Piano Safari Sight Reading & Rhythm Cards For Book 3
Piano Safari Sight Reading & Rhythm Cards for Book 3 Teacher Guide Table of Contents Sight Reading Cards Corresponding Repertoire Bk. 3 Unit Keys Concept Introduction Teacher Guide Page Number 1 Level L Unit 1 C Major & A Minor Level M Unit 2 G Major & E Minor 7 14 Alberti Bass Accompaniment Arpeggiated Triad Accompaniment Level N Unit 3 F Major & D Minor 6/8 introduced with rhythms: 18 Broken Chord Accompaniment Waltz Accompaniment Level O Unit 4 D Major & B Minor 22 Level P Unit 5 Bb Major & G Minor 23 Level Q Unit 6 Review 24
Introduction The Piano Safari Sight Reading & Rhythm Cards for Book 3 have six color-coded levels (Levels L-Q) that correlate with the six units in Piano Safari Repertoire Book 3 (Units 1-6). There are 16 cards per level. Each card contains a Reading Exercise and a Rhythm Exercise. Reading Exercises Students should pay careful attention to the indicated articulation and to playing with correct technique. The exercises begin with C Major and A Minor and gradually add keys through two sharps and two flats. This key progression corresponds to the requirements for the Music Development Program (known as Royal Conservatory Program in other countries), which is a standardized program of study used by many teachers. Rhythm Exercises Students tap the Rhythm Exercises on the fallboard or play on a drum. The top line (stems up) is for right hand. The bottom line (stems down) is for left hand. Analysis Questions Reading Exercise RH Rhythm Exercise 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 LH 1
Purpose of the Sight Reading & Rhythm Cards The Sight Reading & Rhythm Cards for Book 3 provide extra practice for students in reading and rhythm beyond what they receive in their Repertoire Book. The systematic presentation of intervals, chords, and rhythms will help the student develop fluency and confidence in his ability to read music. Learning to read music fluently takes years of practice, especially for students who are not natural readers. A systematic progression of reading studied persistently over years is well worth the effort when it produces students who are confident and able readers. These cards are an integral part to the Piano Safari Method and should be used in conjunction with each unit of Repertoire Book 3. These cards can also be used with any standard method series. They work equally well with children and adults and can be used in private lesson and group class settings. Motivation Students enjoy the Sight Reading & Rhythm Cards because: Students can see their forward progress through the color coded levels. This is similar to the motivation that comes from completing levels in a video game or earning colored belts in karate. The variety in textures add interest to each exercise. Students understand how music is constructed in logical key structures and patterns. We often reward students with small prizes, chocolate, or stickers to further motivate them to work through the levels of cards. 2
Types of Reading Exercises There are four textures found in the Sight Reading & Rhythm Cards for Book 3: 1. Patterns 2. Melody with Accompaniment Patterns 3. Two-Voice Counterpoint 4. Chorale Style Patterns These look difficult at first glance, but once the pattern is decoded, they are easy to play. For example, the exercise below features only a C Major triad. Once the student realizes this, this exercise becomes simple. Melody with Accompaniment Patterns Common patterns such as blocked 5ths, blocked chords, arpeggiated triads, waltz, and Alberti bass are included. The I, IV6/4, V6 and V6/5 chords are featured regularly to allow students to recognize, hear, and play these chords. Following are examples of each type of accompaniment pattern: Blocked 5th Blocked Chords 3
Alberti Bass Arpeggiated Triads Broken Chords Waltz 4
Two-Voice Counterpoint Two melodies, one in the RH and one in the LH, are played simultaneously. Mastering this coordination prepares students to play Baroque music. Chorale Style Reading chorale style in either hymn style (two parts per hand) or keyboard style (chords in RH and bass in LH) provides students with practice in seeing chord shapes and intervals, analyzing chords, and using the pedal. Hymn Style Keyboard Style These textures were chosen because they are commonly found in the repertoire students play at the late elementary and early intermediate levels of standard repertoire. 5
Assigning the Cards Here are some of the successful ways we have found for working on Sight Reading Cards: Complete two or three cards at each lesson with the student. Complete a card at the lesson and assign two or three more home for practice. Assign three to five cards for practice, and check them quickly at the lesson. Have the student arrive five minutes early to preview several cards silently while you finish the previous student’s lesson. Then begin the lesson with the previewed cards. One student stays five minutes after their lesson time, and the next student arrives five minutes early. This gives you ten minutes to work on Sight Reading Cards with the two students together. While one student is previewing an exercise on his card, the other is playing his exercise. They alternate previewing and playing. In this way, students at different levels in the Sight Reading Cards can be working at the same time. If you have a group class each week, students can preview and play their cards for you during the class. 6
Level L C Major & A Minor Level L cards should be assigned during the study of Unit 1 of Repertoire Book 3. Card L.1 Step 1: The cards cover the same concepts and chords repeatedly to allow the student to become confident in understanding the concepts of the I, IV, and V chords in various keys. We have therefore provided a place for the student to name the key at the top of each chord, as well as an analysis question. It is recommended that students complete these questions even if they seem easy, so as to insure the student understands these important concepts. Answers to questions on card L.1: Key: C Major Triad: C Major Objectives: Find the pattern Does your student have? Clear articulation Dynamics Understanding that this whole exercise consists of a C Major Triad Step 2: This is a Pattern Card, one of the four types of textures found in these cards. Have the student preview the exercise and play it when ready. He should play it three times, putting a check mark next to the exercise after each repetition. For students who need extra steps to master this card, you can: Play the LH while the student plays RH. Switch parts The student can then play three times hands together (HT) If the exercise is easy for the student, do not reduce the number of repetitions. Instead, add difficulty by: Perfecting articulation and dynamics shaping Playing faster Transposing to different keys 7
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 Step 3: For the Rhythm Exercise, have the student write in the counts above the hand that has the varied rhythm (RH in this exercise), writing in all the “ands” to see how the quarter notes contain two eighth notes. If you prefer, you may have the student “slash the beats,” drawing a vertical line through each beat, as this is common in school bands and orchestras, as well as writing the rhythm: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 Step 4: The student taps and plays HT (RH top part, LH bottom part), counting aloud with the “ands.” Count and tap with the student. As the student becomes more confident, have him tap and count alone. When finished, the student puts a check mark next to the exercise. Step 5: The student repeats the exercise, counting just numbers “1 2 3 4.” This is an important skill. Students who have rhythmic difficulties usually can count with the “ands,” but they may have trouble when asked to count only with numbers, without the “ands.” This is because they are subdividing and not feeling the big beat. Having them count with just numbers helps them begin to feel the bigger beats and to see how the shorter notes fit between the big beats. You can make motions for the bigger beat along with the student to help him feel the bigger beats, either by tapping, conducting, or nodding your head to the beat. Have the student draw a second check mark. Step 6: The student repeats one last time and draws one last check mark. If the student is rhythmically adept and able to easily tap and count the first time, add difficulty by: Having him tap the exercise at faster or slower tempos Play on two notes on the piano (one for the LH and one for the RH) Tap and count with the metronome Count only the downbeat, saying “1” loudly on the downbeat Step 7: The student moves the completed card to the back of the stack of cards. 8
Card L.2 Step 1: This card is a Accompaniment Card, one of the four types of textures found in these cards. This accompaniment pattern is Blocked Fifth. Have the student complete the key and analysis question by marking the 5ths in the RH with his “5ths color.” You can also have him mark up arrows or breath marks between phrases to be sure he lifts between each phrase and plays legato where there are phrase marks. Objectives: Coordinate HT playing Does your student have? Articulation as marked Balance the hands, so that RH melody is louder than LH accompaniment Step 2: With Accompaniment Cards, it is helpful to complete these steps: You play RH while the student plays LH. This allows the student to hear the rhythm of the melody. You play LH while the student plays RH. Student plays HT. Be sure the articulation is correct (lifts between phrases) and the hands are balanced (RH singing, balanced over a quieter LH). Step 3: The student plays HT three times and writes check marks. He then completes the Rhythm Exercise as explained in Card L.1. 9
Card L.3 3 1 5 Step 1: This card is a Two-Voice Counterpoint Card, one of the four types of textures Objectives: found in these cards. These cards have a Coordinate two melodies playing melody in the RH and another melody in together the LH. Playing two-voice counterpoint is more difficult than it may seem, and Does your student have? simple contrapuntal exercises like these Correct articulation are vital for preparing the student to play Balance the hands, so that RH is Baroque music. Have the student write in louder than LH the key and complete the analysis question. Although at this point the student should not write in many finger numbers, when beginning to play counterpoint, writing in select finger numbers is helpful because it requires the student to analyze before playing. It also avoids unnecessary frustration when learning to play contrapuntal textures. Step 2: For Two-Voice Counterpoint Cards, it is helpful to complete these steps: You play RH while the student plays LH. You play LH while the student plays RH. Student plays the downbeats of each measure HT. This helps the student coordinate which finger plays in which hand. The student plays the whole exercise. Some students will not need all these steps. Step 3: The student plays HT three times and writes check marks. He then completes the Rhythm Exercise as explained in Card L.1. 10
Card L.6 Cards L.4 and L.5 are similar textures to ones already presented. L.4 is a Blocked Fifth Accompaniment Card, and L.5 is a Pattern Card. I C V6 G/B V6 G/B I C Step 1: This card is a Accompaniment Card. The pattern is Blocked Chords. In Sight Objectives: Reading & Rhythm Cards for Book 3, we Identify the I and V6 chords in C focus on only the primary chords, I, IV6/4, Major V6, and V6/5, which are commonly found Hear the I and V6 chords in C Major in repertoire of this level and in sonatinas and how they harmonize the melody students will play soon. Students are asked to analyze the chords on every card that Does your student have? uses these chords to practice identifying Correct fingering in the chords the chords in the keys presented and also Balance between hands to hear the chords and how they Correct articulation harmonize the melodies. The chords are introduced in Piano Safari Technique Book 3, which the student is studying concurrently with these Sight Reading Cards. Although you may become tired of hearing the same chords repeatedly throughout these cards (I know I was when writing them!), the student will without a doubt become completely familiar with these chords after playing them so many times in different keys with various accompaniment patterns. This will translate to him being able to hear the chord progressions and read the chords easily in sonatinas. Have the student analyze the chords with both Roman numerals (formal theory) and letter names (popular lead sheet notation). Step 2: With these types of Accompaniment Cards, it is helpful to use the following steps: Call out chords (I, IV6/4, V6, V6/5) and have the student play the chord in the given accompaniment pattern. Have the student analyze the chords You play RH while the student plays LH. You play LH while the student plays RH. Student plays HT three times, with correct articulation and balance. You can also have the student play the opposite chord (V where the I chord is, and I where the V chord is), to hear why certain chords are used with certain parts of the melody! 11
Card L.8 Step 1: This card is a Choral Style Card. This card has hymn texture, with two parts per hand. This type of texture provides a completely different type of reading experience from other textures. Emphasize the intervals played by each hand. Be sure the student practices hands separately and notes which notes stay the same (bass line in this exercise), and how the intervals change (RH m. 2 Finger 5 goes up a step. Then the whole 6th moves down one step for m. 3). Objectives: Play intervals in each hand Practice syncopated pedal Does your student have? Coordination the changing intervals between hands Clean pedaling Step 2: Chorale Style Cards are perhaps the most difficult. You may have the student repeat each card five or seven times rather than three times if you wish. 12
Level L Summary Here is a list of the type of exercise and key for each card in Level L. Card Type Key L1 Pattern C L2 Accompaniment: Blocked Fifth C L3 Two-Voice Counterpoint C L4 Accompaniment: Blocked Fifth Am L5 Pattern Am L6 Accompaniment: Blocked Chords C L7 Two-Voice Counterpoint C L8 Chorale: Hymn Style C L9 Pattern Am L10 Accompaniment: Blocked Chords Am L11 Two-Voice Counterpoint Am L12 Accompaniment: Repeated Blocked Chords C L13 Pattern C L14 Accompaniment: Repeated Blocked Chords Am L15 Two-Voice Counterpoint Am L16 Chorale: Hymn Style Am 13
Level M G Major & E Minor & Level M cards should be assigned during the study of Unit 2 of Repertoire Book 3. Level M features G Major and E Minor but includes two cards in C Major and A Minor as review. Levels N-P proceed similarly. Level Q reviews all keys presented. Card M.1 Step 1: This is a Pattern Card. Note that octave leap endings have been included on many cards, because this is commonly found in pieces. Complete the analysis question, and then play three times. Objectives: Find the pattern Step 2: Groups of four sixteenth notes are introduced in this level. Students may count them: With Ta’s first (ta-ka-ti-ka) Metrically with “ands” Metrically with numbers of big beats (1 2 3 4) Ta 1 1 2 2 2 Ta 3 3 2 4 4 Ta 1 1 Ta 2 2 Ta 3 3 Ta 4 4 Does your student have? Notes of each interval sounding simultaneously Pedal coordination at the end Ta ti Ta 1 2 1 2 ti Ta ti 3 3 Ta 4 4 ti Takatika Takatika Takatika Takatika 1e a 2e a 3e a 4e a 1 2 3 4 14
Card M.2 G I C/G IV6/4 Step 1: This is an Accompaniment Card. Alberti Bass is one of the accompaniment patterns introduced in the Level M Cards. The student should be familiar with this pattern from exercises in Piano Safari Technique Book 3. Have the student analyze the chords in pop symbols and Roman numerals. Step 2: Call out chords (I, IV6/4, V6, V6/5) and have the student play the Alberti Bass pattern of that chord without looking at the card. Repeat in C Major, A Minor, and E Minor, the other keys the student has learned so far in Piano Safari Technique Book 3. D7/F# V6/5 G I Objectives: Practice playing Alberti Bass with common chords Balance the melody and accompaniment Does your student have? Rotating LH for the Alberti Bass, with a slight accentuation on the bass note Fluent Alberti Bass pattern Balance between melody and accompaniment Step 3: Student plays LH while you play RH. Step 4: Trade parts. Step 5: Student plays HT three times (or more) and puts check marks next to the exercise. Be sure the student balances the melody and accompaniment and shapes the phrase. 15
Card M.6 Em i Em i Step 1: This is an Accompaniment Card. Arpeggiated Triad is one of the accompaniment pattern introduced in the Level M Cards. The student should be familiar with this pattern from exercises in Piano Safari Technique Book 3. Have the student analyze the chords in pop symbols and Roman numerals. Step 2: Call out chords (I, IV6/4, V6, V6/5) and have the student play the Arpeggiated Triad pattern of that chord without looking at the card. Repeat in C Major, A Minor, and G Major, the other keys the student has learned so far. B/D# V6 Em i Objectives: Practice playing Arpeggiated Triad accompaniment with common chords Balance the melody and accompaniment Does your student have? Circular clockwise motion in the LH for the Arpeggiated Triad accompaniment, with a slight accentuation on the bass note Balance between melody and accompaniment Step 3: Student plays LH while you play RH. Step 4: Trade parts. Step 5: Student plays HT three times (or more) and puts check marks next to the exercise. Be sure the student balances the melody and accompaniment and shapes the phrase. 16
Level M Summary Here is a list of the type of exercise and key for each card in Level M. Card Type Key M1 Pattern G M2 Accompaniment: Alberti Bass G M3 Two-Voice Counterpoint G M4 Accompaniment: Alberti Bass C M5 Pattern Em M6 Accompaniment: Arpeggiated Triad Em M7 Two-Voice Counterpoint Em M8 Chorale: Keyboard Style G M9 Pattern Em M10 Accompaniment: Arpeggiated Triad G M11 Two-Voice Counterpoint Em M12 Accompaniment: Alberti Bass Em M13 Pattern G M14 Accompaniment: Arpeggiated Triad Am M15 Two-Voice Counterpoint G M16 Chorale: Keyboard Style Em 17
Level N F Major & D Minor & 6/8 Meter Level N cards should be assigned during the study of Unit 3 of Repertoire Book 3. Card N.2 F I C/E V6 Step 1: This is an Accompaniment Card. Broken Chord is one of the accompaniment patterns introduced in the Level N Cards. Have the student analyze the chords in pop symbols and Roman numerals. Step 2: Call out chords (I, IV6/4, V6, V6/5) and have the student play the Broken Chord Accompaniment pattern of that chord without looking at the card. Repeat in C Major, G Major, A Minor, E Minor, and D Minor. F I C/E V6 F I Objectives: Play Broken Chord Accompaniment with common chords Balance melody and accompaniment Does your student have? Fluency in Broken Chord Accompaniment Balance between hands Step 3: Have the student play LH while you play RH. It is recommended that the student play Broken Chord Accompaniment non legato, especially if the student’s hands are small. However, legato is also acceptable. Be sure that whatever articulation you and the student choose remains consistent throughout the exercise. 18
Card N.3 1 2 Ta 3 4 5 Ta 6 1 2 Ta 3 4 5 ma Ta 6 ma Step 1: When introducing 6/8, explain the time signature, how the eighth note gets the beat. Count and tap the exercise for the student. If you would like to teach the Ta symbols for 6/8, here is the system we created: 1 2 3 4 5 Ta na ma Ta 6 1 2 Ta 3 4 2 5 6 Objectives: Learn to count in 6/8 Does your student have? Understanding of 6/8 Feeling two big beats overarching the six beats in each measure Ta Rest Ta-na-ma Ta - ma Ta 2 However, at this point, the student may not need to count in Ta’s. Counting metrically may actually be easier. Step 2: Count and tap three times. 19
Card N.6 F I F I Step 1: This is an Accompaniment Card. Waltz is one of the accompaniment patterns introduced in the Level N Cards. Have the student analyze the chords in pop symbols and Roman numerals. Step 2: Call out chords (I, IV6/4, V6, V6/5) and have the student play the Waltz Accompaniment pattern of that chord without looking at the card. Repeat in C Major, G Major, A Minor, E Minor, and D Minor. C/E V6 F I Objectives: Play Waltz Accompaniment with common chords Balance melody and accompaniment Does your student have? Correct articulation in Waltz Accompaniment Balance between hands Step 3: Student plays LH while you play RH. Step 4: Trade parts. Step 5: Student plays HT three times (or more). 20
Level N Summary Here is a list of the type of exercise and key for each card in Level N. Card Type Key N1 Pattern F N2 Accompaniment: Broken Chord F N3 Two-Voice Counterpoint Dm N4 Accompaniment: Broken Chord Dm N5 Pattern F N6 Accompaniment: Waltz F N7 Two-Voice Counterpoint Dm N8 Chorale: Hymn Style F N9 Pattern Dm N10 Accompaniment: Waltz Dm N11 Two-Voice Counterpoint F N12 Accompaniment: Broken Chord G N13 Pattern Dm N14 Accompaniment: Waltz Em N15 Two-Voice Counterpoint F N16 Chorale: Hymn Style Dm 21
Level O D Major & B Minor Here is a list of the type of exercise and key for each card in Level O. Card Type Key O1 Pattern D O2 Accompaniment: Alberti Bass D O3 Two-Voice Counterpoint Bm O4 Accompaniment: Arpeggiated Triad D O5 Pattern Bm O6 Accompaniment: Alberti Bass F O7 Two-Voice Counterpoint D O8 Chorale: Keyboard Style D O9 Pattern D O10 Accompaniment: Arpeggiated Triad Bm O11 Two-Voice Counterpoint D O12 Accompaniment: Broken Chord Bm O13 Pattern Bm O14 Accompaniment: Waltz D O15 Two-Voice Counterpoint Dm O16 Chorale: Keyboard Style Bm 22
Level P Bb Major & G Minor Here is a list of the type of exercise and key for each card in Level P. Card Type Key P1 Pattern Bb P2 Accompaniment: Broken Chord Bb P3 Two-Voice Counterpoint Bb P4 Accompaniment: Waltz Gm P5 Pattern Gm P6 Accompaniment: Alberti Bass Gm P7 Two-Voice Counterpoint Bm P8 Chorale: Hymn Style Bb P9 Pattern D P10 Accompaniment: Arpeggiated Triad Gm P11 Two-Voice Counterpoint Bb P12 Accompaniment: Alberti Bass Bb P13 Pattern Gm P14 Accompaniment: Arpeggiated Triad Bb P15 Two-Voice Counterpoint Gm P16 Chorale: Hymn Style Gm 23
Level Q Review Here is a list of the type of exercise and key for each card in Level Q. Card Type Key Q1 Pattern F Q2 Accompaniment: Broken Chord C Q3 Two-Voice Counterpoint Gm Q4 Accompaniment: Waltz G Q5 Pattern Dm Q6 Accompaniment: Alberti Bass Am Q7 Two-Voice Counterpoint Em Q8 Chorale: Keyboard Style D Q9 Pattern C Q10 Accompaniment: Arpeggiated Triad Dm Q11 Two-Voice Counterpoint G Q12 Accompaniment: Alberti Bass F Q13 Pattern Am Q14 Accompaniment: Waltz Em Q15 Two-Voice Counterpoint D Q16 Chorale: Keyboard Style C 24
Purpose of the Sight Reading & Rhythm Cards The Sight Reading & Rhythm Cards for Book 3 provide extra practice for students in reading and rhythm beyond what they receive in their Repertoire Book. The systematic presentation of intervals, chords, and rhythms will help the student develop fluency and confidence in his ability to read music.
Introduction 1 The Piano Safari Sight Reading & Rhythm Cards for Book 1 contain cards in five color coded levels (Levels A-E) that correlate with the five units in Piano Safari Repertoire Book 1 (Units 1-5). There are 16 cards per level. Each card contains: RH Sight Reading Exercise LH Sight Reading Exercise Rhythm Exercise
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