MU S I C ALL Keyboard Music by Richard Weber 39 Familiar Melodies Using Only 6 Different Notes Colla Voce Music, LLC - PO Box 20484, Indianapolis, IN 46220 - www.collavoce.com Copyingisillegal Reviewcopy only
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MUSICALL KEYBOARD INSTRUCTIONS
The ways of practicing and learning from these materials are infinite. Thousands of students of all ages and abilities have found success with the following suggestions.
PREPARATION OF THE KEYBOARD
Place one set of large, bold “CDEFGA” labels on the keys according to Part I of the following illustration and use it when playing melodies alone or when transposing. Use two sets of labels (both Part I and Part II) when playing with chords and melody simultaneously or when playing the same notes with both hands together one octave apart.
Notice the black keys on any keyboard are in alternate groups of two and three, and that the note “C” is the white key directly to the left of any group of two black keys.
him. For example, help him to focus on the bottom horizontal line of the “E” and show him where that same line is missing on the “F.” Show him the straight horizontal line of the “G” and where that line is missing on the “C.” Guide him to complete the match from the printed symbol on the page to the same printed symbol on the keyboard.
It is preferable that his eyes complete the match before his hand moves to perform the note on the keyboard - to think before he acts. Never have the student speak the names of the letters before playing them - the emphasis should be on the visual match. Make absolutely certain that the student can match all of the similarly-shaped letters before moving on the next step.
ESSENTIAL READING SKILLS FOR THE NONREADER
Discrimination between similar letters. Help the student see and know the difference between the two pairs of similarly-shaped letters, “E” and “F” and “C” and “G.” Do this by pointing to one of the letters on the page (or make separate cards with each letter approximately two inches high on the card), having the student look first at the letter on the page. Next show him both of the similarly-shaped letters on the keyboard, and point out the differences to
Reading with the hands. Now the student is ready to learn to “read” with both hands (both index fingers), one on the page and one on the keyboard. It does not matter whether the student points to the page with his left or his right hand. The essential part of his process is seeing one symbol on the page followed by performing one response on the keyboard. Some students will have to hold the key down after playing it to inhibit the tendency to play unwanted repeated responses. After each response, the teacher should have the student wait, so that he may control any impulse to move ahead too rapidly. Then the teacher should say, “Now look up at the page and move over one letter,” showing what is meant if the student doesn’t understand. This pattern should be repeated until the student has completed the entire melody.
Patterned rhythm during this stage of learning is premature and destructive rather than helpful. Even though these melodies are familiar, the basic act of matching the sight of letter with the pressing of a key is a major step in itself - to be concerned also with how long the key should
C A G F E D C A G F E D FOR L.H. CHORDS FOR MELODIES ONLY OR TRANSPOSITIONS PART II PART I { { ILLUSTRATION 1: THE LABELED KEYBOARD
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Jingle Bells
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