BOWYER, Melanie - Teaching Piano With The Kodály Method

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TEACHING PIANO WITH THE KODALY METHOD AS
DEVELOPED BY KATINKA SCIPIADES DANIEL
by
Melanie Bowyer King
A Thesis Presented to the
FACULTY OF THE THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment o f the
Requirements for the Degree
MASTER OF MUSIC
(Music Education)
DECEMBER 2000
Copyright 2000 Melanie Bowyer King
U M I Num ber: 1 4 0 7 9 1 3
Copyright 2000 by
King, Melanie Bowyer
All rights reserved.
___
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UNIVERSITY OF SOUTHERN CALIFORNIA
THE GRADUATE SCHOOL
UNIVERSITY PARK
LO S A N G ELES, CALIFORNIA 90007
This thesis, written by
Melanie Bowyer King
under the direction o f her Thesis Committee,

and approved by all its members, has been
presented to and accepted by the Dean o f The
Graduate School, in partial fulfillment o f the
requirements fo r the degree o f
Master o f Music in Music Education.
Dean
20 3_00 O
Date.
THESIS COMMITTEE
Chairman
^ a a . e~e~a "aîa a ..........
ii
ACKNOWLEDGMENTS
I am indebted to numerous individuals who have shaped my life and my love
for music. I wish to thank the following people for their selfless generosity, advice,
encouragement, and support:
Mr. and Mrs. Jude and Sandy Gore, Robert Phunder, and Dr. Virginia Raad,
the music teachers of my childhood, who profoundly influenced my life and showed
me the sensibility of dedicating my life to music;
Mr. and Mrs. Walter Dozier, Tullos Baugh, and Dennis Bowyer, my personal
Medicis, who encouraged and supported my studies and gave me the opportunity to
pursue my dreams;
My parents and grandparents for instilling within me the value of
perseverance, discipline, and the belief that each one of us has a responsibility to
contribute to society;
Robert Aswad, for his helpful contributions and suggestions in this thesis, his
generosity of time, and sincerity of efforts;
Katinka Scipiades Daniel, for her presence in my life as an exemplary teacher
and individual, for allowing me the honor and privilege of working with her and
writing her method, for the generosity with which she shared her wealth of
knowledge, and especially for her sincere kindness, warmth, and diligence in her
work as a Davidite in music;
My husband, for his patience and strength, his confidence and trust, and most
of all, his extraordinary support and unwavering belief in my work.
TABLE OF CONTENTS
CHAPTER PAGE
ACKNOWLEDGMENTS........................................................................................... ii
LIST OF FIGURES..................................................................................................... vi
ABSTRACT.................................................................................................................. viii
1 STATEMENT OF THE PROBLEM 1
Introduction............................................................................................................ 1
Influence of Zoltan Kodaly s Philosophy............................................................ 1
Influence of Jeno Adam........................................................................................ 3
Background of Katinka Scipiades Daniel............................................................ 4
Problem Statement and Rationale......................................................................... 9
Purpose of the Study.............................................................................................. 10
2 REVIEW OF RELATED LITERATURE 11
Introduction!........................................................................................................... 11
School of Finger Action........................................................................................ 12
Mozart and Clementi....................................................................................... 14
C zerny............................................................................................................... 16
School of Chopin.................................................................................................. 18
School of Liszt....................................................................................................... 19
School ofWeight Touch and Relaxation............................................................. 20
Deppe.................................................................................................................. 20
Leschetizky........................................................................................................ 22
Matthay............................................................................................................... 24
CHAPTER PAGE
3 METHODOLOGY 26
Introduction......................................................................................................... 26
Part I: Outline of the First Year Lesson Plans.................................................. 28
Part II: Procedures for Teaching Theory and Technique in the First Year... 43
Year H .................................................................................................................. 91
Year III................................................................................................................. 95
Year IV ................................................................................................................ 101
Year V .................................................................................................................. 103
PROGRAMMING.......................................................................................... 105
4 SUMMARY, CONCLUSIONS, IMPLICATIONS, AND

RECOMMENDATIONS 114
Summary.............................................................................................................. 114
Conclusions.......................................................................................................... 115
Implications......................................................................................................... 116
Recommendations................................................................................................ 117
REFERENCES.................................................................................................... 120
APPENDICES...................................................................................................... 124
A. Distinguished Individuals with Katinka Scipiades Daniel......................... 125

B. Kodaly-Related Publications of Katinka Scipiades Daniel........................ 130
C. High School Diploma and Solo Recital Programs of Students of
Katinka Scipiades Daniel............................................................................... 132
D. Level I Repertoire: Stick Notation and Syllables...................................... 167
E. Level II through Year V: Suggested Repertoire......................................... 183
F. Programs for Elementary, Intermediate, and Preparatory Levels.............. 186
G. Programs of Individual Students for Consecutive Y ears.......................... 203
vi
LIST OF FIGURES
FIGURE PAGE
1 Note Values.......................................................................................... 41
2 D-R-M-F-S Syllable Ladder................................................................ 49
3 Czemy-Germer Exercise 5 .................................................................. 55
4 Czemy-Germer Exercise 6 .................................................................. 55
5 Portato Touch...................................................................................... 56
6 Starting Points....................................................................................... 57
7 L-T-D-R-M Syllable L adder.............................................................. 64
8 Drop Roll/Drop Push............................................................................ 65
9 Czerny-Germer Exercise 1.................................................................. 67
10 Czemy-Germer Exercise 2 ................................................................ 67
11 Grand Staff........................................................................................... 72
12 A Pumpkin Patch Story........................................................................ 76
13 Catch a Fish.......................................................................................... 77
14 Cadence I-IV-V................................................................................... 80
17 Rhythm Chart...................................................................................... 92
18 Classical Period.................................................................................. 93
FIGURE PAGE
19 Period................................................................................................... 97
20 Cadence I-IV -I-V -I........................................................................... 99
21 Chord Fingerings................................................................................. 104
ABSTRACT
The purpose of this study is to record and preserve Katinka Scipiades
Daniels method o f teaching piano. The requisite background information regarding
her life and influence is provided with a historical survey of literature regarding the
development of touch in piano pedagogy from the era of C. P. E. Bach to the present.
This thesis presents the first five years of Daniels piano method, with the first year
divided into five subsections, referred to as levels. Daniels comments and
suggestions for programming are also included.
1
CHAPTER 1
STATEMENT OF THE PROBLEM
Introduction
Katinka Scipiades Daniel is well known as a major force in Kodaly music
education. She has been internationally recognized for her lifelong contributions to
music education and is highly regarded as an exemplary teacher o f the Kodaly Method
(Choksy, 1974; Zemke & Perinchief, 1999). In addition, Daniels numerous
groundbreaking Kodaly publications have been well received and implemented
throughout the world. Daniel is known for her adaptation of the Kodaly Method for
use in the United States, the curriculum of which was presented at the first
International Kodaly Conference in Oakland, California (1971). She has also adapted
its philosophy and methodology to the piano. The focus of this study is Daniels piano
method.
Influence of Zoltan Kodalys Philosophy
The fundamental idea behind the Kodaly approach to music education is that
music should be for everyone. Zoltan Kodaly, realizing the importance and benefits of
music in general education, was determined to make music an understandable
language for all (Zemke, 1974). These ideas and their development were discussed by
Kodaly in an interview conducted in 1966 by Daniels husband, Erno Daniel, at the
University o f California, Santa Barbara. Daniel was intrigued by how, as a composer,
2
Kodaly became interested in the cause of music education in the primary
schools as part of general education and asked Kodaly to explain his involvement.
Kodaly responded,
I thought that since music is not a toy for a very few selected
People-that music is spiritual food for everybody-we must do
something to enlarge the public for serious music...so my attention
was almost forced in the direction o f primary schools (Johnston,
1986, p. 67).
When Emo Daniel asked Kodaly what he considered the most beneficial material to
use in music education Kodaly stated, ... at the beginning it is best that the child
must learn from his surroundings, and what he adds to them from his own
improvising and composing. The next step would be folk songs (Johnston, 1986,
p. 70). Kodaly also believed that since the voice was the most natural instrument,
music education should begin with and center on singing (Ayal, 1999; Choksy, 1999;
Daniel, 1981, 2000b; Zemke, 1974).
According to Katinka Daniel (personal communication, January 6, 2000)
Zoltan Kodalys goals were: a) to reform the teaching of elementary music in
accordance with his own research in childrens chants and songs; b) to focus on
beautiful and correct singing; c) to base early music education on native folk songs,
the musical mother tongue, to be followed later by the folk music of other countries;
and d) to learn and appreciate classical music. Stated very briefly, these reforms
would involve the following changes: rather than beginning with the teaching of the
major and minor scales, primary music education should follow the natural
development of the childs abilities and understanding. Beginning with simple
3
childrens songs on so-mi, la-so-mi, etc., in simple forms, children then progress to an
understanding o f pentatonic scales and later to major and minor scales and modes; all
elements o f musicrhythm, melody, form, and harmonywould be derived from the
songs and presented in a carefully graded sequential order. Kodaly insisted that all
music education should include reading and writing musical notation. Implicit in this
approach is the direct connection between folk songs and classical music, in that all
classical music has roots in folk song. Kodaly supported this claim during the
interview with Emo Daniel by stating,
... The great classics are always, in the end, related somehow to the
folk music of their composers own country, as, for example, Haydn to
the Austrian and Beethoven to the German. From folk music the leap
is very easy to the great classical music (Johnston, 1986, p. 71).
For photographs of Emo and Katinka Daniel with Zoltan Kodaly during his
visit to Santa Barbara at the time of interview (see Appendix A).
Influence of Jeno Adam
Jeno Adam was one ofDaniels professors at the Franz Liszt Academy, infact,
Daniel is the only living student of Jeno Adam in the United States. Significantly, Jeno
Adam was the most influential individual in the development of the Kodaly Method.
Although Kodaly did not develop a method, he did ask his former student, Jeno
Adam, to write the method. Jeno Adam was a composer, choral conductor, and
Professor of Music Education and Opera at the Franz Liszt Academy. However, it
was Adams extensive experience with teaching children that encouraged Kodaly to
4
select him to write the method (Daniel, 2000b, p. 1). The result was Adams (1971)
Modszeres Enektanitas (Growing in Music with Moveable Do: Systematic Instruction
o f Singing Based on Relative Solmization) This book formed the basis for all grades
of what was later to be known as the Kodaly Method, not the subsequent books
published under the Hungarian Communist regime (Daniel, personal communication,
January 9, 2000). Robert Perinchief, in the keynote address at the Midwest Kodaly
Music Educators of America Conference (Zemke & Perinchief, 1999), likewise
considered Adams work the essence of Hungarian music teaching in what is now
known as the Kodaly Method (p. 6). Kodaly himself stated in 1966 that Jeno
Adam wrote a methodical textbook which is the best today (Adam, 1971, p. V).
Background of Katinka Scipiades Daniel
Katinka Scipiades Daniel was bom in Budapest, Hungary on January 17,
1913. She would become an internationally recognized music educator, writer, and
piano teacher. Daniel was trained as a pianist and music educator specializing in
elementary music education at the Franz Liszt Music Academy in Budapest. She
taught piano and solfege in the public elementary schools of Budapest as well as in
the Budapest Municipal Music School System for 22 years (Daniel, 1999). Since
immigrating to the United States in 1960, Daniel has continued her work in music
education through classroom teaching, teacher training, piano teaching, lecturing, and
numerous publications. Through her close personal and professional relationship with
Zoltan Kodaly and Jeno Adam in Hungary, Daniel gained a thorough knowledge of
5
the philosophy and methodology of the Kodaly Method (Daniel, 1999, 2000b; Zemke,
1973; Zemke & Perinchief, 1999). Combining the most significant elements of this
approach to music education with her own experience in piano teaching, she has
created a method she refers to as Teaching Piano with the Kodaly Method (Daniel,
1991, 1997).
Daniel earned several degrees in Hungary in both music education and
performance. She received her first degree in education, a teaching credential in 1931,
from Notre Dame Teachers College in Pecs, Hungary. The following year, in 1932,
she graduated from the Franz Liszt Academy with a degree in music education. In
1938, Daniel was awarded an additional degree in piano performance. The degrees
Daniel received from the Franz Liszt Academy were signed by Erno Dohnanyi. In
1941, Daniel completed a dissertation entitled The Value of Music Education in
History and received her doctorate in Pedagogy from the Pazmany Peter University in
Hungary (Daniel, 1999).
Daniel has had extensive experience in teaching the Kodaly Method in
Hungary, the United States, and throughout the world. After having taught piano,
solfege, and elementary music for over two decades in Hungary (Daniel, 1976, 1999),
Daniel immigrated in 1960 to the United States where she adapted the Hungarian
music education curriculum for the United States, later to be given the name Kodaly
Method by Mary Helen Richards (Daniel, 2000b). In 1960, Daniel was invited to the
University o f California, Los Angeles to demonstrate the Hungarian music education
method. She later taught the method to student classroom teachers during regular
6
semesters at the University of California, Los Angeles. This experience led to a guest
faculty position at the University of Southern California and guest teaching at the
Peabody Conservatory of Music, among other distinguished universities for several
years (Daniel, 1999).
Daniels research and publications are extensive. She studied thousands of
American folk songs for inclusion in her adaptation of the Kodaly Method to the
United States. The songs were classified according to scale, form, rhythmic
characteristics, and level. Over a 10-year period, she tested her adaptation of the
Kodaly Method at San Roque School in Santa Barbara, California. Daniel
documented this work in an article in Clavier entitled The Kodaly Method (Daniel,
1968). Zoltan Kodalys and Jeno Adams personal approval of her work resulted in a
curriculum o f nine levels for the United States and the publication o f method books,
teachers manuals, and workbooks listed in Appendix B. Daniel also wrote the
curriculum for Solfege Teaching for Southern California Certification Courses and
prepared the curriculum and folk song collections for three levels of ethnomusicology
courses needed for Kodaly certification (Daniel, 1999).
Daniels multimedia contributions include teaching videos such as
Demonstration on Various Teaching Routines with the Kodaly Approach. Grades
One through Six, in collaboration with Sister Mary Kopeck at San Roque School in
Santa Barbara (Daniel, 1973), a video with student David Falconer entitled The
Kodaly Concept in America (Daniel, 1989), and The Kodaly Approach in Piano
Teaching. Daniels lecture and demonstration of her adaptation of the Kodaly method
7
to piano teaching held at California State University, Los Angeles (Daniel, 1997).
Additional publications include a German radio interview (Hirsch, 1996) entitled
Dialog ans Hary Janos Suite and several Hungarian television interviews. In addition
to teaching and publishing articles on the Kodaly Method, Daniel has published
articles in the field of ethnomusicology. She has written two articles on the
compositional techniques ofBartok (Daniel, 2000a, 1987).
Daniels influence reaches far beyond the classroom. Her success, along with
the research o f her masters and doctoral students, has resulted in the establishment of
Kodaly programs at schools and universities, as well as the founding of organizations
that further the Kodaly Method (Zemke & Perinchief, 1999). In addition, Daniel
served as a doctoral advisor at the University of Southern California for Sister Loma
Zemke, the first individual in the United States to complete both a thesis and a
dissertation on the Kodaly Method. Daniel also served as a mentor for Lois Choksy
(Choksy, 1974), John Feierabend (Zemke & Perinchief, 1999), and numerous
individuals studying the Kodaly Method in the United States, Norway, Australia, and
other countries (Daniel, 1999).
Daniel was rewarded for her accomplishments with the Outstanding
Achievement Award o f the Organization of American Kodaly Educators in 1992. In
1993, in recognition of her lifelong activities in behalf of music education, she was
awarded the Golden Cross o f Merit of the Republic of Hungary (Daniel, 1999). This
award was given to her by the Hungarian Ambassador to the United States, Pal Tar.
Daniel also received the Distinguished Leadership Award and was selected for
8
inclusion in The International Directory of Distinguished Leadership. In 1998 Daniel
was honored by the establishment of the Katinka Daniel Graduate Music Endowment
at Silver Lake College in Manitowoc, Wisconsin. A recital hall at this college has been
named in her honor.
Daniels accomplishments also include high achievement in the teaching of
piano performance. Daniel has one of the highest number of students in the United
States who have presented their high school diploma recitals in the National Piano
Guild program. This program requires students to perform 10 audition pieces for 10
years. Several of her students have been recognized for being among the top five
point winners in the National Piano Guild program in the United States. One student,
Dawn Bunker, was selected by the Guild in 1980 as the most outstanding student in
the United States and received the Van Cliburn Scholarship. In 1991, two of Daniels
students were selected as the third best performers, Katherine Flodman and Daniel
Skwarek. One student o f Daniels, Juliana Bertelson, was selected as the fifth best in
1995. All o f these students were among eighteen of Daniels students who were
awarded the Paderewsky Gold Medal, an award given after 10 years of performing
ten or more pieces in the Guilds yearly auditions (Daniel, personal communication,
December 19, 1999). The programs of these students are listed in Appendix C.
Daniel has adjudicated for the Joanna Hodges International Competition (see
Appendix A), Colman Chamber Music Competition, National Guild of Piano
Teachers, Music Teachers National Association Certificate of Merit Program, and
other national and international competitions (Daniel, 1999). Many o f Daniels
9
students have been finalists in the yearly California Bach Festival, performers with the
Santa Barbara Symphony, Santa Barbara Junior Symphony, and Santa Barbara City
College Orchestra. Several of her students have become professional musicians and
hold leading positions in Hungary, Taiwan, and the United States. Students of Daniel
that have become concert pianists include Sue Lane, Mark Manno, Chairman of the
Tunghai University Music Department in Taiwan, and Terrie Manno, from the
University of Minnesota (Daniel, personal communication, December 19, 1999).
Problem Statement and Rationale
Considering Daniels achievements as a music educator, her close association
with many prominent musicians, and the number of her successful students, the
knowledge of her method is of importance to the piano teaching profession. Daniels
development of a historically based teaching method emphasizing pianistic touch in a
sequential pedagogical manner is a unique and valuable contribution to piano
pedagogy. None of the contemporary method books so popular in the United States
utilize a systematic presentation and development o f pianistic touch, nor do they use
the Kodaly approach. Therefore documentation of Daniels piano method is vital.
Katinka Scipiades Daniel is a renowned authority on the Kodaly method. The
sequential musicianship training present in her method books for school music
education demonstrates her comprehensive musical knowledge and her thorough
understanding of the technical aspects of the Kodaly methodology. In demonstrating
her application of the Kodaly method to piano teaching Daniel has received significant
10
recognition. However, while Daniels Kodaly method books have been published and
implemented internationally, her piano method has not yet been formally written.
Purpose of the Study
This study will record and preserve the teaching method for piano by Katinka
Scipiades Daniel.
11
CHAPTER 2
REVIEW OF RELATED LITERATURE
Introduction
Katinka Daniels approach to piano pedagogy has its roots in the European
tradition. This heritage is particularly evident in Daniels emphasis on pianistic touch
and the technical development o f the hands. Very broadly, one may speak o f two
general areas of piano technique: (1) finger technique, and (2) the use of weight in
playing. Although the two may overlap, of course, one may regard Czerny and to
some extent Clementi as representative of the first area o f finger development. This
approach, which focuses primarily on the development of strength and facility o f the
fingers, may ultimately be traced back to the Baroque and Rococo styles where
touch, tone color, and sonority were not a major concern for the keyboardist. In
contrast, the need for the use of weight in playing, while perhaps first discussed in
Czernys works, was not fully realized until the broad expressive lines of the
Romantic period, especially in the works of Chopin and Liszt.
Unlike other contemporary piano method series books which neglect the
teaching o f touch in elementary and often more advanced levels, Katinka Daniels
method begins in the first year to develop these two areas of piano technique.
Through the high-fmger legato, the numerous Czerny and Hanon studies, scales, and
arpeggios, Daniel develops finger dexterity, strength, speed, and evenness in the
12
students playing. In contrast, the portato touch, the espressivo touch, the drop-roll
touch and chordal touches, the use of the free arm, open elbow, and relaxed body, as
well as the use of breathing at the piano, are related ultimately to the second, more
pianistic area of piano technique, the use of weight in playing the piano. These
elements relate to what certain 19th century theoreticians would refer to as the School
of Weight and Relaxation. Both o f these general areas of piano technique are
developed together in an organic manner in Katinka Daniels teaching. This chapter
will review the literature and history of pianistic touch and piano pedagogy and
provide a background o f the European tradition from which Daniel came and which
she continues in her teaching.
School of Finger Action
While it would fall to Czerny and Clementi to bring modem finger technique
to its highest level of development and codification through their numerous
systematic studies, the so-called Finger Action School has its foundation in the great
treatise of the pre-classical period, C. P. E. Bachs 1762 Essay on the Tme Art o f
Playing Keyboard Instruments (Bach, 1949). Clementi stated whatever I know
about fingering and the new style, in short, whatever I understand o f the pianoforte, I
have learned from this book (Bach, 1949, p. 14). The codification of fingering for
scales and arpeggios, particularly the proper use of the thumb and clarification of
forms of touch, were presented in this work along with other aspects of keyboard
playing considered important at that time such as thorough bass, embellishments, and
13
accompanying. Thus, the depth and comprehensiveness of Essay on the True Art
of Plaving a Keyboard Instrument led many scholars to consider Bach the father and
founder of a school of technique (Bach, 1949; Gerig, 1974; Turk, 1982).
Pedagogues of the early pianoforte such as C.P.E. Bach were still greatly
influenced by the clavichord and harpsichord, predecessors of the piano: the very
light action of the early pianoforte required the same technique used for the
harpsichord to produce tone and fluency; the brevity of tone of these early pianos
encouraged the continuance o f a detached style; and the limited dynamic range o f the
early instruments led composers to rely on ornamentation and terraced dynamics to
heighten expression (Bach, 1949; Ehrlich, 1990; Gerig, 1974; Kochevitsky, 1967;
Uszler, 1991). Thus, because of these primary concerns tonal quality and sonority
were typically secondary to finger strength and dexterity.
However, despite the emphasis on finger action during this era, C. P. E. Bach
clarified forms o f touch. According to Gordon (Uszler, 1991), Bachs work provides
invaluable insight in regard to touch. Gordon states, ... detached notes should be
held for slightly less than their notated value. Legato notes are to be held for their full
value. Portato is described as a legato touch in which each note is slightly accented
(p. 303). In regard to the most commonly used touch of Bachs era, non-legato, Gerig
points out that as a basic touch form [it] is exemplified in Bachs instruction that
any tones not marked detached, legato, slurred, or with a tenuto over them are to be
held for but half of their full value (p. 303).
14
The school of finger action was also characterized by a mechanical approach
to learning technique, the motionless performer, and the use of high fingers (Bach,
1949; Clementi, 1974; Gerig, 1974; Kochevitsky, 1967; Kullak, 1972). Agay (1981,
p. 11) states that everything was done by finger action only; the fingers stayed close
to the keys, which were manipulated with minimal motion and remarkable agility.
Schonberg (1963) further indicates that all movements of the body were limited to
only those finger movements that were absolutely necessary. The light touch required
by the harpsichord carried over into pianoforte playing. It was this light, detached,
high finger, non-legato, harpsichord touch that Mozart was most famous for and
which led to this style being characterized as the Mozart style in addition to the
school of finger action.
Mozart and Clementi
According to Kullak (1972), Mozart and Clementi confront each other as
founders of so-called schools as each ones approach to the piano differed with
respect to style, touch, and to the instrument itself. Mozart, from the Viennese
school, embodies lightness, grace, brilliancy, and animation (p. 15). These qualities
were naturally accessible with the light action o f the Viennese pianos. Viennese
pianos were much simpler in design than English pianos, with a thinner sound as a
result of having fewer strings (Erhlich,1990). By contrast, the English pianos used by
Clementi required more force, a deeper touch, and produced a fuller, grander tone.
15
In terms of pedagogy the developments in the later years of the finger
school owe much to Clementi. He greatly emphasized finger technique and agreed
with Bach that all unnecessary motion must be avoided (Gerig, 1974, p. 42).
However, despite his traditional approach to matters of fingering and keeping a quiet
hand, Clementi did part from composing in the style suited for the harpsichord and
wrote the first compositions specifically for the pianoforte (Kochevitsky, 1967;
Plantinga, 1977). For example, in his Gradus ad Pamassum there are many passages
that are uniquely pianistic. Moreover, Clementi began to emphasize the systematic
development of finger facility and was the first to write technical exercises in method
books such as his Introduction to the Art of Playing on the Pianoforte (1974).
d em en tis departure from the usual manner of playing, which was the semi
detached non-legato, was his most significant contribution to touch. He was one of
the first advocates o f legato as the basic piano touch (Clementi, 1974; Kochevistzky,
1967; Uszler, 1991) and believed this more lyrical and cantabile style was the result
o f advancements in the pianoforte (Plantinga, 1977). This legato touch characterized
his later playing and was to influence Field, one o f his most outstanding students,
who would in turn influence Chopin. Clementi explained how the legato touch
should be approached and stated in his Introduction to the Art o f Plaving on the
Pianoforte that notes marked [slur] called Legato in Italian, must be played in a
smooth and close manner; which is done by keeping down the first key, till the next
is struck (Clementi, 1974, p. 7, 8). dem entis new basic touch was in contrast to
that advocated by Bach in his Essay (1949, p. 80) where he states that, notes
which are neither [marked] staccato nor legato [and this would include most o f the
notes in a composition] are held for half their value unless the word Ten. [tenuto] is
placed over them. Furthermore, Bashaw observes that Turk also stated in his School
of Clavier Playing that when notes are to be played in the usual way, that is neither
staccato nor legato, the finger should be raised from the key a little earlier than the
value of the note requires (Bashaw, 1980, p. 42). Clementis method, Introduction
to the Art of Playing on the Pianoforte, was instrumental in spreading the new
concept of legato technique; this touch was highly acclaimed by many, including
Beethoven.
Czerny
During Czernys lifetime there were many technical advancements in the
construction of the piano which resulted in Czemy becoming the bridge between the
finger school and the avante garde ideas of the schools that were to emerge.
Although Czernys early studies with Beethoven included the use of C. P. E. Bachs
treatise and many works from the finger school, Beethoven also required Czemy to
develop the new legato touch (Bie, 1899; Gerig, 1974). This touch, controversial at
the time, together with Beethovens expansion of the previous limits of expression,
emotion, and the harmonic and tonal language of music, had a great influence on
Czemy. The increasing variety and depth of sound available in the developing piano
also encouraged Czemy to further develop touches that would have a tremendous
17
impact on generations to come. These touches included five varieties of articulation:
legatissimo, legato, mezzo-staccato, staccato, and martellato; the mezzo-staccato is
perhaps better known as portato (Gerig, 1974; Prater, 1990).
Czemy was the first pedagogue to write about the use of weight in playing,
which would become an established school of thought in the nineteenth century.
Czemy wrote in Volume I of his Complete Theoretical and Practical Piano Forte
School, from the First Rudiments of Playing, to the Highest and Most Refined State
of Cultivation: with the Requisite Numerous Examples. Newly and Expressly
Composed for the Occasion. Opus 500
... the crescendo should never be produced by a visible exertion

o f the hands, or by lifting up the fingers higher than usual,
when we are playing legato; but only by an increased internal
action o f the nerves, and by a greater degree of weight, which
the hand receives therefrom (Bashaw, 1980, p. 56).
The success of Czernys use of weight tempered with his allegiance to the tradition
of the finger school can be seen in Gordons summary: He [Czemy] recognizes a
new school, which combines the best of all approaches and which is represented by
the playing of Sigismond Thalberg, Frederic Chopin, and Franz Liszt (Uszler, 1991,
p. 309). However, such masters as Chopin and Liszt did not accept this new freedom
as a method; instead, they accepted the use of weight as a foundation from which
they created their own styles (Hamilton, 1927).
18
School of Chopin
Chopins innovative style centered on the melodic, singing, aspects of pianism,
perhaps due to his only instruction having taken place with a violin teacher. Chopin
also advocated singing and listening to great singers to develop musical expression
and a singing touch at the piano (Eigeldinger, 1986; Niecks, 1973). Furthermore,
Eigeldinger (1986) states For Chopin, singing constituted the alpha and omega of
music; it formed the basis of all instrumental training (pp. 14, 15). As a result of this
approach, many of Chopins technical innovations were a result of his attempts to
develop a pianistic technique that allowed the deeply expressive legato playing
required in his music, he created new finger techniques and greater freedom in playing
that contrasted with the pianists before him. For example, Chopin used finger
substitution to maintain a legato touch, a technique previously used only in organ
performance (Kochevitzky, 1967). In addition, Cortot points out as significant
Chopins use of the baroque style of crossing fingers over fingers without the use of
the thumb (Norman, 1968). Furthermore, Chopin also advocated a supple wrist and
encouraged a fullness and singing in tone, sometimes referred to as bet canto
(Eigeldinger, 1986). Consequently, Chopin became known for his cantabile touch and
legato technique in addition to a greater dynamic range and a much more varied
palette of tonal sonorities (Eigeldinger, 1986; Gerig, 1974; Niecks, 1973).
Although it was Chopins sensitivity to subtlety in nuance and tonal color that
won the admiration o f his audiences, Chopins profound influence on modem pianism
may also be seen in his compositions. Many of his works demanded a new orientation
19
to the piano that was in contrast to the school of finger action as Chopin used the full
keyboard with much greater freedom of movement. This new compositional style
brought about a new era in technique and altogether new requirements from the
performer. A major aspect of this new technique was the importance of the use of
weight in playing - a clear break with tradition as regards physical orientation of
playing, using arm and even torso to produce tone (Kochevitsky, 1967). Much later,
Chopin, together with Liszt, would be recognized as a pioneer of the school of weight
and relaxation.
School of Liszt
The individualistic style of Liszt was not limited to his relentless and
passionate pursuit of a highly personalized interpretation of music; Liszt was to
influence pianists for centuries with his distinctly unique contributions to pianistic
technique (Cooke, 1913; Walker, 1970). Although dramatically different than the
works of Chopin, Liszts compositions also created a need for weight-playing; clearly
the finger action alone, carried over from the early days of C. P. E. Bach, would no
longer be acceptable. The bravura of octave playing, wide leaps, and technical
wizardry in Liszts own compositions required wide dynamic range . . . freedom and
elasticity o f movements, variety of positions, and peculiar fingerings (Kochevitsky
1967, p. 7). In order to develop the necessary skills for these feats Liszt divided
technique into categories, one category emphasizing the playing of octaves and
chords of every kind and the other emphasizing very lyrical melodies. Many exercises
were to be played with a very supple and flexible wrist and quiet forearm
(Prater, 1990, p. 14). Thus Liszts individualistic bravura style with all its force and
powerful expression required pianists to approach the piano with a boldness in
touch, expansion in dynamics, and freedom in movement that would influence
pianism profoundly.
School o f Weight Touch and Relaxation
Deppe
Although Chopin and Liszt had ushered in new concepts of technique and
touch suitable to the more modem style of playing, it was Deppe that was
considered the father of the school of weight technique (Gordon, 1991).
Significantly. Deppe addressed the use of weight in regard to physiology as well as
touch and tonal quality. Acknowledging the numerous pianists that complained of
stiffness and pain, Deppe worked to remedy the pianists problems with the use of
weight and the proper functioning of the arm and shoulder muscles to eliminate
discomfort (Boardman, 1963; Gerig, 1974). An excellent example is provided by
Amy Fay, a student of Deppe, in Music-Studv in Germany:
Deppe objects to the extreme lifting of fingers. He says it makes a

knick in the muscle, and you get all the strength simply from the
finger, whereas, when you lift the finger moderately high, the
muscle from the whole arm comes to bear upon it. The tone, too, is
entirely different. Lifting the finger so very high, and striking with
force, stiffens the wrist, and produces a slight jar in the hand which
cuts off the singing quality of the tone, like closing the mouth
suddenly in singing (Fay, 1965, p. 288).
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21
The essence of Deppes philosophy was for all muscles involved in playing to function
in harmony in a manner that allows the greatest amount of fluidity and the least
amount of stress on any individual part of the body (Gerig, 1974).
A significant contribution to the development o f touch was the concept of
playing with a light hand. Deppe taught his pupils that the hand should feel very light
when playing by using metaphors and exercises. To help achieve this feeling of
lightness in the hand Deppe instructed students to think of the elbow as feeling heavy
as lead and the fingers as light as a feather (Gerig, 1974). Deppe also encouraged
students to develop strength by lifting weights and squeezing rubber balls. An
additional purpose of his exercises was to introduce students to the concept of the
continuous arm from finger to shoulder (Prater, 1990). Furthermore, Deppe
introduced new ways of playing chords. According to Fay, chords were to be played
by controlling the hand as it descends to the keyboard. Fay states,
I had to learn to raise my hands high over the key-board, and

let them fall without any resistance on the chord, and then sink
with the wrist, and take up the hand exactly over the notes,
keeping the hand extended. . .the chord sounds so much richer
and fuller (Fay, 1965,
pp. 299-300).
Deppes concern with the physiology of the body was important from the
most fundamental aspects of piano pedagogy such as proper posture as well as
control of hand and arm weight as a means to achieve qualities of sound. Gordon
(Uszler, 1991), in The Well-Tempered Keyboard Teacher, states that Deppe
22
recommended sitting low enough to bring the forearm to an
incline from the elbow to the wrist. In this position... the
fingers are able to produce tone solely by the weight of the
hand. The result would be a more penetrating tone than
that produced by striking the key (p. 312).
These new ideas in piano pedagogy and piano technique insured that the arm,
wrist, and fingers would work together, functioning as one unit with distributed
effort, thus reaching what Bashaw (1980) terms the beginnings o f modem piano
technique (p. 13).
Leschetizky
Leschetizky, a contemporary of Deppe, also recognized the shortcomings of
the old school and strove to overcome them. Although a student of Czerny, he did
not advocate the hours o f daily mechanical practice that his mentor enforced.
Leschetizkys approach encouraged an awareness of tone, acceptance of each student
as an individual, and the development of the hand (Hullah, 1906; Kochevitsky, 1967).
Leschetizkys primary contribution to piano technique was this awareness of tone.
Numerous sources indicate that Leschetizky was inspired and perhaps influenced
more by the playing o f Juilius Schulhoff, a friend of Chopin, than by anyone else.
After hearing Schulhoff, he strove to develop the technique and tone that he had he
heard in his playing (Gerig, 1974; Hullah, 1906; Schonberg, 1963; Uszler, 1991).
Leschetizky worked to attain firm fingertips, a light wrist, and the beautiful singing
tone that was later to characterize his manner of playing. These discoveries led
Leschetizky to a new style of playing, an entirely different kind o f touch which
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23
resulted in a beautiful singing tone that became the foundation of the so-called
Leschetizky School (Hendricks, 1988, p. 42). This method, according to
Paderewski is very simple. His pupils learn to evoke a fine tone from the instrument
and make music not noise (Schonberg, 1963, p. 279).
Leschetizky carried these new pedagogic concepts related to touch and
tone to their peak and produced many of the worlds outstanding concert
performers o f the turn of the century. Leschetizky said that he had no one
method, but that individuality was the key to his teaching style and to his
students playing (Cooke, 1913). Since he professed no method, he wrote no
method. However, his student and teaching assistant, Maiwine Bree, wrote The
Groundwork of the Leschetizky Method in an attempt to give the basics of
Leschetizkys approach. Insight into Leschetizkys manner of teaching touch is
found in Brees (1902) work:
(1) Play all the finger exercises with a light touch at first, and above
all play them evenly, with all the fingers giving equal power of
tone...
(2) Do not begin by repeating the finger exercises until tired. By
practicing with each hand singly, and changing hands often, the
undesired fatigue may be avoided for quite a while...
(3) Lower and raise the wrist at times while playing. ..while merely
holding the notes. This procedure will prevent the hand from
becoming stiff.
(4) The fingers must not change their shape when raised from the
keys, but must remain curved... The raised finger must not be bent
inward or straightened out stiffly...
(5) Notice the finger-tips carefully, and see that they strike the keys
accurately; for that is the only way to obtain a full, strong tone.
(6) It may be stated here that in playing a melody that is marked
forte, or strongly accented, the black keys are to be struck with
fingers outstretched rather than rounded... (p. 7).
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Thus, Leschetizky contributed much to piano pedagogy by accepting the
individuality of the student and the development of the hand. Leschetizkys
advancements, particularly in terms o f the importance of the relaxation o f the hand
and the flexibility of the wrist, would become essential elements o f contemporary
piano pedagogy.
Matthay
Matthay, continuing what Deppe had begun, was a strong pedagogical force
in the growing school of weight and relaxation. Matthay wrote prolifically concerning
his opposition to the older, so-called Viennese school, which followed the Clementi-
Czemy philosophy of finger dexterity as the means to achieve superior technique. In
particular, Matthays, and his contemporary, Breithaupts, contributions, stressed the
importance and effect of using relaxed hand and arm weight in producing tone (Gerig,
1974; Matthay, 1960; Ortmann, 1925; Prater, 1988; Uszler, 1991). In The Visible
and Invisible in Pianoforte Technique. (1960) Matthay suggests that to acquire
optimal tone the muscles in the arms, hands, and fingers must work together, sharing
the work equally. In addition, all of Matthays books reiterate his emphasis on purely
musical motives in the development of technique. According to Kochevitsky (1967),
after many took his writing concerning relaxation to an extreme, Matthay stated,
Relaxation does not lead to flabbiness...it does not imply

omission of exertion needed in playing. ..It has been quite
wrongly assumed that by weight touch is meant that tone is
produced by the lapse of weight [dropping the weight],
without the intervention of finger and hand exertion (p. 57).
25
Matthay (1903) also wrote extensively about the manner in which the key
should be pressed down and the importance of understanding key resistance. In The
Act of Touch in ail Its Diversity he discusses the effect of the hand, arm, and fingers
on sound when pressing down a key. He believed that the key must be pressed down,
not hit. In addition, he categorized two types of finger touch, flat and curved.
However, his greatest contribution to the development of pianism was sensitivity to
listening and relating what one hears to touch. He was the first pedagogue to analyze
touch in terms of the physiology of muscles and nerves. He is often criticized for his
attempt to create laws as well as his ambiguous and ineffectual analyses of
physiology; however, he is respected by the profession for his passionate desire to
understand the visible and invisible in developing technique.
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CHAPTER 3
METHODOLOGY
Introduction
The purpose o f this thesis was to record and preserve the teaching method of
Katinka Scipiades Daniel. The researcher gathered the requisite information by
conducting personal interviews with Daniel at her home in Santa Barbara, California
approximately bimonthly from September 1999 through October 2000. Additional
information was taken from the journal of the Organization of American Kodaly
Educators, the Kodalv Envoy. As a result of this research, Daniels piano method as
well as pertinent background information was formally written.
In Daniels native Hungary, all instrumental students are trained for one year
in a pre-instrumental class to read, write, and listen to music using solfege in the
moveable-do system. This knowledge teaches students to play musically. When
Katinka Daniel first began teaching piano in the United States, she found that
students who were beginning piano instruction were without basic musical
knowledge. Therefore, Daniel began to supplement her piano instruction from the
first lesson with solfege and singing, enabling students to begin playing musically,
not just to play notes.
This chapter presents Katinka Scipiades Daniels teaching method which she
refers to as Teaching Piano with the Kodaly Method (Daniel, 1968, p. 20). Daniel
27
uses the European sequence of instruction, including the solfege, as in the Kodaly
Method. Daniels method includes ear training taught through singing and dictation,
note reading, rhythmic training, basic music theory, music history, development of
the hands, and the teaching o f pianistic touch. Technical training and musical
training are developed simultaneously. The method is based on lessons that are one
hour per week, averaging 40 lessons per year. In the first year, in each lesson both
theory and technique (primarily pianistic touch) are taught simultaneously.
Part I of this chapter outlines the first 40 lessons, grouped into five Levels
which reflect the five pedagogical steps o f the first year. In Level I students are
introduced to music and play folk songs using stick notation ( I, I I, )), and solfege
syllables (do, re, mi, fa, sol, la, ti, do) using a drop touch. In Levels II - V students
play from absolute notes on the grand staff. This requires four further pedagogical
steps. In Level II, songs are played with each hand separately using the drop touch;
in Level III, songs are played with alternate hands in the five-finger position using all
touches learned; in Level IV, compositions are played with both hands but using a
similar touch, and; in Level V, compositions are played with both hands using
different touches in each hand.
Following these brief lesson plan outlines, Part II will present a detailed
explanation o f procedures and concepts used in the lesson plans and Daniels
suggestions regarding collections and programming.
28
Part I: Outline of the First Year Lesson Plans
Level I: Playing Folk Songs from Stick Notation for Rhythmic and Solfege Syllables
Using the Portato Touch and Learning Five Additional Touches
Lessons 1-20
Lesson 1
Theory
Students learn their first song, Valentine, by dictation (See Appendix D).
Through this song the following concepts are introduced: rhythm, ta, ti-ti, and
quarter rest in stick notation ( I, PI, ?), beat, accent, meter, bar lines, measure, and
double bar. Students are introduced to melody by using the solfege syllables do, re,
mi, fa, and so (D-R-M-F-S). Students learn the meaning of tonic. Students are
introduced to form through a simple question and answer sentence in their song. A
mystery song is written to be used later in the lesson; the student will identify the title
of this song after Daniel provides the rhythm and melody.
Technique
Students learn the proper way to sit, including the proper positions for their
arms, wrists, and fingers. With open arms, students play up and down the black keys
with the third and then the fifth finger using the drop touch, also called portato.
Students learn finger numbers and solfege syllables that correspond to each of their
fingers, in other words, the thumb of the right hand and fifth finger of the left hand
29
are do, the second finger of the right hand and fourth finger of the left hand are re,
and so on. Students firmly tap the first and third fingers of each hand against each
other. In the same manner, students tap the second and fourth and the third and fifth
fingers. These exercises demonstrate the firmness and support of the fingers
necessary for playing the piano and promote a good hand position.
Students locate mi in two different octaves on the piano by finding the white
key immediately above two black keys and the white key immediately above three
black keys. These notes are e and b. Students will play their folk songs from these
two keys and their exercises in the following register: the right hand plays in the
octave which begins one octave above middle c and the left hand plays in the octave
which begins one octave below middle c. This creates a good body and hand
position. Students play the song Valentine starting from these positions using the
drop touch. The teacher writes in the solfege syllables for the mystery song, Mary
Had a Little Lamb. The student and teacher play Valentine in a duet.
Lesson 2
Theory
Students learn their third song, Love Somebody, by dictation (see
Appendix D). The material learned in Lesson 1 is reinforced.
30
Technique
Students tap the rhythm with their right hand and tap the beat with their left
hand, first while speaking the rhythmic syllables ta and ti-ti, then while counting the
beats of the songs. Students reverse hands and repeat the exercise. This prepares the
student to play with both hands more easily. Students also clap the rhythm while
counting the beats. In the same c octave position used for their folksongs, students
play blocked thirds, learning about intervals, with the first and third, second and
fourth, and third and fifth fingers o f each hand. As a preparation for Czemy-Germer
exercises 5 and 6, students play through this sequence, repeating each group four
times, then two times, then once using a drop touch. The three songs are played from
the two m is using the drop touch. While playing folk songs, students sing with
syllables, count the beats, and then sing with words. The student and teacher play the
songs in a duet.
Lesson 3
Theory
Students learn their fourth song, Go Tell Aunt Rhody, by dictation (see
Appendix D). Students learn the names of white keys.
Technique
Students tap the rhythm and beat of the four new songs, including reversing
the hands, as learned in Lesson 2. Students build and play D-R-M-F-S from c and g,
31
singing the syllables and letter names. Students play their four new songs from c and
g, singing with syllables, counting the beats, and singing the words. The student and
teacher play the songs in a duet.
Students learn Czerny-Germer exercises 5 and 6. These exercises, slightly
modified, are played in unison with blocked thirds using the drop touch. Students
breathe out when dropping their arms and depressing the keys and breathe in when
releasing the keys.
Lesson 4
Theory
Students learn two new songs, Lightly Row and Little Lisa, by dictation
(see Appendix D).
Technique
Students tap the rhythm and beat of their six songs as learned in Lesson 2.
Czerny-Germer exercises 5 and 6 are played in blocked thirds using the drop touch.
As the teacher speaks the letter names of the white keys, students find the
corresponding key on the piano. Students play D-R-M-F-S from c and g, singing with
syllables and letter names. After locating the tonic and discussing the form of each
song, students play the six songs they have learned from c and g. While playing,
students sing with syllables, count the beats, and sing the words. The student and
teacher play the songs in a duet.
32
Lesson 5
Theory
Students learn their seventh song, Peas Porridge Hot, by dictation (see
Appendix D). This is their first song in meter-4. Students listen to discover the new
meter. A mystery song, Down at the Station is given (see Appendix D). Students
learn the two names of black keys, for example, c# or dt>.
Technique
Students play D-R-M-F-S from c and g, singing with syllables and letter
names. After locating the tonic and discussing the form of each song, students play
from c and g the eight songs learned. While playing, students sing with syllables,
count the beats, and sing the words. The student and teacher play the songs in a duet.
Czerny-Germer exercises 5 and 6 are played in blocked thirds using the drop touch.
Lesson 6
Theory
Students learn their ninth song, Elephant, by dictation (see Appendix D). The
two-beat note, the half-note, is now introduced. Students tap the rhythm and beat in
the three songs learned in meter-4 as learned in Lesson 2. Using the terms big steps
and small steps, Daniel introduces students to whole and half-steps. Students play
D-R-M-F-S from c and g, singing the syllables and letter names. After locating the
tonic and discussing the form of each new song, students play the three songs learned
in time four. While playing, students sing with syllables, count the beats, and sing the
words. The student and teacher play the songs in a duet.
Technique
Students learn a new touch, the drop-roll. Czerny-Germer exercises 5 and 6
are now played in broken rather than blocked thirds. Using the right hand, students
drop on the first finger and roll on the third. Students continue this with the second
and fourth and third and fifth fingers. The exercise is repeated with the left hand.
Lesson 7
Theory
Students learn their tenth song, The Bee, by dictation (see Appendix D).
Repeat signs are introduced through this song. Students learn their eleventh song, a
mystery song, by dictation. The mystery song is Hot Cross Buns (see Appendix D)
Students are introduced to the four-beat note, the two-beat rest, and the four-beat
rest.
Technique
While the teacher claps a steady beat of quarter notes, students clap tas (J),
ti-tis (JH), two-beat notes (J), two-beat rests (~ ), four-beat notes ( D), and four-beat
rests ( ~ ) dictated in a random order by the teacher. The rests are shown by gesturing
with the hands, moving the hands further apart for each beat of rest.
34
Czerny-Germer exercises 5 and 6 are now played using portato touch as well
as the drop-roll touch. Students show big steps and small steps at the keyboard.
Students demonstrate knowledge of the names of the white and black keys. Students
build and play D-R-M-F-S from d and a, singing the syllables and letter names.
Students play the songs learned in meter-4 from d and a. The teacher plays the songs
in a duet with each student. Students practice all o f the songs they have learned every
day from a different key: c, d, g, and a.
Lesson 8
Theory
Students learn their twelfth and thirteenth songs, Patters Go and Lets
Chase a Squirrel (see Appendix D). As the teacher claps a steady beat, the student
taps tas, ti-tis, two-beat notes, and four-beat notes. Students tap the rhythm and beat
of any of their 12 songs as learned in Lesson 2.
Technique
Czerny-Germer exercises 5 and 6 are played using the drop touch as well as
the drop-roll touch. Students build D-R-M-F-S on e. Students play D-R-M-F-S from
c, d, e, g, and a, singing the syllables and letter names. Students play the new songs
learned from e and their own selection of songs on c, d, g, a, and e. Students are to
practice all of the songs they have learned in a different key every day: c, d, e, g, and
a.
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35
Lesson 9
Theory
Students learn their fourteenth song, Pumpkins, (see Appendix D) by
dictation. Students listen to discover the new meter, meter-3, and the three-beat note
(J.). Students learn their fifteenth song, the mystery song Cuckoo (see Appendix
D). Students clap the rhythm and count the beats of these songs as learned in Lesson
2. Students learn about chords. They build the tonic triad, D-M-S.
Technique
Czerny-Germer exercises 5 and 6 are played using the drop touch and the
drop-roll touch.
Students learn to play the tonic chord with a drop touch called in. Students
play the tonic chord four times in.
Students build D-R-M-F-S on f. Students play D-R-M-F-S from c, d, e, f, g,
and a, singing the syllables, and adding the tonic chord to the tonic note.
In playing duets with the teacher, the child will select a key, build DRMFS,
and play his choice of song. A different key will be chosen for every song.
For example, in a duet with the teacher, students may play Lightly Row (2-
ta), Elephant (4-ta), and Patters Go (4-ta) from c. Students play Hot Cross
Buns (4-ta) and Pumpkins (3-ta) from d and Mary Had a Little Lamb (2-ta) and
Peas Porridge Hot (4-ta) from e. Students play Down at the Station (4-ta) and
36
Love Somebody (2-ta) from f. Students play The Bee (4-ta) and Go Tell Aunt
Rhody (2-ta) or Valentine (2-ta) from g. Students play Little Liza (2-ta) and
Cuckoo (3-ta) from a.
Lesson 10
Theory
Students learn their sixteenth song, Winter Goodbye, by dictation (see
Appendix D). Students tap and count the rhythm o f this song as learned in Lesson 2.
Technique
the drop-roll touch. Students build and play D-R-M-F-S on c, d, e, f, g, and a, singing
the syllables and letter names and playing the tonic chord four times in. Students play
their 16 songs learned with drop touch from different keys, singing with syllables,
counting the beats, and singing the words in a duet with the teacher. Students practice
all of the songs they have learned from a different key every day.
Lesson 11
Theory
Students learn their seventeenth song, Jingle Bells, by dictation (see
Appendix D). First and second endings are introduced through this song. The theory
and technique previously learned are reinforced.
37
Technique
the drop-roll touch. Students build and play D-R-M-F-S on c, d, e, f, g, and a, singing
the syllables and letter names and playing the tonic chord. Students learn a new touch,
chord played up. They play the tonic chord four times in and four times up. Students
play their 17 songs from different keys, with the drop touch, singing with syllables,
counting the beats, and singing the words in duet with the teacher. Students are to
practice all o f the songs they have learned from a different key every day.
Lesson 12
Theory
Students learn their eighteenth song, Old Mrs. Witch, by dictation (see
Appendix D). Students listen to recognize the different sound ofL-T-D-R-M. They
discover that the half-step in L-T-D-R-M is between the second and third scale steps,
in contrast to D-R-M-F-S, where the half-step is between the third and fourth scale
steps.
Technique
Students build and play L-T-D-R-M on c, d, e, f, g, and a, singing the syllables
and letter names and playing the tonic chord four times in and four times up. Students
play their eighteen song repertoire with the drop touch from different keys, singing
with syllables, counting the beats, and singing the words in a duet with the teacher.
Students are to practice all of the songs they have learned in a different key every day.
38
Students also play Czerny-Germer exercises 5 and 6 with the two touches learned,
drop and drop-roll.
Lesson 13
Theory
Students learn What Do You Think? by dictation (see Appendix D).
Students recognize that this song is built on L-T-D-R-M. Previous routines are used.
Technique
Students learn a new touch, the drop-hit-roll or arpeggio touch. This touch
appears as three notes under a slur. Students play D-M-S, D-R-M, and S-F-M etc.,
while speaking drop-hit-roll. Students are introduced to arpeggio playing with this
new touch, playing the tonic triad with alternating hands up and down four octaves.
Lesson 14
Theory
The teacher reinforces everything the student has learned thus far. Familiar
songs are reinforced or Swedish Lullaby, a new song, is taught (see Appendix D).
Technique
Czerny-Germer exercises 5 and 6 are played using the drop touch and the
drop-roll touch. Students play D-R-M-F-S and L-T-D-R-M on c, d, e, f, g, and a,
singing with syllables and letter names. Students play the tonic chord four times in,
four times up, and in arpeggio. Students play many songs from different keys using
39
the drop touch, singing with syllables, counting the beats, and singing the words in a
duet with the teacher. Students are to practice all of the songs they have learned from
a different key every day along with the Czerny-Germer exercises.
Lesson 15
Theory
Students play the 20 songs from different keys in the Do and La pentachords.
Technique
Drop and drop-roll touches are repeated with Czerny-Germer exercises 5 and
6. Students learn a new touch, non-legato. using Czerny-Germer exercises 1 and 2
played in unison.
Lessons 16-20
Theory
All concepts previously learned are reinforced.
Technique
All touches learned are reinforced: drop, drop roll, non-legato, chord in and
up, and arpeggio.
40
LEVEL II: THE GRAND STAFF: READING AND PLAYING
THE PIANO FROM ABSOLUTE NOTES
Lessons 21-24
Theory
Students learn about the grand staff, the G clef, and the F clef. The notes on
the staff are introduced at this time. Students begin reading from the staff with letter
names using Daniels reading exercises (see pp. 63 and 65). At this level students play
only with separate hands. In the first group, the exercises use only white keys, in the
second group there are sharps, and in the third group, flats. While playing, students
sing letter names and syllables consecutively, then count, and then sing with words.
Students will learn the accidental as used within one bar. They learn the natural sign,
Technique
Students learn the legato touch. Legato touch is used with Czerny-Germer
exercises 5 and 6 and 1 and 2. However, all songs are still played with the drop touch.
41
LEVEL III: PLAYING FOLK SONGS WITH ALTERNATE HANDS
Lessons 25-30
Theory
For the first time students begin to play repertoire from a book. Daniel uses
the Consolidated Music Publishers Folk Song Book I . Students are introduced to
traditional I, I, f, and C time signatures. Using the metaphor of a sliced pizza,
students are introduced to traditional names for note values: four-beat notes are
whole notes, two-beat notes are half notes, ta is a quarter note, and ti-ti is two eighth-
notes.
Figure 1: Note Values
Students learn about upbeat and accidentals at the beginning of a song. Two
different meanings of the slur are learned: adding the note values of two identical
notes (tie) and indicating legato touch. Although all pieces are still in five finger
positions, some pieces will have more than five notes or less than five notes for each
hand. For example, pieces divided between the two hands may be built on the
extended line of syllables: S(L,Tt D R M F S; S,L,T, D R M F S L ; o r D R M F S L T
D1. Students find the tonic and write out with syllables all of the notes. They analyze
the form (motive and sentence) of the folk songs.
42
Technique
Students learn how to stretch their fingers. This technique was already used in
the Czerny-Germer exercises, but now students recognize its necessity in songs.
Specifically, students learn to stretch their fingers to reach those notes that are written
outside o f the five finger position. Students first play each folk song with the drop
touch, then Daniel edits the songs in accordance with the text and for the first time
students will use all o f the touches learned. Students also play the songs and reading
exercises learned in Level II and add a chordal accompaniment to them, either tonic
and dominant, or a bagpipe accompaniment of open fifths, D-S-D-S or L-M-L-M.
LEVEL IV: HANDS TOGETHER PLAYING DIFFERENT NOTES IN THE
LEFT AND RIGHT HANDS BUT USING THE SAME TOUCH
Lessons 31-35
Students now play composed music with different notes in the right and left
hands but with the same touch in each hand. The mixed touch, different touches in
either hand, is introduced through Czerny-Germer exercises 1 and 2. One hand plays
legato while the other hand plays portato or one hand plays non-legato while the
other plays portato.
43
LEVEL V: DIFFERENT NOTES IN THE LEFT AND RIGHT
HANDS USING DIFFERENT TOUCHES
Lessons 36-40
Compositions using different notes and different touches in both hands are
learned. A new touch, the Alberti bass, is learned as a preparation for Year II
compositions. It is learned with Czerny-Germer exercises 3 and 4.
PART II: PROCEDURES FOR TEACHING THEORY
AND TECHNIQUE IN THE FIRST YEAR
In this section, a detailed discussion of the concepts, procedures, and terms
used in Part I will be given. This section begins with a detailed presentation of
Lesson 1. There follows an explanation of concepts and procedures used in the
lessons o f Level I (Lessons 2-20) and theory and technique for each subsequent
Level, as they were introduced in the lesson plans of Part I. The information is
presented in a sequential manner in the order in which it was introduced in Part I.
A few words should be said in regard to repertoire, which consists o f folk
songs, for the early levels. Folk songs may be defined as The musical repertory and
tradition of communities (particularly rural), as opposed to art music, which is the
work of individual, formally trained composers (Randel, 1978, p. 176). Daniel
(personal communication October 23,1999) defines folk songs as, songs created by
44
unknown people, orally transmitted, which have many variants. Folk songs
comprise much o f the repertoire in the beginning levels of Daniels piano method.
Daniel includes and emphasizes folk songs because of their artistic and musical value
as well as their accessibility to children. Zoltan Kodaly believed that every student
should study the folk songs of his or her culture and believed that music education
should begin with the most natural instrument, the voice. Daniels method follows
this philosophy by the extensive use of singing. The singing o f folk songs will be
used for an understanding of rhythm, accent, meter, and form; the text will determine
the use of touches.
The use o f folk music and singing will keep the child, at this beginning level,
always connected to music in the most natural way. It will prevent music from
becoming the learning o f dry algebraic symbols and mere mechanical activity.
Singing and instrumental playing are linked at the outset, and the musical and
technical development o f the child takes place organically, always in a musical
context. Thus the transition to good classical compositions becomes very easy and
natural.
45
LEVEL I: PLAYING FOLK SONGS FROM STICK NOTATION FOR
RHYTHM AND SOLFEGE SYLLABLES USING THE PORTATO
TOUCH AND LEARNING FIVE ADDITIONAL TOUCHES
Lesson 1
Theory
a) Rhythm
In this lesson the following concepts are introduced: rhythm, beat, accent,
melody, and form. The first lesson introduces the song Valentine. The teacher
sings the song, then the teacher and student sing the song together, clapping on every
syllable. The student observes by listening that the clapping is sometimes slow and
sometimes fast. The student is introduced to the stick notation symbols for writing
the slow clapping, ta, and the fast clapping, ti-ti.
i
ta
n
ti-ti
Daniel writes a few exercises with these symbols and the student then reads
and claps these while speaking the rhythm syllables.
inni i nm i mi
The student writes the rhythmic symbols for Valentine in his or her
notebook. The student observes that there are rhythmic pauses in the song. The
teacher introduces the sign that indicates a pause or period of silence in music, the
46
rest (?). Thestudent writes the symbol for the rests inthe song Valentine. It is
explained that the symbols ta ( I), ti-ti 01), and rest (J) are called rhythm.
n i n i i i i*
n i n i ii I*
Daniel writes in the students notebook the rhythm of a mystery tune, Mary Had a
Little Lamb.
Mystery Song
n n n i n i n i
n n n n n n
b) Beat
The student learns about beat by tapping the beat while singing folk songs.
Daniel provides the student with the analogy that just as the heart never stops beating,
even when we eat or sleep, so also the beat in music never stops (Daniel, 1991a). The
student learns about the difference between beat and rhythm by tapping the beat with
the left hand and tapping the rhythm of the song with the right hand.
Discussion leads to the realization that on any one beat either ta or ti-ti was tapped.
Using a red pencil the student writes the symbol for beat below the rhythmic symbols
in Valentine. This process is repeated for all the remaining folk songs studied in this
level.
Valentine
Rhythm 1I I ! 1I I I I ^
Beat I I I I I I I I
Rhythm II I 1I I I I I ^
Beat I I I II II I
c) Accent and Meter
The student, through listening, observes that some words of the song are
emphasized or accented. The teacher draws the symbol for the accent (>). The
students draw in all of the accents in their dictation and observe that the accents group
the beats in two. The concept of meter, or time signature, is introduced. This grouping
of beats is called meter-2 or 2 ta (f). The teacher explains that musicians use bar lines
to make reading music easier. Bar lines will clarify this grouping of the beats. Students
add bar lines, the double bar, and the symbol for two-beat meter to their notebooks.
48
Valentine
2
f Rhythm HI 1 PI 1 i i i i
Beat 1 1 1 ! i i i i
Accent > > > >
Rhythm PI 1 n i i i i *
Beat 1 1 i i i i i i
Accent > > > >
The student now taps the beat of Valentine with the left hand and taps the
rhythm with the right hand while speaking the rhythmic syllables ta or ti-ti and places
one hand on his shoulder to indicate the rest. The student then taps the beat with the
left hand and taps the rhythm with the right hand while counting the beats, speaking
one, two. The student reverses the hands and repeats each exercise. These exercises
develop coordination and serve as an introduction to playing with both hands,
d) Melody and Finger Numbers
Daniel introduces the student to the five solfege syllables do, re, mi, fa, and so
during the first lesson. She begins by asking the students if they are familiar with the
song Doe, a Deer from Rodgers and Hammersteins (Wise, 1965), The Sound of
Music and whether they know the do, re, mi, fa, so, la, ti, do syllables. Then Daniel
49
uses the following chart to teach D-R-M-F-S and the corresponding fingers used for
playing the solfege syllables on the piano.
Syllable Ladder
So
Fa
Mi
Re
Do
LEFT HAND R IG H T HAND
Figure 2: D-R-M-F-S Syllable Ladder
Demonstrations of the highest and lowest sounds on the piano as well as
the highest and lowest sounds on the syllable ladder are given at this time.
Daniel explains that in life high is T (up) and low is 4- (down). But in piano
high is > (right) and low is (left).
Students sing various exercises with the teacher using the syllable
ladder. Suggested melodic patterns include: D-R-M-R-D, S-F-M, S-M, M-S,
M-R-D, M-D, and D-M.
Then Daniel shows the song Valentine on the syllable ladder and the
student copies the solfege syllables for Valentine underneath the rhythm in his
notebook.
Valentine
Rhythm n i n i 1 1 1 I
Beat i i i i 1 1 1 1
Accent > > > >
Melody M SS M D D R R M
Rhythm n i n i 1 1 1 I
Beat i i i i 1 1 1 1
Accent > > > >
Melody M SS M D D R R D
Daniel writes the solfege syllables of the mystery song, which the
student will later identify as Mary Had a Little Lamb. A portion of the
homework assignment for lesson one is to draw in the beats, accents, and bar
lines for the mystery tune.
5!
Mystery Song
Rhythm I II 11 ! I ! I l l If
Beat
Accent
Melody M R DR MM M RR R MS S
Rhythm n n n n n n i *
Beat
Accent
Melody MR DR MM M M R R MR D
e) Question and Answer Form
Daniel explains that just as there are questions and answers in language, there
are questions and answers in music. When one asks a question the voice goes up.
When one gives an answer the voice goes down. The student identifies the question
and answer in Valentine. The question ends on mi and the answer ends on do. The
ending sound is called tonic.
52
Valentine
f Rhythm FI 1 n i i i i i
Beat 1 1 i i i i 1 !
Accent > > > >
Melody M S S M D D R R @
Rhythm f~1 1 n i i i 1 *
Beat 1 1 i i i i 1 1
Accent > > > >
Melody M S S M D D R R Answer
Technique
a) Sitting
The students adjust their seats at the piano by extending their arms so that the
outstretched arms allow the fingertips to slightly touch the piano where the
manufacturers name is written. Feet are to be flat on the floor. The arms are to be
free with the elbows open, away from the body. The ends of the fingers are to be
firm, the arm should feel like a continuous unit from the shoulder to the fingertips.
Daniel uses the metaphor of an airplane to teach these concepts. Following
Daniels demonstration, the students place their hands with closed fists in their laps.
The student is instructed to open the wings, meaning open the elbows. Then the
student is instructed to fly above the keyboard, meaning lifting forearms and hands
53
above the keyboard. Finally, the child is instructed to bring down the wheels,
meaning open up the fingers and lower hands to the keyboard while keeping the tires
firm and the passengers safe, meaning keeping the fingers curved, firm, and standing
up on their fingertips.
Using the entire arm with open elbows, students play with the third finger of
the right hand up and down the black keys on the keyboard. Students then repeat this
exercise, playing with the fifth finger up and down the keyboard. The exercise is
repeated with the left hand,
b) Portato Touch
Daniel tells the student,
Our hands are our tools. Just as you cannot carve wood with a rough
knife, you cannot create beautiful musical sounds with rough hands.
When your hands are not developed, we hear only the sound of keys,
not music (personal communication, March 17, 2000).
The first step in developing the hands is instruction in the portato or drop
touch.
Portato, from the Italian portare, meaning to carry, Daniel explains as
carrying something heavy as opposed to something light, for example, a suitcase
(personal communication, March 17, 2000). Daniel emphasizes that it is always
necessary to give children analogies that they can understand. Just as playing a
musical instrument should imitate singing, the portato touch should be learned
together with breathing, as this creates a musical sound. The portato touch requires a
dropping down o f the arms, with firm, curved fingers landing on the keys. The
54
students breathe in while lifting their arms, then drop down to the designated third or
chord and breathe out. The student must hold onto the sound and not detach too
quickly (Daniel, personal communication, March 17, 2000). The teacher
demonstrates the motion of the entire arm dropping down from the shoulder, with the
fingers landing firmly on the keys and with fingertips supported. The portato touch is
the primary touch used in Level I, Lessons 1-20. All folk songs should be played
using this touch.
A modified version of Czerny-Germer exercises 5 and 6, played in blocked
thirds, is used to teach this touch. It is first played by each hand separately, but as
soon as possible with both hands together, as this promotes proper sitting and a good
hand position. It is important to notice that just a few Czerny-Germer exercises will
be used during the first year; however, many touches will be learned from these
exercises.
55
Czerny-Germer Exercises 5 and 6
Allegro
Used by permission, Alfred Publishing Co., Inc.
Figure 3: Czerny-Germer Exercise 5
Allegro Moderate
cresc.
H * * 1
Figure 4: Czerny-Germer Exercise 6.
56
Adaptation of the Czerny Exercise
Czerny 5 and 6
R.H. 3 4 5 3 4 5 34534 5 345 345 345 3

1 2 3 1 23 1 2 3 1 23 123 123 123 1
C~ F
C~ G~ C-
L.H. 3 2 1 3 2 1 3 2 1 3 2 1 321 321 321 3

5 4 3 5 43 5 4 3 5 43 543 543 543 5
C- ---------
F- C~ G~ C
Students begin this exercise one octave above middle c in the right hand,
and one octave below middle c in the left hand. Students are to play the blocked
third patterns twice on c, twice on f, once on c, once on the g below, and once
again on c. Later, this exercise will be played with the drop-roll and legato
touches.
Criteria that may indicate portato touch in composed music are:
JJJJ JJJJ JJJJ
Figure 5: Portato Touch
During the first lesson, students will become visually oriented to the
keyboard. The black keys are compared to road markers. The first two starting
points for playing Valentine and Mary Had a Little Lamb are found by
locating mi above the two black keys and mi located above the three black keys.
40 20
Figure 6: Starting Points
The student is to play Valentine and Mary Had a Little Lamb from these
two starting places. All of the Czerny-Germer exercises and folk songs will be
played with the right hand beginning one octave above middle c and the left
hand one octave below middle c. This creates a good hand position. The hands
always play in unison.
As homework for this lesson, students are to clap the rhythm of each
song by first speaking the rhythmic syllables then counting the beats, play the
Czerny-Germer finger exercises 5 and 6 using the drop touch, and play both
songs using the drop touch from the two starting positions in the following
manner: three times singing with syllables, three times counting the beats, and
three times singing with words.
Students are to identify the mystery song printed with rhythmic symbols
and solfege syllables in their books.
58
Lessons 2-20
Theory
a) Piano Keys
White key letter names are introduced on the third or fourth lesson. The
students speak the alphabet, saying a, b, c, d, e, f, g. Then middle c is shown. The
students begin speaking this progression in a quiet tone of voice which becomes
progressively louder as they climb the scale, playing the keys c, d, e, f, and g. Daniel
has found that it is easier for many very young children to start at the beginning of
the alphabet, a rather than c. Black keys are introduced later. Black keys have two
letter names. Students learn that when one steps up to a black key the note is called a
sharp (#) and when one steps down to a black key the note is called a flat ((?).
Students must immediately demonstrate their knowledge of the two names for each
black key.
b) Half-steps and Whole-steps
After students know the names of the white and black keys very well, they
learn about half and whole-steps. They are taught that half steps are small steps with
no key in the middle, and whole steps are big steps that have one key between each
note. The students understanding is immediately tested; students must show small
steps and big steps from all keys, using all combinations of black and white keys.
59
c) Do Pentachord Scales (D-R-M-F-S)
After being introduced to big and small steps the students observe that
M-F is a small step because it cannot be divided. They are now ready to build
pentachord scales. Starting at approximately lesson six, and continuing for the
next few lessons, students will build D-R-M-F-S on c and g one day (white
keys), d and a another day (one sharp), e another day (two sharps), and finally, f
(one flat). They do not build the scale on b as this creates a difficult hand
position.
Daniel writes Do Re Mi Fa So in the students notebook. The syllables
for the small steps, Mi and Fa, are written closer together to reflect the half
step. As each scale is learned, students will write the letter names for the scale
below the solfege syllables.
Do Re Mi Fa So
c d e f g
d e m g a
e m g# a b
f g a b\> c
g a b c d
a b c# d e
After building these scales, students play and sing D-R-M-F-S scales
with solfege syllables and letter names. The students select a key for playing
their folk songs and always play them in a duet with the teacher.
60
d) f ( 4 ) meter, <J, j -, o , -
A new meter is introduced through Peas Porridge Hot. The children discover
through listening and singing that the accents group the beats into four measures.
Peas Porridge Hot
f Rhythm I I I I f I HI I
Beat II I I I I II
Accent > >
Melody D D D D R RR R
Peas porridge hot, peas porridge cold,
Rhythm 1 1 1 11 1 I I M
Beat II I I 1 II 1
Accent > >
Melody M MM MF S M R D
Peas porridge in the pot, nine days old.
A second song in (!), Elephants, may be used to introduce thedwo-
beat note. While singing and tapping the beat, students discover that the words
play and day are long, drawn out words and have two beats.
61
Elephant
f Rhythm 1 11 1 1 1 1 J I N I 1 1 J
Beat 1 1 II 1 1 1 1 I N I I N I
Accent > > > >
Melody MRRDDFMR S S S F MRD
One elephant went out to play, on a spiders web one day.
Rhythm I N I I I M i n n n n i i
Beat 1 1 1 1 I N I M i l i i i i
Accent > > > >
Melody M R DD F M R S S S S F MMRRD
He had such enormous fun, he asked another elephant to come.
Though not used in simple folk songs, the four-beat note may also be
explained at this time. Students may also learn about two-beat and four-beat rests.
Songs will be learned in which students recognize the two-beat note.
e) r ( I ) meter, J .
p ( I ) is introduced with Pumpkins, again by listening to the words and
accents. Students tap the beat while singing and discover that the accents group the
beats into three measures. Students listen to discover that three beats are tapped on
the words day and night. The three-beat dotted half note is learned at this time (J.).
62
Pumpkins
} Rhythm 1 1 1 J 1 1 i I J.
Beat 1 1 1 1 1 1 1 1 i 1 1 1
Accent > > > >
Melody M M M D DMMMD
Pumpkins are gay on Halloween day.
Rhythm 1 1 1 J 1 1 1 1 J.
Beat 1 1 1 1 1 1 1 1 1 1 1 1
Accent > > > >
Melody RRRS S F M R D
Pumpkins are bright on Halloween night.
Other songs may be learned in which the three-beat note is recognized.
After D-R-M-F-S is very well understood, and after many songs have been
learned in different meters, ?, I, i, the student is introduced to the minor pentachord
scale, L-T-D-R-M. This is approximately the twelfth lesson. Daniel uses Old Mrs.
Witch when introducing this concept. Students listen to discover that Old Mrs.
Witch is not built on D-R-M-F-S, and it sounds different because the half-step is in
a different place.
Old Mrs. Witch
I* Rhythm I I i I ^ I f"l I
Beat I I I I
Accent >
Melody I., m M L, 1-, m M L
Old Mrs. Witch, old Mrs. Witch,
Rhythm I"! PI I PI PI I I
Beat I I II
Accent >
Melody MRDRM MR DR MM
Tell me how you fly, tell me how you fly.
Rhythm I Pi I I I PI
Beat I I I I
Accent >
Melody L, M MI.., M L,
I fly on a broomstick, up through the sky.
64
Daniel uses the following chart in teaching La-Ti-Do-Re-Mi and the corresponding
fingers for the solfege syllables:
Syllable Ladder
Mi
Re
Do
Ti
La
Figure 7: L-T-D-R-M Syllable Ladder
Daniel writes the syllables La-Ti-Do-Re-Mi in the students notebook.
The syllables forming the small step, Ti and Do, are written closer together to
reflect the half-step. Students build these scales from six white keys. Students
write from c, d, e, f, g, and a the corresponding letter names for each La-Ti-Do-
Re-Mi scale as homework.
La Ti Do Re Mi
c d e\> f g
d e f g a
e fl g a b
f g ai> bl? c
g a bb c d
a b c d e
65
Students now play D-R-M-F-S and L-T-D-R-M from six white keys,
singing syllables and letter names. Students practice their songs, transposed
every day to a different key.
Technique
a) Drop-Roll
The second touch learned is drop-roll. Introduced at approximately
lesson seven, it is a difficult touch. When a slur is indicated, the first note will be
a drop and the last note a roll, a tapering off of the sound, unless the slur ends
with a dot. In such a case the student must push out with the finger:
drop roll drop push.
Figure 8: Drop Roll/Drop Push
There can be many notes in between, but the first note is always a drop and the
last note is always a roll. When playing this touch using two-note slur groups as
it is first learned, one must drop the arm down while keeping the wrist and
fingers very firm. At the same time the elbow must move forward, taking care
not to hit with the next finger but to play the next note (the rolled note) lightly
without any accent. Czerny-Germer exercises 5 and 6 are used to teach this
touch. The thirds of this exercise which were played in blocked intervals are
now played broken for the drop-roll touch.
The symbol that indicates this touch is the slur. Later students learn the
other meanings of the slur which are: adding the value of two identical notes
together, (tie), indicating a musical motive or sentence, and indicating a legato
touch.
b) Non-legato
At approximately lesson 15 the non-legato touch is introduced. The
non-legato touch is a type of staccato. Whereas the portato or drop touch used
arm weight, with the arms dropping into the keys, the non-legato does not. The
non-legato touch requires that the student hold the hands and wrists very firm,
fingers lightly touching the keys. The keys are struck with the hands in this
position. It is imperative that the wrist be held firm, otherwise the fingers cant
move firmly across the keys.
An adaptation of the Czemy-Germer exercises 1 and 2, played in
unison, is used in teaching this touch. The question-answer form of the
exercise and its tonic are discussed; technique is never separated from an
understanding of music or the development of musicality.
67
Czemy-Germer 1 and 2
Carl Czerny
Allegro
Figure 9: Czerny Exercise 1
Allegro
s # 1
Figure 10: Czerny Exercise 2
68
Adaptation of the Czemy-Germer Exercise 1 and 2
||:DRMF | SFMF | SFMF | SFMR :|| DMSM | RSFR | DMSM | RSFR | D ||
It is played with both hands in unison, two octaves apart.
In learning the drop touch, students were to think of marching with flat feet,
whereas with non-legato touch students are taught to think of running or
dancing on tiptoes.
Since there is no consistent universal mark or absence of mark to
indicate this touch, its use must be determined by the style of composition and
context.
Examples o f repertoire containing non-legato touch include most o f the
pre-classics. This touch is often found in the countermelodies of Bach as well as
in the compositions of Haydn and Mozart. An example of elementary repertoire
requiring this touch is Kabalevskys Running Along. For additional repertoire,
see Appendix E.
c) Chord-in and Chord-up
When triads are learned at approximately lessons nine through eleven,
two new touches will be applied: chord in and chord up.
The chord-in touch, a type of portato, should be played with a breath,
hands dropped firmly in and rolled up. Daniel instructs students, Drop in the
chord, start to roll the elbow forward, and while breathing in and without
69
detaching, roll up (personal communication, March 17, 2000). The students
sing D-M-S while still holding the chord.
The chord-up touch, a kind of staccato, is played as if jumping from a
diving board (Daniel, personal communication, March 17, 2000). Students
prepare with fingers standing up on the keys to push themselves up with their
entire arm. During Level I, students play only the tonic triad using both chord
touches. Later, students play these touches on I, IV, V, and I. As staccato can
be executed in many ways, one must know the composer, the style of
composition, and the context to determine when these touches are appropriate.
An example of elementary repertoire containing these touches is Kabalevskys
Dance, op. 39, no. 4. For additional repertoire (see Appendix E).
d) Drop-hit-roll: used in arpeggio playing
Students are introduced to arpeggio playing and to three-note slurred
groups using a drop-hit-roll touch. To teach this touch, the left and right hands
alternate playing D-M-S while ascending for four octaves, ending with the left
hand on D. In the beginning stages the student speaks drop-hit-roll while
practicing. It is very important to hit the middle note, because it creates
the chord. This touch is also used on consecutive notes D-R-M, M-F-S,
S-F-M, and M-R-D, etc.
70
SUMMARY AND DIRECTIONS FOR PRACTICING
In the first 20 lessons, students write all of the folk song repertoire they
learn using stick notation and syllables. They write in the beats with a red
pencil, mark the accents, record the meter, draw bar lines and double bars, and
write the melody with solfege syllables. Repertoire is taught first in Do
pentachord scales with songs grouped in I, I, and I meters, followed by La
pentachord songs (see Appendix D).
D-R-M-F-S
f : Valentine, Mary Had a Little Lamb, Love Somebody, Aunt
Rhody, Lightly Row, Little Lisa, Patters Go, Let Us Chase a Squirrel,
and Jingle Bells.
f : Peas Porridge Hot, Down at the Station, Elephant, The Bee, and
Hot Cross Buns.
p: Pumpkins, Cuckoo, and Winter Goodbye.
L-T-D-R-M
Old Mrs. Witch, What Do You Think?, Intry Mintry, Swedish Cradle
Song, and I Have Lost My Handkerchief.
In the first year students will play and sing D-R-M-F-S and L-T-D-R-M with
solfege syllables and with letter names beginning on each of the white keys except b
and play the tonic chord 4 times in and 4 times up. Arpeggios are practiced with the
drop-hit-roll touch. Repertoire is played from every white key with solfege syllables,
rhythmic syllables, counting, and words. In addition, Czerny-Germer exercises 5 and
6 and 1 and 2 are practiced with the appropriate touches: portato, drop-roll, and non-
legato. These touches are applied as they are introduced.
LEVEL II: GRAND STAFF, READING AND PLAYING THE
PIANO FROM ABSOLUTE NOTES
Lessons 21-24
Theory
At approximately lesson 20 the grand staff is introduced. It consists of two
staves each made of five lines and four spaces. The top staff is for the right hand and
the lower for the left hand.
Daniel explains to the children that just as we have two different keys to the
attic and the cellar, we also have two keys for the right and left hand: |, 9 s. In the
right hand there are high sounding notes and in the left hand there are low sounding
notes. The divider is middle c, which sits on a platform called a ledger line.
Daniel tells the children that musicians are thrifty because they write both on
the lines and in the spaces. Starting from the bottom up the student gives the number
o f each line and space and with the teacher they fill in the notes of the grand staff.
They observe that the g is on the second line for the right hand, and the clef which
72
starts on that line is therefore called the G clef. The F clef is shown to receive its
name from the note on the fourth line of this clef, which is f.
For score reading, after the Grand Staff is introduced, students will repeat the
notes which are only on the lines many times. Holding middle c with the left hand,
they will then play on the piano and speak e, g, b, d, f and identify the most important
note, the g on the second line, from which the clef gets its name. Likewise the student
will hold middle c with the right hand and play and speak the F clef lines: g, b, d, f,
and a and identify the note on the fourth line, the f from which the clef gets its name.
| TH E GRAND STA FF |
-5
V io lin .....U---- -4
or
y p C i 3 R ig h t
C c le f 13 -3 H and
or
/r r \ A t 2
<D
t v \ F * 1
VE/ 1
cJ
c
B
_ _ _ -------
-
or
F c le f
t 1
-3
-2
- 1.
L eft
H and
Figure 11: Grand Staff
As an introduction to reading notes from the staff, Daniel uses exercises
she has written. These are folk songs, some of them already learned and some
new. They are for individual hands and are in different Do or La pentachords.
73
As an introduction to reading notes from the staff, Daniel uses exercises
she has written. These are folk songs, some of them already learned and some
new. They are for individual hands and are in different Do or La pentachords.
The first exercise is written for the right hand in the G clef and the next
exercise is written for the left hand using the F clef. This alternation continues
throughout the exercises. Students, before playing, find the tonic note and add
the notes that comprise the song to find on what pentachord the song is written.
The first 12 exercises have no accidentals.
Peas Porridge C=DRMFS

[ } i * -
Hot Cross Buns 9 J- > -f-f-f f f

t -
--- _!--- f - * ----- 1
& F=DRM
-1 J'-cr:--
ht'Wn.1 - -k-||
Mary Had 3[f )4 l T ij 1fl IJ J J H C=DRMFS
Valentine
H ^ f f -----f- _ = a z _ c z i _ F=DRM S
------p----------- -1 4
rtv f i r f -
....... | I---- 1------ 1_ |------f t :
Love Somebody = ^ F = i H----- r - f t -----:------- 1----- G=DRMFS

^ u = = j = f = = !
;J. .1
f f = i 9 ---- 1
..
I ^
= 4 =
: i
i ----- 1
H I 4
One Elephant *
_ . '.,.4 = f 4 4 ^ t: .! .... G=DRMFS
r~rr 4 * a - ^jt.p ^ . __
=4 - ~ i= m =
74
Aunt Rhody ' ^ ..j 1 ~ G=DRMFS
Bee .J~4 G=DRMFS

J*. J. -j?tt* J -F 5 5 B
- > j
J k ....f 1 , w *------ hi... ZJ------J 1----- >
7 7 IfifrriT-f 4H I
Twinkle iw h (-?-* -J M l
Pumpkins Dh .) i pTT'-j J fr:"F^'Fl .

4f---
C=DRMFS
Cuckoo Cuckoo T 0- j ^ = i'.||> b-'-tfJ-l

=+3 C=DRMFS
H ....f- F f zf = f If L f ~ f 7/;
r i l -f - j-------^
[Ai & M - =M =J
ite-a- t-t v - s G=DRMFS

ABCD _^bji2
M = 4 U -=
H 1= 1 t-------- 1
Students next learn about sharps and flats within a measure. Exercises 13 through
18 include sharps in a single measure. Exercises 19 through 22 include flats in a single
measure. First and second endings and repeat signs are reinforced.
75
What do You Think E=LTDRM
Time Calling D=DRMFS
Little Lisa E=DRMFS
Winter Good-by E=DRMFS
Down at the Station A=DRMFS
Jingle Bells 4 r t ~ i
A=DRMFS
! N .*
........ 11- p. f ... ....
O ff" 0
~ f :i L f
15 !
G=LTDRM
Chinese Song
Lightly Row T ^ C f f .i[ff fr

!o j3 f^ r F=DRMFS
lJ
_j----^ ^
I am a Poor Fellow L, j | h lL if] 1 :E r& = p _ j

F=LTDRM
Hungarian Folk Song d - f j f -k -J

G=LTDRM
Students are to play the preceding note-reading exercises in the
following manner: (a) play and speak letter names, (b) identify the tonic and
play the pentachord before playing and singing the song with syllables, (c) play
and count the beats, and (d) play and sing with words.
Daniel also uses stories and puzzles to make note reading fun.
A P u m p k in Patch Story
O nce upon |^ time, th e re was .. pum pkin who
lived in Ii^- ju- . q q .. : patch. Now this was odd. It
m ad e th e p u m p k in very unhappy. lie wanted to like all
the o th e r pum pkins. I t was O ctober and . cold wind
how led .F a rm e r did n o t w an t
patch. Little six, h a d an
idea! " L e t's carve on the pum pkin a t the
o f the : patch. We can put It on the
table b y th e . W hen the boys see its smiling
, they will come to th e house instead of the

patch. We can them cookies and
m ilk." F a rm e r w as happy. And, little
p u m p k in a t the of
i
p atch h a d f^ aor-i happy face. F i n e ^ ^g=7~

Choristers Guild U sT l kkS
Grantham, Nan, Choristers Guild Letters (1988) used by permission.
Figure 12: Pumpkin Patch Story
77
N am e ___
D ate ___________
3. CATCH A FISH
You've caught yourself a fish if

you can spell the words. H ows
your bait? Good luck!
Read .he notes belov. and then

write th e words on the puzzle.
ACROSS
A
1. 9. 10 .
^ era.. . _ -- ------------ -----------e _ -.... .......t .....O O , u O - 1
(j, ^ ..
... rh P U . 0 . 0 .. L > . . . q ---- -t-
|S.............................
t--------------- :------1
-----------------
" g - ..^ ------ ............r c H ------- ------------
ACROSS
13. 15. 16. 17. 19. 21. 22.
-e-
per ty"!' Q o r
X2 X T
DOWN
2. 3. 6.
TT I . .Q ,
XI
ex G -O j EX7~T r-r ^ c rg :
DOWN
11. 12. 13. 14. 18. 20. 21.
o O
i -e -rT -
i
o_ > O j...- o -
0-0
=2EE

rr =33
-
Choristers Guild Letters used by permission.
Figure 13: Catch a Fish
78
Technique
The six previous touches are reviewed and a new touch, legato, is learned.
a) Legato
At approximately lessons 21 to 24, students learn the Mozartian legato,
the high finger legato. This touch is first taught using Czemy-Germer exercises
1 and 2 and 5 and 6. The legato touch must be played slowly with curved
fingers pulled up high, as the muscles have to be trained. Every key must be
played and heard evenly, in rhythm and in sound. Daniel often gives the analogy
that when runners run slowly they must lift their legs high, whereas when they
run fast they keep their legs closer to the ground. Daniel tells the students, In
piano one must train the muscles so the fingers can play fast, evenly, and very
clearly (Daniel, personal communication, December 19, 1999). Daniel
demonstrates on the piano the difference between pressing the keys and lifting
and hitting with the finger. She demonstrates the difference between the right
way and the wrong way to play.
b) Stretching
Czerny exercises 1 and 2, and 5 and 6 are played exactly as before, in
unison in parallel octaves, but now using the legato touch. When playing the
Czerny-Germer exercises 5 and 6 students are taught to stretch their fingers
when reaching for the octave.
79
The symbol that indicates this touch is the slur mark over several notes.
Examples o f elementary repertoire containing this touch can be found in
numerous compositions (see Appendix E).
LEVEL III: PLAYING FOLK SONGS WITH ALTERNATE HANDS
Lessons 25-30
Theory
After their introduction to playing notes from the staff using single hands,
students now begin to play folk songs with alternating hands. They will use their first
book, Folk Song Book I (Consolidated Music Publishers). They will learn the
traditional names for meter and note values, (see lesson plans in Chapter 3 of Folk
Song Book I). Students will also learn about accidentals at the beginning of a song,
upbeat, a second meaning for a slur which is adding the values of two identical notes
(tie), and stretching their fingers for notes outside the strict five-finger position.
80
Students will learn about two new chords built on the fourth and fifth steps of
the scale.
S D' R1
M L I
D F S
I IV V
Tonic Chord Four Chord Five Chord
Figure 14: Cadence: I-IV-V
Traditional meters are identified in such songs as Lazy Mary (3/4), and
Good King Wenceslas and Polly, Put the Kettle On (4/4). In every song a new
concept will be learned.
a) Extended Scale Pattern
In Polly, Put the Kettle On, students learn about the scale patterns extending
outside the strict five-note positions for the two hands (S, L, T, D R M F S L) and the
need to stretch their fingers to reach these notes.
81
Polly, Put the Kettle On
4- ,
*-
"
Copyright 1963 (Renewed) by Consolidated Music Publishers, Inc.
International Copyright Secured. All Rights Reserved. Used by Permission of
Music Sales Corporation (ASCAP).
82
b) Accidental
The role of the accidental at the beginning of a song is first learned in Sweet
Betsy From Pike. The student learns that the accidental at the beginning of a song
will change all notes for which it stands, wherever they are on the staff. Students must
always find all the notes which accidentals change and play them before playing the
song.
Sweet Betsy from Pike
Flowing American
International Copyright Secured. All Rights Reserved. Used by Permission of
Music Sales Corporation (ASCAP).
83
c) Upbeat
In Billy Boy the upbeat is introduced. Students listen to determine the meter
(4/4) and will discover that the first measure is not complete. Students count the
missing beats, one and two, before beginning on beats three and four. They must find
the missing beat(s) which they will always find in the last measure. When the
musical sentence starts with an upbeat, all the other sentences will start with an
upbeat; students learn that the bar lines have nothing to do with the music.
The concept of tied notes, two identical notes added together with a slur, is
also introduced through this song.
BILLY BOY
N ot too slow A m erican
.'
I-' f E 1-
International Copyright Secured. All Rights Reserved. Used by Permission of Music
Sales Corporation (ASCAP).
84
d) Variation
In Hop, Hop, Hop students are first introduced to the variations form.
Hop, Hop, Hop
M oderately
V a ria tio n
1 8
All songs are played first with the drop touch. Daniel then edits the pieces and
for the first time, students apply all the touches learned. Students write out the notes
of the scale o f the compositions with syllables circling the do and locate the tonic.
85
e) Chordal Accompaniment
Students review songs and reading exercises 1 through 22 from Level II
and now add chordal accompaniment. For example, in Peas Porridge Hot
Daniel plays the tonic chord while the student plays the song. Daniel asks
whether the chords always sound good. The student answers that they do not.
Then Daniel plays different chords while the student plays re until the student
recognizes that on re the V chord sounds good, and when the other notes are
played, only I sounds good. The student will add the I and V chords to their
songs. The student plays the chords in the left hand, playing the I chord and
then adding the V chord only on re. The chords are played blocked. Later a
bagpipe or open fifth (D-S-D-S or L-M-L-M) accompaniment is added.
Technique
Students learn to stretch their fingers to play notes outside of the five-
finger position. Students learn upbeat touches.
LEVEL IV: HANDS TOGETHER PLAYING DIFFERENT NOTES IN THE
LEFT AND RIGHT HANDS BUT USING THE SAME TOUCH
Lessons 30-35
Theory
For new compositions taught, all new theory and technical concepts will
be observed and rehearsed.
86
Technique
a) Hands Together With the Same Touch
After playing several songs with alternating hands, students learn to play
pieces with hands playing together in this level, using different notes in the left
and right hands; however, both hands should be using the same touch. Before
students play the composition, they clap the rhythm of the piece and count, add
the notes together to determine the line of syllables and find the tonic, decide
what touch(es) will be used according to the type of composition, analyze the
form, and sing with syllables. An example from the repertoire is Tcherepnins
March. For additional repertoire, see Appendix E.
b) Mixed Touch
An additional touch is learned in this level, the mixed touch, which
combines different touches in each hand. One may play legato with the left hand
while playing the drop touch with the right hand, or legato against drop-roll.
Daniel teaches the mixed touch with Czemy-Germer exercises 1 and 2. To first
introduce this mixed touch in a composition, Daniel suggests Dialog No. 1 by
Bartok. For additional repertoire (see Appendix E)
87
LEVEL V: DIFFERENT NOTES IN THE LEFT AND RIGHT
HANDS USING DIFFERENT TOUCHES
Lessons 36-40
Theory
In Level V, Daniel emphasizes an understanding of form and the development
o f questions and answers. Daniel teaches more about form through Mikrokosmos
Book I by Bartok. This book is helpful in learning about the variety of form because it
provides many examples o f the different ways that questions and answers may appear
in music. It is excellent for sight reading. The Mikrokosmos also introduces new
technical skills such as shifting the hands in contrary and parallel motion. The pieces
are in different scales. Although students have not learned the different scales, they
will add together the sounds. For example, No. 1 is built on D-R-M-F-S, Do is c, and
has both a four-bar question and answer, creating one simple sentence. No. 2 is the
same. No. 3 is built on L-T-D-R-M, where La is a, and has a question and an answer
that are each made of two motives. No. 4 is built on T-D-R-M-F. It has a long
question and a long answer with a complicated rhythm. No. 5 is built on S-L-T-D-R
and demonstrates a question made of two motives and an answer that is divided into
two motives. No. 6 is built on D-R-M-F-S. The question is a four measure sentence
and the answer is divided between two measures and three measures. After No. 6,
Daniel teaches No. 8. It ascends on L-T-D-R-M and descends on R-D-T-L-S
88
Students learn crescendo and decrescendo as well as moving the hands to different
positions in parallel motion in this exercise. Daniel then teaches No. 14. This exercise
is in the Dorian mode. Daniel introduces this as a different sound and students learn
that fa has become a fi, being a raised half-step. This exercise has a two motive
question and a two motive answer with the hands moving up and down in parallel
motion. Daniel then teaches No. 13 because it is the first exercise which requires the
hands to move in contrary motion with a leap. It has a two motive question and
answer in which the answer is made up of two measures plus two measures.
Technique
Alberti Bass Touch
The Alberti bass is introduced towards the end of the first year. First, students
learn a modified version o f Czerny-Germer exercises 3 and 4.
Czemy-Germer Exercises 3 and 4
Allegro
Figure 15: Czemy-Germer Exercise 3
Allegro
mf
* a 4 BSSSBSSBSSa 4 3
3 5
Figure 16: Czemy-Germer Exercise 4
Adaptation of the Czerny-Germer Exercises 3 and 4
> > o > o > o > o > o > o > o

o
R. H. D S M S F S M S R S
R S M S F S
1 5 2 5 3 5 4 5 3 5 4 5 3 5 2 1
> o > o > o > o > o > o > o > o

L H D S R S M S F S M S F S M S R S
5 1 4 1 3 1 2 1 3 1 2 1 3 1 4 1
> o > o > o > o > o > o > o > o

R. H. D S M S R S D S R S F S M S R S
1 5 3 5 2 5 1 5 2 5 4 5 3 5 2 5
> o > o > o > o > o > o > o > o

L. H D S M S R S D S R S F S M S R S
5 1 3 1 2 1 5 1 4 1 2 1 3 1 4 1
> o > o > o > o > o > o > o > o > o

M S F S M S F S M S F S M S R S D S
3 5 4 5 3 5 4 5 3 5 4 5 3 5 2 5 1 5
> o > o > o > o > o > o > o > o > o

L H. M S F S M S F s M S F S M S R S D S
3 1 2 1 3 1 2 1 3 1 2 1 3 1 4 1 5 1
The different intervals are discussed. Students then play this exercise
first with the drop and then with the drop-roll touch, observing that because the
intervals are D-S, R-S, M-S, the rolling will always be on the same note, so.
Finally, when playing this exercise with the legato touch, the lower notes are
91
hit and so is softly touched. The accents indicate that the student should play
with greater intensity, and zero indicates that the student should play with less
intensity.
Repertoire
Students identify meters, tap the rhythm with both hands through the
entire piece while counting, locate the tonic, write out the notes of the scale of
the compositions with syllables circling the do, analyze the form o f the piece,
and discuss the character of the piece (running, marching, or sailing). Students
apply all o f the touches learned and are now able to use their well-developed
ear. Pieces selected should be in one key with little or no modulation. Pieces are
selected according to the hand of the child, the personality of the child, and the
touches learned. Duets by Diabelli are played at every lesson. For specific
repertoire (see Appendix E).
YEAR II
Theory
a) Meter and Rhythm
In the second year, two new meters will be introduced, 3/8 and 6/8, in
lullabies, pastorals, boat songs, and other song forms. More advanced rhythms
used in folk songs and classical compositions will be learned. The rhythm will
be clapped and spoken or clapped and counted.
92
$ \ J J 3 m \ J J 2 J J \ J. J.| J. J1
Syncopation
J>J J3| y J'J' J*|etc.
Dotted rhythms
J. J'lJ 1 J. IJ. - M J ' . U .

Sixteenth note patterns
jm m m u * .
Figure 17: Rhythm Chart
Students will learn the rhythmic syllables that correspond to each of the
rhythms learned.
J 1 J . Ti-Tum
J. J5 Tum-Ti
J 5 J J ' Syncopa
JT 33 Ti4d-Ti4d
93
b) Form
Students will identify the tonics and scales of their compositions with
terms such as pentatonic scale and major and minor scales. The latter two will
sometimes be used together in a composition, but not as a modulation.
Students will find similarities and differences in their compositions. They
will locate question and answers, motives, sentences, and periods.
X
Question
X
Answer
X ' "x -X X
Â.obVe Âotivfc ^S.oti\re yio tive
Figure 18: Classical Period
Technique
a) Scales
In preparation for scale playing, students learn to cross the thumb under
the fingers and the fingers over the thumb. The first finger, for example, must
cross under the third and fourth fingers, and the third and fourth fingers over
the first. Thus students prepare for scales by practicing under and over with 3-1
and 4-1 up and down the white keys. After students can play this exercise
keeping their arms and wrists straight without turning the hand, they learn to
play major and minor scales.
94
Students play scales four octaves up and down with alternating
hands, two octaves in the left hand and two octaves in the right hand, while
singing with syllables. They name beforehand all accidentals as well as L.H. and
R.H. fourth finger position, re for left and ti for right, for most white key major
scales.
b) Chords and Arpeggios
Students play I, IV, V, and I chords, dropped in and up. Students play the
arpeggios o f the chords they have learned while speaking the words drop-hit-roll.
c) Speed
In Czemy-Germer exercises 1 and 2 and 5 and 6, played legato, the original
tempo is doubled. In Czerny-Germer exercises 5 and 6, each interval is now played
twice. Czemy-Germer exercise 14 is learned, played in unison, the left hand doubling
the right hand one octave below.
d) Espressivo Touch
The espressivo touch is a weight touch. It is also called cantabile, or singing
touch. When Daniel teaches the espressivo touch she uses a kitty and mouse song and
she tells about a kitty who is walking quietly after a mouse. The kitty doesnt want
the mouse to know she is there, so she puts down her paw very carefully so that she
isnt heard. In the same way, to play espressivo, the finger is lifted and slowly first
presses down the air and then the key as if it is gradually sinking into the key.
95
Compositions with singing melodic lines use this touch, and it is also practiced on the
Do and La pentachords.
Repertoire
Suggested repertoire for year II, listed in Appendix E, is selected to
reinforce the touches learned, and to teach musical concepts. Folk songs and
classical compositions in contrasting styles and moods are taught.
When learning a new composition, the student and teacher first clap the
rhythm and count. They then discuss the tonic, scale, form, mood, and touches
to be used. The student first plays the left hand. When arriving at the end of the
question and answer, the student will sing the cadences with syllables, for
example F-S-S, -D. The left hand is also played while the right hand is sung.
Pieces are always learned hands separately, and in sight reading, duets are
always included in repertoire.
YEAR III
Theory
a) Triplet (
Students are introduced to a new rhythmic element, the triplet. Students clap
and say tri-o-la, the rhythmic syllables for the triplet, emphasizing the first syllable.
96
b) Modulation and Transposition
Students discover and identify modulations. Bachs March in D is an excellent
piece which can be used to teach both modulations and sequences. In measure five,
do becomes fa to accommodate the new key of A major. In the second section, where
the sequence occurs, there are further modulations (A major, D major, G major, D
major).
M ARCHE C .P h .E . B a ch
B W V A a h a n g 132
D~F(A^lajor^ ^
R D R T, S
iH St i t
AMajor D S(DMajor) D^SJG

__Major)
(p hi* f J f
s, D S F MR RM F

Sequence D=F_____________
(DMajor)
1 t ^ m i *
J.S. Bach: Notenbiichlein flier Anna Magdalena Bach 1725, (1983) by G.
Henle Verlag, Mlinchen, used by permission.
97
Students will also recognize similar patterns and learn about sequences in
Czerny-Germer exercises 13 and 14.
Daniel uses Czerny-Germer exercise 15 to introduce transposition. The
exercise is transposed to G, D, and F. Scales are still played with alternate hands.
c) Form
Students identify motives, sentences, and periods using small and large case
letters. The theme to Beethovens Ninth Symphony and the song Lightly Row, for
example, may be described in the following way, with capital letters referring to
musical periods and small letters to sentences:
" b ..'
Figure 19: Period
Technique
a) Ornaments, Trills, and Repeated Notes
Ornaments, trills, and repeated notes are learned with Czemy-Germer
exercises. Ornaments (turns) are prepared through exercise 12, trills through exercise
11, and repeated notes through exercise 27.
98
b) Scales
Students sing and play all major and some minor scales still alternating hands.
Students are given general rules to help in scale fingerings. For the major
scales that begin on white keys, the left hand, fourth finger is on re and the right hand,
fourth finger is on ti. The exceptions are B major and F major. Major and parallel
minor white key scales have the same fingerings, for example, C, cm, D, and dm. For
the major scales that begin on black keys, the fourth finger o f the left hand is on fa,
and the fourth finger o f the right hand is on b-flat. The exception is Gb/ Ft. The minor
scales on the black keys differ in fingering from their parallel major scale in one hand
as follows: Db/c# (right hand), Eb/eb (left hand), Gb/f# (right hand), At/gt (same), and
Bb/bb (left hand).
c) Chords and Cadences
From this level on students play cadences I- IV-I-V-I in root position.
When playing the cadences students sing the syllables and use the chord touch.
The left hand is played legato.
99
J /. .. :........................... |
----- ! &
l % ^ 4 H
' ^ 7 *
/ A-/
J"....
cJ
O ------
d

..o
-----------
..... -...j
1
S L S S s
M F M R M
D D D T, D
I IV I V I
M F M M M
D R D T, D
L, L, L, Si, L,
i iv i V i
Figure 20: Cadence I-IV-I-V-I
d) Arpeggios
Students continue to play these in the same way as in Year I and II.
e) Exercise Speed
The Czerny-Germer exercise 5 and 6, played in unison, is doubled again in
tempo.
100
f) Pedal
The three pedals of the pianothe soft or ana corda pedal, the sostenuto
pedal, and the sustaining pedalare explained and first used. Daniel first teaches two
types of sustaining pedal: the down-up pedal and the connecting pedal. The down-up
pedal is used to enrich the sonority and is first used on the song Race Horses. The
connecting pedal, used to maintain the sound from note to note or chord to chord, is
first used in cadences. The pedal quickly changes for each chord.
a) down-up pedal.
b) connecting pedal:
The soft pedal will first be used with Tansmans Petite Reverie. However, it is
very important to understand that the pedal is only used to reinforce the touches. The
pedal can enhance the sound or the pedal may destroy a piece. Daniel marks all pedal
reinforcements on the sheet music for every piece thereafter.
Repertoire
Pieces are always selected to reinforce technique, touch, mood, and style.
The students ages, hands, and personalities are taken into consideration.
Seventeenth, eighteenth, nineteenth, and twentieth century compositions are
used in programming, along with one folk song and a duet. 17th century composers
include. Bach, Telemann, Bohm, and Handel, (German); Lully, Couperin, and
Rameau (French); Seixas, M. Albeniz (Spanish); Duncomb, Clark, and Purcell
(English); and Scarlatti and Corelli (Italian). Early classics from the 18th century
include some pieces of Leopold Mozart, W. A. Mozart, Haydn, and Beethoven.
Dances of this period-minuets, country dances, landlers, and others-are essential at
this level. Duets are used for sight reading.
YEAR IV
Theory
a) Rhythm
Rhythms are developed and reviewed as they appear in compositions
selected.
b) Scales
All three minor scales are explained: natural, harmonic, and melodic.
More work is done in modulation and transposition. Modes are studied if they
appear in the repertoire selected.
c) Chords and Cadences
Three positions, root, first inversion, and second inversion, are
explained for cadences.
d) Form
Students learn to identify sequences as an extension to a sentence.
102
Technique
a) Scales
Students now play scales with both hands together. The quarter beat remains
constant at M = 60 and the touches are as follows: one octave in quarter notes with
espressivo touch, two octaves with two eighths per beat playing with a high finger
legato touch, and four octaves with four sixteenths per beat with low fingers. When
students are secure with scales the tempo is increased to M = 80.
When students play minor scales they play all three minor scales in one
octave, espressivo touch, but continue only with the harmonic minor scale in
additional octaves. Syllables for the three minor scales are sung as follows: natural
minor, LjTJ D R M F S L; melodic minor, L, T, D R M Fi Si L; and harmonic minor,
L,T, D R M F Si L.
b) Cadences
These are played in three positions I- IV-I-V-I with pedal.
c) Exercises
Czerny-Germer exercises with scales and chord patterns are learned through
exercises 17, 29, and 32. Students play Czemy-Germer exercise 15 with
transposition, together with other exercises and some pieces.
Repertoire
This repertoire consists of pieces selected from all periods, several duets, and
some jazz pieces (see Appendix E).
103
YEAR V
Theory
a) Rhythm
Students and teacher discuss any special rhythms in their compositions.
Students are introduced to conflicting rhythms such as two against three.
b) Scales
There is further study of the modes if their repertoire contains modal
compositions. While there are numerous pieces in each mode in Bartoks
Mikrokosmos and For Children. Daniel also chooses from a wide variety o f music to
teach modes.
Technique
a) Scales
Scales are played in conflicting rhythms in contrary motion. Tempo of all
major and minor scales is M = 100 - 120.
b) Chord Fingerings
If the hand is ready, students will play the extended triads. The following chart
indicates the fingering for major and minor blocked triads in three positions.
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L.H. R.H.
Root DM SD 5 412 1 1 23 5 L D ML
1st inversion M SD M 4|2 1 12 5 DMLD
2nd inversion SD M S 3! 2 1 12 4|5 MLDM
Figure 21: Chord Fingerings
Circling the changing fingers helps students easily remember this fingering. The
circled fingers are the variable fingers: in the left hand the 3rd rather than the 4th is
used for major keys with 2 to 6 sharps; in the right hand the 3rd rather than 4th is used
for minor keys with 2 to 6 flats.
Daniel teaches these triads in groups of keys with similar configurations of
white and black keys, starting with majors:
a) C, G, F (white keys)
b) D, A, E (one black key, sharp)
c) d, e, a (white keys)
d) c, f, g (one black key, flat)
e) B (two sharps), b (one sharp as 3rd chord member of triad)
f) Gfc>, el? (all black keys)
g) Di?, El?, Al?,; cl, ft, g | (one white key)
h) exception: Bl? (one black key as first note of chord), bl? (two black
keys as first two notes of chord)
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Arpeggios will use the root position fingering as given above if they begin on
a white key; arpeggios starting on black keys will use the thumb on the white key (or
closest white key) in the right hand, and on the white key (or furthest white key) in
the left hand. In playing arpeggios students use the gliding just as they learned in the
Mikrokosmos I
c) Exercises
Czemy-Germer exercises 23 and 35 are learned to reinforce broken chords.
As always, every technical problem in a composition is learned previously within a
Czemy-Germer exercise. Hanon exercises should also be used from this point
forward. Repertoire (see Appendix E).
PROGRAMMING
Introduction
Daniel programs individually for every child. She selects compositions which
technically and musically advance the student. Since piano literature is extensive, it is
not necessary to repeatedly teach the same compositions. Therefore Daniel teaches a
wide variety o f beautiful music through which she develops the childs love of music
as well as the soul of the child. For examples of the programs of some individual
students for consecutive years, see Appendix G
When selecting repertoire, Daniel considers many aspects of the child such as
personality, hands, and ethnic background. If the child has a shy personality, Daniel
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will include pieces that encourage the student to play more forcefully. In contrast, if
the child has an extroverted personality Daniel will include pieces that are reflective;
this will encourage the child to focus. In addition, students may have large or small
hands or strong or weak muscles. They may have a soft or firm touch. Repertoire
must be chosen that develops strength in the soft hand and flexibility in the strong
hand. Furthermore, as children come from many different heritages with different
musical traditions, composed pieces and folk songs will be selected which reflect
different backgrounds.
For 70 years, Daniel has collected compositions for every level which she
keeps in large albums. Even today when she finds or hears a good piece she adds it to
her collection. Thus, it is not a closed but an open, living collection.
Daniel always selects pieces from each era, with pieces that contrast
stylistically yet compliment each other for the advanced student. Careful
attention is always given to programming music in a sequential manner (see
Appendix F).
Teaching o f Music History
Daniels method incorporates the teaching of music history. Students are
required to compile, by era, lists of composers and their compositions.
This process allows students to become familiar with the historical period of each
composer, his contemporaries, and the types of pieces composed. For example,
students will learn that in the 17th and early 18th centuries there were many dance
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forms and fugues and in the latter 18th and early 19th centuries, sonatas, sonatinas, and
variations were favored. During the 19th century, character pieces with descriptive
titles such as The Sea, or The Swallow were popular. Students discover that in
the 20th century, rhythms are more varied and irregular, and that accents can be found
in unusual places such as the offbeats. They will discover that dissonance, percussive
sounds, and mixed meters are more common in this period. Daniel recommends
Denes Agays Music for Millions series for a chronological presentation of composers
and works as it is a well-organized and well-edited anthology of compositions from
all periods.
Daniel provides historical background for the compositions she teaches.
Students understand the style and character of their compositions. For example,
students learn to recognize the characteristics of a minuet, a court dance from the
reign o f Louis XV, which was danced with a curtsy and light mini-steps. Daniel also
teaches about other dances such as the waltz, an Austrian dance of the middle class,
and the landler, a country dance of Bavaria with a strongly accented first beat. Such
examples could be extended to many other cultures.
Repertoire
a) Technical Studies
In the earlier years students play Czemy-Germer exercises. Later, students
play exercises by Cramer and Hanon which parallel their study of classical
compositions. Scales and arpeggios are always played.
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b) Pre-classics
From the Elementary C-D levels on, Daniel programs pre-classical music from
different countries every year for each student. If, in the first year, a German pre-
classical piece is chosen, then the following year a French pre-classical piece might be
included. In subsequent years Spanish, Italian, and English pre-classics should be
chosen as each form differs stylistically. Since these compositions were written for
harpsichord or organ, pianistic touch is as important a consideration as national style.
For example, French pieces generally require a lighter, non-legato touch whereas
German and English pre-classics may require heavier legato and chord touches.
c) Pedagogical Sequence of Compositions by J. S. Bach
Daniel requires students to play many pieces from the Anna Magdalena Bach
Notebook. In addition, she states that the progression through the remainder of the
compositions by Bach should be very sequential. After teaching pieces from the Anna
Magdalena Bach Notebook. Daniel teaches the Little Preludes and Fugues, and the
French Suites. Next she teaches the Two and Three Part Inventions. The English
Suites, Toccatas, Partitas, and the Well-Tempered Clavier are for the very advanced
student, usually at the university level.
d) Classical
Composers of the classical era appropriate for the beginning levels include:
Turk, Spindler, Kuhlau, Haydn, L. Mozart, W. A. Mozart, and Beethoven. In
particular, Haydn, Beethoven, and Bonn sonatinas, as well as the Haydn, L. Mozart,
and Beethoven dances are suggested as good for instruction and development at this
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level. Many o f these pieces use the Alberti bass touch. After playing many of these
shorter forms, students may play more advanced classical pieces. Daniel firmly
believes that students may study Beethoven sonatas only after Haydn and Mozart
sonatas are mastered, usually at the university level.
e) Romantic
Gillock, a 20th century American composer, is excellent for introducing the
beginning student to the romantic style. He has many good pieces in this idiom.
Daniel uses Gillocks pieces from the first year because he uses all of the touches and
the full range of the piano. Gillocks elementary level pieces are very simple, though
excellent compositions. They are childrens favorites. Tansman, though a modem
composer, has many pieces in the romantic idiom which are very good for the lower
level. Other composers suggested for this period are Gretchaninoff, Gnessina,
Goedicke, Gade, Tchaikovsky, Burgmuller, Heller, Schubert, Grieg, Nevin, and
McDowell. For the more advanced student at the preparatory level, Brahms, Chopin,
Scriabin, Schumann, and Liszt can be suggested.
f) Impressionistic
There are no compositions for beginners by Debussy, Ravel, or Ibert.
Only advanced students should attempt works by these composers. Gillock,
however, has many good compositions that are similar in style to the
impressionistic period and excellent for introducing children to this style of
music.
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g) Twentieth Century
For elementary and intermediate levels, Daniel suggests the composers
Tcherpnin, Turina, and Nin-Culmel, to mention a few. The American composers,
Gillock, Nevin, Everett Stevens, Vandal, and Rocharolle are very good for children.
For very advanced students, the Excursions by Barber and pieces by Khatchaturian
are suggested. Bartoks For Children should never be taught before the intermediate
level. In this work every folk song setting has a different kind of accompaniment. This
is generally in contrast to the classical procedure which uses much less variety in
accompaniment figures. Daniel emphasizes that the teacher must understand modal
scales and modal cadences in order to teach Bartok; the musical content o f these
piece is great; many of Bartoks For Children pieces are for artists.
h) Duets and Two Piano Compositions
Daniel always plays duets with students at all levels when practicing
sight-reading. Daniel uses Diabelli for at least two years because many duets are
in a unison five-finger position. Duets by Leo Weiner are also used for the
beginning student: Lullaby, Scherzo, and Wedding Dance, op. 36.
In the second and third years, Daniel still uses Diabelli duets; however, in the
third year she also selects dances and marches by Mozart. There are also some duets,
in original form, by Beethoven that are appropriate for this level. Other recommended
composers include Colburn, Carre, Vandal, Rowley, Cobb, and Bastien, all of whom
are excellent for the beginning and intermediate student. For the advanced levels there
are numerous duets available. For two pianos Daniel recommends pieces such as the
Ill
Rondo and Melodius pieces by Gurlitt for the intermediate level, and works by
Poulenc and Chopin for the advanced student,
i) Concertos
The first concertos recommended for very talented children include the
two Haydn C major concertos, Concertino Divertimento and C Major Concerto. The
Carre and Rowley Concertos are also suggested,
j) Jazz
Beginning with year II, Daniel programs jazz pieces for students. She
especially recommends pieces by Nevin and Gillock.
For sample programs for each level-elementary, intermediate, and preparatory
(see Appendix F).
Establishing Collections
Daniel strongly recommends that every teacher compile collections of pieces
for each level. Collections for different levels might include pre-classical, 17th century,
18th century, romantic, impressionistic, contemporary, and jazz pieces all arranged in
sequential teaching order. Collections can be made for small hands, big hands, older
students, and younger students, and they can be organized in terms of era. Daniel
encourages teachers to make a lifelong hobby of collecting anthologies of good
compositions since collections are so helpful when planning programs for students.
When Daniel plans a program she chooses music that allows students to develop their
technical skills and musical knowledge.
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For some examples of programming done for individual students over the
duration of several consecutive years (see Appendix G).
Piano Guild
Daniel has found that in the United States, the National Piano Guild programs
are the closest to the Music School system in Hungary. Their sequential
programming is the most similar to the programming in Hungary. Her students are
happy to participate as it gives them a yearly goal to achieve. They are adjudicated
very thoroughly and receive a report card from a well-known professor of piano.
After 10 years of playing 10 or more pieces yearly they receive the Paderewsky Gold
medal, and when they graduate from high school and earn their high school diploma
according to their ten years accomplishment (point system), they receive a
scholarship. The National Piano Guild categories are: Elementary A-B-C-D-E,
Intermediate A-B-C-D-E, and Preparatory A-B-C-D.
Daniels students perform ten pieces or more at yearly Piano Guild auditions,
beginning with the first year, regardless of age; thus, the repertoire developed over a
typical 10-year period is significant. At the end of the 10-year period they will have
auditioned with one hundred compositions. Daniel encourages open rehearsals at the
end of each year so that students can hear each other perform.
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CHAPTER 4 -
SUMMARY, CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS
Summary
Three factors led to the need for this study: (a) the significance of Katinka
Scipiades Daniels method of teaching piano with the Kodaly approach; (b) the unique
contribution o f the teaching o f pianistic touch as a means to acquire technical facility
and awareness of tonal sonority and musical expression; and (c) the lack of formal
writing on this method for teaching the beginning and intermediate piano student.
The purpose of this thesis was to record and preserve Katinka Daniels piano
method. The researchers primary sources of information regarding this method were
personal interviews and observations of teaching with Katinka Scipiades Daniel and
published and unpublished materials by Daniel. The interviews and observations took
place in Santa Barbara, California between September 1999 and September 2000,
approximately bi-monthly.
Daniels method, Teaching Piano with the Kodaly Method, is a systematic
approach to teaching the beginning, intermediate, and advanced student. The method
was created by Daniel in order to develop the mental and physical processes necessary
for the effective mastery o f beginning piano performance. The method implements the
sequential systematic teaching of pianistic touches, including solfege and dictation,
similar to the Kodaly Method. Students begin with folk songs which progress
naturally to composed classical music. In addition to using solfege and singing as an
115
aid to experiencing and developing musicality, Daniel includes singing as she presents
a thorough and progressive presentation of musical form. Beginning with simple
formal elements o f folk songs (question and answer, similarities and differences,
motives, sentences, and periods) the student is led naturally to larger forms (theme
and variation, song-forms, sonata, and rondo). Furthermore, these concepts are
taught through discovery in a manner that encourages active student participation.
This last concept, the students discovery of rhythm, melody, harmony, and
form, Daniel owes to the Kodaly tradition. However, she has imaginatively and very
practically adapted and applied it to piano teaching. Thus, by combining her expertise
o f the Kodaly methodology with her excellent European training in piano
performance, she has created a comprehensive piano method that is a unique and
valuable contribution to piano pedagogy.
Conclusions
This study has recorded Daniels method of piano instruction based on the
Kodaly Method. First it shows the importance of pedagogical sequence in presenting
and developing pianistic touches, enabling students from an early age to develop a
musical and artistic sense of interpretation. The touches and technical exercises reflect
the historical development of musical styles, beginning with the baroque and rococo
periods. Consequently, students leam the touches that enable them to correctly
interpret music from each era of music; they discover that technique and
interpretation are indivisible. Second, the necessity of singing for the development of
116
musicality, hearing the sound produced, and as an aid in expression and the
understanding of form, for example question and answer phrasing, is demonstrated.
Third, the importance of learning by building one skill upon another is critical. This
applies to both the technical ability and the theoretical understanding of the student.
Students learn more effectively and efficiently when taught skills in a developmental,
sequential manner. Fourth, the examination and thorough analysis of each piece
learned in a sequential manner by a student provides the basis for comprehensive
music instruction and understanding. Fifth, only artistically valuable music must be
used. Daniels teaching prepares students for their lifetime vocations or avocations,
and perpetuates a love of beautiful music which enriches their lives.
Implications
This study has several implications for the way music, and specifically, the
piano are taught.
1. This study may be used as a method of instruction for the beginning piano
student.
2. This study may be used as a source for teaching pianistic touch as an aid to
developing an understanding of musical style and expression. The method strongly
suggests that the codification of touch is helpful in terms of sound production.
3. The sequential development of repertoire from the first lesson through five
subsequent years may be used as a guideline for lessons and yearly recital
programs.
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4. The sample programs for each level, as well as the programs for consecutive
years, are invaluable references (see Appendices F and G).
5. The researcher suggests that the method be considered a model for a standard in
piano instruction and for the development of comprehensive piano instruction.
Recommendations
The following recommendations for future research are suggested:
1. Comparison testing should be done between Katinka Daniels method for piano
and other, more typical piano methods, to evaluate the effectiveness in teaching music
reading, dictation, basic form and analysis, and understanding of the musical styles of
different eras.
2. Research has shown that the work of Jeno Adam was significant in regard to the
Kodaly Method and consequently to Daniels Teaching Piano with the Kodaly
Method. Research into Jeno Adams contributions to music education in general and
his suggestions for sequential instruction for children is recommended.
3. In Hungary, before studying an instrument, all students are trained for a year in a
pre-instrumental preparatory class in which they learn how to read, write, and listen
to music. They are taught solfege using the moveable do system. Future researchers
could test the effectiveness of such training in contrast to the teaching of students
who begin studying an instrument without any prior musical knowledge.
4. A comparison o f the length of study of students taught using Daniels Teaching
Piano with the Kodaly Method versus other methods should be undertaken to
determine if students o f the Kodaly Method study longer, practice more, and if they
tend to become pianists for life; rather than studying only during childhood. Evidence
of life-long learning would suggest perhaps the most important reason for Teaching
Piano with the Kodaly Method as developed by Katinka Scipiades Daniel.
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instruction, grades 1 to 4. (L. Boros, J. Held, & L. Munkachy, Trans ). New
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(2), 28-30.
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from 1750 to 1900 traced through the teachings of C. P. E. Bach. Clementi.
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doctoral dissertation, New York University, New York.
Bree, M. (1902). The groundwork of the Leschetizkv method. (T. Baker, Trans ).
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Choksy, L. (1974). The Kodaly method; Comprehensive music education from infant
to adult. Englewood Cliffs, NJ: Prentice Hall.
Choksy, L. (1981). The Kodaly context: Creating an environment for musical

learning. Upper Saddle River, NJ: Prentice Hall.
Choksy, L. (1999). The Kodaly method II: Folksong to masterwork. Upper Saddle
River, NJ: Prentice Hall.
Clementi, M. (1974). Introduction to the art of playing on the piano forte. New
York, NY: Da Capo Press. (Original work published 1801)
Cooke, J. F. (1913). Great pianists on piano. Philadelphia, PA: Theodore Presser.
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Czerny, C. (1839). Complete theoretical and practical piano forte school: From the
first rudiments of playing to the highest and most refined state o f cultivation
with the requisite numerous examples newly and expressly composed for the
occasion, opus 500. (Vol. 3). (J. A. Hamilton, Trans ). London. R. Cocks.
Czerny, C. (1993). Selected piano studies arranged in systematic order bv Heinrich

Germer. New York. Alfred.
Daniel, K.S. (1968). The Kodaly method. Clavier. 8(6). 20-21.
Daniel, K.S. (1976). Music education: Kodaly approach. Santa Barbara, CA: San
Roque School.
Daniel, K.S. (1987). Bartok: Identity and innovation. Kodaly Envoy. 13(41. 22-28.
Daniel, K.S. (1991). The Kodaly method in piano teaching. Kodaly Envoy. 18(11.
9-15.
Daniel, K.S. (Producer & Director). (1997). Kodaly Approach in Piano Teaching
[Videotape]. (Available from Kodaly Association o f Southern California, 560
West I Street, Ontario, CA. 91762-2310).
Daniel, K.S. (1999). Unpublished biographical material, San Diego, CA.
Daniel, K.S. (2000a). An analysis of Bartoks For Children. Kodaly Envoy. 26(3).
29-35.
Daniel, K.S. (2000b). The fiftieth anniversary of the use of the Kodaly- Adam
M ethod in the United States: Looking backward - looking forward.
Crescendo. 20(21. 1-6.
Daniel, K.S. (Producer & Director), & Falconer, D. (Co-director). (1989). The
Kodaly concept in America [Video], (Available from Kodaly Association of
Southern California, 560 West I Street, Ontario, CA. 91762-2310).
Daniel, K.S. (Producer & Director), & Kopek, M. (Co-director). (1973).

Demonstration on various routines in teaching with the Kodaly approach,
grades one through six at San Roque School. Santa Barbara. California
[Video]. (Available from Sr. Loma Zemke, Silver Lake College, 2406 South
Alvemo Road, Manitowoc, WI 54220 or Katinka S. Daniel, 1237 Crestline
Drive, Santa Barbara, CA 93105).
122
Eigeldinger, J. (1986). Chopin: Pianist and teacher as seen bv his pupils. (N. Shohet,
K. Osostowicz, & R. Howat, Trans.) Cambridge, New York: Cambridge
University Press.
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Dover. (Original work published 1880).
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Ditson.
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century piano pedagogues. Unpublished masters thesis, American University,
Washington, D C.
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Germany.
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IL: Summy-Birchard.
Kullak, A. (1972). The aesthetics of pianoforte-playing. (T. Baker, Trans.), New

York: Schirmer. (Original work published 1893).
Johnston, R. (1986). Kodaly and education. Vancouver, Canada: Avon Press.
Matthay, T. (1903). The act of touch in all its diversity, an analysis and synthesis of
pianoforte tone-production. London: Bosworth.
Matthay, T. (1960). The visible and invisible in pianoforte technique. London:

Oxford University Press.
Niecks, F. (1973). Frederick Chopin as a man and musician. (2 Vols.) New York:
Cooper Square. (Original work published 1902).
Norman, J. (1969). A historical study of the changes in attitudes toward the teaching
of piano technique from 1800 to the present time. Unpublished doctoral
dissertation, Michigan State University.
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Ortmann, O. (1925). The physiological basis of piano touch and tone. London:
Kegan Paul.
Plantinga, L. (1977). Clementi: His life and music. London: Oxford University Press.
Prater, P .J. (1990). A comparison of the techniques of piano playing advocated bv

selected twentieth century pedagogues. Unpublished doctoral dissertation,
University o f Texas, Austin.
Randel, D. (1978). Harvard Concise Dictionary of Music. Cambridge, MA: Harvard

University Press.
Schonberg, H. (1963). The great pianists from Mozart to the present. New York.
Simon and Schuster.
Turk, D.G. (1982). School of clavier playing or instructions in playing the clavier for
teachers and students (R. H. Haggh, Trans ). Lincoln, NE: University of
Nebraska Press. (Original work published 1789).
Uszler, M., Gordon, S., & Mach, E. (1991). The well-tempered keyboard teacher.
New York: Schirmer Books.
Walker, A. (1970). Franz Liszt: The man and his music. New York: Taplinger.
Wise, R. (Director & Producer), Rodgers, R. & Hammerstein O. (Composers).

(1965) The sound of music. [Film], (Argyle Enterprises. A Robert Wise
Production. Distributed by Twentieth Century Fox Film Corp.)
Zemke, L. (1973). The Kodaly method and a comparison of the effects o f a Kodalv-
adapted music instruction sequence and a more typical sequence on auditory
musical achievement in fourth grade students. Unpublished doctoral
dissertation, University of Southern California, Los Angeles.
Zemke, L. (1974). The Kodaly concept. Its history, philosophy, and development.
Champaign, IL: Mark Foster Music Co.
Zemke, L. & Perinchief, R. (1999). Keynote address from MKMEA conference,

1999, Silver Lake College, Midwest Kodaly Music Education of America
Keynote Address. 28(2). 5-26.
APPENDICES
APPENDIX A
DISTINGUISHED INDIVIDUALS WITH KATINKA SCIPIADES DANIEL
Emo Daniel Sarolta Kodaly Zoltan Kodaly Katinka Daniel
Back Row: Guests: Nes Lenyi, Eugene Zador
Front Row: Katinka Daniel, Feri Roth, Emo Daniel, Mr. And Mrs. Kodaly, Eva
Szorenyi, Sandor Bory
Guests:Sarolta Kodaly, Mr. Kotansky, Mary Helen Richards, Alice Schoenfeld
Ede Zathureczky, Katinka and Erno Daniel, Emo Dohnanyi
Katinka Daniel, Joanna Hodges
Katinka Daniel Yehudi Menuhin
Paul Badura-Skoda Katinka Daniel
Mr. Konya, Katinka Daniel, Emo Daniel
Mrs. Konya, Dr. and Mrs. Kadvany, Molinari Pradelli
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission
130
APPENDIX B
Kodaly-Related Publications of Katinka Scipiades Daniel
Books
Daniel, K.S. (1981). Kodaly in kindergarten. Champaign, IL: Mark Foster.
Daniel, K.S. (1979). Kodaly approach method book I. Champaign, IL: Mark
Foster.
Daniel, K.S. (1986) Kodaly approach method book II. Champaign, IL: Mark
Foster.
Daniel K.S. (1987). Kodaly approach method book III. Champaign, IL: Mark
Foster.
Daniel, K.S. (2000). Kodalv approach method book IV. Champaign, IL: Mark
Foster.
Daniel, K.S. (1973). Kodalv apnroach workbook I. Miami, FL: Belwin-Mills.
Daniel, K.S. (1973). Kodalv approach workbook II. Miami, FL: Belwin-Mills.
Daniel, K.S. (1973). Kodalv approach workbook III. Miami, FL: Belwin-Mills.
Daniel, K.S. (1979). Kodalv approach transparencies I. Champaign, IL: Mark Foster.
Daniel, K.S. (1985). Kodaly approach transparencies II. Champaign, IL: Mark
Foster.
Daniel, K.S. (1985). Kodaly approach transparencies III. Champaign, IL: Mark
Foster.
Daniel, K.S. (1979). Kodaly approach teachers manual I. Champaign, IL: Mark
Foster.
Daniel, K.S. (1986). Kodaly approach teachers manual II. Champaign, IL: Mark
Foster.
Daniel, K.S. (1987). Kodalv approach teachers manual III. Champaign, IL: Mark
Foster.
Daniel, K.S. (2000). Kodalv approach teachers manual IV. Champaign, IL: Mark
Foster.
131
Daniel, K.S. (1970). Seasonal songs: Grades 1-6 for use with the Kodalv
approach, publication pending.
Zemke, L. & Daniel, K.S. (1974). Kodaly: 35 lesson plans and folk song supplement.
Champaign, IL: Mark Foster.
Articles
Daniel, K.S. (2000). An analysis of Bartoks for children. Envoy. 2613). 29-35.
Daniel, K.S. (1991). The Kodaly method in piano teaching. Envoy 18(1). 9-15.
Daniel, K.S. (1987). Bartok: Identity and innovation. Envoy 13(41. 22-28.
Daniel, K.S. (1968). The Kodaly method. Clavier 8(6). 20-21.
Videos
Daniel, K.S. (Producer and Director). (1997). Kodaly Approach in Piano

Teaching [Video], (Available from Kodaly Association of Southern
California, 560 West I. Street, Ontario, CA. 91762-2310).
Daniel, K.S. (Producer and Director) & Falconer, D. (Co-director). (1989). The
Kodaly concept in America [Video], (Available from Kodaly
Association o f Southern California, 560 West I. Street, Ontario, CA.
91762-2310).
Daniel, K.S. (Producer and Director), & Kopek, M. (Co-director) (1973).

Demonstration on various routines in teaching with the Kodaly approach,
grades one through six [Video], (Available from Sr. Loma Zemke, Silver
Lake College, 2406 South Alvemo Road Manitowoc, WI 54220 or Katinka
S. Daniel 1237 Crestline Drive Santa Barbara, CA. 93105).
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APPENDIX C
High School Diploma and Solo Recital Programs o f Students
of Katinka Scipiades Daniel
Program
C. Franck (1822-1890)
The National Guild o f Piano Teachers Prelude
Chorale
(Santa Barbara Chapter) Fugue
presents J.S. Bach (1685-1750)

Invention E Major BMV792
JULIANA BERTELSON
W.A. Mozart (1756-1791)
pianist Sonata in a minor KV310
Allegro maestoso
in a Andante cantabile
Presto
RECITAL
Intermission
Sunday July 12, 1995 - 4:00 p.m.
G Gershwin (1898-1937)
at Prelude No. 2
Katinka Daniels Residence F Chopin (1810-1849)

1237 Crestline Drive Ballade Op. 23, g minor
Santa Barbara, California
L. van Beethoven (1770-1827)
Piano Concerto Op 37 c minor
133
Program
Scarlatti
Sonata in E Major L 23
The National Guild o f Piano Teachers
Bach
(Santa Barbara Chapter) Prelude and Fugue C l BMW 872
presents Mozart
Fantasia d minor K 397
YUXIN DONG
Beethoven
pianist Rondo Capriccio op. 129
in his Intermission
HIGH SCHOOL DIPLOMA Barber

CONCERT Excursion I op. 20
Saturday, June 11, 1994 - 3:00 p.m. Kodaly

II pleut sur la ville
at the
Ginastera
SAMARKAND RETIREMENT Argentinian Dances
COMMUNITY I. Danza del viejo Gojero
II. Danza de la moza donosa
2550 Treasure Drive III. Danza del gaucho matrese
Beethoven
Concerto No. 1 in C Major
134
Program
Bach
I Call on Thee, O Lord
Toccata in G Major
Scarlatti
The National Guild o f Piano Teachers Sonata in d minor K32 (L423)
Sonata in d minor K34 (L57)
(Santa Barbara Chapter)
Haydn
presents Sonata No. 30 (Hob. XVI/19)
Moderato
DANIEL SKWAREK Andante
Allegro assai
pianist
Intermission
in his
MacDowell
HIGH SCHOOL DIPLOMA Song (Op. 55, No. 5)
CONCERT Witch (Op. 38, No. 4)
Saturday, June 22, 1991 - 3:00 p.m. Bartok

Bagatelle III
at the
Kodaly
Carpinteria Church o f the Nazarene Dances on the Black Keys No. 8
4110 Via Real
Carpinteria, California Liszt
Consolation No. V
Chopin
Polonaise (Op. 26, No. 1)
Schumann
Aufschwung (Op. 12, No. 2)
Traumerei (Op. 15, No. 7)
Grillen (Op. 12, No. 4)
135
Program
Cimarosa
Giga No. 12
J.S. Bach
Partita No. 1 BWV 825
Praeludium
The National Guild o f Piano Teachers Allemande
Sarabande
(Santa Barbara Chapter) Menuet I
Gigue
presents
Beethoven
KATHERINE FLODMAN Grande Sonata Pathetique Op. 13
Grave-Allegro
pianist Adagio Cantabile
Rondo-Allegro
in her
Intermission
HIGH SCHOOL DIPLOMA
CONCERT Tauriello
Toccata
Sunday June 23, 1991 - 3:00 p.m.
Chopin
400 Skyway Drive Nocturne (Posthumous)
Camarillo, California
Schumann
Opus 82
Eintritt
Herberge (from Waldszenen)
Debussy
The Girl with the Flaxen Hair
Doctor Gradus ad Pamassum
Program
Rameau
Rigaudon, No. 1, 2
Lulli
Gavotte en Rondeau
The National Guild of Piano Teachers Scarlatti

Sonata in A Major
J.S. Bach
presents Prelude in g minor
Fugue in A Major
KATHERINE FLODMAN
Beethoven
pianist Bonn Sonatina I, II
in a Schubert
Valse
SOLO RECITAL German Dance
June 27, 1987 - 4:00 p.m. Intermission
at the Grieg
Valse, Op. 38 No. 7
1237 Crestline Drive Dance - Caprise, Op. 28, No. 3
Carpinteria, California Chopin
Prelude, No. 6
Valse, Op. 70, No. 2
Debussy
Serenade of the Doll
Nakada
Etude Allegro
Arabesque
137
Program
Handel
Suita Allemanda in d minor
Telemann
The National Guild o f Piano Teachers Fantasie in d minor
(Santa Barbara Chapter) J.S. Bach

Prelude, BMV 937 in c minor
presents Fugue, BMC 953 in C Major
DANIEL SKWAREK Haydn

Sonata in E Major
pianist Moderato
Menuetto
in a Presto
SOLO RECITAL Intermission
Sunday, June 28, 1987 - 2:00 p.m. Grieg

Watchmans Song in E Major
at the Puck in e\> minor
Carpinteria Valley Baptist Church MacDowell

800 Maple Avenue Song, Op. 55 No. 5, D Major
Carpinteria, California Witch Op. 38, No. 4, f minor
Rocherolle
Playin it Cool
138
Program
Bach
The National Guild o f Piano Teachers Toccata in e minor
Two-Part Invention in b minor
(Santa Barbara Chapter) Two-Part Invention in B-flat Major
presents Mehul
Sonata in A Major, Op. 1 No. 3
LISA FLORINE Allegro
Menuetto
pianist Rondo
in a Chopin
Waltz in E-flat Major, Op. 18
SOLO RECITAL
Intermission
June 5, 1982 - 7:00 p.m.
Schubert
Ventura, California Impromptu in A Major, Op. 142
Mozart
Concerto in A Major, K. 488
Allegro
139
Progam
Bach
Toccata in e minor
Prelude
Adagio
The National Guild o f Piano Teachers Fugue
(Santa Barbara Chapter) D. Scarlatti

Sonata L 308 G
presents
W.A. Mozart
CHRISTOPHER DECKER Sonata K310 a minor
Allegro Maestoso
pianist Andante Cantabile
Presto
in his
Intermission
HIGH SCHOOL DIPLOMA CONCERT
Liszt
June 6, 1988 Consolation No. 3
Santa Barbara, California Brahms

Rhapsodie, Op. 79, No. 2, g minor
Scriabin
Prelude No. 1
Haffter
Danza de la Pastora
Ballet Sonatina
Allegro moderato
140
Program
The National Guild o f Piano Teachers D. Scarlatti

Sonata L. 352 c minor
(Santa Barbara Chapter) Sonata L. 358 C Major
presents J.S. Bach

Prelude and Fughetta C Major
CAROL McNEAL
Haydn
pianist Sonata Hob. XVI/36 c# minor
Moderato
in her Scherzano-Allegro con brio
Menuet-Moderato
Intermission
Sunday May 5, 1985
Crouch
at the My Tribute
Carpinteria Valley Baptist Church Turina

The Clowns (from The Circus)
800 Maple Avenue
Carpinteria, California Brahms
Intermezzo Op. 117 E\> Major
Rhapsodie Op. 72 No. 2 g minor
141
Program
Bach-Liszt
Prelude and Fugue a minor
The National Guild of Piano Teachers Beethoven

Six Variations G Major
Grieg
presents Sonata Op. 7
Allegro Moderato
JOHN CANNATA Andante Motto
Menuetto
pianist Finale Motto Allegro
in his Intermission
HIGH SCHOOL DIPLOMA CONCERT Riegger

Toccata
Saturday May 29, 1985 -3 :0 0 p.m.
Bortkiewicz
at the Two Preludes
ALICE KNUDSEN CONCERT HALL Gretchaninoff

Two Impromptus A, E Major
1105 N. Ontare Road
Santa Barbara, California Brahms
Intermezzo Op. 117 No. 2
Ballade Op. 118 No. 3
Chopin
Etude Op. 10 E Major
Dohnanyi
Rhapsodie C Major
Program
D. Scarlatti
Sonata L. 783 A Major
Sonata L. 95 A Major
J.S. Bach
French Suite No. 6 E Major
Allemande
Sarabande
Gavotte
Polonaise
The National Guild o f Piano Teachers Menuet
Bouree

W.A. Mozart
Fantasy Kv 475
presents Sonata Kv 457 c minor
Adagio
LISA SUZUKI Allegro
Andantino
pianist Piu Allegro
Allegro
Molto Allegro
in her
Intermission
Two Japanese Folk Songs
Saturday May 11, 1985 - 3:00 p.m. The Crow - Karasu
Spring Song - Hare -g a Kita
1237 Crestline Drive
Santa Barbara, California Nakada
Allegro
Turina
Fiesta (Miniatures)
Nin-Culmel
Sepuidilla Merciana (Tonadas)
Debussy
Arabesque
Golliwogs Cake Walk
Grieg
Berceuse Op. 38 No. 1
Wedding Day at Troldhaugen
143
Program
J.S. Bach
Italian Concerto
Allegro
Andante
The National Guild of Piano Teachers Presto
(Santa Barbara Chapter) Handel

Allegro d minor
presents
Mehul
MELISSA HEIN Sonata in A Major
Allegro
pianist Menuetto
Rondo
in her
Intermission
Rachmaninoff
Sunday June 11, 1982 - 3:00 p.m. Elegie Op. 3 No. 1 ei> minor
at the Tauriello
Toccata
ALICE KNUDSEN CONCERT HALL
Debussy
1105 Ontare Road La Cathedral Engloutie
Santa Barbara, California Prelude X
Chopin
Prelude No. 9 E Major
Waltz Op. 64 No. 3 Al? Major
144
Program
J.S. Bach
Fantasia in c minor
Beethoven
The National Guild o f Piano Teachers Rondo in A Capriccio Op. 129 G Major
(Santa Barbara Chapter) Schubert

Sonata Op. 164 a minor
presents Allegro ma vou trappo
Allegretto Guasi
GREGORY JANEE Andantino - Allegro Vivace
pianist Intermission
in his Kodaly
Meditation
Bartok
Sunday June 14, 1981 - 3:00 p.m. Allegro Barbaro
at the Chopin
Nocturne c# minor
ALICE KNUDSEN HALL Waltz Op. 64 No. 2 c# minor
Etude Op Posthumous No. 1 f minor
1105 N. Ontare Road Etude Op. 25 No. 5 e minor
Liszt
Sonata 104 Del Petrarca
Rachmaninoff
Concerto Op. 18 No. 2
I. Moderato
145
Program
J.S. Bach
T occata in G Major
Allegro vivace
The National Guild o f Piano Teachers Adagio
Fugue
D. Scarlatti
presents Sonata in A Major
Longo 95
BARBARA HARGROVE
Beethoven
pianist Sonata in G Major, Op. 79
Presto alia tedesca
in a Andante
Vivace
SPRING RECITAL
Intermission
Sunday April 27, 1980 - 2:30 p.m.
Brahms
at the Intermezzo in a minor, Op. 116 No. 2
CALVARY BAPTIST CHURCH Bartok

From Fifteen Hungarian Peasant Songs
736 West Islay Street Old Dance Tunes 7 - 1 5
Scriabin
Prelude for the left hand, Op. 9 No. 1
Khachaturian
Toccata
Program
J.S. Bach
Partita in Bt> Major
Prelude
Allemande
Courante
The National Guild of Piano Teachers
Sarabande
Minuet I
Minuet II
Gigue
presents
Haydn
DAWN BUNKER
Sonata in F Major
Allegro Moderato
pianist
Adagio
Finale - Presto
in her
Intermission
HIGH SCHOOL DIPLOMA
CONCERT
Halffter
Ballet Sonatina
Friday May 23, 1980 - 7:00 p.m.
Danza de la Pastero
Mendelssohn - Liszt
On the Wings of Song
Chopin
Grande Valse Brilliante Op. 18
Nocturne Op. 32 No. 1 B Major
Ballade Op 23 g minor
147
Program
Telemann
Fantasy in d minor
J.S. Bach
Little fugue in g minor
The National Guild o f Piano Teachers Two-Part Inventions, e and f minor
(Santa Barbara Chapter) W.A. Mozart

Sonata K. 283 G Major
presents I. Allegro
II. Andante
BARBARA HARGROVE III. Presto
pianist Intermission
in her M. Reger
Capriccio
Bartok
Sunday April 30, 1978 - 2:30 p.m. Rondo No. 1 C Major
at the Schubert
Impromptu Op. 142 Bb Major
CALVARY BAPTIST CHURCH
Halffter
736 West Islay Ballet Sonatina
Mompou
Cancion y Danza No. 4
De Falla
Serenata Andaluza
148
Program
Scarlatti
Sonata in E Major
J.S. Bach
The National Guild o f Piano Teachers Prelude and Fugue
(Santa Barbara Chapter) W.A. Mozart

Sonata K 282 El? Major
presents Adagio
Menuette I
LAURA SUGINO Menuette II
Allegro
pianist
Intermission
in her
Scriabin
HIGH SCHOOL DIPLOMA CONCERT Prelude Op. 11 No. 1 C Major
Prelude Op. 11 No. 14 eb minor
Saturday June 17, 1978 - 7:30 p.m.
Albeniz
1237 Crestline Drive Granada - Serenata
Santa Barbara, California Catilia - Seguidilla
Debussy
Prelude from Suite Bergamasque
Reverie
Dance
149
Program
J.S. Bach
Prelude and Fugue in c minor
From the Well-Tempered Clavier
D. Scarlatti
Sonata - Gavotte in d minor (L58)
W.A. Mozart
(Santa Barbara Chapter) Sonata in G Major
I. Allegro
presents II. Andante
III. Presto
BONNIE MILLS
Intermission
pianist
Tauriello
in her Toccata
HIGH SCHOOL DIPLOMA CONCERT Schumann

Kinderszenen Op. 15
Tuesday June 7, 1977 - 4:00 p.m. From Foreign Lands and People
Curious Story
at the Blindmans Blulf
Pleading Child
Home o f Dr. and Mrs. Erno Daniel Perfect Happiness
An Important Event
1237 Crestline Drive Reveries
Santa Barbara, California At the Fireside
Ride a Cock-Horse
Almost too Serious
Bogeymans Coming
Baby Going Asleep
Hark! The Poet Speaks
Brahms
Capriccio Op. 116 No. 3
150
Program
J.S. Bach
The National Guild of Piano Teachers Prelude and Fugue in D Major
From the Well-Tempered Clavier
W.A. Mozart
presents Nine variations on a Minuet, K. 573
LESLIE BLANKE Beethoven

Sonata in F-sharp Major Op. 78
pianist I. Adagio cantabile
II. Allegro assai
in her
Intermission
Schumann
Friday June 14, 1974 - 7:30 p.m. Papillons Op. 2
at the Faure
Impromptu Op. 31 No. 2
Music Academy o f the West
MacDowell
1070 Fairway Road Piano Concerto Op. 23 No. 2 in d minor
Santa Barbara, California I. Larghetto calmato
Orchestral score played on the second piano

by Mr. Daniel Raessler
151
Program
Bach
Invention V
Invention VIII
Invention XV
The National Guild of Piano Teachers
Beethoven
(Santa Barbara Chapter) Pastoral Sonata in D Major, opus 28
Allegro
presents Andante
Scherzo
PATRICIA STATHIS Rondo
pianist Brahms
Intermezzo Opus 117 No. 1
in her Capriccio Opus 116 No. 6
COLLEGIATE DIPLOMA CONCERT Intermission
Sunday, April 6, 1975 - 3:00 p.m. Tauriello

Toccata
at the
Debussy
MUSIC ACADEMY OF THE WEST Three Preludes
Danseuses de delphes
1070 Fairway Road (Dance of the Delphis)
Santa Barbara, California Minstrels
La cathedrale engloutie
(The Sinking Cathedral)
Chopin
Rondo for two pianos opus 73
Patricia Stathis, Leslie Blanke*
*guest
152
Program
Handel
Suite III
The National Guild of Piano Teachers Prelude
Presto
Bach
presents Invention XV
Invention XIII
PATRICIA STATHIS
Beethoven
pianist Sonata in E Major, Op. 14, No. 1
Allegro
in her Allegretto
Rondo
Intermission
Thursday June 7, 1973 - 7:00 p.m.
Schumann
at the Grillen from Fantiestucke
Residence o f Katinka Daniel Debussy

Minstrels
1237 Crestline Drive Reverie
Chopin
Polonaise (Oeuvre Posthume)
153
Program
Handel
Harmonious Blacksmith
Lulli
Gavotte en Rondeau
J.S. Bach
(Santa Barbara Chapter) Fugue in g minor (The Little)
presents W.A. Mozart

Sonata in F Major
KYRA GORDENEV Allegro
Adagio
pianist Assai Allegro
in her Intermission
HIGH SCHOOL DIPLOMA CONCERT Nevin

Gondolieri, Op. 25 No. 2
Saturday June 3, 1972 - 2:30 p.m.
Khachaturian
1237 Crestline Drive A Tale of Strange Lands
Santa Barbara, California Armenian Dance
Chopin
Mazurka in B-flat Major, Op. 7 No. 1
Prelude in F-sharp Major, Op. 28 No. 13
Waltz in f minor, Op. 70, No. 2
Schumann
Fantasy Piece Op. I l l , No. 3
154
Program
Handel
Allegro in G Major
The National Guild of Piano Teachers Bach

Prelude and Fugue in c minor
Haydn
presents Sonata in G Major
I. Allegro con brio
KIMDOANE II. Minuette
III. Presto
pianist
Intermission
in her
Chopin
HIGH SCHOOL DIPLOMA CONCERT Mazurka Op. 27 No. 2
Saturday May 26, 1973 - 11:00 a.m. Field

Nocturne in e minor
at
Chopin
Mrs. Erno Daniels Studio Waltz (Posthumous)
1237 Crestline Drive Debussy

Santa Barbara, California Golliwogs Cakewalk
MacDowell
Arabesque
155
Program
Franck
Prelude
The National Guild o f Piano Teachers Fugue
Variations
Cimarosa
presents Sonata - g minor and G Major
WENDY AUERBACH Beethoven

Sonata, Op. 14 No. 2 G Major
pianist Allegro
Andante
in a Scherzo - Allegro assai
SOLO RECITAL Intermission
Saturday January 23, 1971, - 3 : 0 0 p.m. Schubert

Impromptu - At Major, Op. 90
Santa Barbara, California Mompou
Cancion y Danza - N o.s 1 and 5
Chopin
Valse Brilliante F Major, Op. 34, No. 3
156
Program
Franck
Prelude
Fugue
The National Guild of Piano Teachers Variations - Op. 18
(Santa Barbara Chapter) Cimarosa

Sonatas - g minor and G Major
presents
Chopin
WENDY AUERBACH Nocturne - f minor Op. 55, No. 1
Valse Brilliante - F Major, Op. 34 No. 3
pianist
Intermission
in her
Schumann
HIGH SCHOOL DIPLOMA RECITAL Novelette - F Major, Op. 21 No. 1
Sunday June 6, 1971, - 2:30 p.m. Mompou

Cancion y Danza - Nos 1 and 5
at the
Tcherepnin
MUSIC ACADEMY OF THE WEST Bagatelles - Op 5 No.s 1, 3, and 9
1070 Fairway Road Dohnanyi

Santa Barbara, California Ruralia Hungarica - Op. 32, No. 7
157
Program
Bach - Busoni
Toccata and Fugue in d minor
The National Guild of Piano Teachers Beethoven

Nine Variations on the theme:
(Santa Barbara Chapter) Quanto e bello Famor Contadino
from the Opera:
presents La Molinara, by Paisiello
MARKMANNO Brahms
Sonata Op. 5 f minor
pianist I. Allegro maestoso
in his Intermission
HIGH SCHOOL DIPLOMA RECITAL Liszt

Cantique dAmour
Friday, April 24, 1970 - 8:00 p.m. From Harmonies poetiques et
religieuses
at the
Debussy
SAN MARCOS HIGH SCHOOL Reverie
AUDITORIUM
Prokofieff
4750 Hollister Avenue Visions Fugitives Op. 22 No. 5
Santa Barbara, California No. 11
Dohnanyi
Rhapsody Op. 11 in c minor
158
P rogram
J.S. Bach - Busoni

Toccata and Fugue in d minor
J. Haydn
(Santa Barbara Chapter) Sonata in D Major
I. Moderato
presents II Andante
III. Finale-Allegro assai
MARKMANNO
Brahms
pianist Scherzo, Op. 4
in a Intermission
SOLO RECITAL Rachmaninoff

Prelude X, Op. 23, No. 10
Wednesday, April 26, 1972 - 8:00 p.m.
Prokofieff
at the Visions Fugitives Op. 22, No.s 11, 5
SANTA BARBARA CITY COLLEGE Scriabin

Etude No. 12, Book 2, Op. 8
Room A-217
Kodaly
Santa Barbara, California Childrens Dances for the Black Keys, N
Dohnanyi
Rhapsody in C Major, Op. 11, No. 3
159
Program
Bach
Toccata in e minor
Moderato
Adagio
Fugue
The National Guild of Piano Teachers Scarlatti

Sonata in D Major II Ballo
Rameau
presents Rigaudon
MELODY DURAN Seixas

Toccata
pianist
Beethoven
in her Sonata for Flute and Piano
I. Allegro Moderato
HIGH SCHOOL DIPLOMA CONCERT II. Polonaise
III. Largo
Sunday, April 13, 1969 - 3:00 p.m. IV. Allegretto molto con Variationi
* Guest: Michele Duran, Flute
at the
Intermission
CARLA MOSELEY DANCE STUDIO
Bartok
2165 Veloz Drive Six Rumanian Folk Dances
Ravel
Sonatine (I Moderato)
Chopin
Mazurka Op. 68 No. 4
Valse Op. 64 No. 1
Nocturne Op. 37 No. 1
Mendelssohn
Rondo Capriccioso
160
Program
Handel
Chaconne
Krebs
Bouree
The National Guild o f Piano Teachers Scarlatti

Sonata in d minor
Dandrieu
presents Fifres
CHRISTOPHER LUY Beethoven

Sonata Op. 28 D Major (Pastoral)
pianist Allegro
Andante
in his Scherzo - Allegro Vivace
Rondo - Allegro ma non troppo
Intermission
Saturday, lune 1, 1968 - 4:00 p.m.
Scriabin
at the Prelude in C-Sharp Minor
Prelude in E Major
EL MONTECITO
PRESBYTERIAN CHURCH Rachmaninoff
Op. 10 No. 5 Humoreske
1455 East Valley Road
Santa Barbara, California Debussy
La Cathedrale Engloutie
Golliwogs Cakewalk
De Falla
Ritual Fire Dance
P rogram
J.S. Bach
I Call on Thee, Lord
The National Guild o f Piano Teachers D. Scarlatti

Sonata in G Major
Beethoven
presents Sonata Op. 26 At Major
Andante con Variasioni
KERRY STRAUSS Scherzo - Allegro Molto
Marcia Funebre
pianist
Intermission
in his
Brahms
HIGH SCHOOL DIPLOMA CONCERT Rhapsodie Op. 119 Eb Major
Friday March, 29 1968 - 8:00 p.m. Chopin

Etude op. 25 No. 7 C# minor
at the
MacDowell
CHURCH OF JESUS CHRIST OF First Modem Suite Op. 10
LATTER - DAY SAINTS Praeludium
2107 Santa Barbara Street Scriabin

Santa Barbara, California Prelude for the Left Hand Alone
Op. 10 No. 1
Khatchaturian
Toccata
162
Program
The National Guild o f Piano Teachers Franck

Prelude
(Santa Barbara Chapter) Chorale
Fugue
presents
Brahms
SUE LANE Three Intermezzi, Op. 117
pianist Chopin
Scherzo in c-sharp minor
in her
Intermission
HIGH SCHOOL DIPLOMA
RECITAL Schumann
Elfe (from Albumblatter)
Saturday June 12, 1965 - 3:00 p.m. Romanze
Aufschwung (from Fantasiestucke)
at the
Scriabin
MUSIC ACADEMY OF THE WEST Prelude (for the left hand alone)
1070 Fairway Road Kabalevsky

Santa Barbara, California Piano Concerto No. 3 Youth
I. Allegro Molto
II. Andante
III. Presto
163
Program
Bach
French Suite No. VI
Allemande
Courante
Sarabande
Gavotte
Polonaise
The National Guild of Piano Teachers Minuet
Bouree
(Santa Barbara Chapter) Gigue
presents Mozart
Sonata in D
GREGORY JANEE Menuetto
Allegretto
pianist Alla Tarca
in a Schubert
Sonata in D for violin and piano
SOLO RECITAL
Schumann
May 28, 1963 Romanze Op. 28 No. 27
Schubert
Impromptu Op. 90 No. 2
Tcherepnin
Bagatelle Op. 5 No. 6 and No. 10
Chopin
Nocturne in C-sharp Major
Weber
Invitation to the Dance Op. 65
164
P ro g ra m
Bach
Partita No. 1 in B-flat minor
Prelude
Allemande
Courante
The National Guild o f Piano Teachers Sarabande
Minuet I
(Santa Barbara Chapter) Minuet II
Gigue
presents
Haydn
DAWN BUNKER Sonata in F Major Hob. XVT/43
Allegro Moderato
pianist Adagio
Presto Finale
in a
Mendelssohn-Liszt
SOLO RECITAL On the Wings o f a Song
April 16, 1963 Albeniz

Asturias - Legend from Suite Espanol
Chopin
Nocturne Op. 32 No. 1
Chopin
Grande Valse Brilliante Op. 18
165
Program
Handel
Suite No. VII
Adagio
Overture
Andante con moto
Sarabande
Vivo-Gigue
Allegro commodo
Passacaglia
D. Scarlatti
(Santa Barbara Chapter) Sonata in E Major
presents Haydn
Sonata Hob. XVI/43
TERIHEIN
Grieg
pianist Dance Caprice Op. 28 No. 3
Berceuse Op. 38 No. 1
in a Butterfly Op. 43 No. 1
SOLO RECITAL Mendelssohn

Prelude in e minor
February 21, 1963 Spinning Song Op. 67 No. 4
Debussy
Childrens Corner
Serenade for the Doll
Doctor Gradus ad Parnassum
The Little Shepherd
Poulenc
Toccata No. 2
166
CONCERTO PROGRAM
Intermission
Concerto in C Major Haydn Concerto in C Minor for two pianos. Bach

Allegro Adagio
Minuet Allegro
Finale/Allegro
Melissa Hein/Teri Hein
Kristianna Bertelson, piano Melissa is a ninth grade student at La
Kristianna Bertelson is eight years o f age Colina High School, and Teri Hein is a
and a third grader at George Peabody sophomore student at San Marcos High
School. Kristianna studies ballet and has School. Teri is a member o f the acapella
danced in the Nutcracker Ballet the last choir and Melissa is a member o f the
three years. She has received superior concert choir and vocal ensemble at their
ratings in the California Junior Bach respective schools. Both girls accompany
Festival and has been chosen to appear in for these choirs and take part in musicals,
the Honors Student Recital by the Piano variety shows, and theatrical productions.
Guild. Each has participated in the Piano Guild
Auditions and the Junior Bach Festival
Concerto in G Major, K. 453 Mozart earning superior ratings. In addition, they
Allegro were chosen to play in the Honors Student
Recital at the Music Academy o f the West.
Xak Bjerken, piano
Xak Bjergen is twelve years old and a sixth grader Concerto in F Major, K. 459 Mozart
a Cold Springs School. At the age o f nine he won Allegro
the Young Soloist Competition and performed with
the Santa Barbara Symphony. For the last two Lorraine Elmer, piano
years, Xak has been a state finalist in the Junior Lorraine Elmer is fifteen years old and a
Bach Festival and recently played a recital at student at Lompoc High School. She has
Westmont College. He has also performed on the received the highest award in the Young
Honors Student Recital. Artist Festival sponsored by the Latter Day
Saints Church in Lompoc. In addition,
Rondo Concerto in D Major, K. 382 Mozart Lorraine has played in the Junior Bach
Allegretto grazioso Festival and plays yearly in the Honor
Adagio Student Recital.
Allegro
Gregoiy Janee, piano

Gregory Janee is a sophomore at San
Marcos High School and has studied the
piano for only four years. He has been a
state finalist in the Junior Bach Festival and
participates in concerto competitions, master
classes, and solo recitals. Gregory also has
been selected to play on the Honors Student
Recital.
Appendix D
Level I Repertoire: Stick Notation and Syllables
D-R-M -F-S Songs
Valentine
2 n i
f Rhythm * ' I n i 1 1
I i 1 t I 8
Beat 1 1 1 1 1 1
Accent > > >
Melody M S S M D D R R
Valentine, valentine, red and
Rhythm n i n i 1 1 1
i i g a | I t
Beat 1 1 1 1 1 1 1
Accent > > > >

Melody MS S M D D R R D
Valentine, valentine, I love you
Mary Had a Little Lamb
2
r Rhythm n n n 1 n 1 n i
1 i 1 1 8
Beat 1 1 1 1 i 1 i i
Accent > > > >
Melody MR DR MM M R R R M S
Mary had a little lamb, little lamb,
168
R h y th m n n n n n n i
| 1 i i |
(
a
Beat 1 I 1 1 i i 1 1
Accent > > > >
Melody M R D R M M M M R R MR D
Mary had a little lamb, its fleece was white as snow.
Love Som ebody
2
r Rhythm n n n 1 n n n i
Beat 1 i i 1 i i i i
Accent > > > >
Melody D s s
M F R M DM S S F M R
L ove somebody, yes I do, love somebody, you know who?
Rhythm
i1n 1gn 1n 11 1n 1n n1i i1i
s I i g
Beat
Accent > > > >

Melody D M s s R M F MM R R D D D
Love somebody, yes I do, and I know she loves me too.
Aunt Rhodv
2
r Rhythm 1 n i 1 i n n i
Beat 1 i i 1 i i i i
Accent > > > >
Melody M M R D D R R F M R D
Go tell Aunt Rho - dy, go tell Aunt R h-o - dy,
Rhythm ^ ^ I i n n n
i | i i I I
Beat * ' i i 1 1
Accent > > >
M elody S S F M MM R D RM D
Go tell Aunt Rho - dy, the old grey goose is dead.
Lightly Row
2
f* Rhythm n i n i n n n i
8 I 1 ! I i
Beat 1 1 1 1 1 1
Accent > > >
M elody S M M F R R D R MF S S S
Lightly row, lightly row, o er the glassy w aves w e go,
Rhythm n 1 n i n n 1
1 1 I i i g 1
Beat 1 1 1 1 1 i 1
Accent > > > >
M elody S M M F R R D M s s M
Sm oothly glide, smoothly glide, on the silent tide.
Rhythm n n n i n n n
i i I f i i i
Beat 1 I 1 I I 1 I
Accent > > > >

Melody R R R R R M F M M MM M F
Let the winds and waters be mingled with our mel-o - dy,
Rhythm n i n i n n 1
Beat i i i i i i 1
Accent > > > >
Melody S M M F R R D M s s D
Sing and float, sing and float, in our little boat.
Little Lisa
2
r n n n n n n i
Rhythm
i i i i t 1
Beat 1 I 1 I 1 1 1
Accent > > > >
Melody DD DM R R R F M M R R D
Little Lisa, Little Lisa has a bonnet blue.
Rhythm n n 1 1 n n 1
1 1 [ 1 I 1 1
Beat
1 1 1 i 1 1 1
Accent > > > >
Melody M M MM S F RR RR F M
Bonnet blue at play time, bonnet blue at bed time.
Rhythm n n n n n n 1
i i i t i i t
Beat 1 1 1 1 1 1 1
Accent > > > >
Melody D D DM R R R F M M R R D
Little Lisa, Little Lisa loves her bonnet blue.
Jingle Bells
Rhythm n 1 n 1 n n i ;
2
r Beat
i
1
I
1
i
I
t
1
i
1
s
I 1
i i
1
Accent > > > >
Melody M M M M M M M S D R M
Jingle bells, jingle bells, jingle all the way
Rhythm n n n n n n 1 1
t i t i i i I 1
Beat 1 1 1 1 ! 1 1 1
Accent > > > >
Melody F F F F F M M M M R R M R S
Oh what fan it is to ride in-a one horse o-pen sleigh, hey.
Rhythm n 1 n i n n 1 t
i t i I i 1 1
Beat I 1 I 1 1 I 1 1
Accent > > > >

Melody M M M M M M M S D R M
Jingle bells, jingle bells, jingle all the way
Rhythm n n n n n n I i
i i t i i i
Beat 1 1 I 1 1 1
Accent > > > >
Melody F F F F F M MM S S F R D
Oh what fan it is to ride in-a one horse o-pen sleigh.
Peas Porridge
f Rhythm
Beat
Accent >
Melody D DD D R R R R
Peas porridge hot, peas porridge cold,
Rhythm 1 n n i 1 1 1
I i I \ I | g
Beat I 1 1 1 I I 1
Accent > >

Melody M MM M F S M R D
Peas porridge in the pot, nine days old.
Down at the Station
4
T Rhythm 1 n 1 1 n n 1
1 g 1 t g i l
Beat 1 1 1 1 1 1 1
Accent > >
Melody D D R M M R D R M D D
D ow n at the sta - tion early in the mor
Rhythm n n n n 1 n i
I I 1 s J > 1
Beat I 1 1 1 1 1 1
Accent > >
Melody M M M F S S S s F F S M
See the little puffer-bellies all in a row.
Rhythm n n i n n i
Beat i i
Accent
Melody D D DR M M R D R M D
See the station mas - ter turn a lit-tle han
Rhythm I I I I I I
Beat I I I I I I
Accent > >
Melody S S D D M R D
Puff - puff, toot - toot, off they go-
Elephant
4
r
Rhythm i n i I I J
Beat i i I I I
Accent > >
Melody M R R D D F M R
One el - e - phant went out to play
Rhythm J
Beat I I I
Accent >
Melody S S F M R D
On spi ders web one day.
Rhythm I I I I I
Beat I I I I I I
Accent > >
Melody M R D D F M R
He had such e nor - mous fun,
Rhythm 1 n 1 i n n 1
I i i i i i 1
Beat I 1 1 { 1 1 1
Accent > >
Melody S s s S F MM R R D
he asked a - no - ther el - e phant to come.
The B ee
p Rhythm 1 1 1 J n n 1
| l I t i i i
Beat 1 1 1 1 1 1 1
Accent > > > >

Melody S F M R M F R D
Zum, zum, zum, bu-sy bee must hum
Rhythm n n n n 1 1 i
i i i i I I
Beat *e 1 1 1 I : 1 1 1
Accent > > > >
Melody M F S M R M F R s F M
Fly a long and find some honey, zum zum, zum,

In the fields so gay and sunny,
Rhythm n n
Beat
Accent > >
Melody R M F R D
bu-sy bee must hum.
Hot Cross Buns
4
r Rhythm I I J J
Beat I I
Accent >
Melody M R D M R D
H ot cross buns. hot cross buns,
Rhythm n n n n I I J
Beat I I I
Accent
Melody D D D D RR RR M R D
One-a penny, two-a penny, hot cross buns!
Patters Go
4
r Rhythm n n i n
Beat
Accent > >
Melody DR MD R R M F F M M
Patters go the nuts on a fro - sty mor - ning
Rhythm n n i n i i j
Beat i i i i i i i
Accent > >
Melody DR MD R RM F S R
Falling from the trees to the ground be low
Rhythm i n i n I I j
Beat i i i i i i i
Accent > >
Melody S S F M R M F S R
Heres Mis-ter Squir re -1, hop, hop hop,
Pic - king them up as fast they drop.
Rhythm n n i n I I I
Beat I I I
Accent >
Melody D R MD R RM F F M M
Packing them a-way for his food in win - ter.
Rhythm n n i n i i j
Beat I I I ! i i i
Accent
Melody D R MD R R M F S D
When the w oods and fields will be white with snow.
177
Let Us Chase a Squirrel
I* Rhythm n n i i n n n n
Beat
i i i i i i i i
Accent >
Melody DD RR M S DD RR MM RR
Let u s chase the squir - rel. Up the hick'ry, down the hick'ry.
Rhythm n n 1 1 n n 1 ;
1 f j 1 i i I i
1 1 1 I 1 I 1 1
Beat
Accent > >

Melody DD R R M S D D R R D
Let us chase the squir - rel, Up the hick'ry tree.
Pumpkins
Rhythm 1 1 1 J j 1 1 I J
Beat 1 1 1 1 1 1 1 1 f 1 1
Accent > > > >
Melody M M M D D M M M D
Pump-kins are gay on Ha - Ho - ween Day
:
Rhythm 1 1 1 s 1 I 1 1 J.
1 | i \ I 1 S 1 i 1 I |
Beat 1 1 1 I 1 I 1 1 1 1 1 1
Accent > > > >

Melody R R R s S F M R D
Pump-kins are bright on Ha - Ho - ween night.
Cuckoo
Rhythm J J 1 1 1 \ J|
1 1 i I [ | I 1
Beat 1 1 1 1 1 1 1 1 1 1
Accent > > > >
Melody S M S M R D R D
Cue - koo, cue koo, high in the tree,
Rhythm 1 I f J i 1 1 1 J
1 1 I 1 S 1 1 1
Beat 1 1 1 I 1 1 1 1 1 f
Accent > > > >
Melody R R M F R M M F S
Stea - ling a nest, a bad thing to do,
Rhythm J
i 1
1
I
J
| 1
1
1
i
1
1
I
I
g
J
|
Beat 1 1 1 1 I 1 1 1 1 1
Accent > > > >

Melody S M S M F M R D
Cue koo, cue koo, shame up - on you!
Winter Goodbv
J I 1 I J
sf
3
|
I t 1 1 1 1
Beat ' ' 1 1 1 1 1 1
Accent > > >
Melody M M R D M M R D
Win - ter, good - by, blue is the sky,
179
Rhythm Î I ^ I ^ i n i 1 1 1 i n i
i
Beat I I I i ii ii 1 |
1 I
I
1
i
i
i
i
i
i
Accent > > > >
Melody M F S S FM F R M F F M R M
You have been such jolly fun, but n ow your stay here is done,
Rhythm I 1 1 J 1 1 1 J
I | | I I l 1 1 1 I * 1 1
Beat 1 1 1 1 1 1 1 1 1 1 1 1
Accent > > > >
Melody M M F S M M R D
B lue is the sky, win - ter g o o d - by.
L-T-D-R-M Songs
Old Mrs. Witch
4
r Rhythm i n i i n i i
Beat i i i
Accent >
Melody M M L, i, M M L,
Old Mrs. Witch, old Mrs. Witch,
Rhythm n n i i
Beat
Accent
Melody MR DR M M R DR M M
Tell me how you fly, tell me how you fly. I
Rhythm n n i
|
Beat 1 i i
Accent >
Melody h MM L, M D % T,
fly on a broom - stick, up through the sky.
What do Y o u Think?
2
r Rhythm 1 n 1 n 1 n J
| i [ i |
Beat 1 1 ' 1 1 1
Accent > > > >
Melody M MM D D D T! Ti Th L,
What do you think Mother saw on the hill?
White w ooly lambs that were all lying still.
Rhythm 1 n i n i
' 1 ' n J
Beat ^ 1 1 1 1^
i i i t
Accent > > >

Melody ^ R RR M MM
White wooly lambs by the white wooly
Rhythm ^ ^ ^ i n i n J
| I ! 1 i i
Beat ' ' 1 1 1 1
Accent > > >

Melody M MM D DD T Tj TJ L,
All had stopped play and were go - ing to sleep.
Intrv Mintrv
2 n n n i
f Rhythm ' ' ' ' n n n i
1 i i I 1 B I | i
Beat ^ J 1 1 i 1 1 1 *
Accra* > > > >
Melody D D L L D D L M M M R D T L
Intry mintry country corn, apple seed and apple thorn
Wire, briar, limber lock, five wild geese all in a flock,
Turn and turn and turn about o - u - t and it spells out!
Poor Fellow
Rhythm n n 1 n n n 1 n
1 i I | I i
Beat 1 1 1 1 1 1 1
Accent > > > >
Melody L ,M MR M D L, L, M MR M D L,
I am a poor young fellow, walking through a big meadow,
Rhythm 1 n 1 n n 1 1
I i I i t I
Beat 1 1 i 1 1 1 1 1
Accent > > > >
Melody R DT, L, T, DD Tb T*i L, L,
M y clothes are sha - bby, I have not a pe ny.
I have Lost my Handkerchief
p Rhythm n
i
n
i
n
i
n
i
n
i
n
i
Beat I 1 I I 1 1
Accent > > >
Melody S M FR M R M D R F M R
I have lost my handkerchief, my mother will be
Rhythm n n n n n n
a i i i i i
Beat 1 1 1 1 1 I
Accent > > >
Melody S M F R MR M D R F M R
T o the one who gives it back Ill give a grateful
183
APPENDIX E
Level II through Year V: Suggested Repertoire
Level I
Folk songs on Do and La pentachords (See Appendix A)
Level II
Daniels reading exercises (See Chapter I II )
Level III
Goldbergers Folk Song Book I. Consolidated Music Publishers
Level IV
Suggested books:
Contemporary Piano Literature Book I. Francis Clark
Guild Repertoire Elementary A-B. Summy-Birchard Inc.
Solo Book I. Consolidated Music Publishers
Happy Time Volume 1. Tansman, MCA Music
Accent on Solos Volume 1. Gillock, Willis Music
Mikrokosmos Volume 1. Bartok, Boosey & Hawkes
Masterworks Collection Book I. Alfred Music Publishers
Duets:
Melodius Pieces Opus 149. Diabelli, Alfred Music Publishers
Lullaby and Scherzo, Weiner, Zenemukiado Vallalet
184
Levels IV-V
Suggested repertoire according to touch:
Drop touch
March, Tcherepnin Contemporary Piano Literature Book I. Francis Clark
Marching, Kabalevsky Contemporary Piano Literature Book I. Francis Clark
Cobbler, Cobbler, Watson Guild Repertoire Elementary A-B.
Summy-Birchard
Non-legato
Running Along, Kabalevsky Contemporary Piano Literature Book I. Francis Clark
A Little Porcupine, Kabalevsky Masterwork Classics. Alfred Publishers
Light and Dark, Kabalevsky Masterwork Classics. Alfred Publishers
A Funny Event, Kabalevsky Masterwork Classics. Alfred Publishers
Little Gray Donkey, Gillock Accent on Solos Volume II. Willis Music
Etc.
Drop-Roll
Obsession, Tansman Happy Time MCA Music
Winter, Turk Solos Book I Consolidated Music Publishers
Etc.
185
Legato
Unison, Kabalevsky The Complete Piano Plaver. Wise Publications
Autumn, Turk The Complete Piano Player. Wise Publications
Etc.
Combined Touches (but hands play similar touches)
Gavotte, Hook Discovering Piano Literature Book I. Alfred Publishers
Race Horses, Watson Guild Repertoire Elementary A-B. Summy-Birchard
Melody, Kohler Solo Book I. Consolidated Music Publishers
Happy Woodpecker, Scher Guild Repertoire Elementary A-B. Summy-
Birchard
Etc.
Mixed Touch (each hand playing a different touch)
Two Dialogues, Bartok Contemporary Piano Literature Book I. Francis Clark
Reflection, Tansman Happy Time. MCA Music Publishers
Walking, Diabelli The Complete Piano Plaver. Wise Publications
Sonatina on Five Notes, Tansman, MCA Music
Etc.
APPENDIX F
Programs for Elementary, Intermediate, and Preparatory Levels
Elementary Programs
Example I
Elementary A
Czerny Exercise 5 and 6

Folk Songs One Elephant
Pumpkins
Cuckoo
Lightly row
Love Somebody
Peas Porridge
Valentine
Down at the Station
Example II
Elementary A

Folk Songs Purple Bamboo
Fisherman
Watson Cobbler, Cobbler
Bastien Little Caballero
Kohler Melody
Kabalevsy Unison
Spindler Winter
Folk Song Sweet Betsy from Pike
Folk Song Hop, Hop, Hop and Variation
Example III
Elementary A

Folk Songs Valentine
Love Somebody
Lightly Row
Down at the Station
Elephant
Pumpkin
Coucou
Old Mrs. Witch
Example IV
Elementary A

Folk Song Lazy Mary
Folk Song Polly Put the Kettle On
Tcherepnin March
Kabalevsky Song
Turk Winter
Hook Gavotte
Gillock My Toy Duck
Weiner Lullaby (duet)
Example V
Elementary A

Folk Song King Wenceslas
Folk Song Billy Boy
Kabalevsky Running Along
Scher Happy Woodpecker
Kabalevsky Polka
Turk March
Gillock October Morning
Gillock Little Gray Donkey
Weiner Lullaby (duet)
Example VI
Elementary B
Czerny Exercise 5and 6 (original)

Watson Cobbler
Wilson Race Horses
Gillock Sailboat
Gillock My Toy Duck
Bartok Mikrokosmos 10 and 11
Carter Bouncing Ball
Diabelli Duet
Example V I
Elementary B
Czerny Exercises 1 and 2 (non legato)

Folk Songs Lazy Mary
King Wenceslas
Polly, put the Kettle On
Billy Boy
Wilson Race Horses
Kabalevsky Marching
Kabalevsky Song
Krahnenbuhl Broken Record Boogie
Example V I I
Elementary B
Czerny Exercise 5 and 6 (three touches)

Folk Song Roasted Chestnuts
Folk Song Clapping Song
Spiritual Go Down Moses
Tcherepnin March
Gillock Summer Clouds
Gillock Pixies
Bentley The Harpist
Dello Joio Family Meeting (duet)
Example VIII
Elementary B
Czerny Exercise 14 (unison)

Folk Song Twinkle, Twinkle
Ziller Folk Song
189
Telemann Fantasia
J.C. Bach Andante
J. Poe Clown
Gillock Splashing in the Brook
Martin Boogie Skip to my Lou
Bastien Tango (duet)
Example IX
Elementary B
Czerny Exercises 1 and 2 (three touches)

Folk Song Love Somebody
Folk Song Goodbye Old Paint
Folk Songs Four German Songs (duet)
Brahms Lullaby (duet)
Bastien Little Caballero
Medin Clock
Schytte Harpist
Bastien Tango
Carley Fox and Geese
Example X
Elementary B

Folk Song Purple Bamboo
Folk Song Betsy from Pike
Folk Song Hop, Hop, and Variation
Wilson Race Horses
Bartok Microkosmos 13 and 17
Bartok Microkosmos 14 and 15
Gillock Argentina
Diabelli Moderate (duetO
Example XI
Elementary B
Czerny Exercises 5 and 6 (legato)

Folk Song Lazy Mary
Folk Song King Wenceslas
Folk Song Hop, Hop, and Variation
190
Kabalevsky Light and Dark
Kabalevsky Little Porcupine
Carley Fox and Geese
Reebe Merry Pranks
Kohler Melody
Goedicke Russian Dance
Example XII
Elementary B
Czerny Exercises 1 and 2 (mixed touch)

Folk Song Go Down Moses
Folk Song Oh Give Me a Home
Folk Song Four German Songs (duet)
Brahms Lullaby (duet)
Nevin Narcissus
Maykapar In the Garden
Gurlitt Pastime
Kabalevsky Fable
Bertini Arpeggio
Gillock Fiesta
Example XIII
Elementary C
Czerny Exercise 5 and 6 (legato and doubled)

Folk Song Spring (Korean)
Unknown The Cuckoo Tree
Erwin Circus Parade
Wright Banjo
Unknown Arabia
Rebe Merry Pranks
Beethoven Alexander March
Stevens Drum Major
Example XIV
Elementary C
Czerny Exercise 14
Folk Song Maiden in Red (Chinese)
Folk Song The Sorrow of the Shepherd (Chinese)
Turk March
Goedicke Dance
Schytte Moderato
Clementi Valse
Gillock Drifting Clouds
Gillock In Old Mexico
Bastien Tango
Example XV
Elementary C

Folk Song Clapping Song (Mexican)
Folk Song Arirang (Korean)
Tcherepnin Marching
Telemann Gavotte
Mozart Menuet
Hal Perrin Crazy Rhythm
Example XVI
Elementary C
Czerny Exercises 5 and

French Contradance
Turk March
Haydn Contradance
Mozart Minuet
Goedicke Rigaudon
Tcherepnin March
Kabalevsky Dance
Example XVII
Elementary C
Czerny Exercises 5 and 6 (original)

Clarke King William March
L. Mozart Menuet
W A. Mozart Menuet
192
Beethoven Turkish March
Gillock Mountain Ballad
Gillock Drifting Cowboy
Grove Boxcar Rag
Diabelli duet
Example XVIII
Elementary C
Czerny Exercises 5 and 6 (original)

Folk Song Maiden in Red
Folk Song The Sorrow of the Shepherd
Krieger Menuet
Gurlitt Chase
Haydn Concertino
II. Menuet
III. Allegro
Rogers Hiding in the Hayloft
Siegmeister Song o f the Dark Woods
Duncan Smoke Signal
E. Stevens After Rain
Siegmeister Street Games
Bastien Final Exam Blues
Example XIX
Elementary C
Czerny Exercise 7
Krieger Menuet and Bouree
Haydn Menuet
Mozart Lison Dormait
Kabalevsky Polka, Dance
Gillock Argentina
Example XX
Elementary D
Czerny Exercise 14
Folk Song Home on the Range
Telemann Menuet (G)
L. Mozart Menuet (F)
W.A. Mozart Allegro (Bfc>)
Schumann Soldiers March
Gillock Autumn Sketch
Bartok Folksong
Grove Rainbow
Garkow Cool Blue
Example XXI
Elementary D
Czerny Exercise 14
Folk Song Little Wong and Variation
Glover Hoe Down
Handel Impertinence
Bach Polonaise
Beethoven Landler
Stevens After the Rain
Stevens Morning Mist
Unknown Puget Sound
Nevin Neat Beat
Example XXII
Elementary D
Czerny Exercises 3 and 4

Folk Song Plantation Song
Handel Menuet in B-flat
Bach Menuet in d-minor
Gretchaninoff Swinging
Gretchaninoff In the Meadow
Gretchaninoff Horseback Ride
America (duet)
Arkansas Traveler (duet)
Example XXIII
Elementary D

French Folk Song
Ziller German Folk Song
Handel Menuet in a
Handel Meneut in e
Mozart Entree
Mozart Allegro
Duncan Enchanted Garden
Old Joe (duet)
Turkey in the Straw (duet)
Example XXIV
Elementary D
Czerny Exercise 14 (unison)

Folk Song Twinkle, Twinkle
Zillere Folk Song
Telemann Fantasia
J.C. Bach Andante
J. Poe Clown
Martin Boogie Skip to My Lou
Example XXV
Elementary D
Czerny Exercise 15
Old English Go no more...
Purcell Air
J.S. Bach Choral B-flat
Mozart Menuet and Landler
Kabalevsky An Old Dance
T ansman Petit Reverie
George Navajo Legend
Cobum Frolicky-Rolicky
Example XXVI
Elementary D
Czerny Exercise 15 (C)

Transposed (G)
Bach Menuet (G)
Duncomb Sonatina
I. Flourish
II. Trumpet Minuet
III. Chase
Bartok Hungarian Folk Songs III and IV
Gillock Fiesta
Gillock Etude
George Banjo Tune
Example XXVII
Elementary D
Czerny Exercise 14
Folk Song Roasted Chestnuts (Korean)
Telemann Menuet
Duncomb Sonatina
Mozart Menuet
Bentley Harpist
Mayer Studie Allegretto
Spiritual Little Train Boogie
Gillock Pixies
Example XXVIII
Elementary D

Purcell Air
Bach Menuet
Cobb Sonatina
Kabalevsky Little Song
Kabalevsky Clown
Gillock Lullaby
Gillock Figure Skating
Gillock Flamenco
Grove Slightly Jazzy
Example XXIX
Elementary E
Czerny Exercise 1
Rameau Menuet
Bach Little Suite
Haydn Sonatina in C
Beethoven German Dances Nos. 1, 2, 4, 5
Gretchaninoff Autumn Chant
Gretchaninoff Bicycle Ride
Gillock Etude
Gillock Fiesta
Example XXX
Elementary E
Czerny Exercise 15
Transposed
Clarke King William March
Beethoven Turkish March
Turk Allegretto
Friedrich Ledgerdiman
Heller Arabesque
Gillock Mountain Ballad
Mill Pirate Captain Hook
Garkow Cool Blue
Example XXX3
Elementary E
Czerny Exercise 15
Muffat Menuet
Bach Invention B
Bach Invention F
Bach Invention a
Clementi Sonatina (I, II., III.)
Elmerich Spinning Song
Bartok Lonely Traveler
Intermediate Programs
Example I
Intermediate A
Czerny Exercise 29
Handel Rigaudon
Bach Prelude
Beethoven Mandolin Sonatina
Schumann Happy Farmer
Nevin Watchman Song
Gillock Phantom Rider
Gillock Blues
Nevin Jazz Jamboree
Example I I
Intermediate A
Czerny Exercise 14
Couperin Gavotte
Prelude
Sonatina
I. Allegro
EL Andante
III. Allegro
Gurlitt By the Spring
Kabalevsky Toccato
Gillock Castanette
Rocherolle Cool Blue
Example III
Intermediate A
Couperin Sarabande
Couperin Le Petit Rieu
Bach Prelude c minor
Little Fugue C Major
Haydn Concerto in C Major
I. Allegro
II. Menuet
III. Finale-Allegro
Chopin Prelude in b minor
Chopin Prelude in A Major
Debussy Little Negro
Example IV
Intermediate B
Czerny Exercise 12
Scarlatti Sonata in d minor
Bach Little Prelude in C
Kuhlau Sonatina Op. 55 No.
Chopin Mazurka Op. 67 No.
Brahms Valse Op. 39 No. 15
Gillock Seascape
Debussy En Bateau (duet)
Kabalevsy Variation
Example V
Intermediate B
Czerny Exercise 35
Corelli Gavotte (F)
Corelli Allegro Vivace (g)
Bach Prelude in e
Beethoven Sonatina in F
Allegro
Assai-Rondo
Allegretto
Gillock Summer Storm
Gillock Seascape
Bartok Folk Song
Joplin The Entertainer
Example VI
Intermediate B
Scarlatti Sonata
Corelli Gavotte
J.S. Bach Prelude in C
Spindler Sonatina
Gurlitt By the Spring
Karganoff At the Brook
Karganoff Tango
Gillock Polynesian Nocturne
Kabalevsky Toccata
Example VII
Intermediate B
Czerny Exercise 17
Cimarosa Sonata (g)
Bach Prelude (g)
Bach Prelude (G)
Haydn Andante and Variations
Haydn Vivace
Schubert Waltz in b
199
Debussy The Little Shepherd
Debussy Le Petit Negre
Example VIII
Intermediate C
Czerny Exercise 17
Purcell Trumpet Tune
Telemann Fantasia in d minor
Bach Prelude in d minor
Beethoven Variation on a Swiss Folk Song
Grieg Watchmans Song
Gillock Phantom Rider
Gillock Serenade
Rocherolle Playin it Cool
Example IX
Intermediate D
Czerny Exercise 17
Handel Allemande (Suite in d)
Seixas Toccata
Bach Prelude in d minor
Haydn Sonata E Major Hob XVI/13
Moderato
Chopin Mazurka Bb
Dubrovnica Contra Dances
Bartok Transylvania Evening
Example X
Intermediate E Age 14
Bach Two part Invention E major, B r\

Beethoven Sonata Op. 14
I. Allegro
II. Andante
III. Allegro assai-Scherzo
Khatchaturian Sonatina
Debussy Clair de la Lune
Albeniz Asturias
Mendelssohn The Sighing Wind Op. 102 no. 4
Preparatory Programs
Example I
Preparatory A
Scarlatti Sonata d L.58

Scarlatti Sonata c L. 358
Bach Invention c BWV773
Bach Invention g BWV 782
Haydn Sonata C t Hob X V I36
Moderato
Chopin Mazurka Bi? Op. 7 no. 1
Chopin Polonaise bi? Op. Posthumous
Scriabin Prelude no. 10
Khatchaturian Toccata
Joplin Maple Leaf Rag
Own Composition
Example II
Preparatory.A
Bach French Suite in E

Allemande
Polonaise
Minuet
Bouree
Beethoven Sonata op. 14 G
Allegro
Andante
Scherzo
Allegro Assai
Brahms Lieberlieder Waltzes (duet)
Mendelssohn The Sighing of the Wind
Mendelssohn Spinning Song
Chopin Nocturne op 72 no. 1 Posthumous
Strauss Dohnanyi Schatz Waltzes
Schubert Rustle o f Spring
201
Example HI
Preparatory A
Scarlatti Sonata in b K377

J.S. Bach Fughetta C
Mozart Fantasie KV397
Chopin Mazurka op7 No. 1 Bt
Brahms Rhapsodie op 79 no 2 in g
Tcherepnin Bagatelles op.7 no. 3, 10
Gillock New Orleans Nightfall
Nevin Manhattan Blues
Example IV
Preparatory A
Scarlatti Sonata E Major

Bach Partita II
Grave
Adagio
Andante
Allegro
Haydn Sonata Hob XVI/19
Moderato
Andante
Allegro assai
Liszt Consolation
Bartok Bagatelle
Bartok Bulgarian Rhythm
Chopin Impromptu in At Major
Chopin Polonaise Op. 40 No. 1 in A Major
Example V
Preparatory B
Scarlatti Sonata c minor LI 1

Scarlatti Sonata d minor L64
J.S. Bach Well Tempered Clavier Prelude and Fugue BWV884 G
Haydn Sonata in C-sharp minor H of X V I36 L49
Moderato
Scherzando
Allegro con brio
Minuet
Moderato
Liszt Annes de Perinage
Scriabin Prelude op 11 No. 10
Khachaturian Toccata
Example VI
Preparatory C
Scarlatti Sonata (d) K 64

Scarlatti Sonata (G)
Bach Prelude and Fugue (Well Tempered Clavier BWV 884 G)
Mozart Concerto Rondo
Debussy Reverie
Debussy Arabesque No. 2
Vandall Prelude
Example VII
Preparatory C
Bach Well Tempered Clavier Prelude and Fugue in C# Major BWV 872
Bach Concerto in f minorAllegromoderato
Beethoven Concerto in C major op 15 no. 1
Allegro con brio
Liszt Consolation
Example VIII
Preparatory C
Scarlatti Sonata K64

Scarlatti Sonata in G
J.S. Bach Prelude and Fugue(Well-Tempered Clavier BWV 884 G)
Mozart Concerto Rondo
Debussy Reverie
Debussy Arabesque No. 2
Vandall Prelude
Lecuona Malaguena
APPENDIX G
Programs of Individual Students for Consecutive Years
Year I (Elementary A)
Czemy-Germer Exercises 1 and 2

Folk Song Old MacDonald (D)
Tcherepnin March (C)
Guild Repertoire Happy Woodpecker (G)
Tansman Obsession (e)
Maykapar The Moth
Gillock Pixies
Bartok Mikrokosmos 13
Bartok Mikrokosmos 14
Year II (Elementary B)
Czemy-Germer Exercise 3 and 4

Purcell Air (d)
Bach Minuet (d )
Turk Allegro and Scherzando ( D )
Biehl Sonatina op. 57 no. 4 (G )
Japanese Folk Song The Crow (pentatonic)
Japanese Folk Song Sakura (phrygian)
Japanese Folk Song Gentle Mother
Japanese Folk Song Spring Song
Cobum Frolicky Rollicky Wind
Year III (Elementary C)
Czemy-Germer Exercise 14
Telemann Bouree (F major)
J.S. Bach Minuet (d minor)
J.S. Bach Minuet (a minor)
Beethoven Gavotte (duet - F major)
Japanese Folk Song The Crow
Japanese Folk Song Gentle Mother
Burgmuller The Swallow
Nakada Allegro
Year IV (Elementary D)
Czerny-Germer Exercise 22
Scarlatti Sonata in A Major
Handel Allegro (G Major)
J.S. Bach Prelude and Little Fugue (C Major)
Beethoven Bagatelle (g minor)
Burgmiiller The Swallow
Schumann Albumblatt
Nakada Allegro
Turina Fiesta
Year V (Intermediate A)
Handel Suite in d minor - Allemande

Handel Allegro (G Major)
J.S. Bach French Suite No. VI (E Major) - Polonaise
Beethoven Bagatelle op. 119 (B-flat)
Beethoven Bagatelle op. 119 (g minor)
Schumann Slumber Song
Schumann Impromptu (b minor)
Gillock Fountain in the Rain
Nin Culmell Sepuidilla Merciana (Tonadas)
Zez Confrey After Theatre Tango
Year VI (Intermediate B)
J.S. Bach French Suite No. VI (E Major)

Polonaise
Menuet
Bouree
Haydn Sonata
Moderato
Minuetto
Finale Presto
Mendelssohn On Wings of Song
Turina Fiesta
Zez Confrey After Theatre Tango
Year VII (Intermediate C)
J.S. Bach French Suite No. VI (E Major)

Allemande
Polonaise
Menuet
Bouree
Mozart Sonata K. 457
Mendelssohn Presto op. 102 no. 3
Grieg Berceuse op. 38 no. 1
Greig Wedding Day at Troldhaugen Op. 65 No. 6
Year VIII (Intermediate D)
Vivaldi Concerto
Scarlatti Sonata 95 A Major
Mozart Fantasy
Adagio
Allegro
Andantino
Piu Allegro - Adagio
Japanese Folk Song The Crow
Debussy Arabesque
Debussy Golliwogs Cakewalk
De Falla Serenata Andaluza
Year IX (Preparatory A)
Scarlatti Sonata L.783 A major

Scarlatti Sonata L. 95 A major
J.S. Bach French Suite VI (E Major)
Allemande
Sarabande
Gavotte
Polonaise
Menuet
Bouree
W.A. Mozart Fantasy KV. 475
W.A. Mozart Sonata KV. 457
Adagio
Allegro
Andantino
Piu Allegro
Allegro
Molto Allegro
Nakada Allegro
Turina Fiesta (Miniatures)
Grieg Berceuse Op. 38 No. 1
Grieg Wedding Day at Troldhaugen Op. 65 No. 6
Year X
D. Scarlatti Sonata L. 783

Sonata L. 95
J.S. Bach French Suite No. 6 (E Major)
Allemande
Sarabande
Gavotte
Polonaise
Menuet
Bouree
W.A. Mozart Fantasy Kv. 475
Sonata Kv. 457
Adagio
Allegro
Andantino
Piu Allegro
Allegro
Molto Allegro
Japanese Folk Songs The Crow
Spring Song
Nakada Allegro
Nin-Culmel Sepuidilla Merciana (Tonadas)
Debussy Arabesque
Debussy Golliwogs Cake Walk
Grieg Berceuse Op. 38 No. 1
Grieg Wedding Day at Troldhaugen Op. 65 No. 6
207
Example II
Folk Songs: Valentine (D)
Mary Had a Little Lamb (F)
Lightly Row (G)
Peas Porridge (A)
Down at the Station ( C)
Elephant (E)
Pumpkins (D)
Coucou(A)
Year II (Elementary B1
Kabalevsky Song(C )
Bartok Dialogue
Kabalevsky Running Along ( C )
Tcherepnin March (C)
Scher Happy Woodpecker (G)
Gillock Little Gray Donkey (G)
Folk Song Sweet Betsy from Pike (F)
Hop, Hop, Hop and Variation (C)
Diabelli Moderato no. 3 (duet)
Year III (Elementary C!

Czerny Exercise 7
Krieger Menuet and Bouree
Haydn Menuet
Kabalevsky Polka, Dance
Gillock Argentina
Perrin Crazy Rhythm
Year IV (Elementarv D!
Czerny Exercise 15 C and transposed G
Bach Menuet
Duncomb Sonatina
I. Flourish
II. Trumpet Menuet
III. Chase
208
Bartok Hungarian Folk Songs III and IV
Gillock Fiesta
Gillock Etude
George Banjo Tune
Year V (Elementary E)
Czerny Exercise I
Rameau Menuet
Bach Short Suite
Haydn Sonatina in C
Allegro
Menuet
Finale
Beethoven German Dances nos. 1, 2, 4, 5
GretchaninofF Autumn Chant
Gretchaninoff Bicycle Ride
Gillock Etude
Gillock Fiesta
Year VI (Intermediate A)
Czerny Exercise 17
Rameau Menuet
Bach Suite in A major
Haydn Sonatina in C
Allegro
Menuet
Finale
Beethoven Six German Dances
Allegretto
Allegro
Andante
Allegretto
Pesante
Allegretto
Gillock Interlude
Rocherolle Playing it Cool
Year VII (Intermediate B)

Czerny Exercise 35
Rameau Menuet
Rameau Les Fiffes
Bach Little Suite
209
Kuhlau Sonatina
Chopin Mazurka in Bb
Vandal Prelude (A)
Vandal Prelude (Db)
Year VIII (Intermediate Cl

Scarlatti Folia
Bach Prelude in G
Beethoven Variations on a Swiss Song
Chopin Mazurka
Brahms Waltz in Ab
Vandal Prelude in A
Vandal Prelude in Db
Khatchaturian Sonata
Joplin Maple Leaf Rag
Year IX (Intermediate D)
Tcherepnin March
Bach Prelude in G
Bach Fugue in G
Kuhlau Sonata
Beehoven Fur Elise
Sciabin Prelude
Example III
Year I (Elementary B)
Czerny Exercises 1 and 2 (mixed touch)
Bartok Mikrokosmos 15 and 17 (so scale, bi-tonal)
Telemann Fantasia
Gillock Pixies
Gillock Argentina
Waxman Hoedown
Diabelli Andante cantabile no. 18 (duet)
Weiner Lullaby and Scherzo (duet)
Year II (Elementary D)
Czerny Exercise 15
Old English Go no more...
Purcell Air
210
J.S. Bach Chorale (Bl?)
Mozart Menuet & Landler (duet)
Kabalevsky An Old Dance
Tansman Reverie
George Navajo Legend
Cobum Frolicky Rolicky
Year I I I (Intermediate A)
Czerny Exercise 17
Bach Prelude
Cimarosa Sonata
Benda Sonatina
Tansman Petit Reverie
Tansman Etude
Bartok Slovak Folksongs no. II and III
Gade The BoysRound Dance
Nevin The Buzzing Bee
Year IV (Intermediate B)
Czemy Exercise 23
Stolzel Menuet
Bach Prelude in g
Beethoven Bonn Sonatina
Mendelsohn On Wings of Song
Chopin Mazurka Op. 67 No. 4
Debussy En Bateau (duet)
Bartok For Children II
Bartok For Children III
Nevin Bee
Year V (Intermediate C)
Stolzel Menuet
Scarlatti Folia
Bach Prelude in g
Beethoven Bonn Sonatina
Debussy Little Shepherd
Debussy Little Negro
Kabalevsky Brisk Game
Example IV
Folk Songs Valentine (G)
Mary Had a Little Lamb (A)
Lightly Row (E)
Go Tell Aunt Rhody (F)
Love Somebody (C )
Down at the Station (D)
Peas Porridge (A)
One Elephant (E)
Coucou (G)
Year II (Elementary B)
Czerny Exercise 1 and 2 (mixed touch)
Chinese Folk Song, Purple Bamboo
American Folk Song - Sweet Betsy from Pike (F)
German Folk Song - Hop, Hop, Hop and Variation (C)
Wilson Race Horses (G)
Gillock Argentina
Diabelli Moderato (duet)
Year III (Elementary C)

Chinese Folk Song Maiden in Red
Chinese Folk Song The Sorrow of the Shepherd
Haydn Concertino
II. Menuet
III. Allegro
Rogers Hiding in the Hayloft
Siegmeister Song of the Dark Woods
Duncan Smoke Signal
E. Stevens After Rain
Siegmeister Street Games
Bastien Final Exam Blues
212
Year IV (Elementary D)
Czerny Exercise 14
Chinese Folk Song Little Wong and Variation
Glover Hoe Down
Handel Impertinence
Bach Polonaise
Beethoven Landler
Stevens After Rain
Stevens Morning Mist
Stevens Puget Sound
YearV (Intermediate A)
Purcell Trumpet Call
Handel Impertinence
J.S. Bach Choral
J.S. Bach Polonaise
Beethoven Menuet in G
Beethoven Landler
Tansman Reverie
Tansman Etude
Rowley Miniature Concerto (first movement)
Year VI (Intermediate B)
Czerny Exercise
Purcell Trumpet Call
L. Mozart Gavotte
Bach Little Prelude, D Major
Benda Sonatina
Rowley Miniature Concerto (Movements I and II)
Chopin Polonaise in g
Venda Buzzing Bee
Training Twins in a Duo
Lindsay Enriquez Morgan Enriquez
Year I (Elementary A) Year I (Elementary A)

Czerny Exercise 5 and 6 Czerny Exercise 5 and 6
Folk Song Lazy Mary (C) Folk Song Good King Wenceslas (C)
Polly, Put the Kettle On (C) Billy Boy (F)
Watson Cobbler, Cobbler (C ) Kabalevsky Running Along (C)
Tcherepnin March (C) Scher Happy Woodpecker
Kabalevsky Song (C) Turk March
Turk Winter Gillock October Morning
Hook Gavotte Gillock Little Gray Donkey
Weiner Lullaby (duet) Weiner Lullaby (duet)
Year II (Elementary B) Year II (Elementary B)

Czerny Exercise 1 and 2 Czerny Exercise 3 and 4
(three touches) (three touches)
Folk Songs Love Somebody Folk Songs Go Down Moses
Good bye Old Paint Oh, Give Me a Home
Four German Songs (duet) Four German Songs (duet)
Brahms Lullaby (duet) Brahms Lullaby (duet)
Nevin Narcissie (duet) Nevin Narcisse (duet)
Bastien Little Caballero Maykapar In the Garden
Turk Evening Song Gurlitt Pastime
Medin Clock Kabalevsky Fable
Schytte Harpist Bertini Arpeggio
Bastien Tango Gillock Fiesta
Year III (Elementary D) Year III (Elementary D!

Czerny Exercise 3and 4 Czerny Exercise 3and 4
Folk Song Plantation Song Folk Song Plantation Song
Handel Menuet in B-flat Folk Song French Folk Song
Bach Menuet in d Ziller German Folk Song
Mozart Lison Dormait Handel Menuet in a
Gretchaninoff In the Meadow Handel Menuet in e
Gretchaninoff Swinging Mozart Entree
Gretchaninoff Horseback Ride Mozart Allegro
America (duet) Duncan Enchanted Garden
Arkansas Traveler (duet) Old Joe (duet)
Turkey in the Straw (duet) Turkey in the Straw (duet)

BOWYER, Melanie - Teaching Piano With The Kodály Method

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DEVELOPED BY KATINKA SCIPIADES DANIEL

Melanie Bowyer King

A Thesis Presented to the

FACULTY OF THE THORNTON SCHOOL OF MUSIC

UNIVERSITY OF SOUTHERN CALIFORNIA

In Partial Fulfillment o f the

Requirements for the Degree

Copyright 2000 Melanie Bowyer King

All rights reserved.

ProQuest Information and Learning Company

This thesis, written by

Melanie Bowyer King

under the direction o f her Thesis Committee,

Master o f Music in Music Education.

^ a a . e~e~a "a^ia a ..........

I am indebted to numerous individuals who have shaped my life and my love

encouragement, and support:

me the sensibility of dedicating my life to music;

My parents and grandparents for instilling within me the value of

generosity of time, and sincerity of efforts;

Katinka Scipiades Daniel, for her presence in my life as an exemplary teacher

work as a Davidite in music;

of all, his extraordinary support and unwavering belief in my work.

1 STATEMENT OF THE PROBLEM 1

2 REVIEW OF RELATED LITERATURE 11

4 SUMMARY, CONCLUSIONS, IMPLICATIONS, AND

A. Distinguished Individuals with Katinka Scipiades Daniel......................... 125

2 D-R-M-F-S Syllable Ladder................................................................ 49

3 Czemy-Germer Exercise 5 .................................................................. 55

4 Czemy-Germer Exercise 6 .................................................................. 55

7 L-T-D-R-M Syllable L adder.............................................................. 64

8 Drop Roll/Drop Push............................................................................ 65

9 Czerny-Germer Exercise 1.................................................................. 67

10 Czemy-Germer Exercise 2 ................................................................ 67

12 A Pumpkin Patch Story........................................................................ 76

15 Czemy-Germer Exercise 3 ................................................................ 89

16 Czemy-Germer Exercise 4 ................................................................ 89

20 Cadence I-IV -I-V -I........................................................................... 99

21 Chord Fingerings................................................................................. 104

The purpose of this study is to record and preserve Katinka Scipiades

Daniels method o f teaching piano. The requisite background information regarding

divided into five subsections, referred to as levels. Daniels comments and

suggestions for programming are also included.

STATEMENT OF THE PROBLEM

Katinka Scipiades Daniel is well known as a major force in Kodaly music

(Choksy, 1974; Zemke & Perinchief, 1999). In addition, Daniels numerous

groundbreaking Kodaly publications have been well received and implemented

Influence of Zoltan Kodalys Philosophy

music in general education, was determined to make music an understandable

Kodaly in an interview conducted in 1966 by Daniels husband, Erno Daniel, at the

University o f California, Santa Barbara. Daniel was intrigued by how, as a composer,

Daniel, 1981, 2000b; Zemke, 1974).

According to Katinka Daniel (personal communication, January 6, 2000)

Zoltan Kodalys goals were: a) to reform the teaching of elementary music in

development of the childs abilities and understanding. Beginning with simple

elements o f musicrhythm, melody, form, and harmonywould be derived from the

interview with Emo Daniel by stating,

visit to Santa Barbara at the time of interview (see Appendix A).

Influence of Jeno Adam

Modszeres Enektanitas (Growing in Music with Moveable Do: Systematic Instruction