Hanérot Halalu - Score

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Rate this product's difficulty level: Review Guidelines Explain exactly why you liked or disliked the product. Do you like the artist? Is the transcription accurate? Is it a good teaching tool? Consider writing about your experience and musical tastes. Are you a beginner who started playing last month? Do you usually like this style of music? Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn't. Be respectful of artists, readers, and your fellow reviewers.

Please do not use inappropriate language, including profanity, vulgarity, or obscenity. Avoid disclosing contact information email addresses, phone numbers, etc. We cannot post your review if it violates these guidelines. When the sky is cloud y, you and I can play, 9 3 2. Make sure student supports L. Student plays Tick Tock The Jazz Clock in a lively tempo with strong pulse on first beat of each measure. Staccato between hands Review: Student plays Watercolors one octave higher than written with damper pedal down throughout.

To create a soft sound with good tone quality, student uses less arm weight, but full arm motion. C position 2nds, 3rds, 4ths 22 Let it ring!

Piano Lessons Book 2 Pages 51 - 98 - Text Version | AnyFlip

Watercolors INTERVAL of a 5th On the piano, a 5th - skips three keys - skips three fingers - skips three letters On the staff, a 5th - skips three notes from either a line to a line or a space to a space. In the first two lines, student plays the first note of each measure hands together. In lines three and four, student plays with a soft, clean staccato touch in the L. Ask student to listen for crisp staccato on beats two and three of each measure. Student plays Circle Dance with a smooth transition to main theme after D.

Two-note slurs in R. Two-note harmony between hands D. It means to play smoothly, connecting the notes by passing the sound from the first finger to the second legato. Student plays Basketball Bounce using a bouncing wrist with full arm weight. Staccato between all intervals learned Review: Melodic intervals 2nd, 3rd, 4th, 5th 24 9 5 1 5 4 1 Tempo de dribble With energy!

Student practices switching octaves in R. Student plays Allegro in a lively tempo, using less arm weight in the L. Allegro tempo marking Harmonic L.

Allegro 25 Supplementary Books: Student slowly plays line four, making a smooth transition from melodic to harmonic intervals. Drop arm weight equally onto each key so all notes in harmonic intervals sound at exactly the same time. Students enjoy polytonal chord in measures 14 and Playing with full arm weight Review: Legato and staccato within one phrase 26 4 2 13 1 5 9 1 5 5 1 5 1 With excitement! This piece features two distinct wrist motions. The legato melodic intervals in line two are played with a side to side rocking motion as weight is transferred from finger to finger.

Student plays Brass Fanfare with a dramatic crescendo starting at measure five to the end of the piece. Staccato on all harmonic intervals learned Review: Down, up on two-note slurs Review: Two-note slurs 28 Accompaniment Student plays one octave higher than written.

Traditional - Hanerot Halalu sheet music

Theory Workbook Sharps pg. Student slowly plays m. When playing Quiet Thoughts, student adds a slight crescendo then decrescendo in m. When a sharp appears before a note, 5 5 2 5 Andante 2 Op. Berens Quiet Thoughts Supplementary Books: B Section Student plays B section legato with less arm weight. Student plays Star Quest as written with subito dynamic change to piano in B section.

Smoothly passing melody between the hands. Sudden dynamic change Review: After B, you play A one more time. The form of this piece is A B A. Star Quest Fine Supplementary Books: This piece introduces syncopated rhythm with tied quarter notes into last measure. Student plays A Little Latin with terraced dynamics — — from beginning to end.

Harmony in 3rds between hands Review: A Little Latin Supplementary Books: When playing D to E, show student how to slide R. Measures 9 and 11 feature overlapping rhythm with L. For fun, ask student to play entire piece and stomp foot on each accented note. Harmony in 3rds 33 13 1 2 9 2 D is the same piano key as E. Student plays First Light, adding ritard. Decrescendo time signature Flat 34 Accompaniment Student plays one octave higher than written.

Theory Workbook Ritard pg. No clouds to 15 2 in 1 their own way. Dawn breaks the night 10 2 4 ritard ritard. Entire piece uses only fingers in each hand. Student reads and plays Inspector Hound, moving R. Dynamic changes from mezzo piano to forte help to make piece very sneaky sounding! Alternating two-note slurs between hands Review: Play the Natural white key.

Ask student to write in the beats for each R. Student slowly plays hands together, lining up tricky rhythm between the hands. The F in L. Student gives a natural pulse to odd numbered measures , etc. Student plays Serenade with dynamic shading indicated on second page. Playing upbeats with a lilt will keep melody moving forward. Student plays Summer Evenings with delicate ritard. Parallel 6ths between hands 4-measure phrases Review: Summer Evenings Supplementary Books: Light ning bugs, pass ing cars, crick et calls, fall ing stars.

Student improvises in G Major five-finger pattern in one or more octaves up and down keyboard. Encourage student to improvise freely, using one or both hands and with one or more note values. Improvising in G Major position Review: Mix the letters any way you want and make up your own song!

Theory Workbook Spike Is Puzzled! Student plays slurred phrases with a down-up wrist motion. Line two is familiar to student since it is the same pattern of parallel 6ths between the hands introduced in Summer Evenings. Extra for Experts Student plays Pop! Two-note slurs starting on an up-beat weak beat Review: Teacher plays the first two measures of each line while student answers by playing the last two measures of each line.

Student plays Go To Sleep with very little arm weight, using full arm motion on each note to produce a good tone quality. Playing 3rd fingers on B Review: Dream 5 sweetdreams the long night through. Moth er will be near to you. Go To Sleep Supplementary Books: Theory Workbook Dynamic Play pg. Student plays melody line only by first omitting all L.

Once melody is mastered, add harmonic intervals in L. Student plays Jig in a light, brisk tempo, with a light staccato touch on harmonic intervals. Harmonic 4ths and 5ths in G Major position Ledger note D 45 13 5 1. Play 1st time only. Student plays first two measures of each line and teacher answers with the last two measures of each line. Then, on the downbeat of m.

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Student plays Go For The Gold in a stately tempo, using full arm weight in the forte section. Ask student to name the mood, or emotion, of this piece. A B A form — — 46 Accompaniment Student plays one octave higher than written. Piano Practice Games present imaginative ways to introduce pieces in Piano Lessons by coordinating technique, concepts, and creativity with the actual music in the lesson book.

Before each lesson piece is assigned: After each lesson piece is mastered: Whether used in private or group lessons, Piano Games are all designed to make music. Many activities include accompaniments that can be added in the following ways: Place your hands in this position two octaves above middle C. Note that this is one key higher than the Andantino position. As your teacher plays the accompaniment below, play Andantino in this new position.

Hanerot Halalu (These Candles)

Use the same finger numbers and keep the shape and rhythm of the melody the same. Place your hands in the Travelling Along The Prairie position and get ready to improvise a new piece titled Orange Horizon. Practice playing this repeated accompaniment ostinato with your L. When you are ready to end your piece, rest your R. Gradually fade away by playing softer and softer, slower and slower.

After you can play the accompaniment easily, improvise a R. Try playing your melody one octave higher. Place your hands in the Watercolors hand position. Play in the rhythm shown. One way to create a piece is to trade phrases between your hands, playing first one hand and then the other. Make up your own piece using the following notes in both hands: As you listen to the accompaniment to A Little Latin, play along as your R.

As your teacher plays the bar blues accompaniment below, make up your own melody using the same notes in question and answer phrases between the hands. In jazz style, a repeated accompaniment pattern is called a vamp. Practice playing the L. When you can play the L. Keep the vamp going as you improvise a melody in your R. When you are ready to complete your improvisation, add the following ending:. Create a new piece in A B A form! This is the A section of your piece. Return to the beginning of Pop!

Lesson Book 2, pg. She maintains a private studio in Evanston, Illinois, where she teaches 45 students. Kreader holds a M. Widely known as a clinician, author, teacher, composer and arranger, he has published five texts and two methods on piano instruction. Kern holds graduate degrees in piano performance, music education, and piano pedagogy from Illinois Wesleyan, Northwestern University, and the University of Northern Colorado. She is an active adjudicator and performer in the Dallas area and teaches at The Hockaday School.

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Rejino has conducted numerous workshops across the United States, and is a contributing composer to the Hal Leonard Showcase Solos Series. She has taught piano for over nineteen years, and is active as an adjudicator and clinician as well. She began teaching during her undergraduate studies at Catholic University in Washington, DC, and has maintained an independent piano studio for over twenty-five years.

She has given lecture-recitals, workshops and master classes, and has appeared in solo and chamber music performances throughout the USA and in Europe. The beginning of the book introduces finger numbers, the black-key and white-key groups, and basic rhythm patterns. Directional reading is taught first by finger number, then by note name, and then by interval step, skip, and repeat.

Once the students are introduced to the staff, they learn reading guides Bass F and Treble G and read by interval in several different hand positions. Unit 1 introduces phrasing and legato touch, and also presents harmonic 2nds and 3rds with staccato touch. The following two units are dedicated to the introduction of 4ths and 5ths. Also in Unit 3, sharps are introduced in a diatonic setting starting on D, and flats are introduced as blues notes. Most pieces in the second half of Book 2 coordinate hands playing together.

This book works very well for transfer students. Swing eighths are also presented in the first half of the book. Folk, jazz, classical, and contemporary selections provide students with an interesting variety of repertoire. Arranged by Phillip Keveren Words by T. D E Swing eighth notes are played unevenly.

It identifies the scale pattern the composer used and tells you which notes to play sharp or flat throughout the piece. Chord progressions in close position are also presented in each of these keys. Syncopated rhythms, syncopated pedaling and opposing articulations between the hands create performances with style, color, and texture.