If you’re a piano teacher, I’m sure you’ve taught students that needed more piano songs in hand positions. What do you do? In my 35 years of teaching, I never met a piano method book that gave enough songs in one hand position to learn how to sight-read. Sure the student can “muddle” through each piece, but this won’t be enough for students to play piano songs like reading a book! To help, some teachers will use multiple books in one level to give the student more songs in that hand position. I call those “sideways books.” This way of teaching causes your students to bring three or more books to each lesson! And it still may not be sufficient for sight-reading a specific hand position.
Download Piano Songs
My piano method book series “Drill & Excel On the Piano” includes 20 songs for each hand position per chapter. I’ve found that 20 songs are a sufficient number of songs to sight-read, even for the slower-paced student. But if you’re teaching from another piano method book and don’t want to change, I now have the perfect solution for you. Melody Music Publishers now offers sets of 5 piano songs in a single hand position you can download for only $3.50! There are eight parts in each hand position with five songs each, totaling 40 songs in keys of C, G, F, D, B flat, A, and E flat!
Beginning to Intermediate
There are three levels: beginning, intermediate, and late intermediate. The beginning level stays within the five-note hand position. The rhythm includes quarter, half, dotted half, and whole notes and rests. The intermediate level also stays within the five-note hand position but adds the eight notes and rests. The late intermediate level expands slightly outside the five-note note hand position using the same rhythm as the intermediate level.
Original Songs
And the best part, these songs are all original! Most method books brag about the songs being familiar. However, if the student knows the song, he or she may play more by ear than actual reading. Since our songs are original, this ensures the student is reading every note and rhythm.
New Songs Continually Added
New songs will be continually added to the site. If you need more songs for any level, hand position, or key signature, click the Request More Songs link at the top of each level to send a request e-mail to the author/founder, Kathi Kerr. You will be notified when the songs you have requested are added.
Plenty of Piano Songs In Hand Positions
No more running out of songs for your student to practice! Download songs for any level and position for immediate access and help your students become excellent sight-readers!
Kathi Kerr – owner Melody Music Publishers
Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers for piano and singing method books. The learning model is small steps using drills and repetition, how students think and learn.
Hey fellow piano teachers, what if there were piano method books that made your teaching job so easy, you feel you’re hardly working at all? That’s exactly what the “Drill & Excel On the Piano” book series does! Click any book to watch a movie where the author goes through each page with commentary. Most piano method books are songs with little information included. This means you have to explain in detail every new concept. And since piano method books don’t include every part of the lesson needed, you have to supplement books for teaching exercises, scales, theory, note naming, and rhythm games to improve their reading ability. Having multiple books also makes it challenging in the lesson for both you and the student.
Everything in one book
At Melody Music Publishers, the “Drill & Excel On the Piano” series has everything in one book. Each book is in 3 chapters and includes multiple note reading and interval worksheets, rhythm drills, exercises, and special exercises for specific skills, scales, and 20 original songs per chapter (totaling 60 songs per book)! Since the author, Kathi Kerr, writes the songs, a student has to read the notes and not rely on their ear to play. Most method books brag about having songs students are familiar with. However, if reading music fluently is the goal, a student can trick the piano teacher when playing a song if they rely on their ear instead of reading the notes.
Easy Steps to follow
Teaching from the “Drill & Excel On the Piano” series is nice because it lays out the information in an easy to follow step format. Without a book to guide the teacher and student, it’s easy to forget about important steps the student needs. However, with these books, the piano teacher can relax and know each critical step is included, taught straightforwardly with examples, drills, and exercises. The repetition given ensures the student fully understands each step before moving on to the next one.
Written Worksheets
Why are writing assignments so important? I believe writing the information is the first layer of understanding and retaining the information. When a student repeatedly writes the names of the notes or intervals, they’re more likely to retain the information. With the “Drill & Excel On the Piano” books, there are multiple worksheets to help students learn and remember notes. No acronyms are taught, like “Every Good Boy Does Fine.” Instead, the staff’s logic is shown, and five sets of notes are taught at a time with multiple worksheets per set of notes.
Rhythm Drills
Where’s the rhythm in most method books? Most piano method books may give the value of each kind of note, but nothing else. I have found rhythm is the most neglected part of piano method books and lessons. A student needs more than just shown each note’s value. To read rhythm fluently requires playing multiple rhythm drills. In “Drill & Excel On The PIano,” the note’s value is taught with multiple rhythm drills for the student to play. Playing them with a steady beat, and counting the beats out loud is recommended.
Exercises
As mentioned earlier, most piano instructors will use a separate book for exercises. However, many exercise books are not suitable for the beginning student when the pattern includes more than a five-note hand position. In “Drill & Excel On the Piano” books, the exercises correspond with the chapter’s songs and skills needed. For example, in chapter 1 of book 1, only five-note pattern exercises are given that go with the songs. As the hand position expands, the exercises do as well. There are also “special” exercises that go along with the skills needed for the songs. In book 1, chapter 3, an exercise to teach the skill of independence of hands is given. This helps when playing the songs with one hand louder than the other, and one playing staccato while another playing legato. A student first learns the skill in the exercise before applying it to a song.
Scales
Another supplemental book piano teachers often use is scales. In “Drill & Excel On the Piano,” each chapter has one key signature (except the recap chapters), and all the songs, exercises, and scales will be in that key. This makes everything they’re learning correspond to each other and creates a clear path for learning. Also, most scale books show the scale by notation. Playing scales by reading the notes may not help the student remember what sharps or flats are in each scale and key signature, or even understand them. In the “Drill & Excel On the Piano” series, the student plays scales by knowing what’s in each key signature. This helps the student have better retention and understanding of the scales, which is the foundation for learning music theory.
Intervals
Intervals are taught beginning in book 2, chapter 3. The emphasis in book 1 and book 2, chapters 1 and 2, are reading fluently and exercises to acquire the skill of playing. Chapter 3 of book 2 starts by showing the staff’s intervals in the key of C (C/D, C/E, C/F, C/G, etc.), with the interval number beneath. However, it doesn’t stop with merely explaining intervals. There are multiple worksheets for the student to identify the interval number without counting. Once a student can identify the interval at sight, this helps in sight-reading. Without repetitive written assignments, most students are not able to identify them at sight.
Songs, songs, and more songs!
And finally, the best part of “Drill & Excel On the Piano” are all the beautiful songs written by author Kathi Kerr. As mentioned earlier, the songs correspond with the chapter’s key signature. Written melodically, a student will find themselves singing the songs apart from playing them on the piano. Starting from book 2, each piece is in a different style with a commentary written by the composer. And best of all, they’re fun to play!
Each book recaps the previous books
Whatever the student’s level, he or she can start with any book in this series, since from book 2, the first chapter is a recap of the previous books—this way, no critical steps, and information are missing. For a beginning student ages 8-adult, book 1 is recommended. If a student has played a little piano, they can start with book 2 that begins chapter 1 with hands together. This book is also great for a self-taught student that plays well but may have missing information or someone taught incorrectly. Book 3 is excellent for the early intermediate student. And finally, book 4 is for the late intermediate student. There are more exercises, special exercises, rhythm drills, and lots of theory worksheets in books 3 and 4. “Drill & Excel On the Piano Book 5” is set to come out in late 2021 for the advanced student.
My first experience with this piano method book
When I had finished book 1, I used it on the students I was teaching at the time (I called them my guinea pigs). One of my students in particular had struggled in reading. However, when he started playing the multiple songs in each position, he was so accomplished at reading, he began sight-reading the songs nearly perfectly by the end of the chapter! I remember feeling so at ease and thinking “The book is doing all the work!” It was so much fun to see him go from struggling to sight-reading!
Order today and enjoy teaching
Order your copy of “Drill & Excel On the Piano” to relax and have a great time teaching your students, knowing they’re getting all the essential steps. Using drills and repetition, your students will have a deep understanding of all concepts and play the piano like a pro. It’s exciting to see the students’ progress and growth. If you’re a piano teacher who hasn’t registered, click here to sign up to receive discount codes for free shipping and 50% off your first copy, then free shipping and 20% off all recurring orders! Thank you for your passion and dedication to teaching private piano. We welcome your comments and suggestions to this post.
Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers. They offer piano and singing method books using small steps and repetition, how students think and learn.
Welcome the newest addition: “Color It Say It Play It and Create It Too”
“Color It Say It Play It and Create It Too” is the newest addition to Melody Music Publishers. This piano method book for children ages 5-8 is the sequel to “Color It Say It Play It and Create It.”. A student aged 7-8 can start with this book that may be too old for book 1. The beginning steps are taught, so no concepts are missing when starting with this book. It starts with technique, keyboard geography, and exercises, as in book 1. Then it moves onto playing hands together in the C hand position using letter names. As the book continues, it adds rhythm and big notes with the names and rhythm. And finally, the staff’s notes are introduced, starting with the treble clef and bass clef separately, then the grand staff. By the end, the student is playing songs with both hands in the C hand position. And for a bonus, the back of the book has Christmas songs arranged for any part of the book the student may be on at Christmastime.
Copycat Games
Copycat games are In the first few pages of the book. This game teaches the young student to “listen” and hear the notes being played. Listening to notes is a great learning skill and helps develop ear training. When a student is concentrating on reading while playing, it’s easy for a student of any age not to “hear” the notes. The first few songs in “Color It Say It Play It and Create It Too” are familiar songs with no title. The student plays the notes and has to figure out what the name of the song is. This exercise is fantastic to teach him or her how to listen while playing. The second skill learned with this game is creating a steady beat. When the teacher plays a set of notes with a steady beat, it allows the student to “copy” with the same steady beat, saying the note names aloud. And playing without looking at their hands is emphasized right from the beginning to create this good habit.
Why Start With Letter Names?
Most method books for the young beginner jump right into teaching notes on the staff. However, this skill requires the student to figure out the staff’s note name and then what key to play. Studies have shown that young children have difficulty with this process, and may cause them frustration. Thus, it may cause the student to cancel even before getting started. By starting with reading only the letter names, the young student can play more quickly and helps to develop dexterity in their playing. This book even includes exercises using the letter names, which I’ve never seen in piano method books for this age. The songs start with one hand at a time, then with hands together playing the same notes in each hand. Then the final step is playing different notes in each hand. The letter names go up and down, thereby teaching the concept of notes on a staff, without the student even being aware of it. I have found that a student can easily transition into reading notes on the staff after playing with letter names that ascend and descend.
Rhythm
The next step introduced is rhythm using drills and writing assignments. Rhythm is the element that is the most neglected in method books, especially for young students. However, I believe rhythm is the most critical aspect of playing and reading music. I’ve noticed that when the rhythm is emphasized early in the child’s lessons, they have no problem playing the rhythm correctly as they progress. I also emphasize a steady beat and counting, showing how each beat has a unique feel. There are rhythm drills in “Color It Say It Play It and Create It Too” that include clapping to a metronome on different beat numbers. Since rhythm is introduced in a clear yet fun way, it takes the guesswork out of it for the young student.
Combining Rhythm and Note Names
Once they are familiar with the rhythm, the next step is big notes with the rhythm and note names in the center. Once again, the notes ascend and descend to show the logic of the notes on a staff. The student is counting out loud while playing the various notes in the song. By now, the young student remembers where the keys are in their hand position so as to focus on the rhythm. Counting out loud and playing with a steady beat is emphasized, as well as not looking at their hands.
And Finally The Staff
The next and final step is introducing the staff. First, the treble clef notes are taught with worksheets and songs, then the bass clef, and finally, the grand staff. The note names are no longer given in the middle of the note. The first few songs on the grand staff start with both hands playing C to focus on the rhythm. Then the grand staff with random notes but the same notes in each hand with whole notes, then half notes, dotted half notes, and quarter notes. The last and final step is hands playing different notes in each hand, and all the rhythm taught.
Watch Video With Commentary
Songs in “Color It Say It Play It and Create It Too”
All the songs except two (“Ode to Joy” and “Pop Goes the Weasel”) are original songs. The purpose in writing the songs is to make sure the student is actually reading. While ear training is critical and included in this book, when playing songs, the skill of reading is most important. I wrote the songs to sound fun, so the student will enjoy playing and learning them. Learning to read music also teaches the concept that reading is essential to playing songs they may not be familiar with.
The Next Step
This book helps the young student to smoothly transition into our “Drill & Excel On the Piano” series. All the important concepts are taught. Students seven or eight can continue with “Drill & Excel On the Piano Book 2” which starts with both hands in the C hand position. If the student is seven or younger, I recommend starting with “Drill & Excel On the Piano Book 1”.
Thank You For Choosing “Color It Say It Play It and Create It Too”
I appreciate all teachers that order books at Melody Music Publishers. Remember to register if you haven’t already to receive discount codes for free shipping and 50% off your first copy. Then when ordering for your students, you’ll receive free shipping and 20% off all future orders. I wrote these books from my own experience teaching this age group how they think and learn. My hope is the young student will be excited about learning to play the piano and are given the steps needed to succeed for a lifetime. Thank you for doing the best job in the world, sharing your joy and passion for music with others.
Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. In 2017, she founded an independent publishing company called Melody Music Publishers. They offer piano and singing method books using small steps and repetition, how students think and learn.
How to Sight-Sing is Now a New Addition to Melody Music Publishers
What exactly IS sight-singing? The definition of sight-singing is singing the printed notes without someone playing them on an instrument. Have you or your student ever wanted to sight-sing? Welcome the new book at Melody Music Publishers, “Drill & Excel in Sight-Singing Book 1”. It can be difficult at first to acquire, and with this step-by-step approach, you can! Imagine singing in a choir or a lead or backup singer in a band singing the notes right off the page! No more needing to hear them played. “Drill & Excel in Sight-Singing Book 1” is for the early beginner and no previous reading skill is needed. It includes vocal exercises, note reading assignment pages, rhythm drills, scale and interval drills, and 180 original songs. Best of all, there are accompaniment audios on the website to sing along with the exercises and songs.
Sight-Singing For Music Majors
If you were a music major in college, you probably had to take sight-singing classes. The problem with most college courses is it’s “expected” that you already know how to sight-sing. If you’re not a piano or vocal major, this skill can be daunting. As a piano performance major, it was always easy for me to sight-sing. However, I remember the percussion majors, and even stringed instrument students, struggling with this skill. When I began teaching voice and sight-singing, I realized there needed to be a book designed to approach it in a step-by-step way. If you’re a young student who intends to make music your major in college, this is a must-need book no matter what your instrument. You’ll be years ahead of your colleagues, having gone through this book.
Sight-Singing For Choir Members
What about singing in a school or church choir? Most choir directors have to take time in the rehearsal to go over parts, especially for the alto, tenor, and bass that aren’t singing the melody. What if each choir member could read the notes for themselves without the pianists playing them? How much more can be accomplished in the rehearsal without taking the time to plunk out notes?
Sight-Singing For Lead/Backup Singers In a Band or Studio Musician
What about lead or backup singers in a band, or studio musicians? This book will greatly benefit them. Time is money, so if a singer can walk in a studio and be handed a lead sheet and be able to sing the notes, he or she will most likely be hired. If a lead or backup singer in a band can sight-sing, it will take less time in rehearsal.
The Singer is in Control
Being able to sight-sing puts you, the singer, in the driver seat. No more relying on an instrumentalist to play your part; YOU can sing it for yourself!
Sight-Singing Takes Time
The skill of sight-sing does take time to acquire. This 128-page book may take students a year or more to finish, however the rewards are great! Order your copy of “Drill & Excel in Sight-Singing Book 1” today and begin to learn the excellent (and fun) art of sight-singing!
Would you like to preview each page of the book? Watch our movie where the author goes through every page with commentary and audio.
Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. Then in 2017, she founded Melody Music Publishers, an independent publishers for piano and singing method books, and how students think and learn.
There are as many different piano methods and approaches to teaching piano as there are vehicles. Each method has their own way of teaching. That’s actually good, because everyone learns in their own way. The experts have defined learning into seven categories: 1) Visual (Spatial or “watching”) 2) Aural (Listening) 3) Verbal (speaking) 4) Physical (Kinesthetic, or by “doing”) 5) Logical (Mathematical) 6) Social (Interpersonal or learning in a group setting) and 7) Solitary (Intrapersonal or learning on your own).
How To Choose the Method
Deciding “how” to teach a beginning piano student (or any instrument), can be more challenging than an intermediate student that has already developed a skill and a strong foundation. So how do we know what piano method will be best for each student? It starts with 2 things: 1) being familiar with each method, and 2) knowing how each student learns. In teaching over 30 years, I’ve enjoyed picking the student’s brains and figuring out how he or she learns. One thing I’ve found ALL students have in common; learning to play an instrument is HARD! Even students that have a natural musical talent is going to struggle when first learning. This is the primary reason, I believe, students quit lessons while in the beginning level.
Quick Summary for Method Books
The most well-known and popular methods are the piano method books. There’s probably 10 or more commonly used books. Most method books teach a little note reading, some theory (mostly intervals, I-IV-V-I triads, and Alberti bass), some may include a few exercises, and they all include multiple songs. Most will have several kinds of books within each level, so the student may have 3-4 books at a time. What they all have in common is there is almost nothing mentioned of rhythm, and they have a fairly fast progression. Early in my teaching, I realized they didn’t offer enough repetition in note reading and rhythm to create a fluency in reading music. So I wrote a “Note Reading Workbook” and “Rhythm Workbook” to supplement the method books. This seemed to help, but I found students were still frustrated in learning from the traditional method books.
Suzuki Method
There are also certified methods. Suzuki Method uses the “watch and copy” approach, the #1 style of learning mentioned earlier. This is great for young children who may not have the ability to learn by the other learning styles, which involve more maturity. It creates a quick way for young students to play songs. I think of this type of learning as superficial, since a student may not understand what they’re playing. In my view, it may be great to start a young student with this method, but not a permanent teaching method as the student gets older.
Orff Methodand Kindermusik
The Orff Method exposes young students to music and is best used in a group setting. It combines music, movement, drama, and speech into lessons that are similar with how children play. KinderMusik is a group program for the child and adult, based on these principles. They start as young as infancy through 7 or 8.
Dalcroze Method
The Dalcroze Method features interactive games and exercises that help students learn to trust their ideas and develop their own intuitions. While these methods are great to expose the young student to music, it doesn’t teach the skill of playing a specific instrument. However, these methods may be useful to integrate in the lessons. These methods (other than Suzuki) may be best for the kinesthetic or “physical” type of learner, #4 of the learning styles mentioned above.
Quick and On Line Piano Methods
Then there’s the ever growing “learn to play 3 songs in 3 weeks” type of methods. These methods don’t offer a deep understanding on the piano, but is more of a “quickie” on playing chords and simple melodies. This is actually fine for older students that want to learn to play their favorite song without hours of learning to read music. However, it’s not a serious way to study and learn the piano. There’s also programs that offer a subscription package to learn on the computer. I believe they can be useful, but students that may be excited at first, may drift off when it gets difficult with no one there to guide them. They also do not include a lot of needed information for the student, or watch how the student is playing. This is similar to learning from a video on Youtube, where the student is not being guided by an instructor that can watch him or her play.
Small Steps Using Drills & Repetition
I mentioned earlier that I had written supplemental workbooks to help the student learn to read notes and rhythm. In 2017, I decided to write my own line of piano method books to include everything needed in one book. I also wanted it to have more information and more songs within each level to create a fluency in reading. My approach can be summarized into these words “small steps using drills and repetition”. While these words may not sound “fun”, I have found students enjoy playing when they’re able to master each step. What causes frustration is not understanding and moving too quickly. By taking small steps and using repetition, the student actually ENJOYS reading and playing the piano.
Piano Method Series “Drill & Excel On the Piano”
This piano method book series is called “Drill & Excel On the Piano”. There are 4 books in this series with 3 chapters each and over 100 pages. Each book takes about a year to complete. Books 1 & 2 have have 7 parts to each chapter: 1) Note Reading and interval worksheets 2) Rhythm drills 3) Scales 4) Exercises 5) Special exercises for specific skills needed 6) 20 original songs per chapter, and 7) Write your own song. The “write your own song” page not only promotes creativity, but a deeper learning. Books 3 & 4 have 6 parts: 1) Interval worksheets 2) Rhythm drills 3) Scales 4) Exercises 5) Special exercises and 6) 20 original songs per chapter.
Why Original Songs?
Why did I write the songs? Most method books boast their books have familiar songs the student will enjoy playing. The problem with that is how do you (as the teacher) know if the student is reading the notes or playing by ear? Since all songs are original in “Drill & Excel On the Piano”, the student will have to read them and not rely on being familiar. Also the songs are written to teach what is taught in the chapter, as well as being fun to play. Books 3 and 4 include a variety of different styles, from classical, samba, boogie, pop, jazz, to rag time. When a student can read music on their own fluently, it makes it FUN to read and play songs. No more needing to have someone play it for them.
Piano and Singing Method Books Coming Soon
Coming soon is “Drill & Excel in Sight Singing”! If you’re a vocal instructor or vocal coach, this will help you teach the art of sight singing so the student can read and SING the notes without them being played. This is great for singing in a choir or the harmony parts as well as classical music. And book 5 of the “Drill & Excel On the Piano” will be available by the end of 2020. This will be for the early advanced student.
Teachers Receive Free Shipping and Discounts
If you register as a teacher, you’ll receive free shipping and the first copy of each book at 50% off!. You’ll also be notified of new books coming out, with a 50% discount for each new book. If you order for your students, you’ll receive free shipping and 20% off. This discount never expires and can be used with each order. It’s my way of thanking you for using my books, and for doing the best job in the world, sharing your passion of music to others!
Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. She also founded Melody Music Publishers in 2017, an independent piano method books written how students think and learn.
Teaching a piano transfer student can be the most difficult type of student for a teacher. This is the student that has had lessons for 6 months or more, ranging from late beginning to late intermediate level. Inevitably, the student is going to compare you to their previous instructor. And since no two people teach the same, you’re going to offer a different style and approach. If the student has bad technique, or wrong or missing information, this can create even more difficulty. So what are the best ways to create a smooth transition into your teaching style?
Be Prepared
Before the first lesson, find out what books the student has been using and ask for any notes from the previous instructor. Take the time to become acquainted with the curriculum if needed, and read the notes if possible. This will also give you insight into the previous teacher’s style and approach, as well as the direction of the student’s past lessons.
Establish a Rapport
The very first lesson is the most critical. It’s important to start out by getting to know the student and letting the student get to know you. Spend a few minutes to let the student know your training background and experience. Then take a few minutes to ask the student questions about their past piano experience and what he or she is interested in learning. The student will feel more comfortable with you and will feel you’re interested in what their interested in. Then have the student play the last song they were studying or their favorite song. Ask him or her a lot of musical questions to find out what they know or don’t know. Even an intermediate student may have missing or wrong information.
Make Changes Slowly
Changing too much too soon for the piano transfer student is usually the biggest mistake made. This is especially true for an intermediate student that has been playing a year or more with wrong technique or information. Changing a bad habit is the most difficult part of learning. Most students want you to validate their ability, so begin by complimenting him or her on anything done well. Even though it may go against your grain to allow bad technique, it’s best to wait until you’ve given several lessons and established a rapport before making huge changes. If there are multiple changes needed, take one at a time so not to overwhelm the student. That being said, it’s also important to show the student you can challenge them to the next level, so give the new student a few bread crumbs of information and things to work on in the assignments.
Be Careful Commenting on the Previous Piano Teacher
Each piano transfer student will have had a positive or negative experience from the previous instructor. With either scenario, it’s important to keep your comments about him or her at a minimum, especially negative comments. First, you want keep the focus on the direction between you and the student. Second, if you tell the student he or she was taught incorrectly, it may cause frustration and a sense of wasted time and money. If the student had a good rapport with the previous instructor, it may create a division between you both. Once you’ve received the curriculum and notes from the previous instructor, keep the conversation on how you will be teaching and the direction you would like to take.
Not every student-teacher is a match
I believe being the right instructor for a transfer student is more difficult than for the beginning student. If the student is an intermediate level, he or she may have specific interests. You may not be able to take the student where their interests lie. If that is the case, be honest with the student, letting him or her know you have THEIR best interest at heart, and kindly refer them to another instructor you may know that can offer what they want to learn. Also, not every personality types are a match. If this should happen, don’t beat yourself up over it. There are plenty of other students your teaching style and personality will be a great fit for.
It Gets Easier
While you may feel like you’ll be the “new” instructor forever, before long, you’ll be their new favorite! Just like any relationship, it takes time to establish. Be patient and soon you’ll be the instructor they compare others to!
Kathi Kerr founded Melody Music Studios in 1989, a nationwide music instruction studio. She also founded Melody Music Publishers in 2017, an independent piano method books written how students think and learn.
I recently read a piano teacher’s blog that stated the intermediate student no longer needed a method book. His point was there was nothing “new” after level 3 in the method books. He continued, saying the intermediate student only required repertoire to play and practice. But are piano method books needed for the intermediate student? Before six months ago, I would have totally agreed! Most piano method books offer nothing new after level 3 except songs to play. However, after writing Drill & Excel On the Piano book 3 and Drill & Excel On the Piano Book 4, I now realize there’s actually MORE skills and concepts for the intermediate student to learn than the beginning student. Here are some of the things I’ve included in books 3 and 4 for the intermediate student.
#1 Intervals
While intervals are mentioned in most of the early level piano method books, they don’t explain the KINDS of intervals. In Drill & Excel book 3, there are interval worksheets for the student to identify the intervals in various key signatures. Then in book 4, ALTERED intervals are introduced, with worksheets for the student to identify the kind of interval (major, minor, diminished, or augmented). Giving the student writing assignments helps the student to learn in a deeper way, rather than simply reading the information.
#2 Rhythm
In teaching rhythm, most method books only show how many counts a note is held. However, in Drill & Excel On the Piano series, there are multiple rhythm drill pages for the student to play on one note and count out loud. This gives the student a lot of repetition in reading the rhythm to create fluency. And in books 3 and 4, the rhythm goes beyond most method books, including sixteenth notes, triplets, and triplets against other notes (even or other triplets). Learning to read rhythm is much like driving a car. It can’t be taught be explanation, but in DOING.
#3 Exercises
Exercises are not included in most method books, even in levels 1 and 2. Piano instructors that want their students to play exercises use a separate book for that. However, the Drill & Excel On the Piano series includes exercises in all 4 books. Books 3 and 4 are especially important, because they offer specific exercises for the skills introduced. For example, book 3 has a chromatic scale exercise, finger pedaling exercises, and repeated notes using different fingers. Not only are these skills added in the chapter’s songs, but is common among other pieces. Another exercise in book 3 is changing fingers on a held note. Book 4 has ascending and descending 3rds, 4ths, 5ths, 6th, and 7ths. It also includes the “independence of fingers”, playing a triad and emphasizing each note of the triad. These are important skills for the intermediate student to acquire when playing difficult pieces.
#4 Theory
For the intermediate student, theory is especially important. A beginning student has difficulty in just playing and reading to even think about theory, while the intermediate student can understand concepts. And knowing theory helps in the student’s reading skill. It can also help in songwriting and improvisation. The Drill & Excel On the Piano books 3 & 4 include a lot of theory beyond the altered intervals mentioned earlier. It includes triads, triad numbers, and transposing songs to other keys by using the triad numbers. These are important skills and knowledge for the intermediate student to acquire, which may not be understood by simply playing various pieces.
#5 Songs
Since the songs in the Drill & Excel On the Piano series are written specifically with the information and skills taught in each chapter, they’re especially valuable in the learning progress for the intermediate student. Instead of playing random pieces, the songs are strategically planned to teach what is taught. Each song increases slowly in difficulty , giving the student a challenge incrementally as he or she plays them.
To Summarize
So are piano method books needed for the intermediate student? In short, yes, because the intermediate student needs to learn certain skills that may not be taught by simply playing various repertoire. The Drill & Excel On the Piano books 3 and 4 are the perfect books for their continued learning to bring the student to the next level. Check out our books at MelodyMusicPublishers.com. Teachers receive free shipping and 20% off all orders. Click here to register.
Kathi Kerr is author and founder of Melody Music Publishers. She writes her book based on over 30 years’ teaching experience the way students think and learn.
Proper technique on the piano (or any instrument) is vital. So many piano method books offer poor technique or no technique at all. There are many great musicians who play well “in spite” of their technique, not “because” of it, as my piano teacher in college used to say.
Here are a list of poor to bad technique I’ve seen over the years and have read in some piano method books:
#1 Lowered wrist
I once watched a keyboardist play in a band with wrists so low they were actually touching the keyboard! He played fairly well in spite of it, but it hampered his ability to move quickly over the keys. Having a low wrist makes the fingers do all the work and may cause them to tire easily. I’ve seen the same poor technique when watching people type at a computer keyboard. When the wrist is lowered, over a long period of time can cause swelling in the wrist. This can cause carpel tunnel syndrome. If the wrists are level or slightly raised, the pressure is taken off the wrist and fingers. This allows the fingers to move more quickly and freely.
#2 Fingers holding a ball
There are some piano method books that will describe the position of the fingers like holding a ball or balloon. The problem with the concept of “holding” is the fingers will naturally tense. That is the “opposite” of what the fingers should do. The fingers should be as relaxed as possible from the knuckles to the fingertips. It’s actually easy to teach a beginning student how to position their fingers by having them put their hands in their lap, facing up, and relaxed. Their fingers will naturally curve in the perfect position on the piano. I like to give the image of a rainbow curve for how their fingers will look when relaxed
#3 Using the wrong part of the fingertip
Here’s a technique almost never mentioned in most piano method books, using the correct part of the fingertip. Having relaxed curved fingers will help. The correct place is below the edge of the fingernail but well above the first joint. There should be no fingernail growth beyond the edge of the finger to avoid playing with a flat finger method. Also the first joint should not bend when playing the piano. Bending the joint causes a delay in playing quickly if needed. It also weakens the ability to play loudly. A good way to strengthen the first joint is to press the fingertips on a hard surface and keep the joint from bending.
#4 Rolling the wrists
Another are where piano method books offer poor technique is what I call rolling the wrists. The more movement with the hands and wrists, the more of a chance to play incorrect notes. It also can hinder the ability to play quickly. Rolling the wrist has nothing to do with the actual playing of the key. It looks good, but in actuality, takes more effort to do it. Teaching this technique to a beginning student only causes frustration when he or she is learning the basics.
#5 Raising the hand too high
Bad Technique
This is another poorly taught technique in some piano method books. I recently watched a video from one of the major method books showing an example of playing staccato. She lifted up her entire hand about 3 inches above the keys. This technique makes it impossible to play a quick succession of staccato notes. Good technique should be implemented the same when playing slowly as playing quickly. The proper way to play staccato notes is to keep the wrist stationery with a quick “jerk” with the hand. Only lift the fingers slightly above the key (about 1/8 of an inch), then right back to touching the key. Using this technique, I can play a quick succession of staccato notes easily. The hand should be as still as possible where a coin could stay without falling off and as close to the keys as possible.
#6 Hammer effect
The other poor technique I’ve seen is what I call the “hammer” effect. This is where the wrist is stationery but the fingers are raised before playing each note. The best way to play is to pretend the fingers are “glued” to the keys. Keep the fingers as close as possible to the keys. Raising each finger before playing only takes up time and space, making it impossible to play notes quickly. And it’s not necessary to raise the finger, since the weight alone will play the key. Keeping the fingers close to the keys gives better accuracy as well. When the fingers are already touching the key about to be played, there’s almost no chance of playing incorrect notes. The ONLY exception is for playing notes that are heavily accented. In this case, the entire hand should be slightly lifted to no more than an inch to give a stronger emphasis.
#7 Sitting too close and too low
The first thing I had to do when I went to college was to “un”learn how I was positioned. That was the most difficult thing to do after playing incorrectly for 12 years. It’s important to establish correct posture and positioning right from the beginning for a student. Most students (and even professional pianists) sit too close and too low. The knees should be at the edge of the keys for the correct distance (not the thigh like I’ve seen countless times), and the waist level with the keys, sitting tall and on the front edge of the bench. For a keyboard, keyboard, I suggest having a bench and stand to set it on, not a table, to ensure the right position. A small child playing an acoustic piano, put something on the bench to sit on to be at the right height. If their legs do not reach the floor, have them scoot towards the back of the bench with the back of their knees at the front edge of the bench to be at the correct distance. When his or her legs can reach the floor, then they’ll sit at the front edge of the bench.
#8 Slouching at the piano
Playing the piano is great for teaching students to sit tall, which is not only good for playing, but for most other activities in life. It takes pressure off the back and helps when getting older to have good posture. This used to be taught in schools, so now unfortunately only piano students are taught good posture these days.
Summarize good technique
Piano student
To summarize GOOD technique is 1) the wrist should be level or slightly raised 2) fingers relaxed 3) using the correct part of the fingertip 4) holding the wrist still 5) keeping the hand and fingers close to the keys 6) sitting at the right position and with the correct posture. This helps in playing quickly and with accuracy, and to play longer periods of time before getting tired. I hope this has helped in your playing and in teaching students. The books at Melody Music Publishers offer great technique information as well as reading music, specific skills, and theory and improvisation! Let’s have fun making beautiful music at the piano!
Kathi Kerr, author and founder of Melody Music Publishers, writes piano books based on her over 30 years’ teaching how students think and learn!
Hello fellow piano teacher! Ever feel frustrated when researching new piano method books for your students when looking on line? How can you tell if a book will be the right one when only viewing a few pages? If you buy one of each book to find the right one, it could cost a small fortune! And you still may not find the right one.
At Melody Music Publishers we have the solution for you! We have created a movie for each of our books, along with audio examples and commentary by the author for EVERY page. So not only can you view every page, but you’ll hear directly from the author. Now there’s no guess work involved in choosing the right book for your students!
Click the following movies for a rundown of each book.
Drill & Excel On the Piano Book 1 Early Beginner. Retails $12.95. Click here to purchase.
Drill & Excel On the Piano Book 2 Late Beginner. Retails $12.95. Click here to purchase.
Drill & Excel On the Piano Book 3 Early Intermediate. Retails $14.95. Click here to purchase.
Drill & Excel On the Piano Book 4 Late Intermediate. Retails $16.95. Click here to purchase.
Color It Say It Play It and Create It A Piano Method Book Ages 4-8. Retails $8.99. Click here to purchase.
Chords & Improvisation On the Piano Book 1 Early Beginner. Retails $12.95. Click here to purchase.
Remember teachers receive FREE SHIPPING AND 20% OFF ALL BOOKS! If you haven’t registered, click here to fill out a short form. The discounts codes will immediately be emailed to you to use for ordering.
Order today and use our unique line of piano method books that teach students the way they think and learn! Thank you for doing the greatest job on earth-teaching music to others!
Author and owner, Kathi Kerr, established Melody Music Publishers in 2017, writing books from her own 30 plus years’ teaching experience.
Melody Music Publishers is proud to announce a new title in our piano method book series. The former “Drill It and Kill It” book now has a new title called “Drill & Excel On the Piano-Read Music Like a Pro!”. We’re excited about the name change to enhance a more positive approach. Another change is the original 200 page book is now divided into books 1 & 2. So we now offer 3 books: “Drill & Excel On the Piano Book 1”,“Drill & Excel On the Piano Book 2”, and “Drill & Excel On the Piano Complete”.
Drills & Repetition
Learning to play the piano and read music takes hours of drills and repetition, which is not always given in the traditional method book. The “Drill & Excel On the Piano” piano method book series offers the student a comprehensive way of learning with plenty of repetition to fully master each skill. And it’s fun and easy to follow too!
“Drill & Excel On the Piano Complete”
“Drill & Excel On the Piano Complete” is a 5 chapter 200 page piano method book for the early to late beginning student. It begins with keyboard geography, technique, and practice tips. The rhythm drills include the quarter, half, dotted half, and whole notes/rests. The note reading written assignments include notes for the C, G, and D hand positions for treble and bass clef. The 3 scales given are C, G, and D (one scale per chapter). There are exercises and special exercises for each chapter that gradually progress in difficulty. There are 100 original songs (20 songs per chapter) written to teach what is given in that chapter. Since the songs are original, the student has to read the notes and cannot depend on how the song sounds. This creates a fluent reader! It also includes assignment pages, note pages, a practice record and point chart, and Christmas songs arranged for each chapter. This is an all-in-one book, so there’s no need to have 3 or 4 books for each student.
“Drill & Excel On the Piano Book 1”
“Drill & Excel On the Piano Book 1”with a new title is a 120 page, 3 chapter piano method book for the early beginning student with no previous experience. It has everything in the complete book up to the first 3 chapters. The scale and songs are in the C hand position. It includes all the rhythm drills and note reading assignments for the C hand position, exercises, and special exercises. Chapter 1 is treble clef only, chapter 2, bass clef only, and chapter 3 playing both hands in the C hand position (left hand playing C-G an octave below middle C). The student can skip to the end of each chapter to play the test song when ready, making it self paced.
“Drill & Excel On the Piano Book 2”
“Drill & Excel On the Piano Book 2” is a 145 page book in 3 chapters for the late beginning student. This is great for the student who has some experience but needs the basics. Chapter 1 is a recap of book 1 for the C hand position (playing hands together), C scale, exercises, and special exercises. Chapter 2 is in the G hand position with all the rhythm, note reading assignments, exercises, and special exercises, and chapter 3 is in the D hand position. There are 20 songs per chapter (60 songs total). The 3rd chapter in the D hand position introduces notes outside the 5 note hand position, so the student learns how to stretch and cross over fingers incrementally.
“Drill & Excel On the Piano Books 3 & 4” are coming soon!
We’re excited about our new books, “Drill & Excel On the Piano Books 3 & 4”! Book 3 is a 3 chapter, 145 page book for the early intermediate student. It recaps books 1 & 2 and includes the A and F hand positions, scales, rhythm, exercises and 60 original songs (no longer in hand positions). Rhythm includes the sixteenth note/rest and triplets. Book 4 is a 3 chapter, 160 page book for the late intermediate student. Chapter 1 recaps books 1, 2, and 3, and includes the keys and scales in B flat and E flat. Rhythm now includes odd meters and 2 against 3/3 against 4. Also what’s new in both books 3 & 4 is music theory and lots of it. It includes intervals, altered intervals, triads, and chords.
Summary
I wrote my line of piano method books based on my over 30 years of teaching experience because I was not happy with the method books. Since most piano method books move too quickly without a lot of information, thus causing frustration, I began writing my own books. My hope is to offer books that help students learn each step thoroughly before moving to the next level. Drills and repetition are the only way to master the skill of sight reading and playing the piano! I hope you like the new title for our piano method book series.
I enjoy feedback on my books and blogs, so please feel free to add your comment below or call us at 800-Melody 1 (800-635-6391). Thank you for doing the greatest job, sharing music to others!
