PIANO SAFARI®

REPERTOIRE BOOK 2
TEACHER GUIDE
By Dr. Julie Knerr & Katherine Fisher

UNIT 4

TITLE TYPE BOOK PAGE TEACHER

NUMBER GUIDE PAGE
NUMBER
Goals and Objectives 71

Sight Reading Cards Level I Reading 72

Intervals: 2nds, 3rds & 5ths Theory 60 73

Notes on the Staff Theory 61 74

Rhythm Theory 62 75

The Gallant Knight Reading 63 76

Sweet Acacia Reading/Duet 64 77

Ode to Joy Reading 66 78

Bear Dreams Reading 68 80

Holiday at the Beach Reading 69 81

Monsters on the Run Rote 70 82

Solar Eclipse Reading/Duet 72 83

March Challenge 76 85

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 UNIT 4
Goals and Objectives

Unit 4 focuses on the reading the intervals the student has learned thus far: 2nds, 3rds and 5ths.

In Unit 4, our goals are:

• Review 2nds, 3rds, 5ths

• Continue working on learning note names on the staff
• Play several duets with another student to work on ensemble skills
• Be formally introduced to the dotted quarter eighth note rhythm, which the student learned
by rote in Level 1 in Ode to Joy. In this unit, Ode to Joy returns, in a much more difficult version!
Students encounter this rhythm in several pieces and consistently in their Sight Reading &
Rhythm Cards in this unit.
• Continue to learn increasingly complicated pieces by rote and to explore patterns at the
piano and various styles and sounds
• Learn early level Classical pieces in the Challenge Pieces

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SIGHT READING & RHYTHM CARDS
Unit 4: Level I

Level I Cards: 2nds, 3rds, & 5ths on the Staff

Sample Level I Card

Objectives
• Name the first note of each exercise for RH and LH using the Skips Alphabet.
• Read 2nds, 3rds, and 5ths beginning on various notes on the staff
• Read articulation marks
• Read flats and sharps
• Practice counting the dotted quarter eighth note rhythm
• Tap and count rhythmic notation metrically
• Mark 5ths with the student’s chosen “5ths color,” as shown above on the right

During Unit 4, assign Level I of Piano Safari® Sight Reading & Rhythm Cards for Book 2.

See pianosafari.com for the Teacher Guide to Sight Reading & Rhythm Cards for Book 2.

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 REVIEW 2nds, 3rds, & 5ths p. 60 UNIT 4
THEORY

Step 1: Before the student completes this Objectives

Theory page, check his retention of the
• Review the intervals of 2nds,
intervals learned thus far by:
3rds, and 5ths by identifying
• Asking him to play melodic and
and writing intervals.
harmonic 2nds, 3rds, and 5ths on the
piano.
• Begin on a note, for example, RH 1 on
G. Say, “Play G. Play up a 2nd, up a
3rd, up a 2nd, down a 5th,” etc. as he plays each interval you indicate. Have him do this
with eyes open and with eyes closed. This will help him feel the intervals in his hand as he
plays.
• Repeat with LH.

Step 2: Incorporate ear training by playing intervals for the student and asking him if they are 2nds,
3rds, or 5ths. Sing the intervals.

Step 3: Before the student completes the page, remind him that 2nds “don’t match” (a line to space
or space to line) and that 3rds and 5ths “match” (line to line or space to space).

Step 4: Since 3rds and 5ths “match,” be sure the student knows how they differ (3rds move from a
line to the very next line, and 5ths skip a line in between).

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REVIEW Notes on the Staff p. 61 UNIT 4
THEORY

Step 1: Follow the instructions on the page. Objectives

• Practice using the Skips Alphabet
and Music Alphabet to find the
notes on the staff
• Play the notes in the correct octave
on the piano

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 RHYTHM Dotted Quarter Eighth p. 62 UNIT 4
THEORY

Students have already encountered the dotted quarter eighth rhythm by rote in Piano Safari
Repertoire Book 1 in “Ode to Joy.”

Now students are formally introduced to this rhythm and taught how to count it in Ta’s and
metrically. The Sight Reading & Rhythm Cards for Book 2 Levels I and following use this rhythm
to provide students with practice in tapping, counting, and playing this rhythm.

Step 1: Tap rhythmic patterns that use the

rhythm (say “Ta - Ah - ti,” “Dolphin,” or use Objective
metric counting). You tap, and the • Learn to count the dotted
student imitates. When the student is quarter eighth note rhythm
confident, have him tap while you imitate. We
have had particular success with initially
introducing this rhythm using the word “Dolphin.”

or for this common rhythm

Dol - phin Dol - phin Dol - phin Leaping

Step 2: It may be helpful is to play a familiar piece for the student that uses the
rhythm (e.g. “London Bridge” or “Deck the Halls”). Ask the student to raise his hand
when he hears the rhythm. Additionally, he may tap the rhythm of the melody as you play.

Step 3: Ask the student to tap a steady beat while saying “Ta.” After the beat is established, you
begin tapping the rhythm with him. Switch parts. If the student catches on easily,

you can ask him to tap quarter notes in one hand against dotted quarter eighths in the other.

Step 4: Now that the student has the rhythm in his ear and hands, explain the complete the steps on
p. 62. Note that these two rhythms yield the same sound:

If the student is old enough to understand fractions, you can tell the student that the dot
makes the note last an extra half of its value. Demonstrate how this works with a dotted half
note:

• Half note + quarter note (half of a half note) = 3 beats altogether

Similarly with the dotted quarter note:

• Quarter note + eighth note (half of a quarter note) = 1 1/2 beats

If this is too complicated for the student, simply have him count and tap without explaining
the math. He can learn to count, tap, and play it correctly by ear, and eventually he will
be developmentally ready to understand the math.
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 THE GALLANT KNIGHT p. 63 UNIT 4
READING
American Folk Song, arr. Knerr & Fisher

This folk song was originally called “The Greenland Whale Fishery.” Katherine Fisher has written
child-friendly lyrics for this lesser known American folk song.

Step 1: Play the piece for the student. Discuss how

the words of the piece influence the way it
is interpreted. How, for example, should Objective
the student play “Bravely” as the tempo • Read a melody using 2nds,
indication suggests? One answer may be 3rds, and the dotted
to play with a solid tone and rhythmic quarter eighth rhythm
drive. Demonstrate how differently the
piece sounds if it is played with a weak Does Your Student Have?
tone and rhythmic hesitancy.
• Energetic and rhythmic
playing
Step 2: Help the student understand how the rhythm is
• Firm fingertips for even
divided between hands in m. 1, as there is a single eighth notes
eighth note. When combined with the LH beats
3 - 4, this is just a Ta - ti Ta - ti (or “Zechariah”)
rhythm. For the upbeat and m. 1, the rhythm
could be sung, “A dolphin Zechariah,” or use the
lyrics.

Step 3: Play the piece several times while the student taps the rhythm with the correct hand.

Step 4: Have the student identify the starting notes. Preview the intervals in the piece by pointing,
naming, or marking the 3rds.

Step 5: The student taps, silently previews, and then plays each phrase.

Step 6: When the student is confident, add the Teacher Accompaniment.

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 SWEET ACACIA p. 64 UNIT 4
READING
Serbian Folk Song, arr. Knerr

PRIMO
Objectives
Step 1: Play the Primo melody for the student • Read a piece using 2nds, 3rds, and
while he taps the rhythm with the the dotted quarter eighth rhythm in
appropriate hand and counts (Ta’s or the Primo and 5ths in the Secondo
metrically). Note that in m. 5 is a • Learn each part of the duet
“Dolphin leaping” rhythm. Play with • Listen for good balance with your
singing legato and well-shaped duet partner
phrases.
Does Your Student Have?
Step 2: After you have played through the • Balance between Primo and Secondo
entire piece once, play each phrase in • Singing tone
isolation. Decide the high point of • Well-shaped phrases
each phrase and mark it with a star • Slow, mysterious mood
(or any other symbol the student • Good ensemble in the ritardando at
chooses). the end

Step 3: Have the student identify the starting

notes in the Primo.

Step 4: The student previews and plays each phrase with beautiful phrase shapes.

Step 5: When the student is confident with the Primo, another student can play the Secondo
accompaniment with him. Be sure the Secondo plays quietly and mysteriously under the
Primo melody.

SECONDO
Step 6: To learn the Secondo part, play the Secondo part while the student taps the rhythm with the
appropriate hand on a drum or on his lap.

Step 7: Analyze the intervals used in the Secondo (all 5ths!). Ask, “Do the LH and RH play the same
notes the entire piece?” Make sure he notices the shift downward in m. 3 and 7. Have him
write in the letter names of the bass notes under each measure (A A G A).

Step 8: The student plays the Secondo part. When he is confident, have his duet partner play Primo.
Listen for balance between parts and for good ensemble in the ritardando at the end.

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 ODE TO JOY p. 66 UNIT 4
READING
Ludwig van Beethoven, arr. Knerr

The return of “Ode to Joy!” The student played this melody in Piano Safari Repertoire Book 1,
pre-staff. Here it returns in a much more difficult form, in D Major, on the staff, hands together,
with counterpoint. Show the student the score from Book 1 to remind him of how far he has
progressed in his reading!

Step 1: Play the piece for the student. Show

the student a video clip of the choir
Objectives
singing the theme with orchestra (last
movement of Beethoven’s • Read a piece using 2nds, 3rds, and
5ths on the grand staff
Symphony No. 9), or ask him to listen
to this symphony at home. • Play a piece that uses the dotted
quarter eighth note rhythm
Step 2: Ask the student what interval is • Play a piece with simple two-voice
counterpoint
played in the m. 1 - 4 introduction
(5th). Ask the student what orchestral • Review sharps by playing in the key of
D Major
instruments might play this majestic
introduction. Although many answers • Practice balancing melody and
accompaniment
may be appropriate, trumpets or
horns lend themselves to the fanfare
style. Does Your Student Have?
• Well-shaped phrases
Step 3: The student identifies the starting • Triumphant introduction and coda
notes in m. 1 and then plays m. 1 - 4. • Balance between RH and LH

Step 4: Ask the student if the fanfare ending

in m. 21 - 24 is the same or different
from the fanfare introduction in m. 1 - 4. “The last note is different.”

Step 5: Ask the student what notes the LH plays through the entire piece (D and A).

Step 6: Play the RH melody while the student plays the LH. Tell him to listen for balance. He needs to
be quieter since you have the melody part!

Step 7: Have the student identify the starting note in the RH at m. 5 (F#). The student previews and
plays each phrase of the RH. Be sure he notices the matching phrases (m. 9 - 12 and 17 - 20).
The RH should be played with the Tree Frog Technique (a slight arm bounce on each note
with legato fingers) to produce good tone while keeping a relaxed arm.

Step 8: Play the LH while the student plays the RH. Listen for balance between the parts.

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Step 9: After the piece is learned hands together and the student feels confident, refine the balance
between the hands. If the student has trouble keeping the LH quieter than the RH, complete
the following steps:

• First, ask him to “ghost” the LH (play silently on the key surface) while the RH plays forte.
• Next, have him let the LH play a little (pp) while the RH plays forte.
• Then bring the balance to the appropriate level, with the RH playing mf to f, and the LH
playing p to mp. I like to tell students that when a composer marks a passage a certain
dynamic mark, such as forte, that does not mean all the notes in that phrase are forte.

Instead, a mathematical equation for forte could be written:

forte = RH f + LH mp + dynamic shaping of phrases in each hand

This is abbreviated by the composer as f to save ink.

piano = RH mp + LH pp + dynamic shaping of phrases in each hand

This is abbreviated by the composer as p to save ink.

Step 10: Check to be sure the student is tapering the phrase endings and matching the volume
when he enters with the following phrase.

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 BEAR DREAMS p. 68 UNIT 4
READING
English Folk Song, arr. Knerr & Fisher

Step 1: Sing and play the piece for the student while he
taps the rhythm.
Objectives
Step 2: Discuss how the words of the piece provide hints • Read a melody using 2nds
about how the music should sound. Remind the and 3rds on the grand staff
student that cantabile means singing. Should the • Use the dotted quarter
sound be bright and happy or gentle and sleepy? eighth note rhythm in a
If the student is willing, have them walk to the piece
half note beat “like a bear” while you play the
piece. Does Your Student Have?
• Singing tone
Step 3: Preview the intervals in the piece. Have the • Well-shaped phrases
student mark the 3rds with his 3rds color if • Gentle mood
necessary. If the student is adept at reading
without marking the intervals, have him point to
the 3rds.

Step 4: Have the student point to the rhythm.

Step 5: Ask the student to identify the starting notes. Help him discover that the LH plays the same
note throughout the entire piece.

Step 6: The student previews and plays each phrase. Remind him how to navigate the repeat with
its first and second endings.

Step 7: When the student is confident, add the Teacher Accompaniment.

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 HOLIDAY AT THE BEACH p. 69 UNIT 4
READING
By Julie Knerr

Step 1: Sing and play the piece for the

student. Explain that he will improvise Objectives
between each verse. • Read a piece in parallel motion
using 2nds, 3rds, and 5ths on the
Step 2: Have the student identify the starting grand staff
notes and find the flats. Then ask him • Review flats by playing in the key of
what pentascale this piece is in “F F Major
Major.” Have him play the F Major • Improvise between verses
pentascale with Tree Frog Technique • Play the eighth notes in m. 1 and
(legato). m. 3 with “Monkey Swinging”
rotation
Step 3: Ask the student to improvise using the
notes in the F Major pentascale Does Your Student Have?
while you play the accompaniment • Rotation in m. 1 and 3
pattern for the improvisation part, • Singing legato tone
m. 5 - 8 of the Teacher • Rhythmic improvisations that match
Accompaniment. The student may the accompaniment style
use one hand or may play the
improvisation hands together in
parallel motion.

Step 4: For the verses of the piece, m. 1 - 4, have the student name each interval. Unit 4 combines
2nds, 3rds, and 5ths, and this piece was written to review those three intervals.

Step 5: Demonstrate m. 1 using the Monkey Swinging Technique (rotation). The student imitates
hands separately and then hands together.

Step 6: The student previews and plays each line.

Step 7: When the student is confident, add the Teacher Accompaniment. Tell the student he will
improvise between each verse. You do not need to count during the entire improvisation.
Just verbally cue him to repeat the verse as the improvisation ends.

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 MONSTERS ON THE RUN p. 70 UNIT 4
ROTE
By Julie Knerr

Step 1: Play the piece for the student. Ask him

Objectives
to imagine what is happening with the
monsters. What are they running from? • Develop concentration, confidence,
and endurance through playing this
Is there anyone else in the piece in
Perpetual Motion Etude
addition to the monsters?
• Play an etude with a loose arm and
clear staccato articulation
Step 2: Play m. 1 - 2 for the student. Ask him
• Master the quick changes in position
what interval the LH uses the entire
without pausing
time. “5ths.” The student imitates. Be
• Keep the eighth notes steady
sure he is playing staccato.
• Play with extreme dynamic contrasts
Step 3: Play m. 1 - 4. Be sure to make a
difference in the articulation when the Does Your Student Have?
RH has a tenuto mark (m. 3 - 4). We • Crisp staccato
often ask a student to draw a curved • Difference between staccato and
down-up arrow above the notes with tenuto articulations
tenuto marks. This will remind him to • Energetic and rhythmic playing
start on the surface of the key and roll • Dynamic contrasts
up with his wrist, which helps him
lengthen the note slightly. The
staccato articulation is created with
firm fingertips and a bouncy hand or arm. Be sure the student plays with the dynamics as
marked from the beginning. It is easier to learn the dynamics and the notes simultaneously
than to add the dynamics later.

Step 4: Play m. 5 - 8, noting that is is similar to m. 1 - 4.

Step 5: Play m. 9 - 12, noting the position change to G. The student imitates.

Step 6: Play m. 13 - 16 with a crescendo. The student imitates.

Step 7: The student plays m. 1 - 16. Point above the keys and coach the dynamics verbally as
necessary.

Step 8: Show the student how the piece repeats twice. Then play the ending section, m. 17 - 22. The
student imitates.

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 SOLAR ECLIPSE p. 72 UNIT 4
READING
By Julie Knerr

PRIMO
Objectives
Step 1: Play the Primo part of the Theme • Read a piece using 2nds & 3rds in
and Variation 1 for the student. Add the Primo and 3rds & 5ths in the
the Secondo accompaniment with Secondo
your LH, or fill in the appropriate • Use syncopated pedal in the Secondo
chords to add harmony to give the part
student an idea of what the piece • Identify how the Variations relate to the
will sound like. Theme
• Increase concentration by playing a
Step 2: Have the student identify the long piece
starting note in the Primo part. • Play a duet with another student
Preview the intervals in the Theme. • Listen for good ensemble and balance
It may be helpful to use fruit to with your duet partner
count the rhythm, as the student
did in “Sunken Treasure” and “Irish Does Your Student Have?
Jig,” since this piece also should • Clear pedal changes in Secondo
also be felt in one large beat per • Singing tone in Primo
measure. The rhythm for m. 1 - 4 • Good ensemble and balance
would be, “Blueberry, blueberry, between Primo and Secondo
blueberry, blueberry, apple, apple,
peach.”

Step 3: Ask the student to play the first phrase slowly. After he understands the pattern, demonstrate
the (counterclockwise) circular motion of the hand needed in m. 1 - 4. This technique was
presented in Unit 2 of Piano Safari Technique Book 2 as “Spinning Galaxies” (Technique Book
p. 14). Ask him if you are playing clockwise or counterclockwise. “Counterclockwise.” Have
him play with counterclockwise motion, with strong fingertips, active fingers, and the right
amount of circle. A circle that is too big will be awkward to play. A circle that is too small
may have weak tone, uneven fingers, or may not be free and relaxed. Each person has to
find the optimal amount of circular motion to make the pattern comfortable to play.

Step 4: Have the student play the Theme. Refine the dynamics. The crescendo and diminuendo
show the movement of the moon over the sun in the solar eclipse.

Step 5: When the student is confident with the Primo Theme, have him play with his duet partner or
with you.

Step 6: Continue to have the student preview and play the other variations. Explain that the Theme is
the main melody and that the Variations change the melody in various ways.

Step 7: After the student has learned the Primo part, as a challenge, he may play the Primo hands
together in parallel motion.

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SECONDO
Step 8: Have the student identify the starting notes in the Secondo part. Ask the student, “What
interval is used for the entire Theme?” “5th.” “Do the 5ths stay in the same position, or do they
move?” “They move down by 2nds, and then back up.” Have the student write in the name
of each bass note under the LH part (m. 1, 3, 5, 7 has respectively: A, G, F, G). This chord
progression repeats throughout all variations.

Step 9: Have the student to play the Secondo part with repeats, without pedal and then with pedal.

Step 10: Play the Primo while the student plays Secondo of the Theme, or have him play with his duet
partner. This will allow him to hear how the rhythm of the parts fits together. Be sure the
Secondo is playing more quietly than the Primo.

Step 11: For Variation 1, have the student mark the bass notes “A, G, F, G.” Tell the student that in the
Secondo, the Theme uses this A G F G chord progression, and the variations repeat this
chord progression but vary the rhythm. The rhythm for Variation 1 is “Blueberry peach.”
When adding the pedal, have the student overhold the LH 5th Finger to be sure it catches in
the pedal clearly.

Step 12: Continue to introduce the other variations. Help the student discover that the Primo of
Variation 4 is very similar to the Theme in the Primo, and that the Secondo plays the
accompaniment patterns found in the Theme and Variations 1 - 3, but in reverse order of
the initial presentation.

Step 13: Since this is a long piece, it may be helpful to have the student color the title words
(“Theme” or “Variation 1” etc.) as he masters each section.

Step 14: Put the entire piece together with the student’s duet partner.

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 MARCH p. 76 UNIT 4
CHALLENGE
By Carl Czerny, accomp. by Knerr

Step 1: Have the student listen to the Audio Track

of this piece. Objectives
• Play a piece by a Classical
Step 2: Play the piece for the student. Ask him if he composer
knows of another composer from the 1700s • Play a piece with simple two-
whose pieces he played. “Reinagle.” Tell voice counterpoint
the student some facts about Czerny: • Practice playing clear and even
• From Germany eighth notes
• Wrote thousands of pieces for his
students Does Your Student Have?
• Was a very famous piano teacher who • Articulation as indicated
taught many concert pianists • Clear finger action on the eighth
notes
Step 3: Have the student identify the beginning • Dynamics as indicated
notes, noting that the LH is in the treble • Balance between RH and LH
clef. • Tapered phrase endings
Step 4: Student plays LH while you play RH. Point
with a pencil to the LH notes on the page
to keep the student in rhythm. There should be a slight lift between each note.

Step 5: Play the RH m. 1 with active fingers, firm fingertips, a well-shaped phrase, and a slight arm
bounce on each note to help the fingers. The student imitates.

Step 6: Have the student practice RH m. 8 several times, as this is a difficult measure.

Step 7: The student plays RH while you play LH.

Step 8: The student plays hands together, balancing the RH and LH.

Step 9: When the student is confident, add the Teacher Accompaniment.

Step 10: Challenge the student to explore the sounds by changing the mode to C Minor, and also by
playing in three other pentascale patterns of his choice.

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