piano lessons

Piano Songs at Melody Music Publishers

Easy Piano Songs
Easy Piano Songs

Hello fellow piano instructors! You may be wondering why you haven’t heard from me in a while. Well, I’ve put my “Tips for Teachers” videos and blogs on hold while making videos of all the piano compositions from my “Drill & Excel On the Piano” books. There is a video of each song individually as well as compilation videos. Here are the compilation videos per level for books 1-3. The videos show me playing along with the sheet music. They are now at Melody Music Publishers for viewing and for purchase. These songs in each level are useful if you need more repertoire for your student if you’re not using the “Drill & Excel on the Piano” series. Remember these are all original songs you can’t find anywhere else!

Late Beginning Level Piano Songs

Here is the video compilation for 16 late beginning songs. Each song stays within a five-note hand position in the keys of G and D. The rhythm includes quarter, half, dotted half, and whole notes and rests.

PianoSongsLateBeginner

Intermediate Level Piano Songs

For the intermediate student, here is the video compilation for 16 original piano songs from books 2 and 3. Songs are in the keys of G, D, and A, and some are slightly outside the five-note hand position. Rhythm includes eighth, quarter, half, dotted half, and whole notes and rests.

PianoSongsIntermediate
PianoSongsIntermediate

“Mood Swing” Series for the Late Intermediate Level Piano Songs

This series called “Mood Swings”, is a short song in the classical style in all the major and relative harmonic minor keys. This helps the intermediate student to be familiar with all the key signatures. The notes include all seven notes of the scale in a two octave range. Rhythm includes eighth, quarter, half, dotted half, and whole notes and rests.

PianoSongsMoodSwings

Late Intermediate Volume 1

For the late intermediate piano student, here is the first of three volumes of original songs you won’t find anywhere else! Key signatures include F, D minor, B flat, E Flat, and A, and including accidentals. There is no hand position. Rhythm includes sixteenth, eighth, quarter, dotted quarter, half, dotted half, and whole notes and rests. These songs are beautifully written to teach specific skills for the late intermediate piano student.

PianoSongsLateIntermediateVol1
PianoSongsLateIntermediateVol1

Late Intermediate Volume 2

PianoSongsLateIntermediateVol2
PianoSongsLateIntermediateVol2

Late Intermediate Volume 3

PianoSongsLateIntermediateVol3
PianoSongsLateIntermediateVol3

Our Youube Channel

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Early Advanced Level Piano Songs

The next blog will include all the songs from “Drill & Excel On the Piano Book 4” for the early advanced student. These original songs include accidentals and rhythms up to all triplets (quarter, eighth, and sixteenth).

Drill & Excel On the Piano Book 5

I’m excited to let you know that I’ll be writing book 5 to the “Drill & Excel On the Piano” series in 2022. This will be like no other book for the advanced to late advanced student. The theory will include up to an advanced theory course, and world music and theory. And once again, all songs will be original and will be written for each chapter’s skills and information taught.

Please let me know what you think! Leave your comment below so teachers can have a conversation.

Melody Music Publishers Owner Kathi Kerr
  • 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.

Piano Songs at Melody Music Publishers Read More »

Intermediate Piano student

Piano Method Books for Intermediate Students?

Are piano method books needed for the intermediate students? Most intermediate-level piano method books are merely repertoire for the student to play. But is there more for the intermediate student? Tip #9 are the information and skills the intermediate student should learn.  

What do beginning piano method books teach?

Beginning-level piano method books primarily teach keyboard geography, note reading, a little rhythm, diatonic intervals up to a 5th, and the I, ii, IV, and V7 triads. After finishing levels 3 or 4, most students can read music reasonably well and identify the intervals and the triads. However, there is more for the intermediate student to learn beyond just playing songs.

Watch our video

More for the beginning student?

First, let’s start with the beginning-level books. Here’s what you’ll find in “Drill & Excel On the Piano Book 1” from Melody Music Publishers that you won’t find in most beginning-level method books:

Drill & Excel Book 1
Drill & Excel Book 1
  • Rhythm Drills for the whole, half, dotted half, quarter notes, and the rests with multiple rhythm drills 
    1. “Rhythm is the most neglected part of most method books, even at the beginning level. Most piano method books only show the note’s value. However, simply knowing the value doesn’t create a sight-reading skill. Playing rhythm drills where the student plays and counts aloud (using a metronome) on one note is needed to read rhythm fluently”.
  • Theory 
    1. notes in order on the staff with multiple note reading worksheets
    2. C scale hands separate, then hands together for one octave, then multiple octaves (I have found even beginners are capable of playing scales in multiple octaves)
  •  Exercises
    1. multiple 5-note patterns (most instructors will add a book like Hannon for exercises; however, it uses a 6-note pattern, which can be difficult for a beginner)
    2. Staccato exercise – I’ve never seen this unique exercise in any method books, but it is an important skill to learn
    3. Independence of hands playing different dynamic levels and staccato/legato in each hand simultaneously using motor movement skills  
    4. Multiple notes exercise learning to play 2, 3, and 4 notes together.
    5. Dynamic exercise for learning control in playing with different volumes and velocity (firmness) of the key – This is another unique drill that is critical to learning to play with dynamics.
  • 60 original songs in the C position to create a sight-reading skill in this position

Easy to follow steps

After book 1, the first chapter reviews the previous books so that the intermediate student can start with books 2, 3, or 4 without missing essential information needed.  

The late beginner/early Intermediate Student

Here is what you’ll find in book 2 for the early intermediate student not found in most method books:

Drill & Excel On the Piano Book 2
Drill & Excel On the Piano Book 2
  • Rhythm drills for the eighth note and rest, dotted quarter note (explaining the formula for the dot), the tie, and the 6/8 meter
  • Theory 
    1. G and D scales in multiple octaves
    2. remaining notes on the staff with multi worksheets
    3. diatonic intervals from 2nds through the octave with multiple worksheets for learning at sight (this helps in sight-reading)
    4. dynamic markings and musical symbols, including the pedal and a drill for how to use it
  • Exercises 
    1. intermediate level exercises played at a faster tempo 
    2. grace note exercise teaches how to play the grace notes with a quick and light touch
    3. diatonic interval drills using every finger combination – this unique drill teaches the student how to “feel” each interval with every possible fingering without looking and prepares the student to play songs outside the 5-note hand position
  •  60 original songs in the keys of the scales taught

The mid-intermediate Student

Here is what’s included for the mid intermediate student in “Drill & Excel On the Piano Book 3” not found in most method books:

Drill & Excel On the Piano Book 3
Drill & Excel On the Piano Book 3
  • Rhythm drills for the sixteenth note and rest, dotted eighth, and the eighth, sixteenth, and quarter triplets
  • Theory
    1. major scales A and F in mulitple octaves 
    2. minor scales Am, Em, Bm, F#m, and Dm
    3. explanation of relative minor scales and accidentals
    4. chromatic scale
    5. whole and half steps
    6. chromatic intervals and how to name them
    7. the four kinds of triads
    8. three kinds of minor scales
    9. Picardy 3rd
    10. dissonance and resolution
    11. phrases
  • Exercises
    1. finger pedaling to learn how to hold one note while playing other notes simultaneously
    2. embellishment exercise needed when playing Baroque and classical style music
    3. left-hand drills show the typical left-hand movement to play without looking
    4. chromatic intervals with every finger combination – this repeats the previous diatonic intervals, except for playing the chromatic intervals, which completes EVERY finger combination when moving from one note to another
    5. chromatic scale
    6. consecutive 3rds – this is a challenging drill that is essential for playing intermediate and advanced level repertoire
    7. arpeggios – which are great as a drill and to learn all the triads’ inversions
    8. repeated notes and held notes while changing fingers – this is an essential skill to fingering
    9. left-hand bass jumps without looking – this skill is needed when the left-hand moves from bass note to chord
  • 60 original songs in the keys of the scales taught

Repertoire

Choosing a repertoire for the intermediate student has its challenges, whether using a method book or not. You want to make sure it’s the right level, not too challenging or too easy, and interesting for the student. Using the “Drill & Excel On the Piano” series is easy because the songs are specifically written for the chapter’s level, skill, and information taught. No more wondering if the repertoire is the right fit for the intermediate student. And the songs are written in various styles, giving the student exposure to them, from classical, pop, ragtime, jazz, and folk styles. When the student plays songs using what they’ve just learned, it creates deeper learning and understanding.

Late Intermediate Student

And finally, for the late intermediate student in “Drill & Excel On the Piano Book 4”, here is what you’ll find:  

Drill & Excel On the Piano Book 4
Drill & Excel On the Piano Book 4
  •  Rhythm – odd meters and counting the 6/8, 9/8, and 12/8 in big beats, triplets with 2 against 3 and 3 against 4
  • Theory
    1. Scales B flat, E flat, G minor, and C minor
    2. triad numbers for major and minor keys
    3. improvisational tools
    4. music terminology
    5. circle of 5ths
    6. adding the 7th, 2nd, sus 4th, and 6th to triads
    7. blues scale
    8. 7th chords up the scale.
  • Exercises
    1. working on the 4th and 5th fingers, which are the weaker fingers
    2. playing multiple notes while holding a note (a great skill needed for intermediate and advanced repertoire)
    3. independence of fingers when you want one or more notes played louder than the others within one hand
    4. thumb exercise
    5. dominant 7th arpeggios, which is another arpeggio exercise for both skill and learning the dominant 7th chords around the circle of 5ths
  •  60 original songs in the keys of the scales taught

Go to the next level!

Everything is taught in an organized, step-by-step way that anyone can learn. Finally, there are piano method books for intermediate students that will help them excel to the next level!

I hope this tip makes you the BEST music teacher ever!

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.

Piano Method Books for Intermediate Students? Read More »

Performance Practice

How To Do a Performance Practice!

You spend hours practicing a piece to get ready for a performance. But is there a difference in practicing in the final stages? The answer is YES! Tip #8 is part three of my practicing series on how to do a performance practice!

Before the Performance

Tip #4 was how to practice, namely spot practicing troubled areas. However, there is a different strategy for practicing in the final weeks and days before a performance.  

I used to think once I had worked through all the troubled areas in a piece, I was ready to perform it. However, after several poor performances, I realized that knowing the piece didn’t necessarily mean my performance would be flawless. Indeed, the better you practice and work through all the troubled spots, the better your performance, but other factors also play into it. Here are practice strategies in the final stages before a performance that will help keep your performance smooth. These are things I wish I would have known this in my early years of performing.

#1 Record yourself and listen with a critical ear

After fixing the troubled spots, record yourself. There’s a vast difference between listening while playing and listening to a recording of your playing, where you can listen with a critical ear. As you’re listening, circle areas that you may need to go back and spot practice.  

#2 Play the piece without stopping as in performing

Once a piece is learned, and troubled spots fixed, play the piece without stopping as though you’re performing it. Play THROUGH the mistakes, and resist the urge to stop and fix them. As the saying goes, never stop while performing, so you should practice it this way. As you play, imagine an audience is listening to you. The more times you play a piece through without stops, the more confident you’ll be when performing, and the more confident you are, the better you’ll perform!

#3 Play the pice “cold” for a performance practice

The final step to preparing for a performance is how you play the piece “cold,” how you play before warming up. Playing this way is how you will be performing it, so it’s good to practice it this way. It’s also a true test for how well you know the piece. If you still have troubled areas, return to spot practicing.  

During the Performance

#4 What you think about while performing matters!

Performance Psychology
Performance Psychology

When we learn a new skill, we use the frontal part of our brain, which means we cannot have any other thoughts while doing the task. Remember learning to tie your shoes or driving? You probably couldn’t think about anything else until you had it mastered. Once we’ve mastered a skill, it then goes to the back part of our brain, where we do it without consciously thinking about it. Once you’ve learned a piece, it leaves your thoughts open during a performance, like the fact that people are watching you or not making mistakes. I’ve had performances where I began playing perfectly, but as soon as I thought, “Don’t make a mistake,” is when I DID make one.  

Train your thoughts to ONLY think about the music you’re playing and not care that people are watching you. Concentrate on how you’re enjoying playing, and you’ll give the performance of a lifetime!

I hope this tip makes you the BEST music teacher ever!

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.

How To Do a Performance Practice! Read More »

PianoTechnique

Bad Piano Techniques and How to Fix Them!

Tip #7 – Singing or playing an instrument requires proper technique.  Improper piano technique can prevent the pianist from attaining their potential and may cause injury. I will be highlighting bad piano techniques and how to fix them!

#1 Sitting Too Close and Too Low

Most pianists, even professional pianists, often sit too close and too low to the piano. Sitting this way causes the hand, wrist, and arm to be in an incorrect position, possibly causing pain and tiredness after prolonged playing.

Correct Piano Technique: Knees at Edge of Keys 

Your knees should be aligned with the edge of the keys and your elbows in front and not beside your body. For the height, your waist should be level with the keys. For children, have them sit on something (a phone book is perfect for this). The wrist should be flat, not lowered, making your hand, wrist, and arm level. Having a low wrist puts pressure on it and makes the fingers do all the work, causing them to tire quickly. A lowered wrist may also cause carpal tunnel, pain, and numbness in the fingers. Sit tall (don’t slouch) at the front edge of the bench, which gives you a forward angle that helps when needing to play with force, using gravity to assist in playing. Sitting on the edge of the bench doesn’t apply to children if their feet cannot touch the floor.

#2 Fingers too Flat or Too Curved

One bad piano technique I’ve seen is the wrong positioning of the fingers, from being too flat to having too much of a curve. Some method books describe the position of the fingers as though you’re holding a ball. The problem with this concept is the fingers will be naturally tense.   

Correct Piano Technique: Relaxed and Rounded Fingers

Your fingers should be as relaxed as possible. For a beginner, relaxing is not the easiest way to play, but it gets easier with skill. The simplest way to having a correct finger position is to place them palms up on your lap and let your fingers relax. That is the EXACT way to hold them on the piano. Imagine the rainbow curve, which is the exact curve needed. Play using the pads of the fingertips, not above the first joint (too low) or the part just below the fingernail (too high). Also, keep the first joint from bending. Unfortunately, pianists can never have long fingernails; otherwise, it will hinder playing at the correct part of the fingertip. 

#3 Moving Hands and Arms Too Much

If you’ve ever watched someone playing piano on TV (which we know they’re not really playing), they will usually move their hands and arms way too much. Moving unnecessarily may cause you to play incorrect notes, especially when playing quickly, and tire more easily. Moving the hand up and down is never needed. A technique called “rolling the wrist,” is where the wrist is lowered for stressed notes and raised for lighter notes. This kind of motion, in my view, is unnecessary and may make it difficult to play quickly and accurately.  

Correct Piano Technique: Little to No Movement

The goal of playing the piano is to keep your arms and hands as still and “quiet” as possible. The composer Mozart was known for placing a coin on the student’s hand while playing, with the goal to keep it from falling off. I’ve had fun doing this with my students as well. The fingertips should be “glued” to the keys, only going down and using the weight of the fingers to play the keys.  

With that said, there are some movements that help when playing. One movement is pivoting left or right towards the notes you’re about to play. Another is positioning the hand towards the back of the piano to accommodate the black keys, especially when the shorter fingers (the thumb and pinky) play the black keys and longer fingers play the white keys. And finally, another movement that is an exception to the fingers staying glued to the keys is raising the entire hand for staccato and accented notes or playing loudly. Raising the hand to play the keys gives momentum and strength.  

Good Piano Technique is Critical!

Having good piano technique helps the pianist play the very best. It also helps with the physical aspect of playing the piano to prevent tiredness and pain. You, the piano instructor, can help your piano students play well, not despite their technique, but because of it.

I hope this tip helps you be the best piano teacher EVER!

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.

Bad Piano Techniques and How to Fix Them! Read More »

Piano Lessons

How To Teach a Piano Transfer Student

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 - owner Melody Music Publishers

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.

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