Fall  Session  for  the  group  class:  

Thursdays  5  -  5:30 p.m.  August  24th -  December  15th 15 weeks course. No lessons Fall and Thanksgiving break.

Spring semester: January 29th 2024— May 18th. No lessons Spring break. 

Please  contact  us  to  sign  up  for  private  lessons  which  are  available Monday-Friday.

Our teaching method is a combination of the leading musical pedagogy programs which includes a broad repertoire, sight-reading, ear-training, theory, artistry, composition, history, and solfeggio. 

The core of our music curriculum is Piano Adventures® from Faber and Faber which set a new standard for quality educational publications. This innovative and exciting method series continues to enjoy an unprecedented response from teachers and students around the world. Please  see  below  the  description  of  the  method  and  books.  In addition,  we  use  “A  Dozen  a  Day “   for  the   beginner  level  and  several  opuses  of  C.  Czerny’s  work  on  different  levels  for  technique. We introduce  students  from  the  primer  level  to  the  concept  of  Circle  of  5th  and  learning  2  to  4  octave  scales  and  arpeggios.  

We  believe  in  exploring  different  styles  of  music as  well  as  incorporating  the  composition  and improvisation  into  our  lesson  plans.  Our  recitals  themes  are  supporting  this  curriculum. 

The  summer  recital  is  filled  with  pop  and  show tunes, movie and  video games  themes,  musicals  and  broadway  hits,  jazz  and  rock  songs   as  well  as  featuring  composition  work  of  our  students.

Holiday  recital  is  all  about  Holiday  music  from  all  music  genres  and  styles.  

Spring  recital  often  has  a  theme  and  the  performance  of  some  program  music (examples  would  be  “Peter  and  the  Wolf” by  S.  Prokofiev  or  “Carnival of  the  Animals”  by  C.  Saint-Seans).  Some  young  pianists  are  playing  in  the  ensemble  with  other  instruments ,  accompanying  vocalist,  or  playing  two  piano  pieces.  Spring  recital  is  also  featuring  students  who  participated  in  the  Rising  Stars  festivals  during  at  DU  Lamont  School of  Music.

Piano Adventures® offers 8 levels:

My First Piano Adventure® for Young Beginners ages 5-6. Group  classes  are  available.  

Piano Adventures® for beginning students ages 6 to 11.  Group  classes  are  available.  

Accelerated Piano Adventures® for the Older Beginner

Adult Piano Adventures®

My First Piano Adventure is a phenomenally successful series for young beginners ages 5 to 6. This series can be used with students as young as 4 years old.  Fun-filled songs, rhythm games, and technique activities develop beginning keyboard skills. My First three levels, A, B, and C, each have a Lesson Book with CD and a Writing Book.  
 

Piano Adventures for beginning students ages 6 to 11

All students need the Lesson Book and Theory Book.
 

Accelerated Piano Adventures for the Older Beginner ages 10 and up.

This course begins with Book One, eliminating the use of a primer. The pieces and illustrations are appropriate for older ages. The repertoire is sufficiently different from the basic course to allow two siblings to both use Piano Adventures. The Lesson Book is essential, supported by the Theory Book.

Adult Piano Adventures for adult beginners. 

"All-In-One" books. Book 1 introduces the concepts of music notation, chord playing, rhythm, harmony, and musical form—all through engaging music. Book 2 applies the basics of music theory using "lead sheets" with chord accompaniment patterns. Each unit includes a "3-Minute Technique" page to develop finger dexterity and a "Music Theory" page to develop an understanding of rhythm and harmony.  
 

1. Approach to Reading
Piano Adventures has established a new model for piano methods with its composite approach to note reading. The ability to read music is developed by effectively integrating three skills: 1) discreet note recognition, 2) intervallic reading, and 3) a multi-key understanding. These are carefully sequenced and reinforced to ensure success.

Students begin by learning a limited set of notes—the notes of Middle C Position—yet they play these notes with varied fingerings. For example, the student plays Middle C with finger 1, finger 2, and then with finger 3. As the student learns Treble G (the next in a series of important “Guide Notes”— Middle C, Treble G, Bass F), the piece requires the student to play finger 3 on G, and then 5 on G. Similarly, varied fingering is used for Bass F and other notes presented. This pedagogy has several important benefits:

• It prevents the student from equating a particular note to a particular finger
• It teaches the precise relationship between a note and the keyboard
• It allows for a free and balanced drop of the arm and hand into the finger
• It avoids the overuse of two thumbs on C
• It reduces the student’s dependence on preset hand positions
• The notes of the Middle C position include all seven tones of the major scale, allowing the student to play numerous familiar melodies from the PreTime Piano (primer level) and PlayTime Piano (Level 1) series
• The fingering for the first note in either hand of a piece asks “3 on ___?” This requires the student to identify the note name, write it on the blank, then set the hand according to the note and finger number is given. The student learns the fundamental procedure of music reading and becomes self-sufficient in this process. No longer will the teacher be plagued by the student asking, “What hand position?” Concurrent with an individual note reading, the student is required to read by the contour of the musical line—step or skip?—up or down? This intervallic reading approach promotes fluency, recognition of melodic patterns, and understanding of the musical line. At Level 2A, with the student firmly grounded in note reading, a multi-key approach is taken. Here the student learns the major and minor 5-finger patterns in C, G, D, and A. Not so many as to overwhelm the student’s reading or to become tedious, but enough to grasp transposition and basic chord recognition. (The student is encouraged to learn all 12 major and minor 5-finger positions in the exercise format.) Minor is included early to tantalize the ear and to offer appealing sounds. At level 2B, the complete major scale is introduced along with key signatures and primary chords in the keys of C, G, and F.

2. Pianistic Music
A hallmark of the Fabers is pianistic arrangement. The music of Piano Adventures¨ is specifically written (or arranged) for the piano.

• The pieces feel right at the piano.
• The pieces sound right at the piano.
• The pieces make easy and effective use of the damper pedal, opening up the rich sonority of the instrument.
• The pieces incorporate essential pianistic gestures—the motions and phrases that are integral to playing the piano.
• Pianistic pieces develop fluent piano techniques. The pieces are written to encourage freedom at the keyboard, to promote a relaxed wrist, and to suggest gestures that carry the hand across the full range of the instrument.

3. Artistic Music
The music of Piano Adventures is eminently musical. A method can only be as good as its music, and the music of Piano Adventures shines. The course dovetails technique and artistry so the teacher may bring out maximum expression in the student’s playing. Parents notice the musicality; students thrive on the musicality, and you the teacher will appreciate the musicality. The Technique & Artistry books in Piano Adventures¨ are groundbreaking and unparalleled in teaching technical gestures for artistic playing. The “Technique Secrets” and exercises deliver pianistic tools to play with ease and expression. The “Artistry Hint” and “Artistry Piece” conclude that each unit brings student awareness of sound and musicality to new heights.

4. Student Appeal
Students are attracted to the pieces and sounds of Piano Adventures. Ten years of painstaking pilot testing has ensured that the method has student appeal. Literally, a hundred pieces that did not pass the test of student enthusiasm were discarded and replaced until the method met the standard and musical taste of the piano student and teacher. The tremendous appeal of the music as published has been confirmed by the hundreds of letters and comments from teachers and students across the United States.

5. A Supplementary Library that Motivates Practice
The PreTime to BigTime Piano Supplementary Library correlates with Piano Adventures to provide a broad selection of music to meet each individual student’s interest—at the precise level of difficulty. With styles that include Popular, Rock ‘n Roll, Classics, Jazz & Blues, Ragtime & Marches, Children’s Songs, Favorites, Hymns, and More Popular, the teacher can choose the style that motivates the student and be assured that it is arranged to meet the pedagogical demands of the level. PreTime to BigTime offers the right fit between student interest and student repertoire.

It is rewarding to watch our students’ musical skills develop. We observe routine improvements in note reading, technical dexterity, and increasingly difficult repertoire, but also witness profound development that is subtle and not readily measured. Consider the evolving aspects of artistry: creativity, expression, and sensitivity. Or, what about discipline, focus, tenacity, deep analysis, and flexible learning strategies?

That is quite an impressive list. And, importantly, these abilities can develop with excellent piano teaching. We elevate our teaching objectives by cultivating an artistic mindset. Insightful analysis, creative daring, and expressive sensitivity are potent qualities that are valued throughout a student’s life. These attributes of artistry are captured in the acronym A-C-E—Analysis, Creativity, and Expression—and take center stage in Piano Adventures.

The Discovery question with each piece invites analysis, each unit includes a creative activity, and the Technique Secrets along with Artistry Magic pages develop expression.

Analysis and creativity imply the left and right hemispheres of the brain, respectively. Modern neuroscience additionally finds that the “analytical” left-brain manages expertise, and the “creative” right-brain processes the new and novel. Artistry requires the integration of both hemispheres. Indeed, for a trained musician, music activates the whole brain.

What about the third attribute of artistry? How does expression fit our model? Perhaps we simply acknowledge that expression comes from the heart. The metaphor could not be more fitting. Whole-brain education is compelling, but perhaps incomplete. As piano teachers, we can have transcendent influence. We develop musical minds… and hearts.  ©2020 Faber Piano Adventures