Book3By Marilyn Lowe In cooperation withEdwin E. Gordon

Music Movesfor Piano

CreativityKeyboard SkillsEnsemble PlayingMovementImprovisation

Introduction to Music Moves for Piano – Book 3Book 3 introduces many new keyboard skills. Audiation is strengthened and improvisation activities become more complex. During the study of Book 3, students continue to grow in musicianship and to perform more difficult solo repertoire as they acquire essential skills for understanding music notation.

Keyboard and musicianship skills students study in Book 3 include the following:

1. Letter-names of all the piano keys in random order: natural,flat,sharp,double-flat,anddouble-sharpnames Different letter-names used for the same piano key: G,Adouble-flat,orFdouble-sharp Same letter-name used for different piano keys: G,G-flat,G-sharp,Gdouble-flat,G-doublesharp

2. Articulationsymbols:staccato,accentandslur3. How to use the damper pedal4. Tonic-Subdominant-TonicarpeggiosinMajorandMinor5. Majortriadson12pianokeys,organizedintofourcategories:

WWW,WBW,BWBandoddballs6. Majortonalityprimarycadences:

I-V-I, I-IV-I and I-IV-V-I in all keyalities7. Triads in three positions:

root position, 1st inversion and 2nd inversion8. Chromatics, also named half-steps9. Whole-tones, also named whole-steps10.Minortriadson12pianokeys,organizedintofourcategories:

WWW,WBW,BWBandoddballs11. Harmonic minor tonality primary cadences:

i-V-i, i-iv-i and i-iv-V-i in all keyalities12.Triadsonmajorscaledegrees

Improvisation activities continue. Students are asked to do the following:

• Changetonality• Changemeter• Transpose• Createnewmusicbasedonrememberedtonalpatterns

and tonal patterns from music studied • Createnewmusicbasedonrememberedrhythmpatterns

and rhythm patterns from music studied• Useavarietyof performercontrols:

dynamics, articulation and tempo • Usethedamperpedal• Usetonesfromatonictriad• Userandompianokeys• Usedifferentpairsof triads• Improvisemajorandminormelodiesaboveagiven

chordprogression• Usechromatics(half-steps)• Usewhole-tones(whole-steps)• Userestpatternsandtiepatterns

Duringthislevelof study,studentsshouldlearnthe DOsignaturesthatcorrespondwiththearpeggios,cadences andscalestheyarepracticing.UsetheMusic Moves for Piano referencebookKeyalities and Tonalities - The Complete Book of Arpeggios, Cadences and Scales.

Music Moves for Piano By Marilyn Lowe

In Cooperation With Edwin E. Gordon

A Piano Series Based on the Music Learning Theory of Edwin E. Gordon Designed to Develop Audiation and Keyboard Performance Skills

© 2008, 2011, 2015, 2017 Music Moves LLC All Rights Reserved

BOOK 3

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PrintedintheUnitedStatesof America.

Table of Contents

iii

IntroductiontoMusicMovesforPiano-Book3 ...... InsideFrontCover PatternCDListeningAssignments. .............................................................. v Supplementary Rote Repertoire - Book 3 ...................................................vi

Unit 1 (CD Tracks 1-3)HarmonicMinorTonality: TonalSyllablesfortheSubdominantPattern. ...................................... 1Exploration/Creativity/Improvisation. ........................................................ 1SongtoSing–Cuckoo. .................................................................................. 1Minor Old Woman. ....................................................................................... 2Triple Old Woman.........................................................................................3

Unit 2 (CD Tracks 4-5)KeyboardSkills:Letter-NamesforthePianoKeys. ................................... 4SongtoSing– Love Somebody. .................................................................. 4 Monkey Game. ...............................................................................................5WhenDOisD–TonicArpeggioand Tonic-Dominant-TonicMelodicCadence. ............................................ 6 WhenDOisD–MajorScale. ....................................................................... 7WhenLAisB–TonicArpeggioand Tonic-Dominant-TonicMelodicCadence. ............................................ 8

Unit 3 (CD Tracks 6-7)KeyboardSkills:ArticulationSymbols.......................................................... 9KeyboardSkills:PentascalesandIntervals .................................................. 9 SongtoSing–Girls and Boys Come Out to Play. ............................... 9Mexican Dance. ...........................................................................................10WhenDOisG–Tonic-Subdominant-Tonic ...........................................11WhenLAisE–Tonic-Subdominant-Tonic ............................................12

Unit 4 (CD Tracks 8-9)KeyboardSkills:TheDamperPedal ...........................................................13SongtoSing–Leaves Are Falling. ...........................................................13

French Folk Song. .......................................................................................14 WhenDOisDthenLAisB–Tonic-Dominant-TonicArpeggios. .....15

Unit 5 (CD Tracks 10-11)Exploration/Creativity/Improvisation. ......................................................16SongtoSing–Whistle, Daughter, Whistle. ..........................................16Polish Folk Song. .........................................................................................17WhenDOisD–Tonic-Subdominant-Tonic ............................................18WhenLAisB–Tonic-Subdominant-Tonic ..............................................19

Unit 6 (CD Tracks 12-13)KeyboardSkills:MajorTriads ......................................................................20SongtoSing–Lightly Row. .......................................................................20Dutch Folk Dance. ......................................................................................21WhenDOisC–Tonic-Subdominant-Tonic ............................................22WhenLAisA–Tonic-Subdominant-Tonic..............................................23

Unit 7 (CD Tracks 14-15)Exploration/Creativity/Improvisation. ......................................................24SongtoSing–Sleep, Baby, Sleep. ............................................................24Honeybee. ......................................................................................................25

Unit 8 (CD Track 16)KeyboardSkills:MajorCadences ................................................................26SongtoSing–Scottie (MixolydianTonality). ..........................................26WhenDOisF–Tonic-Subdominant-Tonic............................................27WhenLAisD–Tonic-Subdominant-Tonic .............................................28

Unit 9 (CD Tracks 17-18)Exploration/Creativity/Improvisation .......................................................29SongtoSing–Cat Goes Fiddle Dee Dee. .............................................29Love Somebody. ...........................................................................................30

Unit 10 (CD Tracks 19-21)KeyboardSkills:TriadsinThreePositions ................................................31SongtoSing–Yankee Doodle. .................................................................31Cuckoo. ...........................................................................................................32Girls and Boys Come Out to Play. .........................................................33

Unit 11 (CD Track 22)KeyboardSkills:Chromatics(Half-Steps). .................................................34SongtoSing–Volga Boatman. .................................................................34WhenDOisA–TonicArpeggioand Tonic-Dominant-TonicMelodicCadence ...........................................35WhenDOisA–MajorScale. .....................................................................36WhenLAisF# –TonicArpeggioand Tonic-Dominant-TonicMelodicCadence ...........................................37

Unit 12 (CD Tracks 23-25)KeyboardSkills:Whole-Tones(Whole-Steps). .........................................38SongtoSing–London Bridge. .................................................................38Leaves Are Falling. ......................................................................................39Handkerchief Dance. ................................................................................40

Unit 13 (CD Tracks 26-27)KeyboardSkills:MinorTriads .....................................................................41SongtoSing–Fox Terrier(MixolydianTonality) ...................................41Triple Love Somebody. ..............................................................................42

Unit 14 (CD Tracks 28-29)Exploration/Creativity/Improvisation .......................................................43SongtoSing–Swinging(DorianTonality) .............................................43Slovakian Folk Song. ..................................................................................44WhenDOisAthenLAisF# –Tonic-Dominant-TonicArpeggios. ....45

Unit 15 (CD Track 30)KeyboardSkills:HarmonicMinorCadences ............................................46SongtoSing–The Royal Guards. ...........................................................46WhenDOisA–Tonic-Subdominant-Tonic ...........................................47WhenLAisF# –Tonic-Subdominant-Tonic ...........................................48

Unit 16 (CD Tracks 31-32)Exploration/Creativity/Improvisation. ......................................................49SongtoSing–My Snowman.. ...................................................................49Lightly Row. ..................................................................................................50

Unit 17 (CD Tracks 33-35)Exploration/Creativity/Improvisation .......................................................51SongtoSing–The Pug(MixolydianTonality) ........................................51Sleep, Baby, Sleep. .......................................................................................52Circle Dance. ................................................................................................53

Unit 18 (CD Tracks 36-38)KeyboardSkills:TriadsonScaleDegrees ..................................................54SongtoSing--The Siberian Husky (DorianTonality) ........................54Whistle, Daughter, Whistle. .....................................................................55Triple Whistle, Daughter, Whistle. .........................................................56 When DO is E then LA is C# –Tonic-Dominant-TonicArpeggios .....57WhenDOisE–Tonic-Subdominant-Tonic ...........................................58When LA is C# –Tonic-Subdominant-Tonic ...........................................59

Projects: Audiation and Keyboard Skills (Tracks 39-40)RhythmPatternProjectsUsingthePatternCD .......................................60TonalPatternProjectsUsingthePatternCD ...........................................61“PolishFolkSong”TranspositionProject .................................................62“JingleBells”TranspositionProject ............................................................63NewFolkSongsProjects .............................................................................64 SongtoSing – Rocking(CDTrack39) SongtoSing – Old Castle(CDTrack40)Two-ToneTonalPatterns(Intervals)fromMajorScaleDegrees ...........65

iv

v

Pattern CD Listening AssignmentsTrack Unit Meter/Tonality Patterns and Skills20 Unit1 MinorTonality Tonic,Dominant,andSubdominant(TonalSyllables)21 Unit2 DupleMeter RestPatterns(NeutralSyllables)22 Unit3 DupleMeter RestPatterns(RhythmSyllables)23 Unit6 TripleMeter RestPatterns(NeutralSyllables)24 Unit7 TripleMeter RestPatterns(RhythmSyllables)25 Unit9 DupleMeter TiePatterns(NeutralSyllables)26 Unit10 DupleMeter TiePatterns(RhythmSyllables)27 Unit12 TripleMeter TiePatterns(NeutralSyllables)28 Unit13 TripleMeter TiePatterns(RhythmSyllables)29 Unit15 DupleMeter UpbeatPatterns(NeutralSyllables)30 Unit16 DupleMeter UpbeatPatterns(RhythmSyllables)31 Unit17 TripleMeter UpbeatPatterns(NeutralSyllables)32 Unit18 TripleMeter UpbeatPatterns(RhythmSyllables)

Listening Instructions1. Listentotheunitassignmentseveraltimesduringtheweekthatitisassigned.2. Duringtheweek,youmaylistentoallof thetracksthroughthecurrentlisteningassignment.

However, do not listen ahead on this CD unless your teacher asks you to.3. Echo the patterns with your voice.4. Rhythm patterns.Beforeeachsetof patternsyouwillhearfourclickstoestablishthemacrobeat.

Begintoechoarhythmpatternimmediatelyonthefirstclickafterthepatternchant. Movetomacrobeatsandmicrobeatswhileyoulistenandchant.

5. Tonal patterns.Beforeeachsetof patternsyouwillhearacadencetoestablishtonality. Wait for two clicks, then echo each pattern with the clicks. Thefirsttwoclicksrepresenttimetopauseandbreathebeforesingingthepattern.

Abbreviations Used in Lesson Time Objectives1. NS,usedintheLessonTimeObjectives,meanstochantusingneutralsyllables(NS).2. RS,usedintheLessonTimeObjectives,meanstochantusingrhythmsyllables(RS).3. TS,usedintheLessonTimeObjectives,meanstosingusingtonalsyllables(TS).

vi

Supplementary Rote Repertoire for Book 3

Rote Solos.Rotesolosareanessentialpartof theMusicMovesforPianocurriculum.Rotesolos,learnedby applyingaudiationskills,encouragestudentsto“think”music.Students can focus more easily on the performance and the technical and musical aspects of a solo if they are not decodingmusicnotation.Moststudentsenjoyperformingmusicthatismoredifficultthantheirmusicreadinglevel.

Learn the Parts.Fingerings,handcoordination,the playingmechanism,performercontrols,musicalstyle,phrasing,andtempoconsistencyaredealtwithmoreefficientlywhensolosarelearnedbyrote.Studentscanlearntoisolate“difficult”spotsthatrequireextrapracticetime.

Store Information About Each Piece.Encouragestudents torememberthefollowinginformationabouteachpiece:tonality,keyality,startingandendingtones,meter,thenotevaluenamethatisthemacrobeat,essentialtonalandrhythmpatterns,formandphrasestructure,harmonicprogressions andexpressiveelements.Suggestthattheyuseaportionof thebrainformusicstorage,similartostorageonacomputer’sharddrive.Aspecial“musicarea”canholdfilingcabinetswithdrawersfordifferentcategoriesof music.Createafolderforeachindividualpieceorsong,thenstoreinformationabouteach piece in this folder.

Look at the Music Notation. Have students look at the musicnotationof performancepiecesduringthelearning andperformingprocess.Studentsshouldnamethetonality andmeter,identifytonalandrhythmpatterns,namesymbolsusedforexpression,analyzetheform,andrecognizesame and different

Rote Repertorie Selection.Whenchoosingroterepertoireconsiderthestudent’sperformingability,age,andwillingnesstowork.Userepertoirethatmeetsthetechnicalandmusicalneeds of each individual student.

Examples of Rote Repertoire. Some students will need easierrepertoire.However,thefollowingaresomeexamplesof rote repertoire from familiar classics that many students can learn. These pieces are appropriate to use while students learnthekeyboardandmusicalskillsinBook3.Additionalrepertoireislistedonthewebsitewww.musicmovesforpiano.com.

1. SelectionsfromtheAnnaMagdalenaBachbook2. ArabesqueandBalladebyBurgmuller3. AvalanchebyHeller4. HopakbyGoedicke5. SonatinainC(1stmovement)byLatour6. BouréebyLeCouppey7. SelectionsfromKabalevsky,Opus398. SelectionsfromContemporaryPianoLiteratureBook1,

FrancesClarkLibrary9. TheWildHorsemanbySchumann10.SelectionsbyTurk11.SonatinainC(1stmovement)byLynes12.BurlesquefromtheNotebookforW.A.Mozart13.SonatinabySalutrinska14.ElfinDancebyGrieg

Melody

Melody

New Keyality

New Keyality

Accompaniment

Hands Together

New Tonality

New Meter

Chant RPPerform RP

Create with RP

Sing TPPerform TP

Create with TP

Check ListLesson Home

________

________

________

________

________

________

________

________

________________________

________________________

________

________

________

________

________

________

________

________

________________________

________________________

Music Information

2

Duple Meter

Harmonic Minor Tonality

LA is E

Melody Starts on MI

La

Mi

Mi

E i

Si

LaSi

EMiDoLa

or

MiMiLa

Do

La

Do

Accompaniment Tonic/DominantChanges

Melody

Unit 1

V

Track2

•

•

3

Music Information

Melody

Melody

New Keyality

New Keyality

Accompaniment

Hands Together

New Tonality

New Meter

Chant RPPerform RP

Create with RP

Sing TPPerform TP

Create with TP

Check ListLesson Home

________

________

________

________

________

________

________

________

________________________

________________________

________

________

________

________

________

________

________

________

________________________

________________________

Triple Meter

Major Tonality

DO is G

Melody Starts on SO

or

SoSoDo

Mi

Do

Mi

So

TiDo

Accompaniment Tonic/DominantChanges

Do SoGI

Ti

SoMiGDo

Melody

Unit 1

V

Track3

• •

Tonic Minor (i) Dominant Harmonic Minor (V) Tonic Minor (i)

57

Tonic Major (I) Dominant Major (V) Tonic Major (I)

Fingers to Use

Major and Harmonic Minor Tonic-Dominant-Tonic Arpeggios

Separated

Connected

Sing Syllables

Separated

Connected

Sing Syllables

Major TonalityLesson Home

________

________

________

________

________

________

________

________

________

________

________

________

Harmonic Minor Tonality

Lesson Home

Check List

Tonic - Dominant - Tonic ArpeggiosWhen DO is E then LA is C#

Unit 18

DO is E

LA is C#

When DO is E then LA is C#

Do

Do

Do Do

Do

Mi

Mi Mi

MiMi

So So So

Ti

TiMi

Si

La La

Re

E E

So

La

E

C#

C#

C#

Tonic Major (I) Subdominant Major (IV) Tonic Major (I)

Major Arpeggios (I-IV-I)

Tonic Major (I) Subdominant Major (IV) Tonic Major (I)

Fingers to Use

Major Melodic Cadence

58

Check List

Melodic Cadence

Lesson Home

__________ Hand __________

__________ Hand __________

__________ Separated __________

__________ Connected __________

__________ Sing Syllables __________

__________ Play I-IV-V-I __________

__________ Add LH Roots __________

Arpeggios

Lesson Home

__________ Separated __________

__________ Connected __________

__________ Sing Syllables __________

__________ Play I-IV-V-I __________

Mi

DoSo

Mi

DoSo

Fa

DoLa

Mi MiDo

SoDo

So

FaDo

La

Do Do Do

DoDo

La

Do

So So

SoSo Fa

Fa

La MiMi

Mi Mi

EE

E E

Tonic - Subdominant - TonicWhen DO is E

Unit 18

Mi

DoSo

or or

Mi

Do

So

Tonic Minor (i) Subdominant Minor (iv) Tonic Minor (i)

Minor Arpeggios (i-iv-i)

59

Tonic Minor (i) Subdominant Minor (iv) Tonic Minor (i)

Fingers to Use

Minor Melodic CadenceCheck List

Melodic Cadence

Lesson Home

__________ Hand __________

__________ Hand __________

__________ Separated __________

__________ Connected __________

__________ Sing Syllables __________

__________ Play i-iv-V-i __________

__________ Add LH Roots __________

Arpeggios

Lesson Home

__________ Separated __________

__________ Connected __________

__________ Sing Syllables __________

__________ Play i-iv-V-i __________

DoMi

La La

ReFa

DoMi

La

DoDo

Mi MiLaLa

Re

FaLa

Do

MiLa La Re

Fa Do

MiLa

Do

MiLaLa

Do

MiLa

Fa

Re

Tonic - Subdominant - TonicWhen LA is C#

Unit 18

C#

C# C#

C#

Do

La

Mi

or or

Do

La

Mi

Music Moves for Pianoisthefirstpianomethodof itskind.Itapplies EdwinE.Gordon’sMusicLearningTheorytotheteachingof piano.Whenmusicis taughtasanauralart,lessonsbuildafoundationforlifelongmusicalenjoymentandunderstanding.Withguidance,“soundtonotation”leadstofluentmusicperformance, reading,andwriting.Followingaresomeof themajorconceptsof thisapproach:

• Rhythmisbasedonbodymovement: Feelthepulseandmeterthenchantrhythmpatterns.Moveinbothacontinuousfluidwayandarounded,pulsatingway.

• Tonalaudiationisdevelopedbysinging.Singingsongsandtonalpatternsdevelops pitchsensitivity,singingintune,anda“listening”ear.

• Musicpatternvocabulariesareacquiredandappliedtolisteningandperforming• Variouselementsof music,suchasrhythm,meter,pulse,tonality,harmony,style,

and form, are studied.• Creativityisfosteredbyusingdifferentelementsof music,suchasrhythm,pitch,harmony,andformtocreatesomethingnew.

• Improvisationactivitiesapplyeverythingastudentlearns.Usefamiliarpatternsfrom folksongs,transpose,changetonalityandmeter,createvariationsandmedleys,and create melodic, harmonic, and rhythmic variations.

• Performwithtechnicalfreedom.Studentslearnhowtousetheplayingapparatus fromthebeginningof lessons.

Marilyn Lowe,whohastaughtpianoformorethan40years,hasusedherexperiencesandknowledgetocreateanon-traditionalpianomethodbasedonEdwinE.Gordon’stheoriesof audiation.Otherinfluencesincludethetechniquesandtheoriesof CarlOrff,ShinichiSuzuki,EmileJaques-Dalcroze,ZoltanKodaly,andDorothyTaubman.Lowehasbeenusingthisapproach successfully with her students for more than 20 years. Her academic credits include degreesinliberalartsandpianofromKnoxCollegeinGalesburg,Illinois,andamaster’sdegreeinpianofromIndianaUniversityinBloomington.LowecompletedadditionalgraduatestudyinorganandmusictheoryatIndianaUniversity.Shewouldliketoexpressappreciationtoherformermusicteachers:NadiaBoulanger,MurrayBaylor,WalterRobert,andMenahemPressler.

Edwin E. Gordonisknownthroughouttheworldasapreeminentresearcher,teacher,author,editor,andlecturerinthefieldof musiceducation.Inadditiontoadvisingdoctoralcandidatesinmusiceducation,Gordonhasdevotedmanyyearstoteachingmusictopreschool-agedchildren.Throughextensiveresearch,Gordonhasmademajorcontributionstothefield of musiceducationinsuchareasasthestudyof musicaptitudes,stagesandtypesof audiation,musiclearningtheory,andrhythminmovementandmusic.

CreditsMusic Engraver: Doug Lowe

Assistants: Louis Claussen William Chiles

Layout/Design: Mary E. Geise Cover Designs:

William Chiles Brad Scott Lori Tack

Editor: Amber StengerConsultant: Jennifer LoweOriginal Music/Arrangements:

Andrea Apostoli Michael Brill Marilyn Lowe Francesca Tortora

Performers: Marilyn Lowe, Piano John H. Morton, Vocal Jerry Pollock, Vocal Tina Sibley, Vocal Betty Warren, Vocal Julie Wilkins, Vocal

Recording Studio: Music Precedent Ltd.

Engineer: John H. Morton