John Thompson's Modern Course for the Piano: First Grade Book [John Thompson, Frederick S. Manning, John Thompson's Easiest Piano Course Part 1. John Thompson's Easiest Piano Course Part 1 [John Thompson] on medical-site.info . *FREE* shipping on qualifying offers. (Willis). A classic, comprehensive. John Thompson Easiest Piano Course Part 2 1 pdf. Thủy Nhi. Loading Preview. Sorry, preview is currently unavailable. You can download the paper by clicking.
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Documents Similar To John Thompson - Easiest Piano Course Part 1. John Thompson Piano Series Book 1 Scanned. Uploaded by. AlexandraSilva. 13 more: Part 1 (pp–40) • Part 2 (pp.1–24) • Part 2 (pp–46) • Part 3 (pp.1– 22) • Part 3 (pp–45) • Part 4 (pp.1–23) • Part 4 (pp–46) • Part 5 (pp.1–16). John Thompson's Easiest Piano Course Part One. byJohn Thompson. Topics book, john thompson, piano, course, part one, easy, easiest.
It's an American version of the book and talks about whole, half and quarter notes instead of crotchets and quavers, measures instead of bars Your student will have written their name in it before you realise they've got something unusable.
download the slightly more expensive ISBN Avoid the versions that say 'The Willis Music Company' at the bottom of the front cover and go for the ones that say 'An easy and fun approach to learning the piano'.
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Close X. Learn about new offers and get more deals by joining our newsletter. The legendary Modern Course series provides a clear and complete foundation in the study of the piano that enables the student to think and feel musically.
The Second Grade Book.
The Modern Course series provides a clear and complete foundation in the study of the piano that enables the student to think and feel musically. It may be preceded by the Teach It may be preceded by the Teaching Little Fingers to P A comprehensive step-by-step course specifically designed to suit the needs of all children beginning the piano.
Written for the beginning pianist, but may be used as sight-reading for slightly more advanced players. Willis Music.
These books are compiled especially for adults and contain pieces that adults like to play and hear. Many hints are given to help the student play as artistically and with as much musical understandin Willis Music Co. Book Only No CD. The pieces also make for excellent sight-reading practice for more advanced students!
Get someone who can tell you whether you are playing a better than your previous pieces and b well enough for your time at the piano. What you don't get from method books is how to practise. Self learners need to do a lot of reading and listening to make up for the lack of an expert ear. Our first problem when learning a new piece is to get the notes from the page to the brain.
In the general case we need to improve our sight reading and in the specific case we need to know the notes, write out ornaments, count ledger lines and space out the score where RH notes with up stems appear visually to the right of LH notes with down stems when they should be at the same time. I tend to do my sight reading separately from my practise session per se but I'm currently teaching my son and I make him do his sight reading first when the brain is freshest.
It strikes me as odd that this most demanding skill is so frequently practised at the end of a session when the brain is most tired. It's also a better physical warm up as there is seldom a need for speed when sight reading.
The second problem is to get the notes from the brain to the keyboard and this creates three different kinds of problem. The first is mechanical difficulty where the fingers cannot stretch enough or move fast enough e. These need to be solved hands separately before hands can be joined together.
The second is more logistical where the hands can play separately without difficulty but not together because the eye needs to be kept on one for a leap or stretch. These difficulties can only be solved and only occur when the hands play together. All of these problems can be solved, or eased, by memorising the music and while I am always in favour of memorising pieces at the outset I am also keen that the problems be solved first without memorising but by concentrating and by slow practise.
The pianist's most frequent tool in learning new material is repetition. The human brain makes use of this by finger memory, whether we choose to memorise or not.
Finger memory is the most unreliable form of memory so I prefer to override it with deliberate cognitive memory from the outset.
But overcoming difficulties must be done by concentrating on the solution with conscious effort being made to not memorise at all during this phase. After many years playing the piano I am only learning now that the method for learning new pieces is the very same for maintaining older, well memorised pieces or vice versa.
I have heretofore maintained repertoire simply by playing it. But I have recently learned the advantage of going back to basics on these old pieces including bar by bar reading of the score at slow tempos.
I think I've gone off topic. I'll stop here.