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Piano I

piano

Overview

Do you wish you had learned to play the piano when you were a kid? Wish no more! It’s not too late! This course helps students decipher music notation, play a scale, perform a piece of music, play duets, find out about musical forms and keys, read a jazz chart, and play ensemble music with fellow students. Start on a path that leads to Bach, Mozart, Chopin, Ellington, Bill Evans and beyond. No experience necessary. We encourage concurrent enrollment in the Introduction to Music Theory course. Required texts: Mastering Piano Method 1A, Mastering Theory 1A, Janet Vogt (available at the CJC Bookstore).


Saturdays 10 – 1 1:30 am

1/14 – 3/18 (10 weeks)
Katherine Westine • $395

Registration

DEPARTMENT: Piano/Keyboard

COURSE TITLE: Piano I

COURSE DESCRIPTION:
Do you wish you had learned to play the piano when you were a kid? Wish no more! It’s not too late! This course helps students decipher music notation, play a scale, perform a piece of music, play duets, find out about musical forms and keys, read a jazz chart, and play ensemble music with fellow students. Start on a path that leads to Bach, Mozart, Chopin, Ellington, Bill Evans and beyond. No experience necessary. We encourage concurrent enrollment in the Introduction to Music Theory course.

COURSE PREREQUISITES: None.

COURSE PURPOSE AND OBJECTIVES:
Students earn all notes on piano, read notes in 2 clefs and cover the following topics: Scales, triads, intervals, terminology for theory; Circle (or cycle) of 5ths; keys – understanding key signatures – major & minor; transposing; chord progressions and functional harmonic relations; rhythm — understanding time signatures and basic rhythms; writing music on staff; ensemble playing; playing in recital; learning symbols of jazz chart; ear training.

REQUIRED READING/MATERIALS:
Mastering Piano Method 1A, Mastering Theory 1A, Janet Vogt (available at Jazzschool Books and Records).

RECOMMENDED READING/MATERIALS: Bastien I; staff paper; Harvard Brief Dictionary of Music.

COURSE OUTLINE:

Week 1
1. Go over policy, texts, and handouts. Find out students’ musical background.
2. Go over basics:
a. Finger numbers
b. Keyboard – names of notes – black/white – pattern, up/down
c. Note values – quarter, half, whole, eighth, dotted notes
d. Spaces/lines, clefs
e. Time signatures
f. Dynamic markings
g. Harmonic intervals, whole/half steps
h. Tempo markings

3. Read through one or more beginning pieces (legato).
4. Discuss major scales – Arrangement of whole and half steps. Pattern.
5. C Major scale & triad – play, write in both clefs.
6. Assignment – notes; pieces; counting; terms; C Major scale & triads; theory work.

Week 2
1. Questions & review terms.
2. Intervals – distances.
3. Find notes on keyboard.
4. Note values & time signatures – Write out counting in pieces.
5. Rests
6. Clefs
7. C Major Scale – fingering. Hand position. G Major Scale.
8. Triads. Play all triads in C. Major & minor.
9. Write notes and triads in C Major on staff paper. (I, ii, etc.)
10. Assign pieces in books:
a. Mastering;
b. Hal Leonard
c. Theory assignment
11. Mini-lessons.

Week 3
1. Questions & review theory assignments.
2. New theory assignment.
a. whole steps/half steps
b. intervals
3. Review C Major & G Major Scale. New – D Major.
4. Discuss Transposing.
5. Triads I, IV, V (Tonic, SubDom., Dom). Common tones.
6. Sharps and flats.
7. Touch on piano – legato, staccato. Articulation.
8. Listen to pieces from Hal Leonard & Mastering.
9. Ensemble piece – “Largo.”

Week 4
1. Review theory assignment.
2. Introduce eighth notes. Rhythm exercises.
3. Scales: C Major; G Major; D Major; New – A Major
4. Triads – Major and Minor – Ear Training. Identify quality.
5. Discuss Modes & other scales
6. Chord Progression. I-V-I – inversions & common tones.
7. Go over Ensemble Piece.
8. Listen to pieces from Hal Leonard with CD and Mastering.

Week 5
Class Performance on acoustic piano
1. Discuss piano and pedals. Articulation.
2. Students play pieces.
3. Major scales – C,G,D,A; New scale: E
4. Minor scales. Whole/half arrangement. New scale: a minor and triads.
5. Major and minor intervals – Perfect intervals; Dim/Aug intervals.
6. Theory assignment.
7. Play ensemble piece.
8. New chord progression. I-IV-V-I Discuss inversions. Common tones.

Week 6
1. Scales – C,G,D,A, E, – New scale: B Major; a minor and triads in each key (I, ii, iii, etc.); F Major – flats.
2. Circle of 5ths – use blocks to illustrate
3. Theory Assignment.
4. Listen to Mastering pieces; review old and go over new terms.
5. Play ensemble piece. Give duets.
6. Listen to Hal Leonard pieces with CD.
7. Rhythm exercise together.

Week 7
1. Listen to each student.
2. Discuss transposing. Transpose simple tunes.
3. Review ensemble piece. New ensemble: “First Waltz.”
4. Scales – C,G,D,A,E, B, F and a minor
5. Discuss Key Signatures – order of Sharps and Flats – how to name key.
6. Assignment in Mastering Book – review new terms.
7. Theory Assignment.
8. Ear Training – intervals; chords.

Week 8
1. Work on Pedaling. Duets.
2. Review theory assignment.
3. Scales: C,G,D,A,E,B,F, a minor; new: e minor, d minor. New scales starting on black notes – fingering for Bb.
4. Relative Majors and minors.
5. Review ensemble piece.
6. Listen to Hal Leonard with CD and Mastering pieces.

Week 9
1. Scales – C,G,D,A,E,F,Bb, a, e, d minor. Discuss fingering for blacknote keys –New: Eb ,Ab,Db,Gb & c minor. Review triads.
2. Transpose tunes to G or F.
3. Rhythm exercise – clapping – divide class in 2 or 4.
4. Introduce 7ths. Types of 7th chords.
5. Jazz Chart – discuss symbols.
6. Listen to individual students.
7. “Happy Birthday” – melody only. Write on staff paper. Memorize.

Week 10
Last class/Performance
1. Perform recital pieces.
2. Review all given scales.
3. Review and questions.

Katherine Westine (piano)

Post-graduate studies in Early Music, Norddeutsche Orgelakademie, Bremen, Germany; M.A. in Organ Performance, Lone Mountain College, San Francisco; B.A. in Music History, U. of Washington, Seattle. Co-producer, Florio Street Concerts.

JCMS Winter Catalog
The Word

“John Gove is an incredible professor with extensive knowledge in jazz theory. He teaches theory how it should be taught, which is direct application to your instrument in a playing context. I’ve never taken a better theory class with such a fine professor.”

— Richard Greig