step-by-step: a guide to technique development scales, arpeggios, chords and...

Step-by-Step: A Guide to Technique Development

Scales, Arpeggios, Chords and CadencesSequenced Learning through Goal Setting

Step-by-Step: A Guide to Technique Development–Sequenced Learning through Goal Setting is one of the supplementary teaching materials offered with the book,

Fourth Finger on B-flat: Effective Strategies for Teaching Piano.

Joanne Haroutounian

2

IntroductionStep-by-Step: A Guide to Technique Development contains a detailed sequential development plan for the following five levels of technical skills:

1. Primary ◆ Major and minor pentascales in parallel and contrary motion ◆ Blocked and broken triads in parallel and contrary motion (root position)

2. Elementary ◆ Major one-octave scales ◆ Major cross-hand and one-octave arpeggios ◆ Major authentic and extended authentic cadences (root position)

3. Upper-Elementary ◆ Minor one-octave scales ◆ Minor cross-hand and one-octave arpeggios ◆ Minor authentic and extended authentic cadences (root position)

4. Intermediate ◆ Major and minor two-octave scales and arpeggios ◆ Major, Aug., minor, dim. chords in inversions ◆ Authentic and extended authentic cadences in inversions

5. Upper-Intermediate to Advanced ◆ Scales extended to multiple octaves with different options for variation (3rds, 6ths, 10ths,

octaves, doubled thirds) ◆ Arpeggios in inversions and other options (octave arpeggiated chords, Dominant and

diminished 7th arpeggios) ◆ Different types of cadences and modulating chord progressions

The guide provides sequenced learning of technique through goal setting that encourages student involvement as they assess their own technical development from week to week. Each level of development has a set of goal checklists for student use to monitor technical goals reached, step-by-step. These checklists lead to a final overall technical goal at the end of each level.

Throughout the booklet, all music examples are shown in only one key, usually C Major or A minor, to illustrate the scale, arpeggio, or cadence skills at each level. However, all exercises in each level should be practiced in all keys.

There are blank goal checklists for teachers to use for individual technical work of their choice, as well as an overall summary of technique development at the end of the guide.

Teachers who are seeking a scope and sequence to follow to teach technique will hopefully find ways to mesh the guide into their technique curriculum. Teachers who already have a well-established routine for technique in place may find a few fresh ideas to add to this routine to encourage student self-assessment.

3

Primary Level I Technique Goals

Pentascales and Triads

Understanding and playing musical step and skip patterns is an essential starting point of technique. Virtually all of the initial primer method books address the concept of steps (2nds) and skips (3rds). Teachers can reinforce these concepts through five-finger patterns, or pentascales, teamed up with broken and blocked triads. If you teach these pentascales by rote, students can easily secure this hand position and basic five-finger independence anywhere on the keyboard, beyond the notes they have learned to read in their method books.

The Primary Level 1 sequential development includes an exploration of major and minor pentascale patterns and major and minor triad warm-ups. The step-by-step goal checklists begin with major pentascales in parallel and contrary motion, working from white to black keys. This is followed by minor pentascales in the same learning sequence. Triad development includes playing blocked and broken triads in parallel and contrary motion with the same major to minor sequence used in the pentascales.

Primary Level 1 seeks an overall technical goal of being able to play major and minor pentascales and triad warm-ups in all keys.

4

Primary Level 1A: Major Pentascales

Major Pentascale Patterns: Parallel and contrary motion, in quarters and eighths

1C

2D

3E

4F

5G

W W H W

1F

2G

3A

5C

W W H W

4Bb

STARTING ON C STARTING ON F

Primary Level 1A: Major Pentascales

Major Pentascale Patterns: Whole-step, half-step sequence (Right-hand fingering only shown.)

1 2 3 4 5 4 3 2 1 1 2 3 4 5 4 3 2 1

5 4 3 2 1 2 3 4 51 2 3 4 5 4 3 2 1

1 2 3 4 5 4 3 2 1 1 2 3 4 5 4 3 2 1

5 4 3 2 1 2 3 4 51 2 3 4 5 4 3 2 1

5

GOALS TO REACH DONE! DATE1. I can play white-key major pentascales up and down in parallel motion, each hand alone.2. I can play white-key major pentascales up and down in parallel motion, hands together.3. I can play white-key major pentascales in parallel and contrary motion, hands together.4. I can play black-key major pentascales up and down in parallel motion, each hand alone.5. I can play black-key major pentascales up and down in parallel motion, hands together.6. I can play black-key major pentascales in parallel and contrary motion, hands together.1A FINAL: I can plan ALL major pentascales with starting notes working up the keyboard chromatically in parallel and contrary motion, hands together. (C , C#, D, Eb, etc.)

Primary Level 1A: Goal Checklist

Major Pentascales

Metronome: =

Check the box and add the date for each goal you reach.

Notes/Instructions:

6

1C

2D

4F

5G

W H W W

1F

2G

5C

W H W W

4Bb

C MINOR F MINOR

3Eb

3Ab

Primary Level 1B: Minor Pentascales

Minor Pentascale Patterns: Whole-step, half-step sequence (Right-hand fingering only shown.)

Minor Pentascale Patterns: Parallel and contrary motion, in quarters and eighths

5 4 3 2 1 2 3 4 51 2 3 4 5 4 3 2 1

1 2 3 4 5 4 3 2 1 1 2 3 4 5 4 3 2 1

5 4 3 2 1 2 3 4 51 2 3 4 5 4 3 2 1

1 2 3 4 5 4 3 2 1 1 2 3 4 5 4 3 2 1

7

GOALS TO REACH DONE! DATE1. I can play white-key minor pentascales up and down in parallel motion, each hand alone.2. I can play white-key minor pentascales up and down in parallel motion, hands together.3. I can play white-key minor pentascales in parallel and contrary motion, hands together.4. I can play black-key minor pentascales up and down in parallel motion, each hand alone.5. I can play black-key minor pentascales up and down in parallel motion, hands together.6. I can play black-key minor pentascales in parallel and contrary motion, hands together.1A FINAL: I can plan ALL minor pentascales with starting notes working up the keyboard chromatically in parallel and contrary motion, hands together. (C , C#, D, Eb, etc.)

Primary Level 1B: Goal Checklist

Minor Pentascales

Metronome: =


Notes/Instructions:

8

Primary Level 1C: Major Triads

5 31 1 3 5 3 1

5 31 1 3 5 3 1

13 5

5 3 1 3 513 5

31 351

Primary Level 1C: Goal Checklist

Major Triads

Metronome: =


GOALS TO REACH DONE! DATE1. I can play major white-key triad warm-ups in parallel motion, each hand alone.2. I can play major white-key triad warm-ups in parallel motion, hands together.3. I can play major white-key triad warm-ups in parallel and contrary motion, hands together.4. I can play major black-key triad warm-ups in parallel motion, each hand alone.5. I can play major black-key triad warm-ups in parallel motion, hands together.6. I can play major black-key triad warm-ups in parallel and contrary motion, hands together. 1C FINAL: I can play ALL major triad warm-ups, with starting notes working up the keyboard chromatically in parallel and contrary motion, hands together. (C, C#, D, Eb, etc.)

9

Notes/Instructions:

10

Primary Level 1D: Minor Triads

5 31 1 3 5 3 1

5 31 1 3 5 3 1

13 5

5 3 1 3 513 5

31 351

Primary Level 1D: Goal Checklist

Minor Triads

Metronome: =


GOALS TO REACH DONE! DATE1. I can play minor white-key triad warm-ups in parallel motion, each hand alone.2. I can play minor white-key triad warm-ups in parallel motion, hands together.3. I can play minor white-key triad warm-ups in parallel and contrary motion, hands together.4. I can play minor black-key triad warm-ups in parallel motion, each hand alone.5. I can play minor black-key triad warm-ups in parallel motion, hands together.6. I can play minor black-key triad warm-ups in parallel and contrary motion, hands together. 1C FINAL: I can play ALL minor triad warm-ups, with starting notes working up the keyboard chromatically in parallel and contrary motion, hands together. (C, C#, D, Eb, etc.)

11

Notes/Instructions:

12

Primary Level 1E: Overall Technical Goals

Play all major and minor pentascales and triad warm-ups in parallel and contrary motion, in the following sequence. (Shown here in the key of C):

13

CONGRATULATIONS!

You have completed the Primary Level of Step-by-Step: Technique Development.

DATE:

Primary Level 1E Goal Checklist

Primary Overall

Metronome: =


GOALS TO REACH DONE! DATE1. I can play major white-key pentascales and triad warm-ups in parallel and contrary motion, hands together.2. I can play major black-key pentascales and triad warm-ups in parallel and contrary motion, hands together.3. I can play minor white-key pentascales and triad warm-ups in parallel and contrary motion, hands together.4. I can play minor black-key pentascales and triad warm-ups in parallel and contrary motion, hands together.LEVEL 1E FINAL: I can play ALL major and minor pentascales and triad warm-ups with starting keys working up the keyboard chromatically in parallel and contrary motion, hands together. (C, C#, D, Eb, etc.)

14

Additional Primary Level Technique Goals

Teachers may include their choice of additional technical goals for the PRIMARY LEVEL below:

Description:

GOALS TO REACH DONE! DATE1.

2.

3.

4.

5. FINAL:

Description:


2.

3.

4.

5. FINAL:

15

Elementary Level 2 Technique Goals

One-Octave Major Scales, Arpeggios, and Cadences

The following sequence of technical skill development provides a step-by step sequence of major scales, arpeggios, and chords/cadences to establish a broad base of technical skills. The use of metronome with technical work is recommended to provide a solid measure of rhythmic stability and development of facility. Suggested metronome ranges for the average student are provided; however, you may fill in the metronome mark suitable for each student in the blanks provided.

Refer to the Guide Appendix (CD-ROM Track 14) for the Simplified Scale Fingering Chart for all major scale fingerings.

16

Elementary Level 2A: White-Key Major Scales—One Octave

Contrary Motion Scale

Parallel Motion Scale

5 4 3 2 1 23 1 2 3 54321

1 2 3 21 23 4 5 3 214 3 1

1 2 3 21 23 4 5 3 214 3 1

1 2 3 21 23 4 5 3 214 3 1

17

GOALS TO REACH DONE! DATE1. I can play major white-key C G D A one-octave scales

in parallel motion, each hand alone.2. I can play major white-key E B F one-octave scales

in parallel motion, each hand alone.3. I can play major white-key C G D A one-octave scales

in parallel motion, hands together.4. I can play major white-key E B F one-octave scales

in parallel motion, hands together.5. I can play ALL major white-key scales in parallel

motion, each hand alone and together.6. I can play major white-key C G D A one-octave scales

in contrary motion, hands together.7. I can play major white-key E B F one-octave scales

in contrary motion, hands together.2A FINAL: I can play ALL Major white-key one-octave

scales in parallel and contrary motion, hands together.

Elementary Level 2A: Goal Checklist

White-Key Major Scales—One Octave

Metronome = (Suggested goal for one-octave scales: 60–72 in eighths or above)


18

Elementary Level 2B: White-Key Major Arpeggios and Cadences

Refer to the CD-ROM Track 14 for Simplified Arpeggio Fingering Chart for all major arpeggio fingerings.

One-Octave Arpeggio

Cross-Hand Arpeggio

1 2 3 3 15 2

12 2 55 4(3)

4(3)

1 3 5 3 15

3 15 31 5

2

19

I-V7-I Cadence (Authentic)

I-V-I Cadence (Authentic)

I-IV-I-V (V7)-I Extended Authentic Cadence

20

GOALS TO REACH DONE! DATEARPEGGIOS: 1. I can play C, G, F Major (all white keys) cross-hand arpeggios.2. I can play D, E, A, B Major (black keys in middle) cross-hand

arpeggios.3. I can play major white-key C, G, F one-octave arpeggios each

hand alone and hands together.4. I can play major white key D, E, A, B one-octave arpeggios

each hand alone and hands together.

5. I can play ALL major white-key arpeggios, cross-hand and one-octave, hands together.

CADENCES: 6. I can play C, G, F Major I-V (V7)-I each hand alone

and hands together.7. I can play D, E, A, B Major I-V (V7)-I each hand alone

and hands together.8. I can play C, G, F Major I-IV-I-V (V7)-I each hand alone

and hands together.

9. I can play D, E, A, B Major I-IV-I-V (V7)-I each hand alone and hands together.

10. I can play ALL major white-key cadences I-V (V7)-I and I-IV-I-V (V7)-I hands together.

2B FINAL: I can play ALL major white-key arpeggios and cadences hands together.

Elementary Level 2B: Goal Checklist

White-Key Major Arpeggios and Cadences

Arpeggio Metronome: = (Suggested goal for cross-hand and one octave arpeggios: 3 notes per beat at quarter = 60–72)

Cadence Metronome: = (Suggested goal for cadences: quarter = 60–72)


21

Elementary Level 2C: Black-Key Major Scales—One Octave

Refer to the CD-ROM Track 14 Simplified Scale Fingering Chart for all major scale fingerings.

GOALS TO REACH DONE! DATE1. I can play F#, C# Major one-octave scales

in parallel motion, each hand alone.2. I can play Eb, Ab, Bb Major one-octave

scales in parallel motion, each hand alone.3. I can play F#, C# Major one-octave scales

in parallel motion, hands together.4. I can play Eb, Ab, Bb Major one-octave

scales in parallel motion, hands together.

5. I can play ALL major white-key arpeggios, cross-hand and one-octave, hands together.

6. I can play ALL major black-key one-octave scales in parallel motion, hands together.

7. I can play F#, C# Major one-octave scales in contrary motion, hands together.

8. I can play Eb, Ab, Bb Major one-octave scales in contrary motion, hands together.

2C FINAL: I can play ALL major black-key one-octave scales in parallel and contrary motion, hands together.

Elementary Level 2C: Goal Checklist

Black-Key Major Scales—One Octave

Metronome: = (Suggested goal for one-octave scales: 60–72 in eighths or above.)


22

Elementary Level 2D: Black-Key Major Arpeggios and Cadences

Refer to the CD-ROM Track 14 Simplified Arpeggio Fingering Chart for all major arpeggio fingerings.

GOALS TO REACH DONE! DATEARPEGGIOS: 1. I can play C#, Eb, Ab Major cross-hand arpeggios.

2. I can play Bb, F# Major cross-hand arpeggios.

3. I can play C#, Eb, Ab Major one-octave arpeggios, each hand alone and hands together.

4. I can play Bb, F# Major one-octave arpeggios, each hand & together.

5. I can play ALL major black-key arpeggios—cross-hand and one-octave, hands together.

CADENCES: 6. I can play C#, Eb, Ab Major I-V (V7)-I each hand alone and hands together.

7. I can play Bb, F# Major I-V (V7)-I each hand alone and hands together.

8. I can play C#, Eb, Ab Major I-IV-I-V (V7)-I each hand alone and hands together.

9. I can play Bb, F# Major I-IV I-V (V7)-I each hand alone and hands together.

10. I can play ALL major black-key cadences I-V (V7)-I and I-IV-I-V (V7)-I hands together.

2D FINAL: I can play ALL major black-key arpeggios and cadences hands together.

Elementary Level 2D: Goal Checklist

Black-Key Major Arpeggios and Cadences

Arpeggio Metronome: = (Suggested goal for cross-hand and one-octave arpeggios in eighths: quarter = 60–72)



23

GOALS TO REACH DONE! DATE1. I can play ALL major white-key scales one octave

in parallel and contrary motion, hands together.2. I can play ALL major white-key cross-over

and one-octave arpeggios. 3. I can play ALL major white-key cadences

I-V (V7)-I and I-IV-I-V (V7)-I hands together. 4. I can play ALL major black-key one-octave scales

in parallel and contrary hands together.

5. I can play ALL major black-key cross-over and one-octave arpeggios.

6. I can play ALL major black-key cadences I-V (V7)-I and I-IV-I-V (V7)-I hands together.

2 E FINAL: I can play ALL major one-octave scales (parallel and contrary), arpeggios and cadences, hands together.

Elementary Level 2E Overall Goal Checklist

All Major Scales—One Octave Arpeggios, and Cadences

Scale Metronome: =

Arpeggio Metronome: =

Cadence Metronome: =


CONGRATULATIONS!

You have completed the Elementary Level 2 of Step by Step: A Guide to Technique Development.

DATE:

24

Additional Elementary Technique Goals

Teachers may include their choice of additional technical goals for the ELEMENTARY LEVEL below:

Description:


2.

3.

4.

5. FINAL:

Description:


2.

3.

4.

5. FINAL:

25

Upper-Elementary Level 3 Technique Goals

One-Octave Minor Scales, Arpeggios, and Cadences

Many teachers choose to begin minor scale and arpeggio instruction mid-point in the major sequence above, once all major scales are learned hands together. It is helpful to relate minor scales to their relative major scale (CM – Am, GM – Em) to link the shared key signatures of these scales.

Level 3 charts include the natural and harmonic forms of minor scales. Teaching the natural minor from the outset instills the M-m relative concept and understanding of joint key signatures of these scales. Students understand how to create a harmonic minor scale from this natural scale by raising the 7th note in the scale. The harmonic minor is directly linked to the repertoire they are learning and students can seek out raised 7th accidentals they play in scales everyday in their analysis of pieces. My recommendation is to add the melodic minor form when technical ease and understanding is set in natural and harmonic forms and students reach the developmental level of two-octave scales.

26

Upper-Elementary Level 3A: White-Key Minor Scales—One Octave

Refer to the CD-ROM Track 14 Simplified Scale Fingering Chart for all minor scale fingerings.(All examples are shown in the key of A minor.)

Natural Minor Scale in Contrary Motion

1 3 31 5 1 1

3 1 11 5 3

1 3 31 5 1 1

1 3 35 1 1 5

Natural Minor Scale in Parallel Motion

Harmonic Minor Scale in Contrary Motion

1 3 31 5 1 1

3 1 11 5 3 1

Harmonic Minor Scale in Parallel Motion

1 3 31 5 1 1

1 3 35 1 1 5

27

28

GOALS TO REACH DONE! DATE1. I can play A, E, B, F natural and

harmonic minor one-octave scales in parallel motion, each hand alone.

2. I can play C, G, D natural and harmonic minor one-octave scales in parallel motion, each hand alone.

3. I can play A, E, B, F natural and harmonic minor one-octave scales in parallel motion, hands together.

4. I can play C, G, D natural and harmonic minor one-octave scales in parallel motion, hands together.

5. I can play ALL white key natural and harmonic minor one-octave scales in parallel motion, hands together.

6. I can play A, E, B, F natural and harmonic minor one-octave scales in contrary motion, hands together.

7. I can play C, G, D natural and harmonic minor one-octave scales in contrary motion, hands together.

3A FINAL: I can play ALL white-key natural and harmonic minor one-octave scales in parallel and contrary motion, hands together.

Upper-Elementary Level 3A: Goal Checklist

White-Key Minor Scales – One Octave

Metronome: = (Suggested goal for one-octave scales: 60–72 in eighths or above.)


29

Upper-Elementary Level 3B: White-Key Minor Arpeggios and Cadences

Refer to Simplified Arpeggio Fingering Chart in the Guide Appendix for correct fingering.

Cross-hand Arpeggio

One-Octave Arpeggio

30

i-V-i Cadence (Authentic)

i-V7-i Cadence (Authentic)

i-iv-i-V (V7)-i (Extended Authentic)

31

GOALS TO REACH DONE! DATEARPEGGIOS: 1. I can play A, E, B, F minor cross-hand arpeggios.

2. I can play C, G, D minor cross-hand arpeggios.

3. I can play A, E, B, F one-octave arpeggios, each hand alone and hands together.

4. I can play C, G, D minor one-octave arpeggios, each hand alone and hands together.

5. I can play ALL white-key minor arpeggios, cross-hand and one-octave, hands together.

CADENCES: 6. I can play A E B F minor i-V (V7)-i each hand

alone and hands together.7. I can play C, G, D minor i-V (V7)-i each hand

alone and hands together.8. I can play A, E, B, F minor i-iv-i-V (V7)-i each

hand alone and hands together.9. I can play C, G, D minor i-iv-i-V (V7)-i each hand

alone and hands together.10. I can play ALL white key minor cadences

i-V (V7)-i and i-iv-i-V (V7)-i hands together.3B FINAL: I can play ALL white-key minor arpeggios and cadences, hands together.

Upper-Elementary Level 3B: Goal Checklist

White-Key Minor Arpeggios and Cadences

Refer to the CD-ROM Track 14 Simplified Arpeggio Fingering Chart for all minor arpeggio fingerings.

Arpeggio Metronome: = (Suggested goal for cross over in triplets and one octave in eighths: quarter = 60–72)



32

GOALS TO REACH DONE! DATE1. I can play F#, C# natural and

harmonic minor one-octave scales in parallel motion, each hand alone.

2. I can play Eb, Ab, Bb natural and harmonic minor one-octave scales in parallel motion, each hand alone.

3. I can play F#, C# natural and harmonic minor one-octave key in parallel motion, hands together.

4. I can play Eb, Ab, Bb natural and harmonic minor one-octave scales in parallel motion, hands together.

5. I can play ALL minor black-key one-octave scales in parallel motion, hands together.

6. I can play F#, C# natural and harmonic minor one-octave scales in contrary motion hands together.

7. I can play Eb, Ab, Bb natural and harmonic minor one-octave scales in contrary motion, hands together.

3C FINAL: I can play ALL black-key natural and harmonic minor one-octave scales in parallel and contrary motion, hands together.

Upper-Elementary Level 3C: Goal Checklist

Black-Key Minor Scales—One Octave

Refer to the CD-ROM Track 14 Simplified Scale Fingering Chart for all minor scale fingerings.

Metronome: = (Suggested goal for one-octave scales: quarter = 60–72 in eighths or above)


33

GOALS TO REACH DONE! DATEARPEGGIOS: 1. I can play C#, Eb, Ab minor cross-hand arpeggios.

2. I can play Bb, F# minor cross-hand arpeggios.

3. I can play C#, Eb, Ab minor one-octave arpeggios, each hand alone and hands together.

4. I can play Bb, F# minor one-octave arpeggios, each hand alone and hands together.

5. I can play ALL black-key minor arpeggios— cross-hand and one- octave—hands together.

CADENCES: 6. I can play C#, Eb, Ab minor i-V (V7)-i cadence

each hand alone and hands together.7. I can play Bb, F# minor i-V (V7)-i cadence,

each hand alone and hands together.8. I can play C#. Eb, Ab minor i-iv-i-V (V7)-i

cadence, each hand alone and hands together.9. I can play Bb, F# minor i-iv-i-V (V7)-i cadence,

each hand alone and hands together.10. I can play ALL black-key minor cadences,

i-V (V7)-i and i-ivi-V (V7)-i, hands together.3D FINAL: I can play ALL black-key minor arpeggios and cadences, hands together.

Upper-Elementary Level 3D: Goal Checklist

Black-Key Minor Arpeggios and Cadences


Arpeggio Metronome: = (Suggested goal for cross over in triplets and one octave in eighths: quarter = 60–72)



34

CONGRATULATIONS!

You have completed Upper Elementary Level 3 of Step-by Step: A Guide to Technique Development.

DATE:

GOALS TO REACH DONE! DATE1. I can play all white-key natural and harmonic minor

one-octave scales in parallel and contrary motion, hands together.

2. I can play all white-key minor arpeggios and cadences, hands together.

3. I can play all black-key natural and harmonic minor one-octave scales in parallel and contrary motion, hands together.

4. I can play all black-key minor arpeggios and cadences, hands together.

3E FINAL: I can play ALL natural and harmonic minor scales (parallel and contrary), minor arpeggios and cadences.

Upper-Elementary Level 3E Overall Goal Checklist

All Minor Scales —One Octave Arpeggios and Cadences

Scale Metronome: =

Arpeggio Metronome: =

Cadence Metronome: =


35

Additional Upper-Elementary Technique Goals

Teachers may include their choice of additional technical goals for the UPPER-ELEMENTARY LEVEL below:

Description:


2.

3.

4.

5. FINAL:

Description:


2.

3.

4.

5. FINAL:

36

Intermediate Level 4 Technique Goals

Major and Minor Scales—Two Octaves

Related Arpeggios, Chords and Cadences

There is a significant shift in technical development the minute we extend scales and arpeggios into multiple octaves. The once-conquered thumb turns and 3rd or 4th finger placements are now compounded into multiple choices between the hands, requiring lots or repetition to set this finger coordination in place. Descending scales pose the most problems, so drilling descending scales multiple times may be helpful.

Practice StrategiesMajor Scales – Two Octaves

Altered Rhythm StrategyThe altered rhythm below helps establish correct fingers at each octave pause.

Pause at octaves to set thumb and 4th finger placements.

37

Contrary

Parallel

3 4 11

5 311 3 1 1 4 1 3 1

3 4 15 1 311 31 14 13 5

3 4 11

5 311 3 1 1 4 1 3 1

1 4 115 313 3 1 1 14 13

Straight Eighth-Note RhythmOnce thumb placements are secure, students then practice scales in straight eighth-notes.

Contrary

3 4 11

5 311 3 1 1 4 1 3 1

1 4 11

5 313

3 1 1 14 13

Parallel

33 4 15 1 311 31 14 1 5

3 4 11

5 311 3 1 1 4 1 3 1

38

39

GOALS TO REACH DONE! DATE1. I can play major white key scales two octaves

in altered rhythm hands alone and together – parallel motion.

2. I can play major white key scales two octaves in straight rhythm hands alone and together – parallel motion.

3. I can play major white key scales two octaves in altered rhythm hands together – contrary motion.

4. I can play major white key scales two octaves in straight rhythm hands together – contrary motion.

5. I can play major black key scales two octaves in altered rhythm hands alone and together – parallel motion.

6. I can play major black key scales two octaves in straight rhythm hands alone and together – parallel motion.

7. I can play major black key scales two octaves in altered rhythm hands together – contrary motion.

8. I can play major black key scales two octaves straight rhythm hands together – contrary motion.

4C FINAL: I can play ALL major scales in parallel and contrary motion, altered and straight rhythms

Intermediate Level 4A: Goal Checklist

Major Scales—Two Octaves

Refer to the CD-ROM Track 14 Simplified Scale Fingering Chart for all major scale fingerings.

Metronome: = (Suggested goal for two octave scales: quarter = 66–92 in eighths or above)


40

Intermediate Level 4B: Major Arpeggios—Two OctavesChords and Cadences

Refer to the CD-ROM Track 14 Simplified Arpeggio Fingering Chart for all major arpeggio fingerings.

When adding the blocked M, m, Aug. and dim. triads in inversions, I suggest you try the progression M, aug., m, dim. to emphasize raising fifths from the M to augmented and lowering fifths from the minor to diminished. The progression

is also easier to play and can be done with dynamic shading, as shown in the example below. The use of lapped pedal with each chord change gives the chord sequence musical interest, and brings pedal practice into technical routine.

1 25 32 3 1 1 1232 3

5 41 24 2 1 1 5424 2

Major Arpeggio, Two Octaves

Chords in Inversions: Major —Augmented —Minor—Diminished

Cadences in Inversions

Extending cadences to different inversions poses problems because of the manipulation of inversions of triads in these progressions. A simple formula to try:

I - IV Keep the common tone and other notes move up.Root: CEG CFA 1st inv: EGC FAC 2nd inv.: GCE-ACF

I - V Keep the common tone and others notes move down.Root: CEG BDG lst inv: EGC DGB 2nd inv.: GCE -GBD

Putting this together for the Extended cadence – I –IV–I–V–I in all inversions:

41

C Major: I - IV - I - V - I I - IV - I - V - I I - IV - I - V - I64

6 64

6 6 6 64

64

6 64

42

GOALS TO REACH DONE! DATEARPEGGIOS: 1. I can play major white-key arpeggios two octaves

in parallel motion, each hand alone.2. I can play major white-key arpeggios two octaves

in parallel motion, hands together.3. I can play major black-key arpeggios two octaves

in parallel motion, each hand alone. 4. I can play major black-key arpeggios two octaves

in parallel motion, hands together.CHORDS: 5. I can play M. Aug. m. dim. chords in inversions,

white-key tonic notes.6. I can play M. Aug. m. dim. chords in inversions,

black-key tonic notes.CADENCES: 7. I can play major white-key extended authentic

cadences in inversions.8. I can play major black-key extended authentic

cadences in inversions.4B FINAL: I can play ALL major arpeggios, two octaves in parallel motion, chords in inversions, and cadences in inversions.

Intermediate 4B: Goal Checklist

Major Arpeggios—Two OctavesChords and Cadences in Inversions


Arpeggio Metronome: = (Suggested goal for arpeggios in triplets: quarter = 60–72)



43

Intermediate Level 4C: Minor Scales—Two Octaves

NOTE: The altered rhythm strategy for scale practice (shown on p. 36) is not shown below. Use that practice strategy first to set thumb and 4th finger placements in new scales.

Then practice the scale again, using straight eighth-note rhythm.

Harmonic

LH 5311 3 1 1 134 4 1 13 5

RH 1 1 33 1 1 54 1 3 1 4 1 3 1

Melodic

LH 5311 3 1 1 134 4 1 13 5

RH 1 1 33 1 1 54 1 3 1 4 1 3 1

Natural, Harmonic, Melodic Forms of Minor Scales

Natural

RH 1 1 33 1 1 54 1 3 1 4 1 3 1

LH 5311 3 1 1 134 4 1 13

5

GOALS TO REACH DONE! DATE1. I can play all forms of minor white-key scales two octaves

in altered rhythm hands alone and together in parallel motion.2. I can play all forms of minor white-key scales two octaves

in straight rhythm hands alone and together in parallel motion.3. I can play natural and harmonic minor white-key scales two

octaves in altered rhythm, hands together in contrary motion.4. I can play natural and harmonic minor white-key scales two

octaves in straight rhythm, hands together in contrary motion.

5. I can play all forms of minor black-key scales two octaves in altered rhythm, hands alone and together in parallel motion.

6. I can play all forms of minor black-key scales two octaves in straight rhythm, hands alone and together in parallel motion.

7. I can play natural and harmonic minor black-key scales two octaves in altered rhythm, hands together in contrary motion.

8. I can play natural and harmonic minor black-key scales two octaves straight rhythm, hands together in contrary motion.

4C FINAL: I can play ALL minor scales in parallel and contrary motion, altered and straight rhythms.

Intermediate Level 4C Goal Checklist

Minor Scales—Two Octaves

Refer to the CD-ROM Track 14 Simplified Scale Fingering Chart for all minor scale fingerings.

Metronome: = (Suggested goal for two octave scales: quarter = 66–92 in eighths or above)


44

45

Level 4D: Minor Arpeggios—Two OctavesCadences in Inversions

Minor Cadences in Inversions

i-iv-i-V-i Extended Authentic Cadence in all inversions

Minor Arpeggio—Two Octaves

1 2 3 21 3 5 13 2 3 2 1

5 4 2 41 2 1 12 4 2 4 5

46

GOALS TO REACH DONE! DATEARPEGGIOS: 1. I can play minor white-key arpeggios two octaves

in parallel motion, each hand alone.2. I can play minor white-key arpeggios two octaves

in parallel motion, hands together.3. I can play minor black-key arpeggios two octaves

in parallel motion, each hand alone. 4. I can play minor black-key arpeggios two octaves

in parallel motion, hands together.CADENCES: 5. I can play minor white-key extended authentic

cadences in inversions.6. I can play minor black-key extended authentic

cadences in inversions.4D FINAL: I can play ALL minor arpeggios two octaves and minor cadences in inversions.

Intermediate 4D: Goal Checklist

Minor Arpeggios—Two OctavesCadences in Inversions


Arpeggio Metronome: = (Suggested goal for arpeggios in triplets: quarter = 60–80)



47

GOALS TO REACH DONE! DATE1. I can play all major scales two octaves in parallel and contrary motion,

hands together.2. I can play all major arpeggios two octaves in parallel motion, hands

together.

3. I can play all major Extended Authentic cadences in inversions.

4. I can play all chords in inversions: M/Aug/m/dim

5. I can play all forms of minor scales two octaves in parallel and contrary motion (nat. & harm. only for contrary), hands together.

6. I can play all minor arpeggios two octaves in parallel motion, hands together.

7. I can play all minor extended authentic cadences in inversions.

4E FINAL: I can play all major and minor scales two octaves in parallel and contrary motion; major & minor arpeggios two octaves; chords in inversions (M/Aug/m/dim); major & minor extended authentic cadences in inversions.

Intermediate Level 4: Overall Technique Goal Checklist

All major and minor scales in parallel and contrary motion 2 octaves All major and minor arpeggios in parallel motion 2 octaves All major, minor, augmented, and diminished chords in inversionsExtended authentic cadences in inversions


CONGRATULATIONS!

You have completed Intermediate Level 4 of Step-by Step: A Guide to Technique Development.

DATE:

48

Additional Intermediate-Level Technique Goals

Teachers may include their choice of additional technical goals for the INTERMEDIATE LEVEL below:

Description:


2.

3.

4.

5. FINAL:

Description:


2.

3.

4.

5. FINAL:

49

Technique Development Step-by-Step

Level Five and Beyond

The blank charts in this section are provided for you to use in guiding your students through the wide variety of choices available at the level of development beyond two-octave scales and arpeggios. Also included in this section are some suggestions for three- and four-octave scales and arpeggios that you can try in your students' technical routine, as well as additional ideas for cadences and harmonic progressions.

50

Level 5 and Beyond: Practice Strategies

Scales

� Two-three-four: Scales played two (eighths), three (triplets), and four (sixteenths) octaves at a single metronome marking (MM quarter = XX) to secure rhythmic stability and gain technical facility. Students may want to play forte at two octaves, mf at three, and mp to p at four octaves to add dynamic scope to these scales.

� Phrase shapes: Once scales are established at sixteenth notes and four octaves, students can work towards greater facility and variation in phrase shaping. For example, rather than the normal crescendo to the top and decrescendo to the bottom, students can experiment with phrasing each ascending scale and descending scale, adding more tone at the mid-point octave in the scale where fingering and stability is often a problem.

� Scale Variations: Scales in thirds, sixths, and tenths have RH and LH starting on different notes of the scale, for dexterity.

� Octaves and Double Thirds: Students at advanced levels can include scales in octaves and double-third scales (CE, DF, EG, FA, etc.) in their technical routine. Exercises in Hanon’s The Virtuoso Pianist, Book 2, and the last page of Der Kleine Pischna are both helpful for fingering options for double-third scales.

� Blues Scales: Incorporating different types of modes and jazz scales into a student’s technical routine expands the ear as well as finger dexterity, and can link technique readily to repertoire and possible composition and improvisation options. Below is an example of a blues scale. Refer to the Guide’s Appendix for modes and their transposition to any key.

� Parallel & Contrary Scale Sequence: Once students can play scales and arpeggios confidently in 16ths at four octaves, a combination of parallel and contrary motion can be built into a single scale.

1. Play an ascending, two-octave scale in parallel motion. 2. At the mid-point tonic note, continue with a two-octave, contrary-motion sequence

—LH descending two octaves, RH ascending two, and then returning to mid-point. (Option to repeat this contrary-motion sequence)

3. At the mid-point tonic note, play an ascending two octave scale in parallel motion. 4. End with a descending, four-octave scale in parallel motion to the to initial starting point.

51

52

Arpeggios

� Parallel and Contrary Arpeggio Sequence: Students can incorporate the sequence described above for scales in their arpeggio technical routine as well. By adding the arpeggio parallel/contrary sequence immediately after the scale sequence in the same key, students add endurance and finger dexterity in closed and extended positions.

� Inversion Variations: Arpeggios in inversions may be added at midpoint in Intermediate Level 4, if students are comfortable with chord inversions and have thumb-under positioning in place in root-position two-octave arpeggios.

� Arpeggio fingering charts with numbers alone can assist as a ready reference for these arpeggios in inversions, using 1 to show the thumb turns at the octaves. For example:

Root lst 2nd Root 1st 2ndC Major RH 1231 1241 1241 C minor RH 1231 3123 1231 LH 5421 5421 5321 LH 5421 4214 5321

Refer to the CD-ROM Track 14 for the full Simplified Arpeggio Finger Chart.

� Full-octave, arpeggiated chords in root position and inversions, ascending and descending in continuous 16th-notes in multiple octaves

� Dominant- and diminished-7th Arpeggios: Adding these 7th-chord arpeggios uses all of the fingers and gives the hand a mild stretch in the diminished 7th. Expand from two to four octaves as these arpeggios become comfortable for students. These arpeggios can also be done in the parallel and contrary sequence described earlier.

Dom. 7th Dim. 7th

RH 1 3 42 1 3 42 51 3 42 1 3 42 5

LH 5 51 3 14 134 4 2 1

4 3 2 2 2 3

53

Chord Progressions and Cadences

Many options exist that extend beyond traditional authentic and extended authentic cadences. Here are a few to try as your students advance in their technical work:

Plagal Cadence I–IV–I and i–iv–i This progression is often overlooked in cadence work.

I–IV–ii –I –V –I in major and minor keys764

6

I-IV-ii - I - V - I i - iv-ii - i - V - i 64

7 06

64

76

I - IV - I i - iv - i

C: I - #i G: I - #i D: I - #i07 07 07

64G: #iv - I - V - I D: #iv - I - V - I A: #iv - I - V - I07 07 076

464

Modulating chord sequence using diminished seventh chords

Modulating chord sequences using common chords

C: I - IV - I G: I - IV - I D: I - IV - I G: IV - V - I D: IV - V - I A: IV - V - I

2b.

C: I - IV - I F: I - IV - I Bb: I - IV - I F: V - V - I Bb: V - V - I Eb: V - V - I 7 7 7

54

55

Level Five Technique Goals

GOALS TO REACH DONE! DATE

Level A


Level B


Level C


Level D


Level E

56

Step-by-Step Student Technique GoalsAchievement Record

Student

LEVELS GOAL DATE COMPLETED

PRIMARY LEVEL 1: Major and Minor Pentascales and Triad Warm-Ups

A. Major Pentascales

B. Minor Pentascales

C. Major Triad Warm-Ups

D. Minor Triad Warm-Ups

E. FINAL – All Major and Minor Pentascales and Triad Warm-ups

Additional Primary Skills:

ELEMENTARY LEVEL 2: One-Octave Major Scales, Arpeggios and Cadences

A. White-Key Major Scales

B. White-Key Major Arpeggios and Cadences

C. Black-Key Major Scales

D. Black-Key Major Arpeggios and Cadences

E. FINAL – All One-Octave Major Scales, Arpeggios, and Cadences.

Additional Elementary Level Skills:

❒❒❒❒❒❒❒❒❒❒❒❒❒❒

UPPER ELEMENTARY LEVEL 3: One-Octave Minor Scales, Arpeggios, and Cadences


A. White-Key Minor Scales (nat., harm.)

B. White-Key Minor Arpeggios and Cadences

C. Black-Key Minor Scales (nat., harm.)

D. Black-Key Minor Arpeggios and Cadences

E. FINAL – All One-Octave Major and Minor Scales, Arpeggios, Authentic and Extended Authentic Cadences

Additional Upper-Elementary Level Skills:

INTERMEDIATE LEVEL 4: Two-Octave Major and Minor Scales, Arpeggios and Cadences

A. Major Scales

B. Major Arpeggios, Triads, Cadences in Inversions

C. Minor Scales (nat., harm., mel.)

D. Minor Arpeggios and Cadences

E. FINAL – All Two-Octave Major and Minor Scales, Arpeggios, Chords (M aug m dim) and Extended Authentic Cadences in Inversions

Additional Intermediate Level Skills:

❒❒❒❒❒

❒❒❒

❒❒

❒❒

57

UPPER-INTERMEDIATE LEVEL FIVE TO ADVANCED LEVEL

Use the space below to record specific technique skill goals reached for scales, arpeggios, and cadences pertinent to your studio technique curriculum. Refer to Chapter 12 of Fourth Finger on B-Flat: Effective Strategies for Teaching Piano for possibilities to explore.


A.

B.

C.

D.

E.

58

❒❒❒❒❒

59

Appendix

Basic Modes & Transposition to Any Key

The CD-ROM Track 14 contains the following charts:Scale Facility Chart

Arpeggio Facility ChartSimplified Scale Fingering Chart

Simplified Arpeggio Fingering Chart

61

Explorations in Music - Student Book 7, page 39.

step-by-step: a guide to technique development scales, arpeggios, chords and...

Documents