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Do You Hear What I Hear? - Oboe
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Vous avez sélectionné:
Do You Hear What I Hear? - Oboe
SheetMusicPlus
Partitions à imprimer
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The Most Incredible Thing
Piano Facile
Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1098480 By Sarah Bonsignore.…
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Piano,Vocal,Voice - Level 1 - Digital Download SKU: A0.1098480 By Sarah Bonsignore. By Sarah Bonsignore. Arranged by Sarah Bonsignore. Children,Instructional. Score. 7 pages. Sarah Bonsignore #702337. Published by Sarah Bonsignore (A0.1098480). Here is a song I wrote for my students of all ages to help them start hearing and understanding harmony. The song is simple, but they read it in four ways. First we learn it singing the melody and reading/playing the simple chord shapes, then we see what the notes look like on the second page, then we name the notes, and finally we add the roman numerals (figured bass). I also sing an extra harmony each time we do it, so that students are learning to sing with multiple parts. I hope to include this piece in my Ready to Shine Songs for Children Book 2, and until then it will be available here. I have many more songs and piano repertoire in my books on Amazon, I hope you'll check them out.
$2.99
2.75 €
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Piano Facile
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Sarah Bonsignore
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Sarah Bonsignore
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The Most Incredible Thing
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Sarah Bonsignore
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SheetMusicPlus
20 Classical Piano Pieces for Elementary Piano Students (with all piano fingering)
Piano Facile
Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, …
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Composed by Various. Arranged by Scott Camp. Classical Period, Etudes and Exercises, Repertoire, Technique Training, Recital. 75 pages. Published by Scott Camp
This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music. <br> <br> In my experience, every elementary piano student should be given the opportunity to successfully play:<br> Spinning Song (even if you leave out the middle section at first)<br> Minuet in G (page one)<br> Fur Elise (page one)<br> <br> Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection. <br> <br> All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions. <br> <br> "Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.<br> <br> Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening. <br> <br> So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior. <br> <br> If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly. <br> <br> "Practice Makes... "<br> <br> If you said "Perfect" then you've fallen into a sinister trap. <br> <br> "Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career. <br> <br> Here's the process in general:<br> Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?<br> <br> That's something for us professionals to consider.<br> <br> <br> Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!<br> <br> Contents<br> <br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G minor from the Notebook for Anna Magdalena Bach<br> Musette in D from the Notebook for Anna Magdalena Bach<br> Minuet in F Wolfgang Amadeus Mozart<br> Ecossaise in G Ludwig van Beethoven<br> Sonatina in G Ludwig van Beethoven<br> I Allegretto<br> II Romanze<br> Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler<br> I Allegro <br> The Wild Horseman, Op. 68, No. 8 Robert Schumann<br> Fur Elise (Famous Page 1) Ludwig van Beethoven<br> Spinning Song, Op. 14, No. 4 Albert Elmenreich<br> Arabesque, Op. 100, No. 2 Friedrich Burgmüller<br> Ballade, Op. 100, No. 15 Friedrich Burgmüller<br> Solfeggietto Carl Philipp Emanuel Bach<br> Toccatina, Op. 27, No. 12 Dmitri Kabalevsky<br> Fur Elise (Complete) Ludwig van Beethoven<br> Sonatina, Op. 55, No. 1 Friedrich Kuhlau<br> I Allegro <br> Sonatina, Op. 36, No. 3 Muzio Clementi<br> I Spiritoso <br> La Vélocité, Op. 109, No. 10 Friedrich Burgmüller<br> <br> <br> These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering. <br> <br> The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson. <br> <br> Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.<br> <br> Good luck!<br> Scott Camp<br> scottcampislandpiano@gmail.com This is the collection of classical piano repertoire I created for work with my own students, most of whom were not primarily interested in "classical" music. <br> <br> In my experience, every elementary piano student should be given the opportunity to successfully play:<br> Spinning Song (even if you leave out the middle section at first)<br> Minuet in G (page one)<br> Fur Elise (page one)<br> <br> Eventually, they should experience (if not master--that's ultimately up to them) each piece in this collection. <br> <br> All hand positions and finger numbers are presented so that students can spend their time preparing successfully--not "figuring out" with endless frustration and incorrect solutions. <br> <br> "Minuet in G" from the Bach notebook is a great example. Let's consider just the first page. Many (most) elementary students would love to play this piece. The RH by itself is easy. The LH is also "not difficult", but it's not self-evident, either. The notes are easy enough, and the fingering choices seem inconsequential. You could play it with several different fingering solutions.<br> <br> Hands Together: Humans can pay attention to only one thing at a time: in this case, the RH or the LH. Whichever hand is receiving the attention, the other must be on "automatic pilot". You can switch focus rapidly to give the appearance that you are paying attention to two things equally, but that is not what is happening. <br> <br> So... both hands need to be rehearsed (better word than "practiced") until the correct execution is the "default" behavior. <br> <br> If that (sufficient correct repetetition) has not happened, then consistent successful performance with both hands is never achieved. Students complain that they wish they could be more "consistent". They don't have a chance, sadly. <br> <br> "Practice Makes... "<br> <br> If you said "Perfect" then you've fallen into a sinister trap. <br> <br> "Practice makes Permanent." When a student actually does what has been assigned, in many cases that is the beginning of the end of their piano career. <br> <br> Here's the process in general:<br> Students "write in their own fingering" and then, and then practice (repeat) their incorrect solutions. They are unable to perform the desired piece consistently and don't know why. How long can a student tolerate this ineffective approach?<br> <br> That's something for us professionals to consider.<br> <br> <br> Perfect for introducing classical repertoire (similar to Suzuki, Bastien Piano Literature, etc). The advantage here is that all fingering is included so that students play more!<br> <br> Contents<br> <br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G from the Notebook for Anna Magdalena Bach<br> Minuet in G minor from the Notebook for Anna Magdalena Bach<br> Musette in D from the Notebook for Anna Magdalena Bach<br> Minuet in F Wolfgang Amadeus Mozart<br> Ecossaise in G Ludwig van Beethoven<br> Sonatina in G Ludwig van Beethoven<br> I Allegretto<br> II Romanze<br> Sonatina (In the Antique Style) Op. 157, No. 4 Fritz Spindler<br> I Allegro <br> The Wild Horseman, Op. 68, No. 8 Robert Schumann<br> Fur Elise (Famous Page 1) Ludwig van Beethoven<br> Spinning Song, Op. 14, No. 4 Albert Elmenreich<br> Arabesque, Op. 100, No. 2 Friedrich Burgmüller<br> Ballade, Op. 100, No. 15 Friedrich Burgmüller<br> Solfeggietto Carl Philipp Emanuel Bach<br> Toccatina, Op. 27, No. 12 Dmitri Kabalevsky<br> Fur Elise (Complete) Ludwig van Beethoven<br> Sonatina, Op. 55, No. 1 Friedrich Kuhlau<br> I Allegro <br> Sonatina, Op. 36, No. 3 Muzio Clementi<br> I Spiritoso <br> La Vélocité, Op. 109, No. 10 Friedrich Burgmüller<br> <br> <br> These are the documents that I have used to introduce classical music to my piano students. No note is presented without its corresponding proper fundamental technique (fingering). In other words, there is no such thing as a note separate from its hand position and fingering. <br> <br> The hand position notation is used to better communicate what exactly is being demanded of the student. Students’ repertoire is no longer limited by their music staff reading ability. Nor do they suffer from their own painful inability to solve technical issues. This approach restores “playing music on the piano” to primacy and supports “helping a student play music on the piano” as the central activity of the piano lesson. <br> <br> Weak students are able to play real (not simplified) music and not feel penalized. Strong students complete their preparation even more efficiently. In all cases, spending less time on fingering means more time for higher levels of musicianship: coordination, pedaling, physical technique, control, tone, dynamics, tempo, rhythm, articulation, phrasing, expression, emotion, drama, compositional analysis, and historical context.<br> <br> Good luck!<br> Scott Camp<br> scottcampislandpiano@gmail.com
$3.99
3.67 €
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Piano Facile
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Various
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20 Classical Piano Pieces for Elementary Piano Students
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Scott Camp
#
SheetMusicPlus
What Did I Do To Your Heart
Piano Facile
By Jonas Brothers. For easy piano. Pop. 5 pages. Published by Hal Leonard - Digital Sheet …
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By Jonas Brothers. For easy piano. Pop. 5 pages. Published by Hal Leonard - Digital Sheet Music
$3.99
3.67 €
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Piano Facile
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Jonas Brothers
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What Did I Do To Your Heart
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
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