QUIZ SHEET.

To do the second quiz print out a second copy of the Character in Music QUIZ SHEET [Click HERE]












Would you like to know how you did?  Click HERE for the Character in Music ANSWER SHEET.

Listening for character in music asks us to use our imagination in ways that most of our school work does not.  Yet, this is the daily work of composers and musicians.  YOUR JOB, as a music student, is to use your imagination to best express the character that is found in every composition you perform.

Thanks for participating in Mr. Severino Presents.  ‘TILL NEXT TIMEKEEP PRACTICING!!

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Middle C Repertoire is a piano method for teaching beginning piano students.

It is also a great supplement for using with other methods as the book is simply an anthology of pieces in a progressive order.

The Middle C Repertoire Series of books grows out of my pre-school piano method — Keyboard Kids.  This pre-school method centers on the concept of teaching the student to read music as steps and skips and combines it with more traditional methods of note memorization.

In Middle C Repertoire I’ve purposely introduced musical vocabulary that immediately gives students the tools to learn to think musically about their piano studies.  After introducing several compositions using    2-4     3-4     and    4-4    time signatures we have a simple song called THEME.

With the introduction of the composition THEME a conversation can begin with your student about  themes and how composers use them to build their compositions.  As a note of interest it is at this point that I introduce my students to examples of art compositions for students to grasp on to the various musical concepts that are evoked in the titles of the compositions in the Middle C Repertoire Series.  The example I use for THEME is Peter’s Theme from Prokofiev’s Peter and the Wolf.  I thought it to be an excellent way to introduce students to the concept of theme.  Whenever Prokofiev has Peter featured in his musical story we hear Peter’s Theme.

Maybe with a recording of Peter’s Theme you could better grasp the effectiveness of using musical examples to make a teaching point.

Another departure that Middle C repertoiree Book 1 uses is that everything is in the English language.  Tempo’s are marked as Moderate Speed or Fast Speed, not Moderato or Allegro.  Loud is marked with an “L” and soft is marked with an “S”, not “f” or “p”D.C. al Fine is marked F.B. to End (from the beginning to the end).  In Middle C Repertoire Book 2 the traditional Italian language is used.  But, in this first volume students, who are often at the most elementary levels in their reading skills, are first introduced to these common markings in English.

Middle C Repertoire does not create lyrics for every composition.  Occasionally it does.  When the concept of song is introduced, then lyrics are essential.  This is another occasion when a music example is most appropriate.  Keeping with the humorous nature of I Forgot My Brain Today I introduce students to Aaron Copland’s arrangement of I Bought Me A Cat.

Since the concept of theme was introduced early in the book we can explore how these themes can be manipulated by composers.  The Theme and Variation can now be logically introduced, expanding the student’s concept of theme.  Not only does the simple piece study Theme and Variation form it also explores Time Signatures.  Each variation is based on in different key signature.  I point out to the student that the FIRST NOTE of EACH VARIATION plays the THEME TONE.  When students see this they all seem to have a “light bulb moment”.  They begin to see that music is not so mysterious and is something they can truly understand.

To finish the lesson on Theme and Variation I play Mozart’s Theme and Variations on Twinkle Twinkle Little Star.  I only play the very beginning of each variation.  I stop the recording at the end of each variation and ask the student if they can hear Mozart’s disguise of the THEME.  Most students do very well; but there are some variations that are difficult for students to follow.  I use this as a lesson that music is something that must be studied and if they put forth their best effort they will be able to understand the music of these great geniuses even better.

The composition MARCH! introduces students to eighth notes.  I have found that it’s best to introduce eighth notes as repeated notes until the rhythmic impulse is neurologically understood.  I also introduce the eighth note as a rhythmic group of THREE notes — the two eighth notes and the succeeding note.  The three note groups are marked in blue in the graphic.  Our ear naturally organizes these sounds into three notes so I think the best way to introduce the eighth note rhythm to students is in three note groups.  After the student has neurologically mastered the rhythm then the student can slowly be introduced into playing this rhythm with more complex step and skip patterns.

Middle C Repertoire also gives the student several opportunities to play the same composition in different keys.  Again, I feel this is very important because composers will often take their themes and reintroduce them in various keys.  It is important to get exposure in transposition early on because if it is delayed it becomes a bit of a struggle to learn the same music in a different key.

While students learn their compositions in Middle C Repertoire they are also learning all of the white key hand positions (five-finger scales) and chords.  They are thoroughly given exposure to various techniques they will encounter as composers manipulate their themes.

I have  been working on Middle C Repertoire for about 20 years and have been very pleased with the results.  I’ve dedicated a major part of my teaching career to the teaching of the very young student so this method is tailor-made for young students.  Most of my students playing Middle C Repertoire are in kindergarten or first grade.  The progression of materials best fit this age of student.  Through the summer of 2011 I will be making the Middle C Repertoire Method Books and accompanying Middle C Repertoire Theory Books  available for sale on at http://www.pianoteacherpress.com/

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This blog will be the third installment of Your Desktop Studio; the items I ALWAYS have within reach while teaching my lessons.

CALENDAR – The calendar is an item that I assume most teachers have at an eyes glance in their teaching environment.  Having a calendar, to me, gives my eyes an immediate perspective for arranging things as make-up lessons.  It is also a good reminder to show students that a recital is only days away and that their next lesson will be the LAST LESSON before the recital.  It’s also good for getting a quick look in finding good times for parents wanting to schedule summer lesson times.  Just looking at a calendar sometimes jogs a parents memory as to summer vacations and camps that help us determine that a Friday is really the best day for lessons because there will be fewer conflicts with other planned events.

HAND SANITIZER – This item is a must.  When students come to lessons with a cold I always give them a squirt of hand sanitizer after they sneeze or clean their nose.  I think this is a normal procedure in the public schools to as they seem to automatically give me their hands at these appropriate moments.  Parents seem to have a sense of comfort in knowing their is at least an attempt going on to limit the spread of germs.

CLEANER FOR GLASSES – Young children just do not take to keeping their glasses clean and free of smudges.  Frankly, I’m amazed that some of them can see at all!  When I notice a student’s glasses are smudged (or worse) I try to instill in them the need to proper care for their glasses.  I clean their glasses for them with a glass cleaner specially designed for glasses and a cloth specially designed to prevent scratches from forming on their lenses.  After putting their glasses back in their heads they always respond with a “WOW!! I CAN SEE!!”.  Hopefully, the example of proper care of glasses will give students the incentive to develop a good habit.

ASPIRIN – Anyone who works with teaching for long hours is apt to get a headache now and again so it’s important to keep your pain killer of choice handy.  I put the aspirin in an inconspicuous place.  I would rather students see my pencils and pens (and glasses cleaner) than a bottle of aspirin.  Power of association, you know.

HIGHLIGHTERS – When I was a student teachers marked everything with a red or blue colored pencil.  I had one piano teacher in particular that LOVED to mark my music.  At my first lesson he told me he required me to memorize all my pieces.  After a couple lessons I understood why; after marking my music to thoroughly I couldn’t see the notes.  This teacher helped me have no qualms to writing in my students books.  However, I find that highlighters often to the job much more effectively than colored pencils.

For example – if a student is just getting used to Key Signatures and has difficulty remembering F# for the Key of G using a highlighter to highlight all the F’s in the score is much more effective than writing a sharp symbol before each F.  Also, the fact that the highlighting is still “symbolic” it jogs the students memory that they are to remember something at all the highlighted places in their score.  The highlighting makes for an intermediate step to the student, where writing out the sharp basically delays the inevitable time when one depends upon the Key Signature alone.

For a thorough explanation on the use of highlighters read my blog article on HIGHLIGHT YOUR TEACHING.  This concludes all the information I have out in the open, but what about what’s kept in all those shelves?  Stay tuned, or better yet, subscribe to Blogging at Piano Teacher Press.

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Greetings!!  Today in Mr. Severino Presents I’d like to give you some ideas to help you become a more interesting pianist.   At first you may think odd the whole idea of becoming an interesting pianist.

I learn the notes and play them.  What more is there?  you may be thinking to yourself.  That’s a very good place to begin!!  Let’s begin with the question What more is there?

When I was in 4th grade we began learning about poetry.  I thought it was interesting how the poets would put together words in very clever ways.  I think my first favorite poet was Ogden Nash.  His poems made me laugh.  Like this one.

The Cow
by Ogden Nash

The cow is of the bovine ilk;
One end is moo, the other, milk.

What a clever way to describe a cow!  Each end of this creature tells us something very important about itself.  But, as a 4th grader I never came across the word – bovine.   The word bovine means relating to cattle.  The little word ilk was also a word I was not familiar.  Ilk means class or family.  So, the first line of the poem is a poetic was of saying that the cow is a member of the cattle family.

It is not at all uncommon for poets to use words that are a little unusual.  The magic of poetry is often in the clever way poets, like Ogden Nash, put words together.  Now let’s compare Ogden Nash to my version.

The Cow
by Dan Severino

The cow is of the cattle family;
It may moo, but it also gives milk.

There is nothing clever in my version, it doesn’t even rhyme. There is nothing that would make anyone remember it.  Not so with Ogden Nash’s version.

How does this relate to playing the piano?  Much of the music we enjoy is in the clever way the composer puts notes together.  Any time I hear a piece of music I like I want to get a copy of the music to see exactly how the notes were put together.  Also, when playing the piano, we want to make our pieces special so they will be remembered,  just like the Ogden Nash poem.

In music,  it is the composer and the clever way he puts notes together that create a kind of musical poetry.  Let’s now take a longer poem, examine it, and then notice the the tools of understanding and expressing a poem.  We will find the same tools are used in understanding and expressing a musical composition.

The poem I want to use was also one of my favorites while in grade school and it is still a favorite many years later. The Duel by Eugene Field.

The Duel
by Eugene Field

The gingham dog and the calico cat
Side by side on the table sat;
‘T was half-past twelve, and (what do you think!)
Nor one nor t’ other had slept a wink!
The old Dutch clock and the Chinese plate
Appeared to know as sure as fate
There was going to be a terrible spat.
(I wasn’t there; I simply state
What was told to me by the Chinese plate!

The gingham dog went “Bow-wow-wow!”
And the calico cat replied “Mee-ow!”
The air was littered, an hour or so,
With bits of gingham and calico,
While the old Dutch clock in the chimney-place
Up with its hands before its face,
For it always dreaded a family row!
(Now mind: I ‘m only telling you
What the old Dutch clock declares is true!

The Chinese plate looked very blue,
And wailed, “Oh, dear! what shall we do!”
But the gingham dog and the calico cat
Wallowed this way and tumbled that,
Employing every tooth and claw
In the awfullest way you ever saw—
And, oh! how the gingham and calico flew!
(Don’t fancy I exaggerate—
I got my news from the Chinese plate!

Next morning, where the two had sat
They found no trace of dog or cat;
And some folks think unto this day
That burglars stole that pair away!
But the truth about the cat and pup
Is this: they ate each other up!
Now what do you really think of that!
(The old Dutch clock it told me so,
And that is how I came to know.

This poem is first of all a story that captures our imagination.  The way the poet tells the story makes us want to listen to the very end.  The poet asks himself, “How can I make this story as interesting as possible?”  The pianist (you) must asks himself, “How can I turn these notes into a musical story”?  Too often we are given a new song and the first thing we do is start playing the notes.  It may be better to do some other things first.

1)  Look at the title.  Does the title give us any clues as to what this piece is all about?  Do you understand the title?  If a composition is titled – Berceuse – do you know what you will be playing?

This poem is called The Duel.  A duel is a fight between two people, usually with witnesses, to settle a point of argument.  Duels have been going on for almost 1,000 years.  Our combatants are the gingham dog and the calico cat and the witnesses are the old Dutch clock and the Chinese plate.  The two witnesses give their witness to the narrator who informs us of The Duel at the end of each verse.

2)  Look at the time signature.  The time signature tells us how our musical notes are organized.  This is VERY important.  Beat 1 is always emphasized and it is especially important to stress this beat in anything dance-like.

3)  Look at the key signature.  Are there sharps or flats that I must play throughout this piece?   Is the piece major or minor?

4)  Check out all the musical words in the composition.  If you don’t know them ALL — find out!!  Ask your teacher OR buy a music dictionary.  CLICK HERE for a link to several Dictionaries of Musical Terms.

5)  Look for notations that are not familiar to you.  Examine them to see if you can figure out how to play the passage.

Now the poem itself.  There are two pairs of people in our poem.  The main characters of The Duel are the gingham dog and the calico cat.  The next most important are the witnesses to The Duel; the old Dutch clock and the Chinese plate.  The narrator also has a very important part to play in this poem as he relays The Duel from the information given to him by the old Dutch clock and the Chinese plate.

What is gingham?    Gingham is a checked or striped cotton fabric.  Gingham was a cloth that was first found by European tradesmen that was found in Indonesia.

What is calico?  Calico is a coarse, brightly printed cloth.  Calico was imported from India.  Eventually these two cloths were made on the European continent.

So, the gingham dog and the calico cat were two stuffed cloth animals that were put together on a table, probably for decoration.  And in this same room was a special place for some rare knickknacks like the old Dutch clock and the Chinese plate.  Very often, when people have items in their home that are special or rare, they identify them with the country where they were made.  I think we can say the room than housed our four friends was a very special room indeed.

Let’s now listed to The Duel by clicking on the link below.

First, knowing what a duel is helps the person reciting the poem to understand why we have two combatants and two witnesses that give information to the narrator.  We might enjoy the poem without knowing this information but with the information everything in the poem makes more sense.

It is therefore very important that you know everything you can about the pieces you play.  If you are playing a Minuet, you should learn everything you can about a minuet.  The more information you have found the more interesting you can make your minuet.  The more information you have the more you will enjoy practicing the minuet trying to get it exactly right.  You will soon begin to see that your piano compositions all have interesting stories behind them.  You will also see that music is so much more than “the notes” staring at you on the page.

Did you notice how many times in The Duel that the last word of two consecutive lines would rhyme.  These two lines of poetry are often referred to as a couplet.  Music, too, often has set of notes that musically rhyme.  Here is an example from a popular composer for young students, Cornelius Gurlitt.

Notice the first two short phrases.  They rhythm is exactly the same in each phrase.  The melodic shape is exactly the same in each phrase.  In this sense there is a perfect “rhyme” between the two phrases.  The only difference is the second phrase begins one step higher than the first phrase, the second phrase begins on “D” and the first phrase begins on “C”.

This little example shows you how the two short musical phrases act like the several couplets in the poem, The Duel.

“Rhymes” exist in music just as frequently as in poetry.  Draw attention to the poetical elements you find in your musical compositions.

Did you know there was A LESSON that Eugene Field wanted us to think about in his poem, The Duel?    Eugene Field asks us at the end of his poem –  Now what do you really think of that!   What do you really think about two people that fight each other so intensely that they “eat each other up”.  This is a poetic way of saying they do harm to each other and hurt each other.  I think he wants us to think that this is not a good idea at all.  What do you think?

Composers often have LESSONS they have in mind in the compositions they write too.  Johann Sebastian Bach wrote a group of pieces that we know today as “The Two and Three Part Inventions”.  Bach tells us WHY he wrote these pieces.  He wrote an …

” …  Honest method, by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way not only

(1) to learn to play cleanly in two parts, but also, after further progress,

(2) to handle three obligate parts correctly and well; and along with this not only to obtain good Inventions (ideas) but to develop the same well; above all, however,

(3) to achieve a cantabile style in playing and at the same time

(4) acquire a strong foretaste of composition.”

Bach wrote these pieces with four major ideas in mind.  I would like to draw our attention to points 3 and 4.  It was very important to Bach that students learn to develop a cantabile style in playing.  It was very important to Bach that one learn HOW TO SING on their keyboard.  Much of Bach’s greatest music was for vocalists and that ability TO SING was at the center of his work as a musician and composer.

Also, as a composer, Bach wanted to draw attention to his students not only to perform well BUT TO COMPOSE too.  Bach wanted to give his students the tools to compose and this is one of the major reasons he wrote his Two and Three Part Inventions.

To be involved in music is to be involved in a great adventure of the imagination.  That imagination is often centered on the poetry of sound.  It is also centered on being as curious as a detective in searching every avenue that might lead you to some information to help you understand your musical compositions better.  The great thing about studying music is that every area of human thought crosses its broad roads; history, poetry, mathematics, science and composition and even athletics.

Thanks for participating in Mr. Severino Presents.  ‘TILL NEXT TIMEKEEP PRACTICING!!

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Last week we began a series on Your Desktop Studio.  This will be the second installment.

The next items I’d like to discuss are

PAPER CLIPS I have a system of using paper clips that are very useful for my organization of a student’s current work.  I have FOUR COLORS of PAPER CLIPS that represent different types of musical work.  These paper clips are found in the three green tubs and the glass bowl in the photograph above.

SILVER PAPER CLIPS —   Silver Clips are for our general work.  They easily identify the pages a student is working on for their weekly lessons.  Since a paper clip identifies both sides of a page, I always date the side of the page a student is assigned.  For my youngest students, I will always draw a stop sign on the final page of each book we cover in their lesson.  They will then know exactly where to end their piano practice at home.

The STOP SIGN, in my case written with a red gel pen, presents a strong visual image for students.  It is also looked upon as “fun” so they mostly always practice up to the page with the STOP SIGN.

What I often do after a student gets a piece to a “minimum standard level” (notes and rhythms are correct within, for the most part, a steady tempo) I ask the student if they would like to pass the piece or bring the piece to a higher level.  Both answers are perfectly acceptable.  If a student wants to pass, they know they can move on to a new composition; but if a student enjoys a composition, they know they can continue to play it for the purpose of bringing it to a higher level.  Within this upgrading of their performance level, students can also choose to memorize a piece or make the piece a “performance piece”.  More on performance pieces later in this article.

RED PAPER CLIPS —  Red Clips are put on all pages to be memorized.  Again, a quick glance will identify where memory compositions are located in a student’s books.  Once a student memorizes a composition, they receive a special sparkly smiley sticker.  Again, I don’t expect a rock solid flawless memory to get the smiley sticker.  Getting through the composition well, without major hesitations, will demonstrate the student has put forth an effort to deserve a reward for their effort.

BLUE PAPER CLIPS —  Blue Clips are used to identify a student’s performance pieces.  Performance pieces can be Recital Pieces, Audition Pieces (Guild Pieces),  pieces for school or CCD performances, and compositions learned for my Internet Page of Student Performances.  My Student Performance page can be found at http://www.pianoteacherpress.com/PLP-StudentPerformances1.html As a fun way to provide safety to the student’s identity I have each student select a “fictitious name”.  Their fictitious name is chosen from history or contemporary culture.  It’s a very interesting insight into a student’s personality in the fictitious name they choose.

I can also be persuaded to Blue Clip special compositions for major holidays when family members will be coming in town to visit.  To earn a performance sticker, a sparkly star, the student must bring the piece to the greatest level I think the student can achieve.

When a student brings a composition they choose for an Internet Performance, they also receive a little Performance Certificate as an added reward for their hard work.  The nice thing about the Internet Performances is that a quick eMail to a relative, containing the http://www. address, can bring a family together even if they live on another continent!  I have several students that keep in touch this way where the grandparents and aunts and uncles live in India.  Parents can also download the performances to make a CD to keep track of how their child improves through the months and years of their piano study.

WHITE PAPER CLIPS —  Finally, I use White Clips for those selections that are good compositions to keep on performing, even after they don’t need to be looked at regularly at the weekly piano lessons.  Often these will include finger exercises that are particularly useful to a student’s development.

This system makes for a quick organizational tool that both you and your students will find efficient for lessons and practice.

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I was recently browsing the net to see what other piano teachers were doing.  I always seem to find a great deal of creativity in the web sites of various piano teachers.  However, this time my eye noticed that many teachers simply refuse to take on a student that cannot read.  There’s also the issue of “sitting still” that gives many teachers pause concerning teaching the very young.  Maybe here’s an area when my creativity may prove helpful.

Since I first put out my shingle advertising myself as a piano teacher I’ve taken an avid interest in teaching the very young.  I’ve studied the young beginner very carefully.  I’ve also simplified musical concepts to the 4 – 6 year level. I have taught music to pre-schools exposing students to Beethoven, Mozart, Bach, and even Stravinsky.  The key is to bring the information to the student at their level of understanding and, at the same time, to their maturity in concentration.

I created Keyboard Kids, a pre-school piano course, to teach my young 4 – 6 years old students.  I also created Dan, Dan the Music Man, a series of music classes I have taught at various pre-schools.  In an effort to combine the best of both of these programs I’ve decided to create Keyboard Kids Complete.  Students will learn the basics of learning to play piano and how to read music AND they will also receive instruction on all the concepts I’ve taught in Dan, Dan the Music Man.

Here are some examples from the books of the activities in Keyboard Kids Complete.

The fundamental concept of reading music is very simple.  One note = One sound.   There is no need for staves, clefs, bar lines or any other music symbol.  The student is only given the symbol necessary to make a musical sound.  Other symbols are introduced one by one as we need.  Slowly but surely standard music notation is introduced to the student.  Students always comprehend every musical symbol on the music page.

Later …..

This is a page from about the middle of the students first book.  At this point the students understands line notes and space notes.  The student understands that when the music moves from a line to a space the music moves from one white key to the next adjacent white key.  The concept of the musical step, the basic principle of the scale, is firmly established.  The student also understands quarter notes, called walk notes and half notes, called hold notes.  The pacing of the Keyboard Kids Books is geared for the average 4 -5 year old and their shorter attention span.

Supplementing the students lessons in learning to read musical notation is a comprehensive and creative music readiness program.  The student music readiness program includes music appreciation, building rhythmic skills, building singing skills, building listening skills and much more.  A couple examples from my book — Dan Dan the Music Man’s Book for Increasing Musical Muscle.

All students need to develop basic rhythm skills.  This page of exercises teaches students to sense Basic March Rhythm.  The musical symbols are the same symbols covered in the Keyboard Kids Reading Books.  After students master the rhythm they learn to play the rhythm along with Rimsky-Korsakov’s famous  Procession of the Sardar using various rhythm instruments to add some extra interest in the learning process. Classical music is featured highly in Keyboard Kids Complete.

Keyboard Kids Complete also teaches students how to listen to music.  This is often done through a picture.  The picture teaches the music lesson.  The above picture contains a foreground (the old man) and a background (a window).  Music also often has a foreground (a melody) and a background (an accompaniment).  The student will be given a musical example, this time an art song of Franz Schubert called Hedge Roses.  This piece has a very distinct foreground melody sung by the voice.  It also has a very distinct background accompaniment played by the piano.  The picture gives a clear visual image of what the student hears in the musical example; and the student learns a little bit about classical music and art song in the process.

This little blog post only gives you a small smattering of what your child will learn in Keyboard Kids Complete.  For a free interview to answer all your questions please call me at (724) 935-2840.   Ask for Dan.

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