Actually, this has been attempted!
As all my students know, I teach theory with all piano and organ lessons. Sometimes, it’s from a theory book that matches a lesson book, sometimes on the fly on an “as needed” basis.
This book looks like it would be interesting to use as a review or to look ahead and see what’s coming. I have just ordered a copy for the studio if you want to check it out at the next lesson.
If you wish there was a fun and engaging way to help you understand the fundamentals of music, then this is it. Whether it’s learning to read music, understanding chords and scales, musical forms, or improvising and composing, this enjoyable guide will help you to finally start understanding the structure and design of music.
This fun-filled, easy-to-use guide includes:
* Music notation
* Scales and modes
* Melody harmonization and counterpoint
* Chord progressions
* Song form and structure
Listen and learn with the CD that has 90 tracks, including over 50 popular songs such as:
* Beauty and the Beast
* Candle in the Wind
* In the Air Tonight
* Killing Me Softly with His Song
* Let It Be
* Message in a Bottle
* Satin Doll
* Take the ‘A’ Train
* Unchained Melody
* What’d I Say
* and more!
Most anyone who has ever played piano has a love-hate relationship with the “Hanon”.
The Virtuoso Pianist (Le Pianiste virtuose) by Charles-Louis Hanon, is a compilation of sixty exercises meant to train the pianist in speed, precision, agility, and strength of all of the fingers and flexibility in the wrists.
First published in Boulogne, in 1873, The Virtuoso Pianist is Hanon’s most well-known work, and is still widely used by piano instructors and pupils although some teachers are getting away from the mechanical playing these can produce.
Personally, I’ve sometimes played these on “auto-pilot” since all one really needs is to get the first pattern going, then move up a step, up a step…
Notes by C. L. Hanon: Preparatory exercises for the Acquirement of Agility, Independence, Strength and Perfect Evenness in the Fingers. For studying the 20 exercises, begin with the metronome set at 60, gradually increasing the speed up to 108.
The exercises are intended to address common problems which could hamper the performance abilities of a student. These include “crossing of the thumb”, strengthening of the fourth and fifth fingers, and quadruple- and triple-trills.
The exercises are meant to be individually mastered and then played consecutively in the sections they are placed in.
Apart from increasing technical abilities of the student, when played in groups at higher speeds, the exercises will also help to increase endurance. The exercises are divided in three parts:
- Exercises 1 – 20: Labeled “preparatory exercises”, these are also the most famous exercises, and are used to develop finger strength and independence. Each exercise contains a sequence of 8 semiquavers, beginning on C, which is then repeated starting on D, and so on across two octaves. The exercise is then repeated in reverse down two octaves to the starting C. The exercises are intended to be practiced in groups of three, except for the first two which are practiced together.
- Exercises 21 – 43: Labeled “further exercises for the development of a virtuoso technique.” This more difficult section is meant to be played after the pianist has fully mastered Part 1. Part 2 includes scales and arpeggios.
- Exercises 44 – 60: Labeled “virtuoso exercises for mastering the greatest technical difficulties.” Since this section is considerably more difficult, Hanon recommends the mastery of both previous parts before proceeding to this one. This part includes repeated notes,, and more.
After all three parts are mastered, Hanon recommends all exercises be played through daily to retain technique.
The O’Connor Music Studio has several editions of this work, including:
Hanon: The Virtuoso Pianist in Sixty Exercises, Complete. Since the first release of this classic Schirmer edition over 100 years ago, almost anyone who has taken piano lessons for more than two years has played from The Virtuoso Pianist . Millions of copies have been sold of these progressive exercises which guide a player’s technique, building finger independence and strength. This was the first American edition released of this music, and remains a classic at a remarkably affordable price.
Junior Hanon (Alfred Masterwork Edition). A slight condensation of Hanon’s first exercises. The simplification in layout and range make the exercises appear less difficult to a young student. Includes the complete Book 1 and excerpts from Books 2 & 3 of C. L. Hanon’s famous studies, The Virtuoso Pianist in 60 Exercises.
Hanon for Students, Bk 1: 6 Varied Exercises from The Virtuoso Pianist for Late Elementary Pianists. Hanon for Students, Book 1, contains the first six exercises from The Virtuoso Pianist, Book 1. The exercises are notated in eighth notes for one octave so that students may begin to use them effectively at the late-elementary level. Each exercise appears five times to be played with a legato touch, varied articulation, varied dynamics, varied rhythm, and transposed to F or G.
Jazz Hanon. Inspired by Charles-Louis Hanon’s The Virtuoso Pianist the essential technical method for any classical player these new volumes present a modern-day equivalent for the musician seeking to play the key piano styles of the 20th century. Each book develops basic technique and true facility in each genre through authentic, progressive exercises and etudes. The music in these books is fun to play for pianists at every level, building the necessary skills in each style while providing extensive musical and stylistic insight.
Music theory has never sounded so catchy with this witty remake of the holiday classic The Christmas Song (with apologies to Mel Torme) Try not to laugh at the ending.
Though it is a bit humorous, this version titled ‘Intervals Roasting’, with lyrics by David Rakowski, attempts to encapsulate the fundamentals of music theory in just over two minutes.
It does a good job of explaining the intervals and harmonic structure of the song and also gives you an idea of how to use music theory to analyze or compose music.
The O’Connor Music Studio has a copy if anyone wants to learn this 🙂
“O Come, All Ye Faithful” (originally written in Latin as Adeste Fideles) is a Christmas carol which has been attributed to various authors, including John Francis Wade (1711–1786), John Reading (1645–1692) and King John IV of Portugal (1604–1656), with the earliest manuscript of the hymn bearing his name, located in the library of the Ducal Palace of Vila Viçosa.
The original four verses of the hymn were extended to a total of eight, and these have been translated into many languages. The English translation of “O Come, All Ye Faithful” by the English Catholic priest Frederick Oakeley, written in 1841, is widespread in most English speaking countries.
There are now several versions in the O’Connor Music Store if you are interested in learning this Christmas carol.
Gesù Bambino by Pietro Yon has always had a place in my childhood memories since my church choir sang it every Christmas. Other than that, it didn’t seem to be too well known but this song has been turning up in piano books lately. There are now several versions in the O’Connor Music Studio if you are interested in learning this beautiful older Christmas carol.
Gesù bambino was written in 1917. The melody was used by Frederick H. Martens in his English language carol “When Blossoms Flowered ‘mid the Snows”. The melody and lyrics of the chorus are derived from “Adeste Fideles” (O Come All Ye Faithful).
A piano version
Piano and Organ
Sung by David Archuleta and the Mormon Tabernacle Choir
Carol of the Bells was composed by Mykola Dmytrovych Leontovych (1877-1921) in 1916. Originally titled Shchedryk, this Ukrainian folk song is sometimes called Ukrainian Bell Carol. “Shchedryk” which was associated with the coming New Year, originally celebrated in April.
Leontovych used this tune in 1904 along with lyrics by Peter J. Wilhousky to create the version that everyone knows today. It gained popularity during the 1920s and 1930s, and was introduced to an even wider audience when it was used in the movie “Home Alone”.
It was first performed in the Ukraine on the night of January 13, 1916, on the Julian calendar this is considered New Year’s Eve. In the United States the song was first performed on October 5, 1921 at Carnegie Hall.
This video is from the Christmas special of the Mormon Tabernacle Choir, presented at the BYU channel. The orchestra and choir produce a very beautiful sound.
Not the standard version –
The O’Connor Music Studio has several versions of this Christmas Carol available for loan, including this version from the Mannheim Steamroller:
Joy To The World
Joy to the World, the Lord is come!
Let earth receive her King.
Isaac Watts wrote the words to “Joy to the World” in 1719, based on Psalm 98 in the Bible. The hymn originally glorified Christ’s triumphant return at the end of the age, rather than a song celebrating His first coming. Only the second half of Watts’ lyrics are still used today.
The music was adapted and arranged to Watts’ lyrics by Lowell Mason in 1839 from an older melody which was then believed to have originated from Handel. The name “Antioch” is generally used for the hymn tune.
As of the late 20th century, “Joy to the World” was the most-published Christmas hymn in North America.
There are versions of Joy to the World available at the O’Connor Music Studio for any level of playing, starting with Pre-Reading, all the way up through Advanced and duets.
I’ve always liked Leroy Anderson’s Sleigh Ride as a secular Christmas song 🙂 It’s not technically a Christmas song since the words never mention Christmas but it’s often played now so it seems like a way to ease into the season.
Anderson had the original idea for the piece during a heatwave in July 1946; he finished the work in February 1948. Lyrics, about a person who would like to ride in a sleigh on a winter’s day with another person, were written by Mitchell Parish in 1950.
The orchestral version was first recorded in 1949 by Arthur Fiedler and The Boston Pops Orchestra. The song was a hit record and has become the equivalent of a signature song for the orchestra.
A fun arrangement has been made for piano duet. I have copies here to lend and it’s available on amazon (of course! What isn’t?)
I’m thankful for my piano studio, my students, and my piano 🙂 This year, I’m especially thankful for the Internet!
When I was growing up, my dad was a minister, meaning we lived in whatever parsonage the church chose to let us live in. The one we had in Pawcatuck, CT had an upright piano that someone had put out in the sunroom. Not the best place for a piano, but I digress.
Since we had the piano already, someone – probably my mom – decided that I would take lessons. We had the organist from the Baptist church just across the river in Westerly, RI
Apparently, Clara Pashley was fondly remembered at the church (now Central Baptist Church) since she was mentioned in an article from 2010.
I started with Ada Richter’s classic Teaching Little Fingers to Play, which has now been morphed into the John Thompson library.
From there, it was the Michael Aaron series, and some sheet music.
There was no music store in our town, so I have no idea where any of this music came from – but I still have it all.
My parents did very well for their quarter a week investment, especially since my mom paid good attention and was able to beef up lessons she’d had as a child. Later on, she played well enough that she was church organist for a local Roman Catholic Church.
But I digress…
In those days, kids couldn’t do a whole lot of activities, so in 6th grade, I decided I wanted to be a Girl Scout. Bye, bye Clara.
Girl Scouts didn’t last long but I did play piano in a talent show. I remember, I carefully cut Burgmüller’s Ballade out of my Michael Aaron book and made a nice construction paper cover. (I still have this, too)
I doubt that I played this well but here’s what it was supposed to sound like:
A few years intervened and moved to Springfield, MA. The parsonage piano there was in terrible shape and in the dark, never-used basement. But I decided to make it mine and cleared up the area around it and started “practicing”.
My Junior or Senior year of High School I decided I wanted to major in music in college. I decided to learn, on my own, a piano arrangement of Aragonaise by Jules Massenet. I have no idea why or where that sheet music came from but I started working furiously on this piece.
Hopefully, at some point, it should have sounded like this:
I started pedaling (no pun intended!) my music to the Universities of Connecticut and Massachusetts and ended up at UMass Amherst since we were state residents.
Early morning gym classes (usually swimming), then wet hair traipsing across campus to music theory in winter 5 days a week. AARRGGH!
But I stuck it out.
My wonderful piano teacher, Howard Lebow, was killed in a car accident during my sophomore year and I was devastated. There will be more about him in a post on January 26, 2021 here on https://oconnormusicstudio.com
I took yet another break from piano lessons – but I kept playing.
After DH graduated, we moved to Milwaukee, WI for his graduate school. Besides working 2 jobs, I found time to commandeer the practice rooms at the University of Wisconsin. I also found a teacher at the Schaum School of Music. She was amazed that I had no piano at home to practice on.
When we later moved to Alexandria, VA my DH gave me a choice of new car or piano. So, I found a used piano. The owner had acquired it in a divorce and wanted it gone. Yesterday. She even paid to move it out of her apartment.
The new-to-me piano took up half our living room. When my parents came to visit, their feet we under my piano as I slept.
I found yet another new piano teacher and she is still my best friend to this day.
That piano moved to several locations before I bought a brand new Yamaha grand piano. The movers accidently brought in the wrong one and I made them return it. The people who lived in an apartment were probably unhappy when they had to return my piano and take their own new baby grand back.
I started teaching as a traveling piano teacher in Silver Spring, Maryland. I continued that in Wilmington, DE.
When we got to Fairfax, VA I decided no more traveling. Students would come to me. And so they have since 1973.
What is supposed to be our living room is filled with music books, electric keyboards, the grand piano, 2 organs, 2 violins, 2 clarinets, recorders, a dulcimer and other musical “stuff”.
Piano playing has gotten me through the worst times of my life. Teaching has been a lifeline for me, as well.
I am so thankful for the students who have stayed with me over the years and the new ones I have found…on the internet.