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Music, Me, Piano © 2014

Published by Music, Me, Piano
Introduction
Music Me Piano is clear and engaging to use; it
supports Pianist, Parent and Teacher.
Pianists…
Benefit from a pre-planned weekly practice
schedule with notes.
Learn more deeply by recording key
concepts in the Reference Section during
their lesson.
Refer to their Reference Section to support
daily practice.
Link the patterns underlying music theory to
their practical work.
Parents…
See at a glance what is covered in each
lesson.
Have a defined practice schedule which they
can use to support their child, whether they
are musicians or not.
May use the Reference Section to become
involved in their child’s musical development.
Teachers…
Inspire students to work at their best through
sharing clear and concise targets, lesson
plans and practice plans.
Provide, through the Reference Section, a
flexible way to make connections between
pieces, scales and theory.
Ensure students have all the necessary
information to recall the lesson accurately
during practice.
Minimise the time spent on writing practice
notes during the lesson.
When it comes to consolidating what has been learnt
in the year, it is all conveniently found in this book. At
this time, the student can also transfer current
programmes and useful notes into the next book.
The Practice Log provides a framework for planning
three terms of lessons. There are 42 practice pages,
to be used by the teacher during lesson time and by
the pupil throughout every practice session in the
week. Each Practice page also offers a quick, simple
method to plan practice, track when it has been
undertaken, and so evaluate how successful practice
has been.
The Reference Section is used for tracking what is
learnt over the year. New concepts are linked to
known ones when they are recorded here. This
develops a comprehensive understanding as the
student connects individual elements and perceives
the sum of their whole. By referring to this
personalised stock of material the student is
supported in carrying out thoughtful and thorough
practice.
The Art of Practice and The Stages in Learning,
link with the Practice Log to provide inspiration and
to support the student in developing the practice
strategies which yield the best results.
The book provides a structure which encourages
thoroughness in approach when
undertaking piano practice. It also
supports the development of
good practice techniques in
pupils up to grade 6.
Contact details: info@robertawolff.co.uk
To Teachers
What does this book offer me and my students?
This book has a dual function.
1) It provides a structure to plan and record
practice, plan lessons and set targets.
2) It provides an area for students to build up a
personal catalogue of what they have learnt.
The results are that students
Learn to practice more efficiently.
Develop the confidence and persistence to
figure out answers for themselves.
Experience intrinsic learning through
consciously linking all aspects of the piano
curriculum in a variety of contexts.
Using this Book
This book functions as a core resource during lesson
and practice time. The more frequently it is used by
the teacher during lesson time the sooner and more
thoroughly the pupil will model this use during practice
time and so begin to discover what the book has to
offer. It is a good idea to:
Record each new skill, as you teach it, in the
Reference Section of the book.
Make practice notes as you cover each area
rather than at the end of the lesson.
Introduce the book to your student and their parent.
Both should read the pages on The Art of Practice
and Stages in Learning; it is a great way to set the
level of commitment you hope to see in them. Expect
daily practice. Before anything meaningful can be
achieved during practice time the student needs to
form the habit of getting to the piano every day. In
the beginning the duration of daily practice may be
minimal. Therefore, emphasise that it is the focus and
regularity of it which is vital. Remind parents that their
support is priceless.
Fill in what you know
During the first lesson with this book fill in the
Reference Section with what the student already
knows. Some of this can be left to the student.
Move on to what you want to achieve in the term
In the first lesson of each term, set your targets
together. List the term’s targets on page 6, and for
each target record the stage which the pianist plans
to reach. To do this consistently, refer to the Stages
in Learning on page 5. Use the lesson counter
underneath the Targets to record attendance and
keep the student on track with their termly targets.
Half way through each term assess whether work is on
track, marking this box with a tick or a question mark.
If a certain area requires a boost the half term holiday
will be a good time for this. Communicate all of the
above to the parent. Remember to mark any
important ‘performance ready’ dates which occur
during the year into the lesson blocks. The visual
countdown is extremely motivating.
The Practice pages
The Practice Pages contain boxes which you use to
guide the pupil’s work in the week following a lesson.
Here you can write instructions and provide links to
the Reference Section and to any other resources
you may use. Such links encourage in the pianist
independent learning, a sense of responsibility and
control, and accurate, thorough work. Here are some
ways to use the boxes. You can adapt them to suit
your own and your students’ preferences.
Pieces
Use the reference section to follow an overview
approach. After an initial listening, look at the music
and decide what is new.
Terms and symbols are put in the glossary
set, “look these up for homework”.
 Rhythms are learnt and added to page 58,
set, “write me a rhythm with this pattern.”
New notes are written on the manuscript.
Look for repeats; cover form and style. Fill in
this section on page 61 together. Set, “write
a miniature melody in this form.”
When the pianist begins to play the notes of the
piece you will both know there is nothing that cannot
be figured out by referencing this book. Further into
the study of the piece students can refer to the
Stages in Learning for ideas on practice steps. Or,
better still, you can list your own steps.
Musicianship
This is the core skill we aim to pass on to our
students. This box can be used for anything.
Play your 5 finger exercise in G position
(rather than C where it is written).
Play the LH of your piece and sing the RH.
Improvise using 5 notes of your new scale.
Draw this new scale onto page 54.
Technique
Note the specific points you want the pianist to have
in mind during practice, or refer them to page 59,
where you have recorded an exercise developed
during the lesson.
Scales and Arpeggios
Show patterns by filling in each part of the
Reference Section from The Circle of 5ths Key
Log, pg 49, through to Scale Fingering, pg 51, and
ending with thoroughly filled-in Practice Charts, pg
79. This ensures conscious choices are made before
playing, rather than after playing when students are
relying on what sounds ‘right’.
Theory and Sight-Playing
Direct the student to their relevant books or to the
manuscript paper on page 71 for theory and to other
resources like apps or flashcards for sight playing.
Next Week
This box allows the student and teacher to plan
elements of the next lesson. This keeps the student
focussed on their targets and encourages better
preparation. It says, “This is the week for you to
consolidate the current material before we move on”.
Image
Talk about this to inspire a more organised and
disciplined approach to practice.
Day Blocks (see example page on page 9)
This is where you plan weekly practice. At the end
of the lesson, plan what elements your student will do
each day. For example:
on ‘M’ for Monday you might mark two of the
pieces boxes, the scales box and the
musicianship box, do this with a in each
After going through each day, take a look at
the balance of the work. If you found one
mark for sight playing and five for arpeggios in
the week, redistribute them more evenly.
On days where piano time is hard to find
encourage working away from the piano by
doing something in the reference section.
As each element of practice is done the
student can change their triangle into a star.
Pianists should get their books ready for the
next day’s session at the end of the current
one to speed up business the following day.
For students who do not require this level of support,
simply ask that they tick what is done on each day.
Based on this you can give advice for the next week’s
practice.
In the Reference Section you will find a few more
suggestions. I wish you the very best with this great
job of teaching music.
Date……….……………..…………….
24/2 - EXAMPLE Learn a Term ……………………………………..…………………..………….…………….…………………….
8ve – octave, above stave = play 1 8ve higher than written

Musicianship M T W Th F S S Technique M T W Th F S S

Sing Bb/Do – F/So up and down from tonic

What is relative minor to Bb major? G minor Trill exercise for Fantasia, pg 59
Draw Bb major onto page 54

Scales M T W Th F S S Arpeggios M T W Th F S S

Bb maj - new key – 1 8ve apart slowly chart C on page 79

Chart C on page 79 – hands together 2 8ves,

Play A major/minor from top downwards.

M T W Th F S S
Pieces Fantasia
Innocence M T W Th F S S

M T W Th F S S

Fantasia in D minor, C.P.E Bach Innocence, Burgmuller

Focus on bars 6 – 9 - Listen on YouTube, send me your favourite link

work 1 bar at a time
hands apart – then together
Do each bar 3 times then move on,
be sure to return to each bar at least
3 times in each practice session
- Mark any phrase repeats or sequences
- Circle all F major chords
- “Leggiero” add to page 63 and look up
KEY
Teacher during lesson
Student and Teacher during lesson
Student at home during practice, Parent
Example is from Thursday during practice of D minor
Fantasia. The lesson day is Monday so only a small
amount of work is set for the morning of this day.

Theory M T W Th F S S Sight Playing M T W Th F S S

Revise leger line notes page 71

Write a 4 bar rhythm in 3/4 time, page 71 Page 2 number 3 – treat as mini piece
Include semiquavers

Note: All these boxes have been filled in for the purpose of this example, there
is no rule to say this has to be done weekly, and in some instances it may not be
Next week Learn A contrary motion scales appropriate or possible. The page offers a chance to look back and check that
over a number of lessons a broad coverage of musical experiences are had. If
& Bb arpeggio. looking back over 4-6 lessons shows this not to be the case you might share your
observations with the parent, it may be a sign that practice is not being carried
out effectively or that the student is struggling and pacing of work might need to
be addressed. Either way, being able to show the parent what you will already
be feeling in lessons will be helpful in eliciting their support and action.

Comments………………………………………………….…………………………..………………………………………………………………………….……
Why does Innocence have a C sharp? Parent’s feedback, if any, during week.
To Teachers
Use this section, pg 59 – end, to record what you
teach as you teach it. Make filling it in part of your
student’s weekly piano practice. It will give them a
chance to practise piano away from the piano. They
will gain a deeper understanding and knowledge of
the work you cover and have a reminder to which they
can refer during practice.
Degrees and Intervals of the Scale
Tonic solfa hand signs are fun and introduce another
element in coordination and voice control. Page 50
has a visual representation of the major and minor
scales. Use this to learn the formulas of the scales
and arpeggios, and the intervals between the notes.
Naming the degrees of the scale also helps with scale
fingering. For example, in the C major finger pattern
RH thumb plays Do and Fa, and this is constant in
all scales with that pattern. Spending time with
intervals of the scale and keys will support the
development of aural and sight-reading skills.
Rhythm and Note Values
This gives space to hear rhythms without the melody
connected to them, a very valuable step in learning.
Technical Practice Charts
Build these up during the lesson, they keep you going
for a while. In “hints” write anything to make students
think before playing!
C# minor contrary motion A&E(which most
students find very amusing in specific relation
to this scale), E&A.
Db major, C and F are white notes.
Harmonic minor ends:
semitone/tone-and-a-half/semitone.
Finally
The more you require your student to use the
sections of this book and chart their learning the
sooner they will independently refer to the book for
support during practice. The Reference Section
allows students to recall their work quickly, whenever
necessary and provides you with a means to work in a
thorough way, creating conscious links between all
aspects of learning to play the piano.
Teach Students how to Learn
To support students as they develop independence
and diligence in their practice:
Avoid labels; for example: you are bad at this,
and talented at that. They set limits on what
can be achieved and turn off the willingness to
work hard.
Gauge success individually based on the
quality of effort students put into their work
rather than on the results they achieve.
Share your appreciation for an inquisitive
attitude and a desire to learn, encourage the
student to work through problems and find
solutions.
Don’t always have the answer and rush in to
give it. More light bulb moments are had when
the student is allowed time to search out a
solution with just a little hint or suggestion to
guide.
Teach how to learn by understanding each
element and consciously linking it to other
areas of knowledge. Appreciate the patterns
which are joyfully frequent in music.
Develop in your student clear and
transferrable knowledge and understanding,
as opposed to showing how something goes
in a single context.