piano skills - preview

PIANO SKILLSPIANO SKILLSPIANO SKILLSPIANO SKILLS

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S T E P H E N G E A R R Y

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www.zebralinemusic.co.uk – Innovating your piano lessons

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ABOUT THE SERIES

Three years in the making, Piano Skills truly is an innovation in piano tuition, designed for use in lessons and

also for reference at home. Each book focuses on one of five key areas of piano study: Theory, Sight-reading,

Dexterity, Interpretation, and Practice - and this structures the method of learning into a flexible yet organised

format. Each book may be used in sequence (Book 1 through to 5) or in combination to specifically target weak

areas, and furthermore, 'simultaneous learning' is still an option for teachers but with the added benefit of

independent study available for the student.

Dedicated to the beginner, only white notes are used throughout the whole series, and a fully proven, user-

friendly interface of five-note sets (see centre pages) ensures a high rate of learning, crucial for building

confidence in the early stages.

The concept of five-note sets aims to encourage methodical use of finger notation by providing an easy system

with which to catalogue and emphasise the simplicity of five-note hand positions to the beginner, and this

system enables the student to learn exercises quicker as a result of musical material being presented as pre-

analysed.

Logical structure, direct writing style, clear layout, and polished melodic content all serve to make the first

steps in music as rewarding as possible. Enjoy!

ABOUT THE AUTHOR

Stephen Gearry is an accomplished pianist, teacher, and composer with over 15 years of

musical experience. After graduating at the University of Hull with 1st

-class honours in music

he has dedicated himself to the development of the Piano Skills resource.

In 2006, he was awarded the Andrew Brown Memorial Prize in Music for distinction in solo

piano performance and is also on the judging panel for the Nottinghamshire Young Pianist of

the Year.

Having received tuition from 1st

-class Moscow Conservatoire graduate, Irina Glushenkova, he has since

appeared in masterclasses with established artists such as Neil Immelman, Richard Meyrick, and Sarah Briggs.

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CONTENTS

HAND POSITIONS – FIVE-NOTE SETS

Left hand Right hand

Page 6 7

SECTION 1 – THEORY

8

SECTION 2 – SIGHT-READING

12

SECTION 3 - DEXTERITY

16

SECTION 4 - INTERPRETATION

19

SECTION 5 - PRACTICE 21

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HAND POSITIONS

Five-note Sets

Finger notation and hand positions explained

NOTE FROM THE AUTHOR:

“A simple system of circled letters indicate hand positions in the score. They were invented to enable students to learn exercises quicker and also to encourage score analysis.” – Stephen Gearry

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LEFT HAND

Set

In finger notation (or fingering) each finger is represented by a certain number, as shown on both hand diagrams. On a score, a number above or below a note indicates the best possible finger to use for that note.

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RIGHT HAND

Set

A five-note set is a hand position on the keyboard which comprises five adjacent white notes. A system of circled letters is used throughout this book series to indicate which hand position (or set) to assume when playing in any particular score. Numbers shown on the keyboard diagrams above represent the position of each finger within each set. Circled letters are not used for recurrently stepwise changes of five-note sets.

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SECTION 1

Theory

Sample pages taken from Book I – Theory


“The purpose of this book is to hopefully provide musical enjoyment in the first few lessons, by offering 10 duets. As a result of these, complete beginners can take part in practical study from the very beginning and quickly become acquainted with the rewards that piano playing can offer. To complement this, crucial theoretical study is available for use in lessons or for reference material at home.” – Stephen Gearry

FEATURES: 10 DUETS, 20 ACTIVITIES, 20 EXERCISES


The Keyboard

There are seven letters in the musical alphabet:

The names of the white keys follow a recurring alphabetical sequence from left to right

across the entire keyboard:

A B C D E F G A B C D E F G A B C D E F G

This sequence starts from bottom A

repeatedly all the way up to

have larger or smaller ranges, but the range from bottom A to top C is the standard limit of

a piano.

Middle Notes – On the Keyboard

Middle notes in the central part of the keyboard are identified here:

Page taken from Piano Skills –

© Zebraline Publishing 2010

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here are seven letters in the musical alphabet:

A B C D E F G


A B C D E F G A B C D E F G A B C D E F G

bottom A (the key usually furthest left on a piano) and continues

repeatedly all the way up to top C (the key usually furthest right). However, s


On the Keyboard

Middle notes in the central part of the keyboard are identified here:

– Theory (Stephen Gearry)



A B C D E F G A B C D E F G A B C D E F G etc.

(the key usually furthest left on a piano) and continues

. However, some pianos


Page taken from Piano Skills – Theory (Stephen Gearry)


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The Stave

Below is a blank stave which comprises five lines and six spaces: Each line and each space are the components of a stave upon which notes are placed.

Notes are represented by oval-shaped dots which either cross through a line or rest within a

space.

Notes on the lines:

Notes in the spaces:

Activity

Practice drawing notes:

On the lines In the spaces


Note Values

All fundamental note values are shown below along with their names as used in the UK and

USA:

The following grid shows how th

Practice drawing note values on the following rhythm stave:

Page taken from Piano Skills –


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are shown below along with their names as used in the UK and

UK USA

Semibreve

Whole note

Minim

Half note

Crotchet

Quarter note

Quaver

Eighth note

The following grid shows how the note values relate to each other in terms of length:

Activity

Practice drawing note values on the following rhythm stave:

– Theory (Stephen Gearry)


are shown below along with their names as used in the UK and

Whole note

Half note

Quarter note

Eighth note

e note values relate to each other in terms of length:

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SECTION 2

Sight-reading

Sample pages taken from Book II – Sight-reading


“This volume was one of the most important and a lot of creative thought went into how rhythm could be displayed in a more accessible format. This is how and why Beat Boxes were invented. They were specifically designed to help with understanding difficult rhythms by giving students something to compare with standard notation.” – Stephen Gearry

FEATURES: OVER 200 PROGRESSIVE EXERCISES


Beat Boxes

Beat Boxes are user-friendly visual aides to assist with the understanding of rhythmic

notation. Here is an example of a

Each row in the grid represents one bar of four beats, denoting the time signature, When using a Beat Box grid, all grey areas represent sound, whereas the white areas

represent silence.

Grey - Instructs a clap

Rhythm Staves

Rhythm staves have only one line upon which note values are placed to notate rhythm.

For all exercises in this section clap the rhythms of each Beat Box as instructed and

then clap the same rhythm on their respective r

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friendly visual aides to assist with the understanding of rhythmic

notation. Here is an example of a Beat Box grid:

Each row in the grid represents one bar of four beats, denoting the time signature,

When using a Beat Box grid, all grey areas represent sound, whereas the white areas

Instructs a clap

White - Instructs silence



then clap the same rhythm on their respective rhythm stave.

friendly visual aides to assist with the understanding of rhythmic

Each row in the grid represents one bar of four beats, denoting the time signature, .

When using a Beat Box grid, all grey areas represent sound, whereas the white areas

ucts silence




Crotchets

Crotchet

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Crotchet rest

Exercise 1

Exercise 2


Treble Clef

The skills developed in the two previous sections are now combined to test pitch and

rhythmic recognition at the same time. There are five me

set. Practice equally with each hand.

[In the actual book, there are five of these exercises for each five

two different octave registers –

fundamental note values from dotted notes to semiquavers.

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rhythmic recognition at the same time. There are five melodic exercises for each five

set. Practice equally with each hand.

Set A

here are five of these exercises for each five-note set in both the treble and bass clefs, in

– this totals 140 exercises. Incidentally, the Beat Box exercises explore all

fundamental note values from dotted notes to semiquavers.]


lodic exercises for each five-note

the treble and bass clefs, in

. Incidentally, the Beat Box exercises explore all

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SECTION 3

Dexterity

Sample pages taken from Book III - Dexterity


“I used to always sympathise with those who were so keen to develop their hand strength, and with nothing comprehensive available in the market this was the stimulus for this volume. There’s a different musical lesson on each page and as a result, the student is usually more concerned with the lesson behind the physical exercise.” – Stephen Gearry

FEATURES: 50 TECHNICAL EXERCISES


Accents

This short exercise specifically targets the naturally weaker fingers of both hands

Use the accents to enforce the cor

should be played as many times as necessary to secure both rhythmic stability and good

legato at a desirably fast speed.

Triad Scale

This exercise will improve orientation on the ke

your eyes on what each finger is doing. As y

quite rigid and rely on the ‘template’ you create from playing the very first chord. It might be

advisable to prepare the leap ending before playing through.

Page taken from Piano Skills – Dexterity


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This short exercise specifically targets the naturally weaker fingers of both hands

Use the accents to enforce the correct placement of fingers. During each practice the repeat


legato at a desirably fast speed.

improve orientation on the keyboard as it is not always possible to keep

your eyes on what each finger is doing. As you move to the next chord, keep y

rigid and rely on the ‘template’ you create from playing the very first chord. It might be

eap ending before playing through.

Dexterity (Stephen Gearry)


This short exercise specifically targets the naturally weaker fingers of both hands - 4 and 5.

rect placement of fingers. During each practice the repeat


yboard as it is not always possible to keep

ou move to the next chord, keep your fingers

rigid and rely on the ‘template’ you create from playing the very first chord. It might be

Page taken from Piano Skills – Dexterity (Stephen Gearry)


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Mixed Tremolos

Here is a study to perform all tremolos learnt so far, with the addition of tremolo fourths.

When dealing with the octave leap, learn to look ahead so that you are able to prejudge the location of where your hands are to go next.

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SECTION 4

Interpretation

Sample pages taken from Book IV – Interpretation


“This book is the most personal of the five yet it remains true to the needs of the student. It is an unusual repertoire book of 10 different classical styles that never deviates from the promises of ‘five-note ranges’ or ‘all white notes’. However, this volume is more adventurous in taking these five-note ranges deeper into the outer registers of the keyboard. ” – Stephen Gearry

FEATURES: 10 STUDY PIECES (INC. 2 DUETS)

Page taken from Piano Skills – Interpretation (Stephen Gearry)


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“Waterfall”

Impressionist

Time period: c.1860-1940

Excerpt taken from Piano Skills - Interpretation

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SECTION 5

Practice

Sample pages taken from Book V - Practice


“This book is a dedicated attempt to encourage the communication between teacher and student about all areas of practice. I have incorporated practical strategies into the most easily neglected discipline of piano study.” – Stephen Gearry

FEATURES: 5 PRACTICE PIECES + PRACTICE DIARY

Page taken from Piano Skills – Practice (Stephen Gearry)


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Environment

Your practice environment is a very important aspect to consider. The following factors

contribute to making the ideal environment:

� Warmth – playing with colds hands will result in a rigid technique and can be painful

� Quiet – find time when you can practice alone and undisturbed

� Instrument quality – the limit of your playing can only be matched by the limit of your piano

� Neighbours – for very loud pieces or late practice, consider a digital piano (with headphones)

� Seating – consider an adjustable stool if you are not sitting comfortably

Practice Regime

Practice regimes will differ depending on the level of dedication and schedule of each

individual. Recommended practice times are provided below but they are by no means

compulsory - some students may find longer or shorter periods of time to be more

productive. If you are easily distracted then you must pay attention to discipline yourself.

Always remember that consistent practice is the key.

Level Daily practice time Complete beginners 15-30 mins per day Intermediate beginners 30 mins-1 hour per day Advanced beginners 1 hour-2 hours per day

A well-varied, one hour routine might be:

10 minutes scales and arpeggios 10 minutes sight-reading 10 minutes five-note exercises 5 minutes experimentation 25 minutes pieces of music

Page taken from Piano Skills – Practice (Stephen Gearry)


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Self-assessment

Learn and play through the five practice pieces in this section and rate your overall

performance on a scale of 1 to 10 below (where 1 is poor and 10 is excellent):

Overall

1 2 3 4 5 6 7 8 9 10 Piece 1

Piece 2

Piece 3

Piece 4

Piece 5

Now assess your performances in the following key areas to give yourself a clear idea of

where you need to focus:

Accuracy

1 2 3 4 5 6 7 8 9 10

Piece 1 Piece 2 Piece 3 Piece 4 Piece 5

Technique

1 2 3 4 5 6 7 8 9 10


Interpretation

1 2 3 4 5 6 7 8 9 10



Practice Piece 3

Page taken from Piano Skills – Practice


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3 – “Vortex”

Practice (Stephen Gearry)


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piano skills - preview

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