2 ■ Foreword

Piano 101, Book 1, is a group course designedfor adults with little or no keyboard experiencewho want to study piano for fun. Its easy-to-useformat also is effective in private lessons.Specifically, it can be used for college pianoclasses of non-music majors, continuing educa-tion classes and music dealer in-store programs.

Piano 101 is easy to use. It contains 15 units.In college classes for non-music majors, each unitis designed to be covered in one week, thusfilling an entire semester of study. However,teachers who are using the book in collegeclasses or other situations should move at a paceappropriate for each individual class. The titlepage of each unit contains the objectives for theunit, a space to record assignments and a sectioncalled “Did You Know?” This section brieflydiscusses elements of music history or musictheory of general interest to piano students. Itcan serve as a spring board for further classdiscussion. Major headings (including all newconcepts) are identified by a check mark (✓).Measures are numbered in all examples topromote ease of use in the classroom.

The reading approach is eclectic, combiningthe best elements of intervallic and multi-keyreading. Reading exercises are designed topromote movement over the entire keyboardwhile maintaining the advantages of playing infamiliar positions. Reading examples are amixture of familiar music and newly composedpieces.

Suggestions for counting are given but theapproach used is left to the discretion of theteacher. Rhythms and note values are introducedsystematically and specially designed rhythmreading exercises promote rhythmic security.

The student begins to play music immediately.Repertoire has been carefully chosen to appeal toadults who are playing the piano for fun andincludes tasteful arrangements of familiar music.A section of supplementary repertoire begins onpage 138 for those students who need additionalmusic or for teachers who like a wider choice ofmusic for students. The supplementary repertoirewas chosen to represent a variety of levels andcan be used throughout the book.

Each unit contains a balance of new informa-tion with materials that reinforce concepts

presented in previous units. Written reviewworksheets appear periodically throughout thetext.

Theory, technique, sight-reading, repertoire,harmonization from lead sheets, ear training andensemble activities are taught thoroughly andconsistently throughout the text. The emphasison ear training and harmonizing melodies fromlead sheets will be helpful to those students whoare interested in playing by ear. Teacher’s exam-ples for all ear training examples are contained inAppendix A (page 153).

Technique is developed in a systematic waythroughout the entire book. Repertoire, leadsheet melodies, technical exercises and sight-reading examples are carefully fingered to aid thestudent in developing good technique.

This book is fully supported by Compact Discs(CD) and General MIDI (GM) disks. Each examplein the text that contains an accompaniment isidentified by an icon that shows the disk numberand TRACK number for the example: 1-1(43).The first number after the icon denotes theCD/GM disk number. The second number is theTRACK number on the CD and the Type 0 MIDIfile on the GM disk. The third number (in paren-theses) is the TRACK number of the Type 1 MIDIfile on the GM disk. (See MIDI disk documenta-tion for more information on MIDI file types.)Accompaniments range from simple drumpatterns to full orchestrations. These accompani-ments add musical interest and motivate studentsto complete assignments both in the classroomand in the practice room.

A Teacher’s Handbook for the text serves asan aid in curriculum development and dailylesson planning. The Handbook containssuggested daily lesson plans, suggested assign-ments following each lesson plan, teaching tipsfor each unit, suggested examinations for thesemester and answer keys for the written exer-cises and review worksheets. It also suggestsways to successfully integrate keyboard andcomputer technology into the curriculum.

Upon completion of this book, students willhave a strong grasp of keyboard skills, pianorepertoire and musical styles, and will be ready tobegin Piano 101, Book 2.

ForewordP I A N O 1 0 1 , B O O K 1

Thanks to David B. Smith for suggesting the title of the book.

Table of Contents ■ 3

UNIT 1: Playing on Black KeysDid You Know? The Power of Music . . . . . . . . . . . . . . . .4How to Sit at the Keyboard . . . . . . . . . . . . . . . . . . . . . . . .5Basic Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6The Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7Dynamic Signs; Two by Three . . . . . . . . . . . . . . . . . . . . .10

UNIT 2: Playing on White KeysDid You Know? History of the Piano . . . . . . . . . . . . . . .11Naming White Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . .12Octave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13New Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Summer Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15Rests; Simple Elegance . . . . . . . . . . . . . . . . . . . . . . . . . .16Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

UNIT 3: Exploring Positions on the KeyboardDid You Know? Music Theory . . . . . . . . . . . . . . . . . . . .19Playing in Right Hand Middle C Position . . . . . . . . . . . .20Playing in Left Hand Middle C Position; First Waltz . . . .21Playing in C Position . . . . . . . . . . . . . . . . . . . . . . . . . . . .22Playing in G Position . . . . . . . . . . . . . . . . . . . . . . . . . . .23Positions Using All White Keys Moving Up . . . . . . . . . . .24Positions Using All White Keys Moving Down . . . . . . . .25

UNIT 4: The StaffDid You Know? Musical Style Periods . . . . . . . . . . . . . .28The Staff; The Treble Clef Sign; The Bass Clef Sign . . . .29The Grand Staff; Middle C on the Grand Staff;

New Dynamic Signs . . . . . . . . . . . . . . . . . . . . . . . . . .30New Time Signature . . . . . . . . . . . . . . . . . . . . . . . . . . . .31F Below Middle C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32G Above Middle C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .333 Important Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34Right Hand C Position and Right Hand Middle C Position .35Left Hand Middle C Position . . . . . . . . . . . . . . . . . . . . . .36Slur & Legato Playing . . . . . . . . . . . . . . . . . . . . . . . . . . .37Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

UNIT 5: IntervalsDid You Know? The Baroque Period . . . . . . . . . . . . . . .39Left Hand C Position . . . . . . . . . . . . . . . . . . . . . . . . . . . .40Intervals; Tempo Marks . . . . . . . . . . . . . . . . . . . . . . . . . .412nds; Transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . .423rds; New Dynamic Sign . . . . . . . . . . . . . . . . . . . . . . . . .434ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445ths; Tied Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45Incomplete Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . .46When the Saints Go Marching In . . . . . . . . . . . . . . . . . . .47Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

UNIT 6: Other Keyboard BasicsDid You Know? Johann Sebastian Bach . . . . . . . . . . . .50The Sharp Sign; Money Can’t Buy Ev’rything! . . . . . . . . .51The Flat Sign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52The Natural Sign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53Bright Lights Boogie . . . . . . . . . . . . . . . . . . . . . . . . . . . .54Right Hand C Position an Octave Higher . . . . . . . . . . . .55Staccato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56New Time Signature; New Tempo Mark . . . . . . . . . . . . .57Duet: Lyric Piece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

UNIT 7: G PositionDid You Know? Church Music . . . . . . . . . . . . . . . . . . . .60G Position on the Staff; Accent Sign; Midnight Shadows . . .61Left Hand G Position an Octave Higher . . . . . . . . . . . . .62Intervals in G Position . . . . . . . . . . . . . . . . . . . . . . . . . .63New Dynamic Sign; Miniature Waltz . . . . . . . . . . . . . . . .64Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

UNIT 8: Major Five-Finger PatternsDid You Know? The Classical Period . . . . . . . . . . . . . . .67Half Steps; The Chromatic Scale . . . . . . . . . . . . . . . . . . .68Whole Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69Major Five-Finger Patterns . . . . . . . . . . . . . . . . . . . . . . .70Eighth Notes; Playing Major Five-Finger Patterns . . . . .71Major Triads (Chords); Playing Major Five-Finger

Patterns and Chords . . . . . . . . . . . . . . . . . . . . . . . . . .72Ensemble: Forty-Finger Ensemble . . . . . . . . . . . . . . . . . .74

Unit 9: Key of C MajorDid You Know? Wolfgang Amadeus Mozart . . . . . . . . .77The C Major Scale; Tetrachords and the Major Scale . . . .78

Playing the C Major Scale . . . . . . . . . . . . . . . . . . . . . . . .80C Major and G7 Chords in the Left Hand; Mary Ann . . . .81The F Major Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82Playing C, F and G7 Chords in the Right Hand . . . . . . . .83Binary Form (AB); Morning Classic . . . . . . . . . . . . . . . . .84

UNIT 10: Key of G MajorDid You Know? Movies and Music . . . . . . . . . . . . . . . .85The G Major Scale; Playing the G Major Scale . . . . . . . .86Dotted Quarter Notes . . . . . . . . . . . . . . . . . . . . . . . . . . .87Ternary Form (ABA); Dance . . . . . . . . . . . . . . . . . . . . . . .88G Major and D7 Chords in the Left Hand;

Du, du liegst mir im Herzen . . . . . . . . . . . . . . . . . . . . .89A New Position of the C Major Chord in the Left Hand;

Playing G, C and D7 Chords in the Right Hand . . . . . .90The Damper Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91Kum-Ba-Yah! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

UNIT 11: Minor Five-Finger PatternsDid You Know? The Romantic Period . . . . . . . . . . . . . .95Major and Minor Five-Finger Patterns;

Playing Major and Minor Five-Finger Patterns . . . . . . .96Minor Chords; Playing Minor Five-Finger Patterns

and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97Duet: Galop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98Master Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

UNIT 12: Triads and ArpeggiosDid You Know? Frédéric François Chopin . . . . . . . . . .101Five C’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102Playing Triads of the Key;

Playing Major Chords (Hand-over-Hand) . . . . . . . . . .103Parallel Moves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104Playing Hand-over-Hand Arpeggios . . . . . . . . . . . . . . .105A New Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106Lead Sheet: Wooden Heart . . . . . . . . . . . . . . . . . . . . . . .109

UNIT 13: 6ths, 7ths and 8ths (Octaves)Did You Know? The Piano Concerto . . . . . . . . . . . . . .1106ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111Waltzing in Sixths . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1127ths and 8ths (Octaves) . . . . . . . . . . . . . . . . . . . . . . . . .114Summer Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115Lead Sheet: Meet Me in St. Louis, Louis . . . . . . . . . . . . .117Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . .118

Unit 14: Key of F MajorDid You Know? The Contemporary Period . . . . . . . . .119Four F’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120The F Major Scale; Playing the F Major Scale . . . . . . . .121Playing F, Bb and C7 Chords in the Left Hand . . . . . . .122Playing F, Bb and C7 Chords in the Right Hand . . . . . .123A Classic Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125Lead Sheet: Dona Nobis Pacem . . . . . . . . . . . . . . . . . . .127Ensemble: Barcarolle . . . . . . . . . . . . . . . . . . . . . . . . . . .128

UNIT 15: 12-Bar BluesDid You Know? George Gershwin . . . . . . . . . . . . . . . .13012-Bar Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131A Little Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133New Time Signature; Toccatina . . . . . . . . . . . . . . . . . . .134Review Worksheet . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

SUPPLEMENTARY SOLO REPERTOIREGive My Regards to Broadway . . . . . . . . . . . . . . . . . . . .138You’re a Grand Old Flag . . . . . . . . . . . . . . . . . . . . . . . . .140Amazing Grace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142March No. 1; March No. 2 . . . . . . . . . . . . . . . . . . . . . . .143Vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144Canon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145Für Elise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146Jingle Bells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148Celebration Boogie . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150Jacob’s Ladder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152

APPENDIX A: Teacher’s Examples (Ear Training) . . . . . . .153

APPENDIX B: Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . .156

APPENDIX C: List of Compositions . . . . . . . . . . . . . . . . . .157

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159

Table of ContentsP I A N O 1 0 1 , B O O K 1

Playing on Black KeysU N I T O N E

4 Unit 1 ■ Playing on Black Keys

Upon completion of this unit the student will be able to:

1. Use correct posture and hand position at the keyboard.

2. Identify fingers by number.

3. Apply basic rhythmic concepts to performance at the keyboard.

4. Perform melodies on two- and three-black-key groups.

Week of __________

Write your assignments for the week in the space below.

Did You Know?

Assignments

Objectives

Congratulations on your decision to study piano. Most experts agreethat the piano is the most essential of all musical instruments. It is thebest audio-visual aid to learning music in general, and there can bemuch joy in the process as well. Music, like nothing else known toman, is a universal language of human emotion. It has the power toevoke many moods and emotions, and transcends barriers of culture,language, social status and education. Some of the earliest writingsrefer to music and its importance. Socrates said, “Let me control themusic of a nation, and I care not who makes its laws.” Plato wrotethat the type of music to which one listens has a tremendous effect onwhat type of person one becomes. Consider the power of music as youbegin your quest to learn through the medium of piano!

The Power of Music

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44

44

Moderate (� = 180)

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detached

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16 Unit 2 ■ Playing on White Keys

Rests are signs for silence.

Quarter rest ( � ) means rest for the value of a quarter note.

Half rest ( ) means rest for the value of a half note.

Whole rest ( ) means rest for the value of a whole note orany whole measure.

Ó

Ó

Rests

f

f

F

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7

12

Moderate

LH1 2 2

4

1

5

5

MIDDLE

starting key: LH

1

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B ΠCB

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D

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C

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Simple Elegance1-19 (61)

OPTIONAL: Play Simple Elegancewith the RH beginning with finger 5.

TEACHER ACCOMPANIMENT

Kenon D. Renfrow

SOLO REPERTOIRE

Playing on White Keys ■ Unit 2 17

Tap the following rhythm patterns using RH for notes with stemsgoing up and LH for notes with stems going down. Tap handsseparately first, and then hands together, always counting aloud.

1. Your teacher will play LOW or HIGH sounds.• Circle LOW if you hear LOW sounds.• Circle HIGH if you hear HIGH sounds.

2. Your teacher will play sounds that go UP or DOWN.• Circle the arrow pointing up if the sounds go UP.• Circle the arrow pointing down if the sounds go DOWN.

3. Your teacher will clap a rhythm pattern. Circle the pattern that you hear.

1.

2.

3.

4.

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∑ ∑

∑ ∑

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1-20 (62)

1-24 (66) 1-25 (67)

1-26 (68) 1-27 (69)

1-21 (63)

1-22 (64)

1-23 (65)

EAR TRAIN ING

RHYTHM READING

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LOWHIGH

1.

3a. 3b.

2.

Teacher: See page 153.