Piano Safari® Technique Book 2

Teacher Guide
Table of Contents

Title UNIT TYPE TEACHER

GUIDE PAGE
NUMBER

Overview of Piano Safari® Level 2 1

Introduction to Technique Book 2 2

Kangaroo Unit 1 Five-Finger Patterns 4

Repeated Notes

Grasshoppers Unit 1 Special Exercise 5

Staccato

Tall Giraffe Unit 1 Triads 6

Non Legato

Moonwalk Unit 1 Special Exercise 7

Double 3rds Non Legato

Tree Frog Unit 2 Five-Finger Patterns 8

Legato with Arm Bounce

Spinning Galaxies Unit 2 Special Exercise 9

Circular Motion

Triad Sandwiches Unit 2 Triads 10

Building Triads

Soaring Baby Birds Unit 2 Special Exercise 11

Down-Up in Two-Note Slurs

Tree Frog & Grasshopper Unit 3 Five-Finger Patterns 12

Legato and Staccato

Lion Paw Fifths Unit 3 Special Exercise 13

Repeated 5ths

Harp Arpeggios Unit 3 Triads 14

Cross-Hand Arpeggios

Dolphin Leaps Unit 3 Special Exercise 15

Leaping Intervals
 Title UNIT TYPE TEACHER
GUIDE PAGE
NUMBER

Zechariah Zebra Unit 4 Five-Finger Patterns 16

Fast Repeated Notes

Monkey Swinging in a Tree Unit 4 Special Exercise 17

Rotation

Leaping Gazelles Unit 4 Triads 18

Shifting by Octave

Scale Snake 1 2 Unit 4 Special Exercise 19

Scale Preparation

Spider Webs Unit 5 Five-Finger Patterns 20

Mixed Articulations

Pouncing Tiger Waltz Unit 5 Special Exercise 21

Repeated 5ths and Finger Action

Triad Cha Cha Cha Unit 5 Triads 22

Staccato in Repeated Triads

Scale Snake 1 2 3 Unit 5 Special Exercise 23

Scale Preparation

Chameleon Unit 6 Five-Finger Patterns 24

Major-Minor Shift

Scale Snake 1 2 3 4 Unit 6 Special Exercise 25

Scale Preparation

Sprouting Sunflowers Unit 6 Triads 26

Three-Note Slur Triads

Inchworm Unit 6 Special Exercise 27

Chord Progression Preparation

The six units in Piano Safari® Technique Book 2 correlate with the six units in Piano Safari®
Repertoire Book 2.

Piano Safari® Technique Book 2 can also be used to supplement any standard piano
method.
 Piano Safari® Level 2

Piano Safari® Level 2 consists of: For additional teaching resources, including
Videos and Essays, visit www.pianosafari.com.

Repertoire Book 2

• Reading Pieces
• Rote Pieces
• Challenge Pieces
• Improvisation Pieces
• Musicianship (Theory)

Technique Book 2

• Five-Finger Patterns
• Triads
• Special Exercises

Sight Reading & Rhythm

Cards for Book 2 Listening CD for Book 2

• Reading Exercises • Rote Pieces

• Rhythm Exercises • Challenge Pieces

1
 Types of Exercises in Piano Safari® Technique Book 2

Type of Exercise Purpose How Students Learn

the Exercise

Five-Finger • Learn multi-key in major and minor • Imitate the teacher

Patterns positions beginning on white keys
• Reference to the
• Practice five-finger patterns in a variety score to detect patterns
of rhythms and coordinations

• Play multiple iterations of the same keys

in order to solidify knowledge of the
patterns of major and minor white keys

Triads • Play triads in major and minor white keys • Imitate the teacher

• Practice triads in a variety of rhythms • Reference to the

and coordinations score to detect patterns

Special Exercises • Learn choreographed motions and • Imitate the teacher

common patterns
• Reference to the
• Develop confidence and coordination score to detect patterns
in keyboard topography

2
 Assignments in Technique Book 2

• At the lesson, the teacher should put a mark in the Assigned Box for the items the student is to
practice that week. Several items in a unit may be assigned each week.

KEY C G D A

ASSIGNED

MASTERED

• The exercises are to be taught by rote, with the student imitating the teacher’s notes, rhythms,
motions, and sound. The student will be able to see patterns in the notation, but the exercises are
simple enough for the student to remember them with only limited reference to the score. This
allows the student to focus solely on technique without the distraction of reading.

• When the student masters the exercise, a sticker is placed in the Mastered Box. The pace of study
for each student is left to the teacher’s discretion.

• Dots are provided for students to color in the black keys in the major or minor five-finger patterns.
For example, the E Major pattern would be .

• Most exercises should take the student only one or two weeks to master. The same keys return
repeatedly throughout the book to provide students with reinforcement for learning the pattern of
each key.

General Technical Guidelines

• How the standard patterns in this book are played is as important as what is played. Students
should maintain a proper piano hand shape while playing:

• Fingers gently curved

• End joints firm, not collapsed
• Wrist and hand level with the arm
• Relaxed non-playing fingers

• Specific technical suggestions for each exercise are provided in the gray bar at the bottom of the
page and are explained more fully in this Teacher Guide. See the online version of the Teacher
Guide for video demonstrations of each exercise.
3
 Kangaroo! ! ! ! ! !! ! ! ! Unit 1
Repeated Notes! ! ! Five-Finger Patterns

Step 1: Demonstrate the RH of the Kangaroo

Exercise in C Major. Be sure you are Objectives:
playing with a good piano hand shape,
relaxed non-playing fingers, and • Practice playing repeated notes
bouncing on each note. The bounce on • Develop firm fingertips through
playing repeated notes
the quarter notes will be higher than the
bounce on the eighth notes. • Practice the coordination of
bouncing off the keys rhythmically
Step 2: Student imitates. Be sure the student does
not have fingers glued to the keys in
position, but bounces on each note.
Hand “positions” should be a beginning point of reference only. In every exercise, the arm
aligns the hand over the note that is to be played.

Step 3: Have the student play LH (Finger 5 on C in C Major Position). Then he plays HT. If the student
plays with flat 5th fingers, hold a pencil (sharp point up) under his hand, so that if he goes
down too low, he may get poked by this “pencil of doom!” The kids think this is funny.

Step 4: After the student has mastered the C Position, have him transpose the exercise to G Major,
D Major, and A Major. See the next page in Technique Book 2 for graphic representations of
each of these patterns.

Technique Check

Be sure your student has:

• Bouncy arm on each note (up on “roo” of “Kangaroo” too!)

• Good piano hand shape
• Thumb playing on its corner, with a tall bridge
• Relaxed arms and shoulders
• Fast rhythm with fluent playing

4
 Grasshoppers! ! ! ! !! ! ! ! Unit 1
Staccato! ! ! ! ! ! Special Exercise

Step 1: Demonstrate the RH of the Grasshopper

Exercise in C Major. Play with clear, short, Objectives:
staccato sounds, bouncing the hand and
arm for each note. This is an arm staccato, • Play clear, short, staccato sounds.
not a finger staccato. The forearm, hand, • Practice moving the arm to align
behind Fingers 1 and 5 in succession
and fingers all move as a unit. In m. 3-4, be
sure the arm is aligned behind Finger 1
and then shifts slightly to align behind
Finger 5. This will keep the hand relaxed
and small, which is preferable to stretching and reaching with the fingers.

Step 2: Student imitates the RH and then plays the entire exercise. Even if the student is capable of
playing HT right away, playing RH, LH, and then HT is important, because it requires the
student to concentrate for a longer period of time and to control which hand plays at what
time.

Step 3: Transpose to the other major keys on the chart.

Technique Check

Be sure your student has:

• Bouncy arms on each note for this arm staccato

• Good piano hand shape
• Thumb playing on its corner, with a tall bridge
• Relaxed arms and shoulders
• Clear sounds with even tone

5
 Tall Giraffe! ! ! ! ! !! ! ! Unit 1
Non Legato! ! ! ! ! ! !! ! Triads

Step 1: Demonstrate. Play with a bouncy arm

with a down motion on each note. Objectives:
Separate each note, playing non legato.
• Play non legato articulation with
consistent tone and a bouncy arm
Step 2: Student imitates. Fingers 1 and 5 play up
on their corners, not flat. • Experience triads in broken form

Step 3: The exercise is lengthened through the

repeating patterns in different octaves.
This provides the student with the opportunity to practice concentrating throughout a longer
exercise.

Step 4: Have the student transpose to the indicated keys, using the keyboard pictures on the next
page in Technique Book 2 as reference.

Technique Check

Be sure your student has:

• Down motion into each note

• Non legato articulation
• Finger 1 and 5 playing on their corners
• Consistent tone on each note

6
 Moon Walk!! ! ! !! ! ! ! Unit 1
Double 3rds Non Legato! ! ! Special Exercise

Step 1: Talk about how people walk with

exaggerated, slow leaps on the moon Objectives:
because of the lack of gravity.
• Sink into each 3rd with arm weight
and good tone
Step 2: Demonstrate, noting the pattern of 3rds
on the keyboard. Play with a down-up • Play the 3rds exactly together
motion of the arm and wrist with a full, rich • Flexible wrist
tone. This is a sophisticated version of the • Keyboard topography of finding 3rds
in succession
Lion Paw Technique, which students
learned at the beginning of Piano Safari®
Repertoire Book 1. In the Lion Paw
Technique, students played with an arm drop on one note. They have now progressed to
playing the notes of the double 3rd exactly together, dropping on a specific pattern of 3rds
on the keyboard, and controlling the down-up motion with a flexible wrist. Quite an
accomplishment!

Step 3: Student plays the entire exercise.

Technique Check

Be sure your student has:

• Down-up motion of the arm and wrist with rich tone

• Graceful floating motion in the air
• Notes of each 3rd sounding exactly together
• Fluency in finding 3rds pattern on the piano

7
 Tree Frog! ! ! ! ! !! ! ! ! Unit 2
Legato with Arm Bounce! Five-Finger Patterns

Step 1: Demonstrate the exercise. Play with rich

tone, an arm bounce on each note, and Objectives:
connected, legato sounds between the
fingers. • Matching tone from note to note
• Connected sounds, with an arm
bounce to keep the arm involved in
Step 2: Student imitates. Have the student listen
creating the tone
for consistent tone from note to note. The
arm stays aligned behind the playing • Arm aligned behind the playing
finger
finger. The fingers do not stay glued to
keys, but move as necessary with the arm.

Step 3: This exercise is written in half notes to

indicate that the student should play slowly. Playing slowly helps the student gain control over
a slow tempo and listen to the tone of each note. Even though a student may be able to
play well at a faster tempo, controlling a slow tempo is a vital skill.

Step 4: Have the student fill in the dots to show the black keys for each five finger pattern on the
chart. The student then plays this exercise to each of the listed keys.

Step 5: New keys are introduced on the next page. When playing in these keys, and especially in B
Major, the student should move the hands forward toward the fallboard far enough that he
can reach the black keys comfortably. However, the hands should not be moved forward
too far, as this makes playing more difficult.

Technique Check

Be sure your student has:

• Rich, consistent tone from note to note

• Legato articulation, with an arm bounce on each note to keep the arm involved
• Arm aligned behind each playing finger
• Good hand shape
• Placement on the keys that enables the student to reach the black keys comfortably
• Control over the slow tempo required by playing half notes.

8
 Spinning Galaxies! ! !! ! ! ! Unit 2
Circular Motion! ! ! ! ! Special Exercise

Step 1: Play m. 1-3 with a clockwise, circular

motion of the arm and wrist. Be sure the Objectives:
sound is legato and that you transfer
weight from finger to finger. Be sure to play • Learn circular motion
with firm fingertips and a good hand • Practice firm fingertips while playing
with a relaxed arm and wrist
shape.
• Play circular motion clockwise,
counterclockwise, and hands
Step 2: Put a small piece of colored tape on the
together
places in the white keys where each finger
will play to show that with the circular
motion, the fingers play forward or back
on the keys. For example:

LH (m. 1-3) RH (m. 7-9)

Step 3: Student practices m. 1-3 with a clockwise circle.

Step 4: When playing fingers 3 2 1 in m. 4-6, be sure all fingertips are firm.

Step 5: RH (m. 7-12) plays with a counterclockwise circle.

Step 6: When playing HT in m. 13-20, the hands continue their respective circle directions.

Technique Check

Be sure your student has:

• Clockwise motion in LH, counterclockwise circle in RH

• A circle that is the right size for the student’s hand. A circle that is too big will be awkward,
while a circle that is too small will not involve the arm enough for free playing
• Firm fingertips
• Legato sound, with weight transfer from finger to finger

9
 Triad Sandwiches! ! ! ! !! ! ! Unit 2
Building Triads! ! ! ! ! !! ! Triads

Step 1: Demonstrate. Student imitates. Playing the

5th and then Finger 3 before playing all Objectives:
three notes simultaneously is an important
step to prepare the hand for playing the • Build coordination to play three
notes in one hand simultaneously
triad. For young students, triads are more
• Practice the white and black key
difficult in terms of coordination than we
patterns for the triads in various keys
might think. Playing a 5th and adding the
middle note prepares the hand for this
coordination.

Step 2: When the student is playing the triad, be sure the arm is as relaxed as is possible while holding
the triad. Excess tension should be avoided. The weight of the arm is used to play this
exercise. This stems from the Lion Paw Technique learned at the beginning of Piano Safari®
Repertoire Book 1.

Note: Australian friends, we had considered making this sandwich a Vegemite sandwich
instead of peanut butter! Use the sandwich of your choice.

Technique Check

Be sure your student has:

• Arm weight to play each 5th and triad

• Supported hand bridge (not collapsed)
• Relaxed arm

10
 Soaring Baby Birds!! !! ! ! ! Unit 2
Down-Up in Two-Note Slurs! ! Special Exercise

Step 1: Demonstrate. Ask the student to listen to

which note of the two-note slur is louder, Objectives:
the first note or second note (first). This
exercise comes from the Soaring Bird • Coordinate the down-up motion with
a loud-quiet sound
exercise in Piano Safari® Repertoire Book 1,
which features three-note slurs. We find • Practice a wrist drop and lift
that three-note slurs are easier to control • Listen carefully to the sound of each
note in the two-note slur
than two-note slurs, which is why they are
introduced first.

Step 2: Ask the student to tell you how you are

making the first note louder and the second note quieter. (The arm drops to make the first
note louder and comes out of the key with lighter weight to make the second note quieter.)

Step 3: Have the student play the first two-note slur and listen carefully. Be very persistent in helping
the student to play a legato two-note slur, with down-up motion, with the correct amount of
sound on each note. This is an important musical skill that will help the student in all future
playing. The hand should be relaxed and floppy in the air, hanging from the wrist.

Step 4: When the student has successfully played the two-note slur several times with good
technique and sound, have him continue with the rest of the exercise. Have the student stop
on your command, and check for a loose thumb by you moving it slightly to see if it is loose.

Technique Check

Be sure your student has:

• Drop and lift of the wrist and hand on each two-note slur
• Louder sound on first note, quieter sound on second note
• Relaxed hand in the air between two-note slurs
• Relaxed thumb
• Good hand shape

11
 Tree Frog & Grasshopper! !! ! ! ! Unit 3
Legato and staccato! Five-Finger Patterns

Step 1: Demonstrate. Ask the student to tell you

which part of the exercise sounds like a Objectives:
Tree Frog and which sounds like a
Grasshopper. Review the terms legato and • Control legato and staccato sounds
in succession
staccato.
• Shape phrases with dynamics
Step 2: Demonstrate again with a crescendo and • Practice all keys learned to this point
diminuendo. Have the student describe
your dynamics. Student imitates. Be sure
the hand shape is good and the fingertips
are firm. The student should walk from finger to finger and should not have the fingers glued
in position.

Step 3: Have the student fill in the dots of the black keys for the patterns in the chart and then
transpose the exercise to the keys listed.

Step 4: For the minor patterns on the next page, tell the student that to make a pattern minor, move
the 3rd key down lower to the next key. Be aware that some children will think it is “up” to go
from a white key to a black key because the black keys are raised up from the white keys.
Reinforce that the sound is lower, which is why we say it moves down lower, even if
topographically all the black keys are higher.

Step 5: Discuss words to describe major and minor. Then play some five-finger patterns and have the
student tell by ear whether they are major or minor.

Step 6: Complete the exercise in all keys.

Technique Check

Be sure your student has:

• Singing, rich, consistent tone from note to note, with dynamic shaping
• Clean legato sounds, with no overholding
• Clear, crisp staccato sounds
• Control over playing legato and staccato in succession
• Good hand shape and firm fingertips, using the arm to walk from finger to finger

12
 Lion Paw Fifths! !! ! ! ! Unit 3
Repeated 5ths! ! ! ! ! Special Exercise

Step 1: Demonstrate m. 1-2. The 5ths should be

played with arm weight, and the rhythm in Objectives:
RH m. 2 is from “King of the African Drum”,
which students played in Piano Safari® • Increase concentration by repeating
a rhythmic pattern that moves up
Repertoire Book 1.
the piano
Step 2: Student imitates. • Practice playing 5ths with arm weight

Step 3: Have the student continue playing the

same pattern up the piano by step on
white keys. Students who are musically sensitive may wish to adjust the B-F 5th to B-F# to
avoid the tritone sound. If this happens, be happy that you have such a musically astute
student.

Step 4: You may improvise an accompaniment or play along to keep the student going rhythmically.
Playing a long exercise such as this will extend the student’s concentration and stamina.

Technique Check

Be sure your student has:

• Relaxed arm drops on the 5ths

• Rhythmic playing
• Raised bridge
• Concentration through the entire exercise

13
 Harp Arpeggios! ! ! ! !! ! ! Unit 3
Cross Hand Arpeggios!! ! ! !! ! Triads

Step 1: Demonstrate the exercise in C Major.

Student imitates. Count 1 2 3 in the dotted Objectives:
half note, or play a waltz accompaniment • Flowing rhythm when moving from
to help the student feel the rhythm. Be hand to hand
sure the student is playing with graceful • Practice crossing hands
arm movements and singing, legato tone. • Play in 3/4 rhythmically
Step 2: Continue with the rest of the major and
minor keys.

Technique Check

Be sure your student has:

• Graceful arm motions

• Rhythmic playing
• Flowing, legato sound
• Coordination in passing the phrase from hand to hand

14
 Dolphin Leaps! !! ! ! ! Unit 3
Leaping Intervals! ! ! ! ! Special Exercise

Step 1: Demonstrate the RH pattern, saying, “2nd,

3rd, 4th, 5th,” etc. Use all Finger 2, make Objectives:
an arching movement in the air, and play
slowly to demonstrate a tempo that the • Sense the distance of intervals on the
keyboard
child can play while being accurate.
• Make an arching motion in the air,
like a dolphin leaping
Step 2: Student imitates. Although this exercise will
most likely be easy for the student, it will • Gain confidence in leaping at the
piano
be beneficial for the child to practice this
exercise for a week in order to gain
confidence in leaping and a sense of
distance between intervals on the piano.

Step 3: Repeat with LH and then with Finger 3.

Technique Check

Be sure your student has:

• Confident aim
• Arching movement between notes
• Fluid movements

15
 Zechariah Zebra! ! ! !! ! ! ! Unit 4
Fast Repeated Notes! Five-Finger Patterns

Step 1: Demonstrate. This should be quite easy, as

the student already played this exercise in Objectives:
a simpler form in Piano Safari® Repertoire
Book 1. The arm and hand should be as • Play fast repeated notes
relaxed as possible, bouncing on each • Gain firm fingertips
note. The fingertips should be firm, and the • Build confidence in playing repeated
notes while maintaining a good
hand shape correct. This exercise is helpful
piano hand shape
for developing firm fingertips.

Step 2: Have the student choose two major and

two minor keys for this exercise. It is not
necessary for the student to play it in
every key.

Technique Check

Be sure your student has:

• Bouncing arm and hand

• Firm fingertips
• Good hand shape
• Relaxed arms

16
 Monkey Swinging in a Tree ! ! ! Unit 4
Rotation! ! ! ! ! ! Special Exercise

Step 1: Demonstrate m. 1. Be sure the hand is up

over the keys, that you are transferring Objectives:
arm weight from finger to finger with
legato articulation. The hand is aligned • Practice rotation
with the arm. In order to align the hand, • Keep the hand aligned with the arm
and the hand up over the keys
the thumb will play slightly closer to the
edge of the key, while Finger 5 plays • Transfer arm weight from finger to
finger with a legato sound
further toward the fallboard. You can mark
the place on the key where each finger
will play with colored tape. However, be
sure the tape is placed correctly for the
size of the student’s hand rather than for your own.

LH RH

Step 2: Student imitates. When the student plays with correct rotation motion of the forearm (not
wrist twisting), with the hand aligned, and with transfer of the weight of the arm from finger to
finger, continue with the rest of the exercise. The rotating motion with be larger for 5ths than
for 3rds, and larger at a slow tempo than at a fast tempo.

Technique Check

Be sure your student has:

• Rotating motion of the forearm

• Hand up over the keys
• Arm aligned
• Legato transfer of arm weight from finger to finger

17
 Leaping Gazelles! ! ! ! !! ! ! Unit 4
Shifting by Octave! ! ! ! !! ! Triads

Step 1: Demonstrate dropping with arm weight on

each triad. Make a graceful movement Objectives:
from triad to triad with a relaxed wrist and
• Coordinate playing triads while
hand. Playing this pattern of triads helps
leaping by octave
the student focus both on the direction he
• Drop with arm weight into each triad
is traveling and on the hand that should
• Graceful arm motion in the air
play each triad. This builds concentration.

Step 2: Student imitates. Be sure all notes of the

triad sound and release simultaneously.

Step 3: Have the student choose two major and two minor keys to play.

Technique Check

Be sure your student has:

• Arm weight to play each triad

• All three notes of the triad sounding and releasing simultaneously
• Graceful arm motion in the air with a loose wrist

18
 Scale Snake 1 2 ! ! ! ! ! ! Unit 4
Scale Preparation! ! ! ! Special Exercise

Step 1: Demonstrate slowly and say, “1 2 1 2.”

Objectives:
Step 2: Student imitates. Be sure the thumb plays • Learn thumb and hand crossing in
on its corner so that the hand stays level preparation for playing scales
rather than dropping for each thumb. The
sound should be legato, with consistent
tone from note to note. Do not be too
concerned for how far the thumb crosses
under. See what the student does naturally, and as long as the thumb is on the corner, the
hand stays level, and the arm and wrist do not twist, this first exercise in crossing the thumb will
be successful. Too much instruction on how the thumb crosses under may cause the student
to start playing unnaturally and stiffly.

Step 3: When crossing the hand over the thumb, be sure the thumb stays on its corner and the
bridge does not collapse. Listen for even tone on each note.

Step 4: Have the student play slowly first before playing faster.

Technique Check

Be sure your student has:

• Level hand and aligned arm and hand without twisting the wrist or elbow
• Playing on the corner of the thumb and with a firm fingertip on Finger 2
• Raised hand bridge
• Consistent legato tone

19
 Spider Webs! !! ! ! ! !! ! Unit 5
Mixed Articulations! ! ! ! ! Five-Finger Patterns

Step 1: Demonstrate. The RH makes an

exaggerated up motion, just like a spider Objectives:
spinning his web and leaping from one
part of the web to another. The LH plays • Control over two articulations, legato
and exaggerated non legato.
legato with an arm bounce on each note
(Tree Frog Technique). • Singing legato tone
• Think before playing about which
hand will play which articulation
Step 2: Have the student choose the keys to play.
Be sure he thinks about which hand plays
which articulation before playing.

Technique Check

Be sure your student has:

• Control over legato in one hand and non legato with an exaggerated up motion in the
other
• Singing, legato tone

20
 Pouncing Tiger Waltz ! ! ! ! ! Unit 5
Repeated 5ths and Finger Action ! Special Exercise

Step 1: Demonstrate. In m. 3-4, the arms should

help the fingers play with a slight arm Objectives:
bounce on each note, combined with
energetic finger action. • Play rhythmically
• Work on finger action in contrary
motion
Step 2: Student imitates. If the student smears
notes in m. 3-4, tell him to “pick up his
fingers.” You can also have him play each
hand slowly and concentrate on each
finger releasing quickly. Thinking about the releasing finger rather than the playing finger will
help the student play more cleanly and release each finger with more energy. The student
should play up on his fingertips. Be sure he releases up on the staccato note at the end of
each five-finger pattern.

Step 3: Have him continue playing up the piano on white keys. Musically astute students may want
to play the exercise in all major or all minor to avoid the change in modes created by playing
on all white keys.

Step 4: Play an accompaniment with the student to help him play rhythmically and energetically,
such as this rhythm:

Technique Check

Be sure your student has:

• Rhythmic, energetic playing

• Clean eighth notes in the five-finger patterns
• Up release on staccato notes at the end of the five-finger patterns

21
 Triad Cha Cha Cha! ! ! ! !! ! ! Unit 5
Staccato in Repeated Triads ! ! !! ! Triads

Step 1: Demonstrate. Student imitates. Remind the

student that Finger 3 changes for minor. Objectives:
• Practice broken and blocked triads
Step 2: Student plays in all keys listed.
• Play repeated triads
• Review patterns for all white keys
• Listen to major minor change

Technique Check

Be sure your student has:

• Notes of the triad sounding simultaneously

• Bouncy arm on staccato notes
• Relaxed arm and wrist

22
 Scale Snake 1 2 3 ! ! ! ! ! ! Unit 5
Scale Preparation! ! ! ! Special Exercise

Step 1: Demonstrate slowly and say, “1 2 3 1 2 3.”

Objectives:
Step 2: Student imitates. Be sure the thumb plays
on its corner so that the hand stays level • Practice thumb and hand crossing in
preparation for playing scales
rather than dropping for each thumb. The
sound should be legato, with consistent
tone from note to note. The arm and wrist
should not twist, but should stay aligned.

Step 3: When crossing the hand over the thumb, be sure the thumb stays on its corner and the
bridge does not collapse. Listen for even tone on each note. Be sure the student plays with
clean finger action, without smearing notes. If he smears notes, tell him to “pick up his
fingers.”

Step 4: Have the student play slowly first before playing faster.

Technique Check

Be sure your student has:

• Level hand and aligned arm and hand without twisting the wrist or elbow
• Playing on the corner of the thumb and on firm fingertips on Fingers 2 and 3
• Raised hand bridge
• Consistent legato tone
• Clean finger action

23
 Chameleon! !! ! ! ! !! ! Unit 6
Major-Minor Shift! ! ! ! ! Five-Finger Patterns

Step 1: Demonstrate, saying, “Major minor” as the

mode changes. Tell the student that this is Objectives:
like a chameleon changing colors, as he
cannot decide if he wants to be a major • Changing quickly between major
and minor modes
or minor chameleon. Choose two colors
and have the student color code the • Finger action
major and minor portions of the exercise • Playing legato with faster fingers
by coloring them in the score (m. 1 green
for major, m. 2 purple for minor, etc.)

Step 2: Be sure the student is using energetic finger action for clean eighth notes. If the fingers are
sluggish, have the student play slowly and concentrate on releasing each finger quickly, one
at a time. Concentrating on the release of the fingers will help the student move the fingers
faster. Listen to be sure there are no overholding or smearing sounds. The arm stays aligned
behind the playing fingers to choreograph the movement over the keyboard topography of
black and white keys.

Step 3: Transfer to the keys listed.

Technique Check

Be sure your student has:

• Clean finger action

• Energetic fingers
• Legato sounds
• Fluency in all major and minor patterns

24
 Scale Snake 1 2 3 4! ! ! ! ! Unit 6
Scale Preparation! ! ! ! Special Exercise

Step 1: Demonstrate slowly and say, “1 2 3 4 1 2 3

4.” Objectives:
Step 2: Student imitates. Be sure the thumb plays • Practice thumb and hand crossing in
preparation for playing scales
on its corner so that the hand stays level
rather than dropping for each thumb. The
sound should be legato with consistent
tone from note to note. The arm and wrist
should not twist, but should stay aligned.

Step 3: When crossing the hand over the thumb, be sure the thumb stays on its corner and the
bridge does not collapse. Listen for even tone on each note. Be sure the student plays with
clean finger action, without smearing notes. If he smears notes, tell him to “pick up his
fingers.”

Step 4: Have the student play slowly first before playing faster.

Technique Check

Be sure your student has:

• Level hand and aligned arm and hand without twisting the wrist or elbow
• Playing on the corner of the thumb and on firm fingertips on Fingers 2, 3, and 4.
• Raised hand bridge
• Consistent legato tone
• Clean finger action

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 Sprouting Sunflowers! ! ! !! ! ! Unit 6
Three-Note Slur Triads! ! !! ! Triads

Step 1: Demonstrate with a down-up motion for

each three-note slur. Student imitates. Objectives:
• Practice broken and blocked triads
Step 2: Student continues up by step on white
• Review the three-note slur
keys. You may also have the student play
the exercise in major or minor.

Technique Check

Be sure your student has:

• Notes of the triad sounding simultaneously

• Down-up motion for the three-note slur
• Firm fingertips and singing, legato tone

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 Inchworms!! ! ! ! ! ! Unit 6
Chord Progression Preparation! Special Exercise

Step 1: Explain half and whole steps using the Half

and Whole Step pages. Objectives:
Step 2: Demonstrate the Inchworm exercise in C • Learn about half and whole steps
Major, and show the student how the • Expand and contract the hand
hand expands to the 6th (like an • Prepare to play chord progressions in
Piano Safari Level 3.
inchworm stretches and contracts) using
half and whole step patterns.

Step 3: Student imitates. When the student can

play the C pattern hands together, have him add pedal on each chord. Transpose to other
keys. Note that because there is no middle note, we cannot tell whether the pattern is in C
Major or C Minor, which is why they are no differentiated. In Level 3, the student will fill in the
middle of each chord to yield patterns in major and minor.

Technique Check

Be sure your student has:

• Arm aligned behind each interval

• Connected and clear pedaling
• Relaxed non playing fingers and arm

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