Cool Songs For Cool Kids (volume 1)

BOOK ONE From the Cool Songs for Cool KidsTM SeriesTM

from the

Music Motivation® SeriesTM

Cool Songs for

Cool Kids

(volume I)

21 original piano solos For early intermediate students

by

Jerald M. Simon First Edition Printed by

visit musicmotivation.com Music Motivation® books are designed to provide students with music instruction that will enable them to improve and increase their successes in the field of music. It is also intended to enhance appreciation and understanding of various styles of music from classical to jazz, blues, rock, popular, new age, hymns, and more. The author and publisher disclaim any liability or accountability for the misuse of this material as it was intended by the author.

Copyright © 2010 by Music Motivation® All Rights Reserved - International Copyright Secured. No part of this book may be copied, reproduced, or duplicated in any form by any mechanical, electronic or other means known or hereafter invented without written permission from the author, Jerald M. Simon. For more promotional excerpt permission, contact Music Motivation®, P.O. Box 1000 Kaysville, UT 84037-1000 - [email protected] First Printing 2010 - Printed in the United States of America - 10 9 8 7 6 5 4 3 2 1 - Simon, Jerald M. - Music Motivation® - Cool Songs for Cool Kids (volume I) - $10.95 US / $12.95 Canada - Softcover spiral bound book - ISBN-13: 978-0-9790716-9-0; ISBN-10: 0-9790716-9-0; MM00001010

WARNING: The music, text, design, and graphics in this publication are protected by copyright law. Any duplication in any form for any purpose is an infringement of U.S. copyright law.

Welcome to Cool

Songs for Cool KidsTM

(Volume I)

I hope you enjoy “Cool Songs for Cool KidsTM (volume I)”. You may also enjoy the other books from the series: “Cool Songs for Cool KidsTM primer level, and volumes 1, 2, and 3. Each of the books contain “cool” piano pieces written for kids of all ages (whether they are 8 or 108). The music is “Adored by students and approved by teachers”TM. The pieces in each volume teach skills (music theory, technique, transposing, improvising, composing, etc.) through fun and upbeat piano selections composed by Music MentorTM Jerald M. Simon.

Table of Contents

Jerald M. Simon Dedicated to my wife, Suzanne (Zanny), and my little girl, Summer (who happens to be one very cool kid!), my father and mother Jerry and Denise Simon, my in-laws Brent and Wendy Cederlof and anyone who wants to play cool songs. Connect with Jerald M. Simon facebook.com/jeraldsimon twitter.com/jeraldsimon cdbaby.com/artist/jeraldsimon youtube.com/jeraldsimon reverbnation.com/jeraldsimon [email protected]

Introduction...............................................................3 “Five, Four, Three, Two, One...BLAST OFF!”..................8 “Playground Pro”...............................................................9 “Five for Five”.................................................................10 “Deep Sea Diving”...........................................................12 “Beat-cha to it”.................................................................14 “Checkmate”....................................................................15 “Game Over”...................................................................16 “Locker Jam”...................................................................17 “Rock ’n Rag”..................................................................18 “Rocket Man”..................................................................19 “Junckyard Jive”..............................................................20 “Lefty”.............................................................................21 “Championship Game”....................................................22 “On Your Mark...Get Set”................................................23 “Spy Games”...................................................................24 “Proximity”......................................................................25 “Battle Front”...................................................................26 “Homework Hang-over”..................................................28 “Thunderstorm”...............................................................30 “Bittersweet”...................................................................32 “New Age-ish”.................................................................34 Music Motivation® Products...........................................36

It is the hope of the author and publisher that each of these piano solos from the “Cool Songs for Cool KidsTM” Series will be fun, upbeat, and enjoyable to the music teachers, music students, performers and listeners. In addition to having fun, students will learn the theory used to create each of the songs. Once you have learned the lessons and mastered the pieces, try using the chords, scales, chord progressions, and left hand patterns from the lessons to create music of your own. Share your music with others! Music Motivation® P.O. Box 1000 Kaysville, UT 84037-1000

Jerald M. Simon JMS Music Motivation® 2

Music that excites, entertains, and educates!TM - Let music motivate you!TM

visit musicmotivation.com Music Motivation® is a registered trademark

musicmotivation.com musicmotivationblog.com facebook.com/musicmotivation twitter.com/musicmotivation [email protected]

Q

Introduction

Q

Welcome to “Cool Songs for Cool KidsTM”. This book is designed for the late beginning and early intermediate to intermediate piano students. There are 10 original piano solos written by Jerald M. Simon. These first five pages (pages 3 - 7) teach the theory used to compose these songs. Music theory simply means understanding chords, scales, progressions, key signatures and patterns. Many musicians have learned music theory, but have never learned how to apply it, or even describe what they’re doing and how they’re doing it. I’d love to teach you what to do with that knowledge and how to use it in your own piano playing. Let’s get started! To begin, let’s start with a rhythm overview/review. Whole Note

 1

Whole Rest 2

1

Quarter Note

1

2

Half Rest

3

2

3

Quarter Rest

4

3

4

2

 1

 

Eighth Rest

 &

1 & 2 & 3 & 4 &

Sixthteenth Note

2

 1

4

    1

Eighth Note

4





Half Note

3



   1 e & a 2 e & a 3 e & a 4 e & a

Sixthteenth Rest

 a

Play this example below as a rhythm review.

  

1 2 34

  

 

          

1 2 3 4

1

 

          

2

3

4

1 & 2 & 3 & 4 & 1 e & a 2 e & a 3 e & a 4 e & a

Download and print off the “Knee Slappers – Rhythm Exercise # 1” from the Music Motivation® Blog with this link at: http://musicmotivation.files.wordpress.com/2010/02/knee-slappers-rhythm-exercise-11.pdf. MM00001010

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Q

Q

Introduction

Most of the pieces in this book were written using the major pentascales, the minor pentascales, and the melodic and harmonic intervals from each of the pentascales as the foundation for the melody (one note played at a time moving up and down) and the harmony (two or more notes played together to create a more complete, full, and rich sound). In these next two introduction pages, we will learn the C major pentascale, and an explanation about melodic and harmonic intervals. First, let’s learn about the C Major Pentascale. To begin, play the C major pentascale below - first with the right hand, then with the left hand, and finally both hands together. The word “penta” means five. This is a five note scale. The notes in the example below are: C, D, E, F, and G. When you play C, D, E, F, and G, one after another, you are playing the first five notes from the C major scale. C Major Pentascale (the first five notes from the C Major Scale - C, D, E, F, and G)

  

C Major Chord 5 3 1

2

1

  

3

4

1 3 5

1

2

3

4









1

2

3





5

4

5



4

3

2

1









4

1

2

3

4

1















3

2

1

2

3

4

5

 2

3

4

5 3 1

1



2

3

4

1 3 5

Now that you have played the C Major Pentascale, let’s talk about intervals. The word “interval” simply describes the distance between two notes. For example, C, played alone, is called a first; C and D played together is called a second, C and E played together is called a third, C and F played together is called a fourth, and C and G played together is called a fifth (which tells us the distance between the notes). First

   1

1

   5

Second

Third

Fourth

Fifth

2 1

3 1

4 1

5 1







2

3

 4 5



4 1

3 1

2 1

1









4

1

2

3

4

1















3 5

2 5

1 5

2 5

3 5

4 5

5

2

3

4

With my own students, I challenge them to learn ALL of the major pentascales in every key moving up chromatically in half steps and following the circle of fifths through every key signature. Before I have them learn how to play all of the major and minor scales up and down one octave I make sure they can play all of the major, minor, and diminished pentascales in every key. To help them learn each of the pentascales, I created FREE download-able PDFs. On the Music Motivation® website, there are FREE resources for music teachers and music students where I share all of these FREE PDFs with the world Visit www.musicmotivation.com to see all of the FREE PDF downloads (under the resources section on the left side of the website). To print off the “All Major Pentascales FREE download-able PDF” file, visit this link: http://musicmotivation.files.wordpress.com/2010/01/all-major-pentascales.pdf. Throughout this book, you will see a ‘FREE Music Motivation® Resource’ link at the bottom of various pages. Try them out! 4

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Q

Q

Introduction

Now that you know a little about intervals. Let’s practice playing melodic and harmonic fifth intervals. A “melodic” fifth interval simply means one note played after the other (i.e. C then G). An “harmonic” fifth interval simply means two notes played together at the same time (i.e. C and G played together at the same time). Let’s try it! Melodic Fifth Intervals (one note played after the other) - try moving up in half steps and play this example in all keys

Melodic 5th

   1

5



1

3

2

1

4



  



 2







3

1

4



2

3









4

1









2

3









4





1

5

Harmonic Fifth Intervals (two notes played together at the same time) - try moving up in half steps and play this example in all keys

Harmonic 5th

  

5 1

1

  

1 5























   

2

3

4

1

2

3

4

1

2

3

4

1





















2

3

4

   



Intervals can have different names. Some intervals are called perfect, major, minor, augmented, and diminished intervals. For now, we’ll only focus on the “perfect” (P) and “major” (M) intervals.

P

  

1

M

M

P

P

M

M

P

2 1

3 1

4 1

5 1

5 1

5 1

5 1









 

Major 3rd

Perfect 4th

Perfect 5th Major 6th

Perfect 1st Major 2nd (or unison)

 

 

Major 7th

Perfect 8th (or octave)

A perfect interval can become a diminished interval by playing the flat (i.e. C and G  is a diminished 5th interval - as a reminder, when a note has a flat it is taken down half a step to the left of the orginal note - white key to black key, or white key to white key) and an augmented interval by playing the sharp (i.e. C and G  is an augmented 5th interval - as a reminder, when a note has a sharp it is taken up half a step to the right of the orginal note - white key to black key, or white key to white key). A major interval can become a diminished interval by playing the double flat (C and B  is a diminished 7th interval). It also can become a minor interval by playing the flat (i.e. C and B  is a minor 7th interval), and an augmented interval by playing the sharp (i.e. C and B  is an augmented 7th interval). I encourage my students to try and play exactly the same exercise you played above in all keys (moving up chromatically in half steps). To print off the “All Major Intervals - Harmonic and Melodic FREE downloadable PDF” file, visit this link: http://musicmotivation.files.wordpress.com/2010/01/all-majorintervals-harmonic-and-melodic.pdf. Try it out! MM00001010

5

Q

Q

Introduction

With a good understanding of major and minor intervals, you can begin creating the basic triad chord (or three note chord). The three most common triad chords are the major chord, the minor chord, and the diminished chord. There are, of course, augmented chords, suspend the fourth chords, and suspend the second chords, but for now, we will only cover the major, minor, and diminished chords. All major chords are created by combining the perfect 1st and 5th intervals (i.e C and G) with the major 3 interval (i.e. E). With all three combined, the major triad chord is created (i.e. C, E, and G played together create the C major chord). All minor chords are created by combining the perfect 1st and 5th intervals (i.e. C and G) with the minor 3rd interval (i.e. E  ). With all three combined, the minor triad chord is created (i.e. C, E  , and G played together create the C minor chord). All diminished chords are created by combining the perfect 1st interval (i.e. C) the diminished 5th interval (i.e. G ) and the minor 3rd interval (i.e. E  ). With all three combined, the diminished triad chord is created (i.e. C, E  , and G  played together create the C diminished chord). rd

Play the triads created from the C major scale below (each of the triads begin on one of the notes from the C major scale - moving up one octave - C, D, E, F, G, A, B, and ending with C). C

  

5 3 1

I Major

  

1 3 5

Dm

Em

F









ii minor

iii minor

IV Major

V Major







G

B dim

Am





vi minor





Same fingering of 5, 3, 1 (left hand) and 1, 3, 5 (right hand) on all chords



vii diminished

I Major

 

 

o



C



The chord progression of Major, minor, minor, Major, Major, minor, diminished, Major is the same in every key signature. Above the grand staff you will find the name of the chord(s). In the middle of the grand staff you will find the corresponding roman numeral. If the Roman numeral is upper case (i.e. I) it means the chord is major, and if the Roman numeral is lower case (i.e. i) it means the chord is minor. If the Roman numeral is lower case with the diminished symbol after it (i.e. i o ) it means the chord is diminished. Since all I, IV, and V chords are always major chords (when created from the major scale) they are called the primary chords and o used more frequently. The ii, iii, vi, and vii chords are called secondary chords because they are not major chords (they are minor chords and one diminished chord). Play the primary chords below for C major and A minor key signatures (visit musicmotivation.com to download FREE pdf exercises - on the home page of the website you’ll see an image of worksheets and handouts that says “FREE Resources and Music (click here)” - click on that to begin downloading Music Motivation® exercises).

Primary chords for C Major C (root position) F/C

  

(root position)

G/B

nd

(2 inversion)

 

5 3 1

5 3 1

Primary chords for A minor A min

   

(root position)

6

5 3 1

D min/A nd

(2 inversion)

 

5 3 1

G 7/B

st

(1 inversion)

 

5 2 1

E/A  st

(1 inversion)

 

5 2 1

C

st

(1 inversion)

 

4 5 1

E 7/A  st

(1 inversion)

 

4 5 1

(root position)



5 3 1

A min (root position)

 

5 3 1

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Q

Introduction

Q

On this page, I will talk a little bit about jazz and blues. There are several jazzy piano solos in this book and it helps to understand a little about the jazz style. To begin, I will explain about a jazz term called “swinging the 8ths”. In traditional or classical music, the music is played straight - meaning that the music is played as it is written and the rhythms remain the same. In jazz music, to simplify rhythms and interesting syncopations, the music could be written out as normal, but when it was played it had a swing effect. Here is an easy way to describe it: 3

   

Swing the 8ths or

   long

Typically you will see one or the other. Both are telling the musician to play the eighth notes unevenly. Try the example below to get the feel of swinging eighth notes.

=















short

long

short

long

short

long

short

As you play, think or even say the words: long short - long - short - long - short - long - short, to help you play it.

The eighth notes are played unevenly. The first eighth note is held longer than the second eighth note. They follow a pattern of long - short - long - short - long - short - long - short. It’s an easier way to notate the music - otherwise the notation would be much more complicated (but you should still learn how to count and play those more challenging rhythms as well - you’ll get there). I tell students to think of, what I call, the “Drunken Sailor” effect. Everything is slurred and blended together. To help you feel the swing rhythm, play the blues pentascale below. These are the first five notes of the C blues scale (C E  F F  G). swing it 1

2

3

4

                                                  1

2

3

4

5

4

3

2

5

                                 4

3

2

1

2

3

2

F Blues Pentascale

C Blues Pentascale

5

4

3

5

4

4

3

2

            1

2

3

4

When I teach the blues pentascale(s) to my students, I describe it like this: Play a C minor chord with your right hand, but instead of using the traditional 1 - 3 - 5 fingering (1 on C, 3 on E  , and 5 on G), put your thumb on C, your second finger on E  and your pinky on the G. Your fourth finger will play the note that is half a step below your pinky (F  or G ), and your third finger will play the note that is half a step below your fourth finger (F natural). Once students can comfortably play the C and F blues pentascales, I then challenge them to play all of the blues pentascales through every key (moving up chromatically in half steps). To print off the “All Blues Pentascales - FREE downloadable PDF” file from the Music Motivation® Website, please visit: http://musicmotivation.files.wordpress.com/2010/01/all-blues-pentascales.pdf. Try it out! Below is an example of a “Barrel House blues” left hand pattern. The Barrel House blues left hand pattern is created with a perfect fifth interval (i.e. C and G - played together) then a major sixth interval (i.e. C and A played together). To vary the pattern, in the second measure is a perfect fifth interval (i.e. C and G played together) followed by the major sixth interval (i.e. C and A played together) and going to the minor seventh interval (i.e. C and B  - played together).

   MM00001010

 



 



   

 



 



 

I hope you have a “cool” time with these cool songs!



   

 

7

Five, Four, Three, Two, One...BLAST OFF!

Passed Off

skill - melodic intervals (5th - 4th - 3rd - 2nd - 1st) (perfect 5th - perfect 4th - major 3rd - major 2nd - perfect 1st)

by Jerald M. Simon

Full of Energy  C

 5

        1

&

                

  4

     1

2 &

3 & 4

3

2

&

1



1

&

2

&



3 & 4



&



















5

5

D min7/C

 







C

 

   9



 

1 2 5

  

  

  



 

 

  

D min7/C



  

  



    

 

  



         

 

   

C



 rit.

 



 

Music Motivation® Challenge: Once you have perfected “Five, Four, Three, Two, One...BLAST OFF! in the key of C, play the song in every key moving up chromatically in half steps. Music Motivation® Resource: Download and print off the FREE Music Motivation® PDF resource “All Major Intervals - Harmonic and Melodic” from the Music Motivation® Website with this link at: http://musicmotivation.files.wordpress.com/2010/01/allmajor-intervals-harmonic-and-melodic.pdf. For more FREE PDF downloads from the Music Motivation® Website, visit http://www.musicmotivation.com/piano/index.php?option=com_content&view=article&id=33&Itemid=13 or simply visit www.musicmotivation.com.

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Copyright © 2010 by Music Motivation® (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit

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Five for Five

Passed Off

skill - major pentascale and perfect 5th intervals

by Jerald M. Simon

With confidence 

      4

C

 



1



2

     

3

                                   1 &

&

2

3 & 4

&

1 &

2

&

3 & 4

&

1

5

pedal simile 5

     

9











    









      

























      















     2

1



3



























       3

4

      





5

2







2

1

4

3

2



    



1

3

2

1

4

3

2

1

(you may use the same finger, but try using this fingering)

(optional octave)

(optional octave) 1







1

13

    



    



     

                                 4

10

3

2

1

4

3

2

1

Copyright © 2010 by Music Motivation® (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit

MM00001010

Deep Sea Diving - page 2

(right hand crosses over)

17



  

1

5

















    

              (You may want to use the 5th finger - your pinky - here! You can continue with the fingering from the first measure, but it may be tricky and both hands may run into each other. If you can do it, do it. If not don’t do it. It’s that simple!)

21



2

(right hand crosses over)



                  

    

MM00001010

G sus4

F

25 5 1

1 5

  

4 1

1 2 5

 

G



C

 

 

Copyright © 2010 by Music Motivation® (ASCAP)

   

13

Game Over

Passed Off

skill - rhythm exercise - 8th notes and 8th rests

by Jerald M. Simon

With resolution  A sus

C no3

                            2

1&2 &

1

& 4

3

&

1

C sus/F

                  

1& 2 &

3

G sus

3

& 4

&

                         4

5

pedal simile 5

A

C no3

C sus/F

G sus

                                                                        

9

A

C no3

                               1 5

optional octave to the end of the piece

13

C no3

   

A

       

C sus/F

       

G sus

    

            C sus/F

       

G sus

C no3

       

                                                                  16

Copyright © 2010 by Music Motivation® (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit

MM00001010

Junkyard Jive

Passed Off

skill - minor 3rd and major 3rd intervals (a fun left hand pattern) swing rhythm = long, short, long, short, long, short, long, short, 1

&

2

&

3

&

4

&

by Jerald M. Simon

3

Swing it! 

  

F

C



             1

5

&

2

3

&

4 &

1

&

2

2

C 7/B 

   

3

4

2

&

&

3

4



&

   



                      3

C7

           

F

5

9

&

    =

  





4

3

    

                F

  

1

    

    

                                  3

5

2

5

B

                      

13

 20

C

 



3

2

C7

F

      

F

     



                          

Copyright © 2010 by Music Motivation® (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit

MM00001010

Spy Games

Passed Off

skill - perfect 5th and minor 6th intervals This music will self destruct in 1.5 minutes 

  1st  2nd   

A min

           1 & 2 &

A min

F/A

             

3 & 4 &

1 & 2 &

       

by Jerald M. Simon

 

3 & 4 &

 

                

D min/A

   

    

     

1 5

pedal simile

5

A min

                   

             

   



D min/A

A min

                                                 

A min

F/A

10

                                       

 

15

A min

F/A

 

 



F/A



                                                                

24

Copyright © 2010 by Music Motivation® (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit

A

 

       MM00001010

Thunderstorm

Passed Off

skill - C minor pentascale - perfect 5th, and minor 6th intervals

by Jerald M. Simon

Thunder strikes, when the storm comes  C min

                           1 &

2



3

1

&

3

&

4

&

1

2

3

3

        

4



1 5

1

1

 





2





2

5

5

1

                           accel.                 5

5

1

4

3

3

2

4

1

4

3

2

1

(You may use the 1st or 5th finger, but, you really need to try this fingering!)

8

   



                 4

1

       

3

                        5 1

4 1

5 1

4 1

53 2

                                               

11

cresc.

  30



                 

        

Copyright © 2010 by Music Motivation® (ASCAP) - International Copyright Secured All rights reserved including the right of public performance for profit

MM00001010

Bittersweet

Passed Off

skill - Chords in the key of C minor

by Jerald M. Simon

Sweetened by bitterness  A sus2

C min

                       3

B add2 C min

1 & 2 &

3

A sus2

           

1

4

1 & 2 &

5

3

4

4

&

    

1 5

E

B

2

1

5

4

    

      

    pedal simile

5

C min A sus2

B add2 C min

       

C min

B

A

C min

     B

           

14

      32

 

    

B

E sus2/B  B 

     

     

     

 

   

  

 

   

E

 

  



  

  



Copyright © 2010 by Music Motivation® (ASCAP) International Copyright Secured All rights reserved including the right of public performance for profit

 

A

  

A

  

A

                       

      

    

                       

E

         

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The Cool Songs for Cool KidsTM Series

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The Cool Songs for Cool KidsTM SeriesTM (primer level - for beginning students, volume 1 - for early intermediate levels, volume 2 - for early intermediate to intermediate levels, and volume 3 - for intermediate late intermediate levels) is not a method series or a series of method books. Each book contains 21 original performance pieces (except for volume 3 which contains just 10 original piano solos) written by Music MentorTM Jerald M. Simon. Each book teaches music theory through music that “excites, entertains, and educatesTM”. There are several exercises or links to FREE downloadable exercises on the Music Motivation website (musicmotivation.com). Each piece and each exercise in the books teaches a specific skill (in volume 3 students are challenged to do something with improvisation or composing) which is found beneath the exercise or title of the piece. These books were not intended to replace current books being used by teachers and students. The series is a supplemental series that may be added to any teaching curriculum or method. The pieces were written to inspire and motivate piano students with cool sounding music. Many were written specifically with boys in mind. In the Primer Level book, rhythms and notes are introduced to piano students. Key signatures (the circle of 5ths), major pentascales, and triads built from the C major scale are also introduced in a fun and cool way. In volumes 1, 2, and 3, music theory is introduced and taught through cool and upbeat piano solos teaching various styles: jazz, blues, boogie woogies, new age, classical, sound track thriller, polka, church chimes, rock, pop, ballads, etc.

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This is the book in your hands

“Cool Songs for Cool Kids” (primer level)

“Cool Songs for Cool Kids” (volume 1)

“Cool Songs for Cool Kids” (volume 2)

“Cool Songs for Cool Kids” (volume 3)

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On page 37 of this book, you will find the Music Motivation® MethodologyTM (for piano). Use it as a guide for teaching students theory concepts. It is an outline I created for myself so I would know what I personally wanted students to learn in each of the three stages I created: (1) Apprentice, (2) Maestro, and (3) Virtuoso. It is only an outline or suggestion - add to it or subtract from it. If you are doing something different altogether that works, keep doing it. This is meant to give you ideas and supplement what you are already doing. 36

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This is only an outline or suggestion - add to it or subtract from it! If you are doing something different all together that works, keep doing it. This is meant to give you ideas and supplement what you’re already doing.

by Jerald M. Simon Q

M O T I V A T I O N

Apprentice Q

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Q Maestro Q

for 1st & 2nd year students

Repertoire

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The Music Motivation® Methodology (for piano)

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for 2nd - 4th year students

Virtuoso Q

for 3rd year students and above

Music Motivation® Book(s)

Music Motivation® Book(s) Music Motivation® Book(s)

Music Motivation® Exercises (volume 1) What Every Pianist Should Know (Free PDF) Cool Songs for Cool Kids (primer level) Cool Songs for Cool Kids (volume 1)

Music Motivation® Exercises (volume 2) Cool Songs for Cool Kids (volume 2) Variations on Mary Had a Little Lamb The Dawn of a New Age (volume 1) Jazzed about Jazz (volume 1)

Songs in Pentascale position: Classical, Jazz, Blues, Popular, Students Choice, Personal Composition (in pentascale position) etc.

Baroque, Romantic, Classical, Jazz, Blues, Popular, Baroque, Romantic, Classical, Jazz, Blues, Popular, New Age, Contemporary, Broadway Show Tunes, New Age, Student’s Choice, Personal Composition. Standards, Student’s Choice, Personal Composition

Music Motivation® Exercises (volume 3) Cool Songs for Cool Kids (volume 3) The Dawn of a New Age (volumes 2 & 3) Triumphant, Sea Fever, Hymns of Exaltation, Jazzed about Jazz (volumes 2/3)

An Introduction to Scales and Modes

, Forte    Mezzo Piano   Pianissimo   Fortissimo 

Piano

Music Terminology

Mezzo Forte

Music Motivation® 1st Year Terminology

Key Signatures Music Notation



C, G, D, A, F, B, E & A(Major)  A, E, B, F , D, G, C & F (Minor) Begin learning all major key signatures

Names and Positions of notes on the staff (both hands - Treble and Bass Clefs)





Whole notes/rests

 Half notes/rests (say it and play it - count out loud) Quarter notes/rests (say it and play it - count out loud) Eighth notes/rests (say it and play it - count out loud) (say it and play it - count out loud)

Rhythms

Tempo Markings Dynamic Markings Parts of the Piano Styles and Genres of Music Music Motivation® 2nd Year Terminology

Pocket Music Dictionary (2 - 3 years) Harvard Dictionary of Music (4 + years) Parts/History of the Piano Music Composers (Biographies) Music Motivation® 3rd Year Terminology

Circle of 5ths/Circle of 4ths All Major and Minor key signatures

Spiral of Fifths

(Identify each key and name the sharps and flats)

Names and Positions of notes above and History of Music Notation (the below the staff (both hands) development of notation)

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   

   



Sixteenth notes/rests (say it and play it - count out loud)

Thirty-second notes/rests (say it and play it - count out loud)

Sixty-fourth notes/rests (say it and play it - count out loud)

        

One-hundred-twenty-eighth notes/rests

  

For more on rhythm, I recommend: “Rhythmic Training”by Robert Starer and “Logical Approach to Rhythmic Notation” (books 1 & 2) by Phil Perkins

1st, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, and 9th intervals (key of C, G, D, F, B , and E ). Harmonic and Melodic intervals (key of C, G, D, A, E, and B)

All Perfect, Major, Minor, Augmented, 9th, 11th, and 13th intervals and Diminished intervals (in every key) Analyze music (Hymns and Classical) to All Harmonic and Melodic intervals identify intervals used in each measure. Explain the intervals used to create major, Identify/Name intervals used in chords. All Major Scales (Every Key 1 - 2 octaves) All Minor Scales (Every Key 1 - 2 octaves)

Scales

All Major Pentascales (5 finger scales) All Minor Pentascales (5 finger scales) All Diminished Pentascales (5 finger scales) C Major Scale (1 octave) A min. Scale (1 oct.) (Do, Re, Mi, Fa, Sol, La, Ti, Do) (solfege)

Modes

Ionian/Aeolian (C/A, G/E, D/B, A/F  )

Chords

All Major Chords, All Minor Chords, All Diminished Chords, C Sus 2, C Sus 4, C+ (Aug)., C 6th, C minor 6th, C 7th, C Maj. 7th, C minor Major 7th, A min., A Sus 2, A Sus 4,

All Major, Minor, Diminished, Augmented, Sus 2, Sus 4, Sixth, Minor Sixth, Dominant 7th and Major 7th Chords

Review All Chords from 1st and 2nd year experiences All 7th, 9th, 11th, and 13th chords inversions and voicings.

Arpeggios

Same chords as above (1 - 2 octaves)

Same chords as above (3 - 4 octaves)

Same chords as above (4 + octaves)

Inversions

Same chords as above (1 - 2 octaves)

Same chords as above (3 - 4 octaves)

Same chords as above (4 + octaves)

Technique

Schmitt Preparatory Exercises, (Hannon)

Wieck, Hannon, Bach (well tempered clavier) Bertini-Germer, Czerny, I. Philipp

Sight Reading Ear Training Music History Improvisation Composition

Key of C Major and G Major

Key of C, G, D, A, E, F, B, E, A , D

Major versus Minor sounds (chords/intervals)

C, D, E, F, G, A, B, and intervals

Key Signatures and Chords, Play w/ IPod

The origins of the Piano Forte

Baroque, Classical, Jazz, Blues

Students choice - All genres, Composers

Mary Had a Little Lamb, Twinkle, Twinkle...

Blues Pentascale, Barrelhouse Blues

Classical, New Age, Jazz, Blues, etc. Play w/ IPod

5 note melody (both hands - key of C and G)

One - Two Page Song (include key change)

Lyrical, Classical, New Age, Jazz, etc.

Intervals

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minor, diminished, and augmented chords?

(natural, harmonic, and melodic minor scales)

(Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti, Do) (solfege - chromatic)

All Major Scales (Every Key 3 - 5 Octaves) All Minor Scales (Every Key 3 - 5 Octaves) All Blues Scales (major and minor) Cultural Scales

All Modes (I, D, P, L, M, A, L) All keys Modulating with the Modes (Dorian to Dorian)

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All Key Signatures, Hymns, Classical

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The Music Motivation Methodology - created by Jerald M. Simon - Copyright © 2007 by Music Motivation® International Copyright Secured - All Rights Reserved visit musicmotivation.com to learn more about Music Motivation®

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Check out these best sellers by Jerald M. Simon “Cool Songs for Cool Kids” (primer level)

“Cool Songs for Cool Kids” (volume 1)

“Cool Songs for Cool Kids” (volume 2)

“Cool Songs for Cool Kids” (volume 3)

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“Triumphant”

“Hymns of Exaltation”

“Sea Fever”

“Jazzed about Jazz” (volume 2)

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“Jazzed about Christmas”

“Jazzed about 4th of July”

“Variations on Mary Had a Little Lamb”

“An Introduction to Scales and Modes” 2nd Edition

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“The Music Motivation® Goal Book”

“Hymns of Exaltation CD”

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