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A Sound-First, Movement-Informed Curriculum for Pianists
How This Series Is Designed
This series is built on three guiding principles:
Sound Before Symbol.
Experience Before Vocabulary.
Function Before Definition.
Simply memorizing lists creates brittle knowledge. A student may recite the order of sharps or draw the Circle of Fifths, yet lack aural understanding or functional control. In this curriculum, theoretical concepts are never “dumped” all at once. They are introduced in stages — first heard, then experienced physically, and only then named and defined.
The Soundscapes in each unit follow a carefully sequenced Sound Development Spine, guiding the ear from simple contrasts to advanced harmonic architecture. Students learn to perceive musical qualities — stable and unstable, bright and dark, expanding and contracting — before attaching terminology. In this way, vocabulary grows out of lived musical experience rather than replacing it.
Soundscapes cultivate perception.
Technic refines motion.
Layered Listening develops cognition.
Symbol Spotlight builds literacy.
All are balanced.
This is a curriculum in which students do not merely “learn theory.”
They learn to hear.

Layered Learning
Important components of musicianship ultimately function together, but they are separated temporarily for clarity and understanding. Each element is examined, refined, and then reintegrated. As in building a snowball, each layer strengthens the whole. Or like peeling an onion, we isolate each layer in order to understand it — yet the complete structure functions as one.
Technical coordination follows the same principle. Concepts such as Unity of Finger, Hand, and Arm are introduced early and revisited repeatedly as new layers are added. When shaping is introduced, movements become smaller and more efficient. When rotation is added, tension decreases and sound improves. Each refinement reshapes the whole mechanism into something more balanced and elegant.
Through this process, students gain not only facility, but understanding. They learn why something works — or does not. Over time, coordination becomes automatic, but awareness remains. This equips the pianist to solve technical and musical challenges independently, avoiding tension, fatigue, and limitation as repertoire becomes more demanding.

Sequencing of Physical Skills
The sequencing of physical skills in this method may differ from other approaches. Certain movements cannot be mastered successfully without prior equilibrium. For example, rotation and in–out motion are introduced only after Balanced Landing and alignment are secure. Early repertoire is often played non-legato to avoid finger isolation and unnecessary tension.
Fingering and composition choices are intentionally aligned with technical goals. Students are not confined to fixed “positions” such as thumbs sharing Middle C, which can encourage twisting and misalignment. Nor are they asked to pre-set the hand in stretched five-finger positions, which can create static tension. Movement is organized around coordinated motion rather than static placement.
Directions should be followed carefully, and video demonstrations reviewed regularly. There are no shortcuts to freedom at the keyboard. One must crawl before walking, and walk before running.

Reading, Rhythm, and Listening
Reading instruction emphasizes directional reading, landmarks, and intervallic recognition. Students are not confined to C major or fixed positions. From the beginning, they experience movement across the keyboard through rote pieces and early pedal usage, developing tonal color and spatial awareness.
Rhythm is treated as both physical and artistic. Patterns are experienced bodily before being read. By separating rhythmic experience from notation at first, students develop physical fluency without cognitive overload. Reading becomes a layer added to skills that are already embodied.
Layered Listening introduces contrapuntal awareness from the first book. This prevents the abrupt mental overload that often occurs when polyphonic repertoire is introduced later.
Listening itself is central to artistry. Ear training begins in the first lesson and continues throughout the series. Students are encouraged to cultivate a wide palette of sound, supported by a well-maintained acoustic instrument whenever possible. Weighted keys and proper bench height are essential for coordinated movement and tone production. Correct sitting height and distance must be maintained everywhere — in lessons, at home, and in performance.

The Goal
When all elements function together — sound, motion, rhythm, reading, and listening — the pianist experiences increasing ease and expressive freedom. Each refinement makes the next possible. Over time, motion becomes smaller, sound becomes richer, and artistry becomes more natural.
The ultimate aim of this series is not simply to prepare students for examinations, but to equip them with the understanding and coordination necessary for lifelong musical growth.

Technique Tip
Preparatory:
1. How to Sit at the Piano
2. Alignment: Natural Hand Position (Knuckles, Wrists)
3. Gravity - Freedom of Forearm (Drawbridge)
4. Neutral Position (Contacting)
5. Alignment: Finger+Hand+Arm (It's Not the Fingers Alone)
6. Balanced Landing - Playing Fingers 2, 3, 4
7. No Keybed
8. Walking Hand and Arm - Playing Harmonic 5ths
9. Torso
10. What is Piano Technique?
Level 1A:
1. Tension and Limitation Caused by Curling the Fingers
2. Tension and Limitation Caused by Stretching the Fingers Apart from Each Other
3. Introduction to Rotation
4. Combining Rotation with Balanced Landing (Fingers 2, 3, 4)
5. Moving Fingers Together from Main Knuckle Ridge
6. Playing Thumb with Rotation
7. Tension and Limitation Caused by Moving Hand to Extreme Range, Right/Left (Twisting at Wrist - Ulnar/RadialDeviation)
8. Playing the Thumb - More Tips
9. Tension and Limitation Caused by Co-Contraction and Finger Isolation (and how to solve)
10. Single Rotation - (Legato Playing - Step 1)

Level 1B:
1. Melodic Intervals - Broken Triads
2. Double Rotation for Repeated Notes and Intervals
3. In and Out - Introduction
4. In and Out (Intervals, thumb on black keys)
5. 3-4-5, 3-2-1 IN
6. Out to Avoid Curling the Fingers
7. Combining Rotation with In/Out (1-3)
8. Introduction to Double Rotation
9. Major/Minor Triads - Broken and Blocked (Single Rotation:1-5-3; 5-1-3)
10. Walking Hand and Arm

Level 2A:
1.Combining Walking Hand and Arm and Rotation in Interval and Chord Playing
2. Interdependence of Hands: Vertical Motions/2 Hands Playing Simultaneously
3. Introduction to Double Rotation (2-5)
4. Broken and Blocked Major Triads - D, E, A Major; C, F, G Minor (Double and Single Rotation) Double Rotation for Stepwise Motion (Legato - Step 2)
5. Timing of Double Rotations
6. 5-Finger Rhapsody (A, D Major)
7. Passages with Single and Double Rotations
8. 5-Finger Rhapsody (E Major)
9. Combining In/Out with Rotation (1-2)
10. Interdependence of Hands: Opposite Ins and Outs

Level 2B:
1. Key Speed - Tonal Control
2. In-Out Combined with Rotation (3-2-1/3-4-5)
3. In-Out Combined with Rotation (1-2-3/5-4-3)
4. Forward and Backward Movement
5. Shaping
6. What Determines the Shape?
7. Size of the Shape
8. Introduction to Thumb Scale Crossings - Wombat Walkabouts Pattern Group 1
9. Grouping Densities of Notes (Intervals/Chords to Single Notes, or More dense to less dense)
10. Thumb Under Sequences - WWBW/1-2-3-1 (D, A Major, c, g) DRH asc –WWBW 1-2-3-1 DEF#GA RH asc –WWBW 1-2-3-1 ABC#DBbRH asc –WWBW 1-2-3-1 CDEbFBb LH desc –WWBW 1-2-3-1 DCBbAEb RH asc –WWBW 1-2-3-1 CDEbFEb LH desc –WWBW 1-2-3-1 GFEbDcRH asc –WWBW 1-2-3-1 CDEbFgRH asc –WWBW 1-2-3-1 GABbCc LH desc –WWBW 1-2-3-1 CBAbGb LH desc –WWBW 1-2-3-1 EDC#Bf LH desc–WWBW 1-2-3-1 FEDbCf#RH asc –WWBW 1-2-3-1 ABC#D (Same as A)

Level 3A:
1. Thumb Under Sequences - WBBW/1-2-3-1 (A LH desc –WBBW 1-2-3-1 AG#F#EB RH asc–WBBW 1-2-3-1 BC#D#EF# RH asc –WBBW 1-2-3-1 BC#D#E#F# LH desc –WBBW 1-2-3-1 E#D#C#BE RH asc –WBBW 1-2-3-1 EF#G#AB LH desc –WBBW 1-2-3 -1 ED#C#BE LH desc –WBBW 1-2-3-1 ED#C#BC# RH asc –WBBW 1-2-3-1 B#C#D#E#C# LH desc –WBBW 1-2-3-1 E#D#C#B#Ab RH asc –WBBW 1-2-3-1 CDbEbFAb LH desc –WBBW 1-2-3-1 CBbAbGg LH desc –WBBW 1-2-3-1 GF#EbDd LH desc –WBBW 1-2-3-1 DC#BbAc# LH desc –WBBW 1-2-3-1 ED#C#B#ab RH asc –WBBW 1-2-3-1 CbDbEbFb Same as Bab LH desc –WBBW 1-2-3-1 CbBbAbGbb RH asc–WBBW 1-2-3-1 CDbEbF Same as Abbb LH desc -WBBW 1-2-3-1 FEbDbC
2. Thumb Under Sequences - WBWW/1-2-3-1 (G LH desc –WBWW 1-2-3-1 GF#EDD LH desc –WBWW 1-2-3-1 DC#BAa LH desc –WBWW 1-2-3-1 AG#FEeRH asc –WBWW 1-2-3-1 EF#GAe LH desc –WBWW 1-2-3-1 ED#CBbRH asc–WBWW 1-2-3-1 BC#DEf RH asc –WBWW 1-2-3-1 CDbEFeb LH desc –WBWW 1-2-3-1 FEbDCb Etude:Work on measure 1 until it is just right. Then, play measures 2-3 in a way that allows you to play m. 1 just the same way as before.(Tip: Not too much lateral arm adjustment when crossing thumb under. Just enough to play last measure easily.)
3. WBBWW/1-2-3-4-1 (f LH desc –WBBWW 1-2-3-4-1 CBbAbGF*B RH asc –WBBBW 1-2-3-4-1 EF#G#ABB LH desc –WBBBW 1-2-3-4-1 BA#G#F#EC# RH asc–WBBBW 1-2-3-4-1 E#F#G#A#B#F# LH desc –WBBBW 1-2-3-4-1-BA#G#F#E#C# LH desc –WBBBW 1-2-3-4-1 B#A#G#F#E#ebRH asc –WBBBW 1-2-3-4-1 FGbAbBbCbeb LH desc –WBBBW 1-2-3-4-1 CbBbAbGbF
4. B Major Octave Scale
5. F# Major Octave Scale
6. C# Major Octave Scale
7. Fingering
8. Enslavement to Notation
9. Thumb Under Sequences: WWWBW/1-2-3-4-1 (G RH asc –WWWBW 1-2-3-4-1 CDEF#GD RH asc –WWWBW 1-2-3-4-1 GABC#DF RH asc –WWWBW 1-2-3-4-1 FGABbCBb RH asc –WWWBW 1-2-3-4-1 FGABbCBb LH desc –WWWBW 1-2-3-4-1 AGFEbDa RH asc –WWWBW 1-2-3-4-1 DEFG#A With minor 3rd(har. minor)e RH asc –WWWBW 1-2-3-4-1 ABCD#E With minor 3rd(har. minor)e LH desc –WWWBW 1-2-3-4-1 BAGF#E
10. Thumb Under Sequences: WWBBW/1-2-3-4-1 (A RH asc –WWBBW 1-2-3-4-1 DEF#G#AE RH asc –WWBBW 1-2-3-4-1 ABC#D#EE LH desc –WWBBW 1-2-3-4-1 BAG#F#EEb RH asc –WWBBW 1-2-3-4-1 FGAbBbC (Same as Ab Major)Eb LH desc –WWBBW 1-2-3-4-1 DCBbAbGAb RH asc –WWBBW 1-2-3-4-1 FGAbBbCAb LH desc –WWBBW 1-2-3-4-1 GFEbDbCd RH asc –WWBBW 1-2-3-4-1 GABbC#D With minor 3rd(har. minor)g RH asc –WWBBW 1-2-3-4-1 CDEbF#G f RH asc –WWBBW 1-2-3-4-1 FGAbBbCf# RH asc –WWBBW 1-2-3-4-1 DE#F#G#Af# LH desc –WWBBW 1-2-3-4-1 BAG#F#E#c# RH asc –WWBBW 1-2-3-4-1 AB#C#D#Ec# LH desc –WWBBW 1-2-3-4-1 B#AG#F#Eab RH asc –WWBBW 1-2-3-4-1 FbGAbBbCbab LH desc –WWBBW 1-2-3-4-1 GFbEbDbCb

Level 3B:
1. Interdependence of Hands: Tonal Quality and Volume
2. Thumb Under Sequences: WWBWW/1-2-3-4-1
3. Thumb Under Sequences: WWWW/1-2-3-1
4. Thumb Under Sequences: WWWWW/1-2-3-4-1
5. D and A Major Octave Scale
6. E Major Octave Scale
7. G Major Scale
8. C Major Scale
9. F Major Scale
10. Legato Leaps

Level 4A:
1. F Harmonic Minor Scale
2. Grouping Densities of Notes
3. D Harmonic Minor Scale
4. A Harmonic Minor Scale
5. E Harmonic Minor Scale
6. Walking Hand and Arm for Arpeggios (Thumb Under) - D, A, E Major
7. Staccato Leaps
7. G Harmonic Minor Scale
8. C Harmonic Minor Scale
9. Interdependence for Polyrhythms
10. Grouping for

Level 4B:

Level 5:
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Level 6:
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Level 7:
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Level 8:
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Level 9:
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Level 10:
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Contents - Breakdown Grid:

Book:

Sound - Listening (ear training, tonal control, repertoire listening, improvisation)
Sound Before Symbol.

Technic
Experience Before Vocabulary.

Rhythm
Function Before Definition.

Functional theory (harmonization, keyboard theory scales etc.)

taught first by rote and patterns, not memorizing lists

Blueprint - Notation - Reading

Repertoire - main (current level)

Weekly Repertoire (3 levels easier)

Improvisation and/or Rote

Layered Listening

Preparatory Book

By end of the Preparatory Book: they can keep pulse, read directional pre-staff patterns, understand measure/4/4, quarter/half/whole notes & rests, repeat signs, dynamics basics.

Core Sound Ideas

Up / Down
High / Low
Loud / Soft

Musical Seeds

Crescendo = getting louder
Dim
p, mp, mf, f

Ocean Waves

Technique:
Unit 1: How to Sit at the Piano, Unit 2: Alignment: Natural Hand Position (Knuckles, Wrists)
Unit 3. Gravity - Freedom of Forearm (Drawbridge)
Unit 4. Neutral Position (Contacting)
Unit 5. Alignment: Finger+Hand+Arm (It's Not the Fingers Alone)
Unit 6. Balanced Landing - Playing Fingers 2, 3, 4
Unit 7. No Keybed
Unit 8. Walking Hand and Arm - Playing Harmonic 5ths
Unit 9. Torso
Unit 10. What is Piano Technique?

Rhythm:
Steady Beat, Quarter Note, Quarter Rest
Half, Whole note,
fast/slow
barlines
measures
4/4

Functional Theory

BluePrint:
Keyboard, Alphabet,
Finger #'s
Pre-Staff Directional (using black key groups)

Repertoire:
Your old title “Laser Beam” works because it describes directed energy. We can build from that idea: force traveling cleanly through a structure.Balance Etudes:
These fit the idea of weight settling and structural balance.

The Quiet Axis
Center of Gravity
The Plumb Line
True North
The Balanced Arch
The Level Horizon
The Still Point
The Fulcrum
The Silent Axis
The Central Line

⭐ “The Still Point” is particularly beautiful (Eliot resonance too).

🌊 Energy Transmission / FlowThese evoke energy moving through the arm into the key.

Through the Current
Clear Channel
The Living Current
Unbroken Line
Stream of Motion
The Inner Current
Carried by Water
The Long Current
Transmission
Flow State

⭐ “Unbroken Line” or “Clear Channel” would be excellent for technique.

🪶 Effortless Weight / GravityThese reflect using gravity instead of force.

Falling Light
Gentle Descent
Settling Weight
The Soft Landing
Gravity Song
Downward Arc
The Easy Fall
Floating Stone
The Quiet Drop

⭐ “Soft Landing” might secretly reference your Balanced Landing concept without saying it.

Easier Repertoire:

Improvisation and/or Rote:
Black Keys

CDE, FGAB Improv

Layered Listening:

Dalcroze Overlapping Echoes

Dalcroze Mixed Note Values (Feet/Clap)

Book 1A:

By end of 1A: they can read on one staff with landmark(s), understand steps/skips/interval size, basic articulation, and rests cleanly.

Core Sound Ideas
Dynamics expanded: mp/mf + cresc/dim as shape; introduce “phrase mark” (slur vs phrase mark)
core Sound Ideas (begin to feel musical contour)

Step / Skip (close / farther)

Musical Seeds

Legato vs staccato

Core Sound Ideas (begin to feel musical contour)

Same / Different

Musical Seeds

Phrase arc
Core Sound Ideas (begin to feel musical contour)
Growing / Fading
Musical Seeds
Strong beat in 3/4 (felt sway)

Core Sound Ideas (begin to feel musical contour)

Question / Answer (phrase feel)

Musical Seeds

Strong beat in 3/4 (Conduct)

Technique:
Unit 1: Tension and Limitation Caused by Curling the Fingers
2. Tension and Limitation Caused by Stretching the Fingers Apart from Each Other
3. Introduction to Rotation
4. Combining Rotation with Balanced Landing (Fingers 2, 3, 4)
5. Moving Fingers Together from Main Knuckle Ridge
6. Playing Thumb with Rotation
7. Tension and Limitation Caused by Moving Hand to Extreme Range, Right/Left (Twisting at Wrist - Ulnar/RadialDeviation)
8. Playing the Thumb - More Tips
9. Tension and Limitation Caused by Co-Contraction and Finger Isolation (and how to solve)
10. Single Rotation - (Legato Playing - Step 1)

Rhythm:
Rests literacy: half rest/whole rest placement; “silence counts” games

Functional Theory

BluePrint:(single staff intro + treble focus)
The staff (5 lines/4 spaces), notehead/stem, treble clef = “G clef,” landmark G

Articulation basics: legato vs staccato; slur vs staccato dot (no technique lecture—just meaning)

Intervals by size only (2nd–5th) using staff pictures + keyboard mapping (no quality yet)

Repertoire:

Easier Repertoire:

Improvisation and/or Rote:

Layered Listening:
Dalcroze Mixed Note Values (Feet/Clap)

Book 1B

Core Sound Ideas
Stability & Home (Sound has gravitational pull)
Core Sound Ideas

Home / Away

Musical Seeds

Tonic as resting sound

Core Sound Ideas

Resting / Moving

Musical Seeds

Tonic as resting sound

Bright / Dark

Musical Seeds

Harmonic vs melodic intervals

Sound Ideas

Major / Minor (by ear only)

Musical Seeds

Consonant vs slightly tense

Together / Broken (chord texture)

Musical Seeds

Harmonic vs melodic intervals

Technique:
Unit 1. Melodic Intervals - Broken Triads
2. Double Rotation for Repeated Notes and Intervals
3. In and Out - Introduction
4. In and Out (Intervals, thumb on black keys)
5. 3-4-5, 3-2-1 IN
6. Out to Avoid Curling the Fingers
7. Combining Rotation with In/Out (1-3)
8. Introduction to Double Rotation
9. Major/Minor Triads - Broken and Blocked (Single Rotation:1-5-3; 5-1-3)
10. Walking Hand and Arm

Rhythm:
Time signatures as “how many beats / what kind”; reinforce 4/4 + introduce 2/4 by feel

Functional Theory

BluePrint:(grand staff & landmarks, but still controlled)

Grand staff concept: brace, barline through both staves, middle C as bridge

Landmark set: Bass F → Middle C → Treble G (and optional Treble C); “find by interval” (up a 2nd, down a 3rd, up a 5th)

Harmonic Intervals, Blocked Triads

Accidentals on keyboard: half steps/whole steps; sharp/flat/natural symbols (light on staff)

Simple form: A-B, question/answer; repeat sign revisited; DC not needed

Triads introduced as sound: “three-note stack”; blocked vs broken; identify by ear “home chord” (tonic)

Intervals expand: 2nd–7th by size; octave introduced (all C’s) + transposition-by-letter (very simple)

Repertoire:
semi contrapuntal - Piece with overlapping a bit (RH 3 steps up LH comes in with 5ths 2 beats early etc.)

Rotation pieces:🌀 Rotational / Coordinated MotionPerfect for pieces involving rotation or forearm choreography.

Turning Arc
The Gentle Spiral
Quiet Rotation
The Living Circle
Pivot
The Turning Point
Circular Path
Orbital Line

⭐ “The Turning Point” would be a wonderful technique study.

Easier Repertoire:

Improvisation and/or Rote:

Layered Listening:
Dalcroze Overlapping Echos

Book 2A

By end of 2A: grand staff is normal, landmarks are automatic, interval/directional reading is functional, meters 4/4 + 3/4 are stable, accidentals/half-steps make sense, and triads/tetrachords are seeded.

Color & Character (Begin to hear tension)
Core Sound Ideas

Warm / Cool

Musical Seeds

Natural vs harmonic minor color
Calm / Energetic
Musical Seeds
Natural vs harmonic minor color

Core Sound Ideas

Light / Heavy

Musical Seeds

3/4 sway

Core Sound Ideas

Close harmony / Open harmony

Musical Seeds

Leading tone pull (felt before labeled)

Core Sound Ideas

Close harmony / Open harmony

Musical Seeds

Leading tone pull (felt before labeled)

Technique:
1.Combining Walking Hand and Arm and Rotation in Interval and Chord Playing
2. Interdependence of Hands: Vertical Motions/2 Hands Playing Simultaneously
3. Introduction to Double Rotation (2-5)
4. Broken and Blocked Major Triads - D, E, A Major; C, F, G Minor (Double and Single Rotation) Double Rotation for Stepwise Motion (Legato - Step 2)
5. Timing of Double Rotations
6. 5-Finger Rhapsody (A, D Major)
7. Passages with Single and Double Rotations
8. 5-Finger Rhapsody (E Major)
9. Combining In/Out with Rotation (1-2)
10. Interdependence of Hands: Opposite Ins and Outs

Rhythm:(expand meter + harmony literacy; still no 8ths)

3/4 meter: strong beat 1; waltz feel; conducting pattern

Dotted half note (in 3/4) OR tie concept (tie vs slur) — pick one; tie is more universally useful

Functional Theory

BluePrint:
Building major scales conceptually: tetrachords (you said), whole/half pattern on keyboard

Minor introduced as “family sound”: natural minor by ear; later harmonic/melodic belong in PIM 4–5

Primary harmony by ear: tonic vs dominant (not Roman numerals yet); simple cadences in listening
Chords on staff: stacked thirds vs broken; “root position” as vocabulary (light)
Sight-reading readiness: interval reading from landmarks + rhythm review + articulation/dynamics symbols quick-scan routine

Repertoire:
Semi contrapuntal piece (perhaps play one tap or snap other and switch)

Easier Repertoire:

Improvisation and/or Rote:

Layered Listening:

Book 2B

- Structural Hearing (Sound becomes architectural)
Core Sound Ideas

Phrase beginning / ending

Musical Seeds

I chord identified by ear
Core Sound Ideas
Strong cadence / weaker cadence
Musical Seeds
Basic cadence recognition
Core Sound Ideas
Stable interval / unstable interval
Musical Seeds
Melodic contour mapping
Core Sound Ideas
Stepwise flow vs leap tension
Musical Seeds
Basic cadence recognition

Technique:
1. Key Speed - Tonal Control
2. In-Out Combined with Rotation (3-2-1/3-4-5)
3. In-Out Combined with Rotation (1-2-3/5-4-3)
4. Forward and Backward Movement
5. Shaping
6. What Determines the Shape?
7. Size of the Shape
8. Introduction to Thumb Scale Crossings - Wombat Walkabouts Pattern Group 1
9. Grouping Densities of Notes (Intervals/Chords to Single Notes, or More dense to less dense)
10. Thumb Under Sequences - WWBW/1-2-3-1 (D, A Major, c, g) DRH asc –WWBW 1-2-3-1 DEF#GA RH asc –WWBW 1-2-3-1 ABC#DBbRH asc –WWBW 1-2-3-1 CDEbFBb LH desc –WWBW 1-2-3-1 DCBbAEb RH asc –WWBW 1-2-3-1 CDEbFEb LH desc –WWBW 1-2-3-1 GFEbDcRH asc –WWBW 1-2-3-1 CDEbFgRH asc –WWBW 1-2-3-1 GABbCc LH desc –WWBW 1-2-3-1 CBAbGb LH desc –WWBW 1-2-3-1 EDC#Bf LH desc–WWBW 1-2-3-1 FEDbCf#RH asc –WWBW 1-2-3-1 ABC#D (Same as A)

Rhythm:

Functional Theory

BluePrint:
Grand staff fluency + C & A minor literacy

Unit 1 – Grand Staff Integration

Middle C bridge
Landmark review (Bass F, Treble G)
Intervals 2nd–5th by size
Simple phrase marks
A Natural Minor
Relative minor concept
A natural minor scale
i triad
Major vs minor sound (ear)
Accidentals in Context
Sharp/flat/natural on staff
Key signature of C (none)
Half-step reading on staff
Tetrachords
Unit 5 – Intervals Expanded

Interval size only
6ths and 7ths (size only)
Harmonic vs melodic intervals
Reading by interval, not letter
Tetrachords
Basic Analysis
Identify tonic triad in pieces
Identify stepwise vs skip writing
Phrase endings

Repertoire:
Bartok – Dialogue (from First Term at the Piano)
M. Praetorius – Gavotte in G (from Terpsichore)
Praetorious – Old German Dance
Reinagle – Allegretto (No. 9 from 24 Short and Easy Piece, Op. 1)

Repertoire (RCM – Prep A)

Allegro in C Major, op. 1, no. 4
Alexander Reinagle

Melody in G Major, op. 101, no. 39
Ferdinand Beyer

Easier Repertoire:

Improvisation and/or Rote:

Layered Listening:

Book 3A

Listen to Examples from Upcoming Repertoire
Key Color Awareness (Begin hearing tonal relationships)
Core Sound Ideas

One sharp brightness

Musical Seeds

Relative minor mood
Core Sound Ideas
One flat warmth
Musical Seeds
Dominant pull
Core Sound Ideas
Neighbor keys
Musical Seeds
Resolution satisfaction
Core Sound Ideas
Leading tone intensity
Musical Seeds
Relative minor mood

Major / Minor 3rds

Major/Minor Triads

Level 3A:
1. Thumb Under Sequences - WBBW/1-2-3-1 (A LH desc –WBBW 1-2-3-1 AG#F#EB RH asc–WBBW 1-2-3-1 BC#D#EF# RH asc –WBBW 1-2-3-1 BC#D#E#F# LH desc –WBBW 1-2-3-1 E#D#C#BE RH asc –WBBW 1-2-3-1 EF#G#AB LH desc –WBBW 1-2-3 -1 ED#C#BE LH desc –WBBW 1-2-3-1 ED#C#BC# RH asc –WBBW 1-2-3-1 B#C#D#E#C# LH desc –WBBW 1-2-3-1 E#D#C#B#Ab RH asc –WBBW 1-2-3-1 CDbEbFAb LH desc –WBBW 1-2-3-1 CBbAbGg LH desc –WBBW 1-2-3-1 GF#EbDd LH desc –WBBW 1-2-3-1 DC#BbAc# LH desc –WBBW 1-2-3-1 ED#C#B#ab RH asc –WBBW 1-2-3-1 CbDbEbFb Same as Bab LH desc –WBBW 1-2-3-1 CbBbAbGbb RH asc–WBBW 1-2-3-1 CDbEbF Same as Abbb LH desc -WBBW 1-2-3-1 FEbDbC
2. Thumb Under Sequences - WBWW/1-2-3-1 (G LH desc –WBWW 1-2-3-1 GF#EDD LH desc –WBWW 1-2-3-1 DC#BAa LH desc –WBWW 1-2-3-1 AG#FEeRH asc –WBWW 1-2-3-1 EF#GAe LH desc –WBWW 1-2-3-1 ED#CBbRH asc–WBWW 1-2-3-1 BC#DEf RH asc –WBWW 1-2-3-1 CDbEFeb LH desc –WBWW 1-2-3-1 FEbDCb Etude:Work on measure 1 until it is just right. Then, play measures 2-3 in a way that allows you to play m. 1 just the same way as before.(Tip: Not too much lateral arm adjustment when crossing thumb under. Just enough to play last measure easily.)
3. WBBWW/1-2-3-4-1 (f LH desc –WBBWW 1-2-3-4-1 CBbAbGF*B RH asc –WBBBW 1-2-3-4-1 EF#G#ABB LH desc –WBBBW 1-2-3-4-1 BA#G#F#EC# RH asc–WBBBW 1-2-3-4-1 E#F#G#A#B#F# LH desc –WBBBW 1-2-3-4-1-BA#G#F#E#C# LH desc –WBBBW 1-2-3-4-1 B#A#G#F#E#ebRH asc –WBBBW 1-2-3-4-1 FGbAbBbCbeb LH desc –WBBBW 1-2-3-4-1 CbBbAbGbF
4. B Major Octave Scale
5. F# Major Octave Scale
6. C# Major Octave Scale
7. Fingering
8. Enslavement to Notation
9. Thumb Under Sequences: WWWBW/1-2-3-4-1 (G RH asc –WWWBW 1-2-3-4-1 CDEF#GD RH asc –WWWBW 1-2-3-4-1 GABC#DF RH asc –WWWBW 1-2-3-4-1 FGABbCBb RH asc –WWWBW 1-2-3-4-1 FGABbCBb LH desc –WWWBW 1-2-3-4-1 AGFEbDa RH asc –WWWBW 1-2-3-4-1 DEFG#A With minor 3rd(har. minor)e RH asc –WWWBW 1-2-3-4-1 ABCD#E With minor 3rd(har. minor)e LH desc –WWWBW 1-2-3-4-1 BAGF#E
10. Thumb Under Sequences: WWBBW/1-2-3-4-1 (A RH asc –WWBBW 1-2-3-4-1 DEF#G#AE RH asc –WWBBW 1-2-3-4-1 ABC#D#EE LH desc –WWBBW 1-2-3-4-1 BAG#F#EEb RH asc –WWBBW 1-2-3-4-1 FGAbBbC (Same as Ab Major)Eb LH desc –WWBBW 1-2-3-4-1 DCBbAbGAb RH asc –WWBBW 1-2-3-4-1 FGAbBbCAb LH desc –WWBBW 1-2-3-4-1 GFEbDbCd RH asc –WWBBW 1-2-3-4-1 GABbC#D With minor 3rd(har. minor)g RH asc –WWBBW 1-2-3-4-1 CDEbF#G f RH asc –WWBBW 1-2-3-4-1 FGAbBbCf# RH asc –WWBBW 1-2-3-4-1 DE#F#G#Af# LH desc –WWBBW 1-2-3-4-1 BAG#F#E#c# RH asc –WWBBW 1-2-3-4-1 AB#C#D#Ec# LH desc –WWBBW 1-2-3-4-1 B#AG#F#Eab RH asc –WWBBW 1-2-3-4-1 FbGAbBbCbab LH desc –WWBBW 1-2-3-4-1 GFbEbDbCb

Rhythm:

Functional Theory

BluePrint:
Building Major Scales
Unit 2 – G Major

Key signature (1 sharp)
Leading tone concept
I and V

Technic: B Major Scale

– Primary Triads

I, IV, V in C major
Chord tones vs passing tones

Harmonic Minor

Raised 7th concept
V in

Transposition (Simple)

Transpose 5-finger patterns
Read by interval, move by pattern

Basic Cadence Awareness

Authentic vs half cadence (by ear only)
Scales and Chords Hands Separate (6 scales – C,G,F,a,e,d)
Contrary Motion C Hands Together
Chromatic Starting on C

Repertoire:
Daniel Gottlob Turk – Arioso
Diabelli – Allegretto in C (No. 3 from Die ersten 12 Lectionen, Op. 125)
Clarke – King William’s March
Reinagle – Minuet (No. 10 from 24 Short and Easy Pieces)
W.A. Mozart – Minuet in C, K. 6
Minuetto in C Major, op. 37, lesson 2
James Hook

Minuet in F Major
attr. Leopold Mozart

Playing, op. 39, no. 5
Dmitri Kabalevsky – staccatos – interd of hands.

Easier Repertoire:

Wind Through Grass
The Long Meadow
River Balance
Stone and Water
The Standing Pine
Quiet Stream
Light on Water
Horizon Wind

"Terrain" pieces for Major Scales (1 black key, 2) ... could start these in previous book

Improvisation and/or Rote:

Layered Listening:

Book 3B

Interval Quality (M/m 3rd)

intervals (min or Maj 3rd), chords (Major or minor Triad), playback (Keys C,G, a – starting note tonic or dominant)

Major / Minor 3rds

melodic dictation

Technique:
Unit 1. Interdependence of Hands: Tonal Quality and Volume
2. Thumb Under Sequences: WWBWW/1-2-3-4-1
3. Thumb Under Sequences: WWWW/1-2-3-1
4. Thumb Under Sequences: WWWWW/1-2-3-4-1
5. D and A Major Octave Scale
6. E Major Octave Scale
7. G Major Scale
8. C Major Scale
9. F Major Scale
10. Legato Leaps

Rhythm:
clap back (3/4, 4/4),

rhythmic dictation

Functional Theory

BluePrint:
Discovery of pitch and notation concepts including: • accidentals, half steps, whole steps • intervals (size only) • scales and key signatures (G major and F major) • introduction to melody writing and guided listening

Scales and Chords Hands Separate (6 scales – C,G,F,a,e,d)
Contrary Motion C Hands Together
Chromatic Starting on C

Functional literacy in C, G, F, a, e, d

– Key Signatures 1 sharp/flat review

Major/minor triads (root position)

Sight-reading strategy

Simple melodic writing (4 measures)

Unit 1 – Interval Quality (M/m 3rd)
(Introduce Circle of 5ths through sound first, not diagram):
When teaching:
G major (1 sharp)
F major (1 flat)
Simply say:
“These keys are neighbors.”
No circle drawing yet

Repertoire:
Minuet in C Major, op. 38, no. 4
Johann Wilhelm Hässler

Bourrée in D Minor
Christoph Graupner

Burlesque in G Major
Anonymous

German Dance in D Major, Hob. IX:22, no. 2
Franz Joseph Haydn
Minuet in D Minor
Anonymous
Ukrainian Folk Song, op. 107, no. 3
Ludwig van Beethoven
Waltz, op. 39, no. 13
Dmitri Kabalevsky
Etude in C Major, op. 125, no. 3
Anton Diabelli
Scherzo, op. 39, no. 12
Dmitri Kabalevsky

Easier Repertoire:
Contrary motion concept piece

Improvisation and/or Rote:

Layered Listening:

Book 4A

Ear-Tests: ¾, 4/4; Intervals (m3, M3, P5); Chords (M,m triads Root Position);
Playback: G, F, d (starting note tonic or dominant)

Solfege - or with scale degree names

Playback + dictation patterns

melodic dictation

Technique:
1. F Harmonic Minor Scale
2. Grouping Densities of Notes
3. D Harmonic Minor Scale
4. A Harmonic Minor Scale
5. E Harmonic Minor Scale
6. Walking Hand and Arm for Arpeggios (Thumb Under) - D, A, E Major
7. Staccato Leaps
7. G Harmonic Minor Scale
8. C Harmonic Minor Scale
9. Interdependence for Polyrhythms
10. Grouping for ---:

Rhythm:
rhythmic dictation

Functional Theory

BluePrint:
Harmonic vs melodic minor

New concepts include: • major and minor keys with one sharp or flat • application of time signatures, bar lines, rests • the harmonic minor scale • chord symbols for tonic triads

Scales (HS G, F, Bb, e,d,g – harmonic and melodic) Chords (broken and solid) same keys
Formula Pattern (C, G) HT
Chromatic on G

Keys with 1 sharp/flat
Roman numerals
Dominant function

Introduce:
Unit suggestion:
PIM 5 — Unit 6
Show a half-circle:
C → G → D
C → F → B♭
Explain:
Each step adds one sharp or one flat.
Keep it linear.

Unit 2 – One sharp/flat minor keys

Roman numerals (I, IV, V)

Scale degree names

Simple harmonic analysis

Playback + dictation patterns

Repertoire:
Entrée in A Minor
Anonymous

Menuet en rondeau (Minuet in Rondo Form)
Jean-Philippe Rameau

Impertinence, HWV 494
George Frideric Handel
Minuet in A Minor, Z 649
Henry Purcell
Minuet in G Major, K 1e
Wolfgang Amadeus Mozart
Allegretto in C Major
Christian Gottlob Neefe

Écossaise in G Major, WoO 23
Ludwig van Beethoven
Canon in A Minor
Cornelius Gurlitt

Etude in F Major, op. 190, no. 27
Christian Louis Heinrich Köhler
Etude in D Minor, op. 82, no. 65
Cornelius Gurlitt
Etude in G Major, op. 166, no. 6
Henri Bertini – slurs interd of hands

Easier Repertoire:

Improvisation and/or Rote:

Layered Listening:

Book 4B

melodic dictation

Rhythm:
rhythmic dictation

Functional Theory

BluePrint:
New concepts include: • major and minor keys up to two sharps or flats • perfect and major intervals • octave transposition • the melodic minor scale • dominant triads

Two sharps/flats + dominant function
PIM 6
Diminished triad (vii°)

– Key signatures up to 2

Perfect vs Major intervals
Major / Minor / Perfect system formalized

Octave transposition

Melodic minor form

Dominant triad function

Basic form: binary/rounded binary

Harmonic reduction exercises

Repertoire:
Minuet in G Minor, BWV Anh. 115
Christian Petzold
7

Musette in D Major, BWV Anh. 126
attr. Johann Sebastian Bach
8

Sonatina in G Major, Anh. 5, no. 1
First Movement
Second Movement
attr. Ludwig van Beethoven
13
At Night on the River, op. 27, no. 4
Dmitri Kabalevsky
23
Etude in D Major, op. 37, no. 17
Henry Lemoine
Arabesque, op. 100, no. 2
Johann Friedrich Burgmüller
Trumpet March, op. 36, no. 53
Aleksandr Gedike – repeated keys, voicing,counting
On Horseback, op. 98, no. 5
Aleksandr Grechaninov

Easier Repertoire:
Trad. English – Parson’s Farewell (from The English Dancing Master)

Schumann – Melodie (No. 1 from Album fur die Jugend, Op. 68)

Improvisation and/or Rote:

Layered Listening:

Book 5

Harmonic dictation basics

Rhythm:
rhythmic dictation

Functional Theory

BluePrint:
New concepts include: • major and minor keys up to three sharps or flats • transposition with change of clef • minor intervals • subdominant triads • writing four-measure melodies

Three sharps/flats + subdominant function

Minor interval quality
Stage 3 — Full Circle Introduced
Introducing Circle of 5ths - PIM 6 (RCM 3)
Now students know:

Two sharps/flats
Dominant relationships
Major/minor pairs

Introduce full circle diagram.
Teach:

Clockwise = add sharps
Counterclockwise = add flats
Relative minors sit inside

Still practical, not theoretical.

Subdominant triad

Writing 4-measure melodies

Clef transposition

Basic modulation awareness

Phrase structure (antecedent/consequent)

Harmonic dictation basics

Repertoire:
Need a romantic type piece – lyrical – pre field chopin
Write a halloween like contemporary piece similar to

Minuet in D Minor, BWV Anh. 132
attr. Johann Sebastian Bach

Sonata in C Minor, K 40
Domenico Scarlatti
Sonatina in G Major, op. 36, no. 2: III
Muzio Clementi
Etude in E Minor, op. 65, no. 42
Carl Albert Loeschhorn (pedaling, expression, line, broken chords)
A Frightening Experience, op. 98, no. 11
Aleksandr Grechaninov – chords repeated - voicing

Dewdrops, op. 33, no. 12
Samuel Maykapar – voicing – alberti – minor key – on black keys in black key area
Ballade, op. 100, no. 15
Johann Friedrich Burgmüller
The Avalanche, op. 45, no. 2
Stephen Heller
Need a romantic type piece – lyrical – pre field chopin
Write a halloween like contemporary piece similar to
Sonatina in G Major, op. 66, no. 3: I
Heinrich Lichner

Easier Repertoire:
Etude in C Major
Félix Le Couppey

Morning Greeting, op. 117, no. 13
Cornelius Gurlitt
Both Ways
Alexandre Tansman
Conversation No. 3
Béla Bartók
Andante in G Minor
Georg Philipp Telemann
High Spirits
Daniel Gottlob Türk

Improvisation and/or Rote:

Layered Listening:

Book 8

melodic and harmonic dictation

Rhythm:
rhythmic dictation

Functional Theory

BluePrint:
Summative review of Preparatory–Level 4 New concepts include: • major and minor keys up to four sharps or flats • triad inversions and dominant 7th chords • expanded melody writing • analysis through repertoire exploration • practice exam questions

Four sharps/flats + inversions

Unit 1:
Basic Concept(s):
Unit 1 – Triad inversions
PIM 8
Fully diminished 7th (vii°7)

Dominant 7th

Expanded melody writing

Formal analysis

Harmonic progressions

Secondary dominants intro (light)

Practice exam style integration

Repertoire:
Little Prelude in C Major, BWV 939
Johann Sebastian Bach

Sonata in D Minor, K 34
Domenico Scarlatti
Sonatina in G Major, op. 168, no. 2: I
Anton Diabelli
Sonatina in C Major, op. 36, no. 3: III
Muzio Clementi – perhaps do in complete
Polka, op. 39, no. 10
Pyotr Il’yich Tchaikovsky
Prelude, op. 39, no. 19
Dmitri Kabalevsky (staccato vs legato)
Harmony of the Angels, op. 100, no. 21
Johann Friedrich Burgmüller

Easier Repertoire:
Slovakian Folk Tune in E Minor
Béla Bartók – good for piece in later level

Imitation and Counterpoint #23 Microcosmos Book 1 - Bela Bartok

Allegro in C Major, op. 38, no. 8
Johann Wilhelm Hässler – good for easy piece later book
The Little Juggler, op. 89, no. 21
Dmitri Kabalevsky – good for leaps later book

Improvisation and/or Rote:

Layered Listening:
Imitation and Counterpoint #23 Microcosmos - Bela Bartok (als in Easier Repertoire)

Book 9

augmented and diminished intervals •

ii–V–I

Half-diminished 7th (viiø7)
Dominant etc. - different 7th chords

Authentic vs half cadences

melodic and harmonic dictation

Rhythm:
Compound meter (6/8

rhythmic dictation

Functional Theory

BluePrint:
New concepts include: • double sharp and flat • transposition of major key melodies up by any interval • compound meter • augmented and diminished intervals • identification of half and authentic cadences • introduction to Baroque and Classical style

Double sharps/flats
Circle of 5ths
Stage 4 — Functional Circle
PIM 8–9
Now use it to teach:

Key relationships
Modulation
Secondary dominants
ii–V–I patterns
Fifth progressions in repertoire

Now it becomes harmonic architecture.

PIM 9
Half-diminished 7th (viiø7)

Augmented/diminished intervals
)

Transposition by interval

Style periods intro

Authentic vs half cadences

Harmonic analysis in repertoire

Repertoire:
Sarabande in D Minor
George Frideric Handel

Sonatina in A Minor
Georg Anton Benda
As Swift as a Deer
Daniel Gottlob Türk
Waltz in A Minor, op. posth., B 150
Frédéric Chopin
Of Foreign Lands and Peoples (Von fremden Ländern und Menschen), op. 15, no. 1
Robert Schumann
Etude in E Minor, op. 29, no. 14
Henri Bertini
Modern - add contrapuntal invention
impressionistic
jazz

Easier Repertoire:
Pastourelle Bela Bartok (Microcosmos Book 1)
Andantino in A Major, op. 38, no. 31
Johann Wilhelm Hässler – miniature for later book
22
A New Irish Tune
Henry Purcell – dotted rhythms, ornaments, legato, phrasing – miniature for later book
11
Sonatina in A Minor, op. 94, no. 4
First Movement
Albert Biehl – miniature for later book
18
Sonatina in F Major, op. 257, no. 2
Fourth Movement: Finale
Théodore Lack – miniature for later book
20

Improvisation and/or Rote:

Layered Listening:
Pastourelle Bela Bartok (Microcosmos Book 1) - Easier Repertoire

Book 10

Augmented/diminished triads

melodic and harmonic dictation

Rhythm:
rhythmic dictation

Functional Theory

BluePrint:
New concepts include: • transposition to any key, up or down • inversion of intervals • chromatic, whole-tone, octatonic, pentatonic, blues scales • diminished, augmented triads; diminished 7th chord • melody writing in minor keys • introduction to Romantic and Modern eras
PIM 10 (RCM 7 Equivalent)
Goal: Modal + scale expansion

Unit 1:
Basic Concept(s):
Unit 1 – Modal scales
PIM 10+
Enharmonic reinterpretation + modulation use

Whole tone, pentatonic, blues

Inversion of intervals

Augmented/diminished triads

Minor key melody writing

Romantic harmony intro

Form analysis (ternary, rondo)

Repertoire:
PERHAPS a piece similar to Mendelssohn SWOW for VOICING of top note chords – singing line, lyrical chords. But in jazz/contemporary style.

Invention No. 8 in F Major, BWV 779
Johann Sebastian Bach

Allemande in E flat Major
Johann Sebastian Bach
Für Elise, WoO 59
Ludwig van Beethoven
Sonatina in A Minor, op. 88, no. 3: I (or do all mvts)
Friedrich Kuhlau
Rondo–Toccata, op. 60, no. 4
Dmitri Kabalevsky
Waltz in B Minor, op. 18, D 145, no. 6
Franz Schubert
Lullaby, op. 109, no. 7
Johann Friedrich Burgmüller

Easier Repertoire:
Imitation and Inversion Microcosmos #25 Bela Bartok (also in easier rep)

Etude in G Major, op. 108, no. 19
Ludvig Schytte – lh passagework, easier piece for later book
Sonatina in C Major, op. 4, no. 1
Samuel Wesley

Sonatina in F Major, op. 168, no. 1: I
Anton Diabelli
Etude in C Major, op. 65, no. 5
Theodor Kirchner – leaps and lots of stuff
Harlequinade
Johann Ludwig Krebs – for later book – navigating into black key area and other things
5

Improvisation and/or Rote:

Layered Listening:
Imitation and Inversion Microcosmos #25 Bela Bartok (also in easier rep)

Book 11

melodic and harmonic dictation

Rhythm:
rhythmic dictation

Functional Theory

BluePrint:
New concepts include: • alto and tenor clefs • transposition to concert pitch; score types • hybrid meters • compound intervals • triads built on any scale degree • cluster, quartal, and polychords • introduction to Medieval, Renaissance, and world music

goal = advanced tonal harmony

Alto/Tenor clef intro

Extended chords

Hybrid meters

Quartal clusters

Medieval/Renaissance styles

Counterpoint basics

Harmonic reduction

Repertoire:
Invention No. 14 in B flat Major, BWV 785
Johann Sebastian Bach

Solfeggio in C Minor, Wq 117/2, H 220
Carl Philipp Emanuel Bach
Sonatina
Op. 55 No. 3 (C major – opening parallel intervals – fun)

Friedrich Kuhlau
Waltz in B Minor, op. posth. 69, no. 2
Frédéric Chopin
Nocturne in B flat Major, H 37
John Field
The Little Shepherd
Claude Debussy
The Storm, op. 109, no. 13
Johann Friedrich Burgmüller

Easier Repertoire:
Fantasia in E flat Major, TWV 33:35: 2nd Section
Georg Philipp Telemann
Allegro moderato in F Major
Leopold Mozart
Lyric Piece, op. 27, no. 16
Dmitri Kabalevsky
Etude in C Major, op. 718, no. 7
Carl Czerny

Improvisation and/or Rote:

Layered Listening:

Book 12

Advanced dictation

WHA
Bound Intervals

Rhythm:
Advanced dictation

Functional Theory

BluePrint:
Goal: Advanced analysis + chromatic harmony

Secondary dominants

Neapolitan & modal mixture intro

Full harmonic reduction
Modulation analysis

Formal analysis (sonata-allegro)

Romantic harmony texture

Advanced dictation

Full harmonic reduction

Repertoire:
Sinfonia No. 10 in G Major, BWV 796
Johann Sebastian Bach
Suite in B flat Major, HWV 434: Aria con variazioni
George Frideric Handel
Sonata in F Major, Hob. XVI:23
Franz Joseph Haydn
Nocturne in E flat Major, op. 9, no 2
Frédéric Chopin
Grillen, op. 12, no. 4
Robert Schumann

Notturno
Grieg
Tarentelle, op. 77, no. 6 (d minor)
Moritz Moszkowski
Valse romantique
Claude Debussy
Intermezzo No. 1 (e minor)
Manuel Ponce
Atraente
Francisca (Chiquinha) Gonzaga
Idylle, op. 24, no. 6
Agathe Backer Grøndahl

Johann Baptist Cramer – Etude in B flat Major, op. 30, no. 37 (bound intervals – slurs, interdependence of hands) very good piece for technic .. triggering

Easier Repertoire:
Johann Baptist Cramer – Etude in B flat Major, op. 30, no. 37 (bound intervals – slurs, interdependence of hands) very good piece for technic .. triggering
Polonaise in G Minor, BWV Anh. 119
attr. Johann Sebastian Bach – do in later book for miniature
9

Solfeggio in D Major
Johann Christoph Friedrich Bach
Sonata in B flat Major, K 440
Domenico Scarlatti

Improvisation and/or Rote:🌊 Buoyancy / Floating WeightThese align most directly with your buoy metaphor.

The Floating Buoy
Buoyancy
Gentle Buoyancy
The Red Buoy
Buoy in the Current
The Floating Marker
Tide Buoy
Harbor Buoy
The Listening Buoy

⭐ “Buoy in the Current” feels especially musical.

🚶 Walking / Traveling MotionThese evoke the walking transfer from key to key.

River Crossing
Stepping Stones
The Long Crossing
Quiet Footsteps
The Narrow Bridge
The Traveler’s Path
The Crossing
The Steady Walk
The Long Walk

⭐ “Stepping Stones” is perfect pedagogically.

Etudes for WHA Bound Intervals (Cramer piece if add):

Layered Listening:

Book 13

Functional Theory

Pre-college fluency

Advanced chromatic harmony

Fugue structure

Thematic transformation

Advanced modulation

Extended tertian harmony

20th-century harmony systems

Independent score analysis

Repertoire:
Prelude and Fugue in G Major, BWV 884
Johann Sebastian Bach

Franz Joseph Haydn
Piano Sonata in E minor, Hob. XVI:34

Prelude in C sharp Minor, op. 45
Frédéric Chopin

Des Abends Phantasiestucke Op.12, No. 1 (Le Soir - Evening)
Robert Schumann

Preludes Book 1 - Claude Debussy Minstrels

Hungarian, op. 39, no. 12
Edward MacDowell

Prokofiev: Pas de deux

Samuel Barber (still copyrighted?)

Six Dances in Bulgarian Rhythm: No 2, No. 4
Mozskowski - Tarantelle
Béla Bartók
Nocturne
Sophie-Carmen Eckhardt-Gramatté

Easier Repertoire:
Mélodie, op. 4, no. 2
Fanny Hensel

The Spruce, op. 75, no. 5
Jean Sibelius
Sonata in B flat Major, C 27
Domenico Cimarosa
Sonata in G Minor, op. 49, no. 1: I
Ludwig van Beethoven
Sonatina in G Major, op. 19/20, no. 1: I
Jan Ladislav Dussek

Improvisation and/or Rote:

Layered Listening:

Rotation: The Foundation of EverythingRotation is often called the “mother of all movements.”
It is the most important motion for creating playing that feels aligned, coordinated, fluid, natural—and free from tension or pain.
Without rotation, true technical freedom cannot develop.

Why Rotation MattersRotation is the first step in building an efficient technique.
It is what allows all the other movements—like in-and-out, shaping, and walking hand and arm—to work together.
When rotation is learned correctly, used in small amounts, and combined with the other motions, everything begins to feel like one unified system.
This is what we call technique.
Interestingly, many child prodigies use rotation naturally—they don’t think about it, but their bodies instinctively move this way.

A Common MisunderstandingTraditionally, pianists have often been taught to move from finger to finger by:

lifting a finger
stretching it sideways to reach the next key

For example, after the 2nd finger plays, the 3rd finger lifts and reaches over to the next key.
Even though this seems like a small movement, it actually creates stretching and tension.

What Actually HappensInstead of stretching the fingers, the movement should come from the forearm.
Rotation is a gentle turning motion of the forearm that:

moves the hand from one finger to the next
keeps the fingers relaxed and naturally curved
avoids stretching and strain

The fingers don’t reach—the arm brings them into place.

The Big IdeaRotation allows you to move across the keyboard:

smoothly
efficiently
without unnecessary effort

It connects the fingers, hand, and arm into one coordinated unit.
When this happens, playing begins to feel:

lighter
faster
more controlled
and far more comfortable

The GoalRotation is not a large or exaggerated movement.
It is:

small
subtle
and always working together with other motions

It takes time to fully understand, because many small details matter—but once it is learned and integrated, it becomes the foundation of everything you do at the piano.

FINGERING:
When beginning a new piece, accomplished pianists don’t simply play the notes—they carefully design how those notes will be executed. Fingering is chosen with great care from the very start, forming the foundation of a well-coordinated performance. I once heard pianist Christopher O’Riley remark in a masterclass that his score was so covered with revised fingerings it looked like planes circling LaGuardia—an apt image for the trial-and-error process pianists often go through. A fingering may seem workable at first, only to be replaced later by one that feels more natural and produces more reliable results. Ultimately, fingering is a process of discovery: what works best in the body and delivers consistency over time.
But why does fingering matter so much? Because it is the starting point of choreography at the piano. Poor fingering leads to awkward, inefficient movement—often resulting in technical limitations that no amount of repetition can fix. In contrast, well-chosen fingering is quickly absorbed and retained by the hands. It minimizes unnecessary motion, avoids strain from twisting or stretching, and supports the principles of alignment and coordination that make playing feel effortless and free.
For this reason, fingering should never be followed blindly. While the notes, rhythm, and musical markings in a score deserve careful attention, fingering suggestions are not absolute. If a printed fingering feels uncomfortable, causes tension, or interferes with ease of movement, it should be reconsidered. Thoughtful fingering is personal, flexible, and guided by the goal of achieving both comfort and control. In the following video, we’ll explore the key factors that inform these decision.

Chopin often began with the B major scale because it naturally places the hand in a comfortable position: the thumb and 5th finger on white keys, and the 2nd–4th fingers on black keys, where the keys are lighter and easier to play.
If staying on white keys causes stretching, shift the hand so the thumb and 5th finger can also play on black keys.
Choose fingerings that avoid stretching by using the hand’s natural span—often achieved by involving the thumb alongside other fingers
Avoid crowding fingers into small spaces; choose fingerings that allow for comfortable spacing
Never use fingering that causes twisting of the hand.
When possible, divide passages between the hands to reduce strain and stretching
If a passage is written with crossed hands, consider uncrossing them if it improves ease and control.
Don’t rely on traditional habits like always starting with the thumb or ending with the 5th finger—choose what works best for the passage.
Similar-looking passages may require different fingerings if key patterns or distances change; adjust accordingly.
While one fingering often works for most hands, adjustments may be needed for smaller hands or different finger spans.

IN AND OUT
LECTURE VERSION:
As Schumann reminded us in a previous unit, pianists often make the mistake of thinking that the fingers alone are responsible for moving from key to key, pressing, and holding the keys down. What we see is finger motion—but that is only the tip of the iceberg. Beneath it lies a largely invisible system of coordinated movements in the hand and forearm.
On their own, the fingers do not have enough weight to overcome the resistance of the keys. When supported by the hand and forearm, however, they gain the necessary weight, and the feeling of heaviness disappears—whether playing on white keys or black keys.
In essence, the forearm is responsible for moving across the keyboard—right and left, in toward the black keys, and out toward the white keys—so the fingers can simply drop into the keys freely, without distorting the natural shape of the hand or disrupting alignment.
One essential but often overlooked movement is the “in-and-out” motion. This refers to the movement of the entire arm (from fingers to shoulder) inward (toward the fallboard) and outward (toward the body). It is initiated by the forearm, with the upper arm following.
These motions are essential for three reasons:

They eliminate twisting when shorter fingers (thumb and 5th) play black keys. Without moving inward, the hand must twist to reach, breaking alignment and potentially causing strain or injury.
They prevent the longer fingers (2nd–4th) from curling when moving outward from black keys to white keys, or when staying in the white key area.
They accommodate differences in finger length, allowing smooth transitions between short and long fingers.

Many pianists avoid the black key area for two main reasons:
First, keys feel heavier closer to the fallboard due to reduced leverage.
Second, the narrower spacing can make the fingers feel crowded or pulled apart.
In-and-out motion solves both problems. By bringing the forearm’s weight into the keys, heaviness disappears, and playing in the black key area feels as light as in the white key area. At the same time, the hand is positioned so the fingers fit comfortably between the black keys.
Moving between white and black keysWhen approaching the black keys, pianists often wait until the last moment, forcing the hand to twist—especially when the thumb is involved. Instead, the arm should move inward in advance, bringing the hand into position so the thumb can play without distortion. These motions should be small and gradual; exaggerated movements lead to fatigue in the shoulder and neck.
In-and-out motion in the white key areaWithout in-and-out motion, two common problems arise:

The fingers curl to stay on the white keys
The hand twists to avoid entering the black key area

Both stem from the false belief that the fingers alone must navigate the keyboard. In reality, the forearm adjusts the hand’s position, allowing the fingers to maintain their natural curve and avoid both curling and twisting.
In-and-out motion in the black key areaThese motions are equally important in the black key area. They allow the arm to balance over each finger, reduce the sense of heaviness, and prevent the feeling of being cramped between keys. Combined with rotation, they create more space between the fingers and eliminate the sensation of being pulled apart.
Timing with rotationIn-and-out motion must be coordinated with rotation. The inward or outward movement should occur with the playing phase of the rotation—not the preparatory phase. Otherwise, the hand will twist or the fingers will curl.
Neither the finger that has just played nor the one about to play should slide into position. Instead, the forearm brings the hand close to the key so the finger can drop directly downward—just as in walking, where the foot lifts and places rather than slides.
When these movements are properly coordinated, each motion supports the others, and the overall effect feels effortless, with very little visible movement.
In a later unit, we will explore forward and backward motion before introducing the concept of shaping.
STUDENT VERSION:The Hidden Work Behind Your FingersIt may look like your fingers are doing all the work at the piano—but they’re not.
What you see (fingers moving) is only the tip of the iceberg. Underneath, your hand and forearm are doing most of the important work.
On their own, your fingers are actually too weak to press the keys easily. But when they are supported by the weight of your hand and forearm, the keys feel much lighter and easier to play—on both white keys and black keys.
So instead of your fingers “reaching” for notes, your arm moves your hand into place, and your fingers simply drop into the keys.
What is “In-and-Out” Motion?One important movement many pianists miss is called in-and-out motion.

“In” = moving your arm slightly forward (toward the fallboard / black keys)
“Out” = moving your arm slightly back (toward your body / white keys)

This movement starts in your forearm and includes your whole arm.
Why is this important?In-and-out motion helps you:
1. Avoid twisting
If your thumb or 5th finger has to play a black key, your arm should move “in” so your hand stays aligned.
Otherwise, your hand twists—which can cause tension and even pain.
2. Avoid finger curling
Without this motion, your longer fingers (2–3–4) may curl or collapse when moving between keys.
In-and-out motion keeps your fingers in their natural shape.
3. Fit your hand comfortably on the keyboard
Your fingers are all different lengths. This motion helps your hand adjust so everything feels balanced and easy.
Why do black keys feel harder?Many students avoid the black key area because:

The keys can feel heavier closer to the fallboard
The space feels tighter and more crowded

But with proper in-and-out motion, both of these problems disappear. The keys feel lighter, and your fingers fit more comfortably between them.
Moving into the black keysA common mistake is waiting until the last second to move into the black keys.
Instead, move your arm “in” early, so your hand is already in position.
This prevents twisting—especially when the thumb plays a black key.
Keep the motion small and smooth—not big or forced.

What about white keys?Even when playing only white keys, in-and-out motion is still important.
Without it, two problems happen:

Fingers curl to stay on the white keys
The hand twists to avoid the black key area

Instead, let your arm adjust your position, so your fingers can stay naturally curved and relaxed.
No sliding!Your fingers should not slide along the keys to find their place.
Instead, your arm brings your hand close to the right spot, and your finger simply drops down into the key—like placing your foot when you walk.

The Big Idea: Your fingers don’t do this alone.
Your arm guides, your hand positions, and your fingers release into the keys.
When everything works together, playing feels easier, lighter, and more natural—and there’s much less tension.
In the next lesson, we’ll look at another important movement that works together with this one.

FORWARD/BACKWARD MOVEMENT:
In the last unit, we learned about in-and-out motion. A closely related movement is called forward-and-backward motion.
Sometimes called a "forward shift" or "backward shift", this is less about traveling and more about adjusting the forearm so it is balanced behind each finger. The finger stays in place—the arm simply shifts slightly to support it.

What does this look like?Forward movement:
If the shorter 5th finger plays G and the longer 4th finger is about to play F♯, the forearm moves slightly forward. This small adjustment brings the arm’s weight behind the longer finger so it can play easily.
Backward movement:
If the 4th finger plays F♯ and the shorter 5th finger is next on G, the forearm moves slightly backward. This supports the shorter finger without forcing it to reach.

The key ideaThis is not a large motion—it’s a subtle balancing adjustment.
The goal is always the same:
each finger feels supported by the arm.

Why it mattersWhen combined with:

rotation
walking hand-and-arm
in-and-out motion

these small adjustments give you the power to:

overcome key resistance
play easily in both white and black key areas
produce a wider range of tone and color

In the next unit, we’ll apply these ideas to the B major scale and explore another important element of effortless playing.

At the Taubman Symposiums, a wonderful teacher, Nina Scolnick, introduced “shaping” using a beautiful image of a flower. It was the perfect metaphor—because shaping brings a sense of roundness, beauty, and ease to piano playing.
Shaping is the fourth fundamental motion, and it completes and refines all the others. It softens what might otherwise feel angular, turning movement into something more curved and natural.

What is shaping?Before defining it, think of a connect-the-dots drawing.
As you play, your forearm constantly adjusts—slightly forward or back, slightly in or out, slightly higher or lower—to stay balanced behind each finger. If you could mark each of these balance points and connect them, you would see a series of small arches or gentle curves—often more like an ellipse than a big rainbow.
That pathway is what we call shaping.
So rather than being a separate motion, shaping is the resulting path the hand and forearm follow as they move from note to note in a coordinated way.

What shaping is NOTShaping is often misunderstood.
It is not:

Making large circles with the arms
Moving from the elbow in exaggerated motions
Lifting or dropping the wrist dramatically

Sometimes pianists are told to “paint circles in the air” with their elbows or wrists. These movements are often large, disconnected from the needs of the fingers, and push the arm into extreme ranges. This breaks alignment and can lead to tension, fatigue, or even injury.
In coordinated technique, movements stay in a comfortable mid-range—never at the extremes.
Shaping is also sometimes used to describe musical phrasing or dynamics. While that is important artistically, here we are focusing on shaping as a physical, technical concept.

Shaping in coordinated techniqueIn healthy piano playing, shaping is:

A small, curved (not flat) pathway
Created by subtle forearm adjustments
Different for every passage

The forearm and hand move slightly higher and lower as needed, always staying balanced behind the finger that is playing. These motions are small, gradual, and efficient.

Why shaping mattersWhen done correctly, shaping:

Works together with rotation, in-and-out, and walking hand-and-arm
Keeps everything aligned and coordinated
Reduces effort and unnecessary motion
Increases speed, control, and ease
Creates a more natural, musical line

It brings all the movements together under one unified, flowing system.

Staying in balanceThere are limits to shaping.

If the arm lifts too high, it loses contact with the fingers and cannot support them
If it drops too low, the weight falls back toward the body, and the wrist may collapse

Both situations break alignment and can cause discomfort or injury.
The goal is always the same:
the forearm remains balanced behind the playing finger.

In the next unit, we’ll explore how different shapes are formed—and the science behind the “magic” of shaping.

ShapingEven advanced pianists can get “stuck” in a passage—not because of lack of practice, but because the wrong shape was used. For example, an overshape might be used where an undershape is needed.
Several factors determine the correct shape:

the combination of long and short fingers
in-and-out motion
black and white key patterns
direction of the passage
fingering choices

What is an overshape?An overshape forms a gentle “up-and-down wave” of the forearm.
For example, in the right hand descending from B → A♯ → G♯ → F♯ → E:

5th finger (short) to 4th finger (longer) → forearm moves slightly up
4th to 3rd (longer again) → slightly up
3rd to 2nd (shorter) → slightly down
2nd to thumb (shortest, and onto a white key) → slightly down

This creates a smooth wave: up, up, down, down — an overshape.
The same pattern in reverse (ascending) also produces an overshape.

What is an undershape?An undershape is the opposite kind of wave.
For example, ascending on white keys from C → D → E → F → G:

thumb to 2nd finger → slightly down
2nd to 3rd → slightly down
3rd to 4th → slightly up
4th to 5th → slightly up

This creates: down, down, up, up — an undershape.

Important ideas about shaping

Usually, only one shape works best
Most passages have a “correct” shape. (An exception is five notes on white keys, where more than one option may work.)
Shape depends on context
Even small changes in notes, fingering, or direction can change the shape. Passages that look similar may not use the same shape.
Shaping continues through everything
It happens not only between notes, but also over long notes and rests.
It works with rotation
Shaping always coordinates with the playing phase (second part) of rotation.
Shapes connect seamlessly
The last note of one shape becomes the first note of the next—there are no breaks.
Use just enough
Too little shaping feels awkward and effortful.
Too much shaping becomes exaggerated and can interfere with other movements.

The goalWhen the shape is correct, everything feels:

comfortable
secure
natural

If something feels difficult or unstable, it’s often a sign that the shape needs to be adjusted.

Size of the ShapeTo shape correctly, it’s important to know where the highest or lowest point of the shape occurs.
For both overshapes and undershapes, the peak (or lowest point) is usually in the middle of the group of notes:

5 notes → highest/lowest point is on the 3rd note
4 notes → highest/lowest point is between the 2nd and 3rd notes

Important exceptionThere is one key exception:
When crossing the thumb

(right hand ascending or left hand descending),

the high point comes just before the thumb crosses, helping the thumb move easily into position.

A note about undershapesWith undershapes, the lowest point is also in the middle—but be careful not to drop too low, or alignment will be lost.

Shape size depends on the passageNot all shapes look the same.

Large distances (big leaps):
→ require more rotation and arm movement
→ but smaller, flatter shaping
Small distances (like scales):
→ shaping is more visible and rounded

In other words, the proportions change depending on the passage. All the motions—shaping, rotation, in-and-out, and walking arm—work together, each contributing just enough as needed.

The musical “magic” of shapingShaping doesn’t just make playing easier—it transforms the sound.
The slight rising and falling of the arm changes how weight and speed enter the key, allowing you to:

control tone more precisely
create natural dynamic shaping
bring life and direction to every phrase

Passages that once sounded flat or mechanical begin to feel alive, expressive, and connected.