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LEILA FLETCHER
PIANO COURSE
INCLUDES REMOVALS KEYBOARD CHART A ND PROGRESS PAGES
To remove chart from book
cut or tear out from centre fold
NOTES AND KEYBOARD CHART
for the Leila Fletcher Piano Course

© 1950 & 2001

Copyright
Montgomery Mu*ic inc.

Directions for cutting out chart, and placing it on the piano keyboard: First, cut off all of this grey shaded part, and with it, the white outside margin. Second,
bend chart forward at right angles on the line indicated so that tne music staff is upnght. Now place the chart on the piano keyboard just back of the black keys,
'

so that Middle C on the 'chart corresponds with Middle C on the piano, and the tabs naming te piano keys lie flat along the white keys.
’
THE

LEILA FLETCHER
PIANO COURSE Tried, ‘Zested and True by millions and millions of students!

FOREWORD
The Books the Piano
of Course are numbered The Study of Music should be a delightful experience.
consecutively, not to represent the various grades in Almost every child comes to their first lesson with
music, but as a presentation of a continuous course in happy anticipation. The use of suitable musical
music education. The Piano Course is designed to meet material, logically presented, will undoubtedly advance
the requirements of the average pupil, and is graded to the pupil's interest in music.
allow the average pupil to make sound, steady
The Piano Course is dedicated to a four-fold purpose:
progress, and to enjoy the immediate satisfactions of
the development of the ability to read music fluently
fluent reading. The material used in the course has
been tested by actual experience in teaching large and interpret it artisically, the establishing of a sound
numbers of students, and the results from its use are: and comprehensive piano technic, the nurturing of the
1. Greater interest in music study. 2. Better musicianship, creative musical talant, and the fostering of a lasting
and 3. Fewer students who discontinue music study appreciation of music.
through loss of interest or through discouragement.

Editor: Debra Wanless

Also published in Chinese and Japanese

ISBN 0-921965-77-X
A CD recording is

book.
for all tunes in this
available
MAYFAIR MONTGOMERY PUBLISHING BOOK
The recording features bolh © Copyright 1950, 1973, 1977 & 2001 by Montgomery Music Inc. GetzvilleNY.
practise and fully orchestrated International Copyright Secured. Printed in Canada All Rights Reserved including public performance for profit.

accompaniments tracks. © Copyright Assigned 2002 to Mayfair Montgomery Publishing

Some tunes are available as www.leilofletcher.com
free downloads
from our website.
in MP3 format
No may be reproduced, arranged, store in retrieval system or transmitted in any form or by any
part of this publication
means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of
1
Mayfair Montgomery Publishing (division of jal Holdings Ltd.) 219-2600 John Street Markham Ontario Canada L3R 3W3.
£
THE LANGUAGE OF MUSIC
MUSIC SHOULD BE LEARNED AS A LANGUAGE IS LEARNED: the child listens to simple words and short phrases, and learns
by by singing and playing easy songs and pieces, and
listening, by imitation to say these words and phrases: later, speech
as education progresses, by learning the grammar of music. becomes fluent and the child is taught to read and write easy
Each new fact should be presented MUSICALLY before being words in short sentences; then, as their reading and writing
explained technically. For example: the pupil should learn to progresses, they begin the study of grammar. In teaching
picy several major scales before being taught the pattern of tones music, this is the method we must use, if we are to give the
and semitones by which the major scale is constructed. In this tonal memory and imagination the opportunity to flourish.
way, the ear is trained and becomes the guide. This is most Theoretical explanations must follow music-making wherever
important - and especially so for the musically gifted pupil. It is possible, and not precede it.
of course, the method by which we learn our native language:

THE FIRST LESSONS OUTLINED

In the following Lesson-Procedure Outline, the material is not the age of the pupils plus previous musical experience, must
divided into separate lessons, as the number of difficult musical all be considered. It is advisable that the instructor decides

facts that can safely be taught atany one lesson varies with how much to teach at a lesson. For the beginning lesson, the
different pupils. The teacher will need to consider the age and first three points will be sufficient for some pupils; others may
developement of the pupil, the adaptability, the musical learn five points, and again others even more, but it is better
background, and so on. Class teachers too, will have definite to GO SLOWLY at the beginning, as it takes time and some
limitations
5-
in lesson planning: the number of pupils in the repetition to establish new musical facts and good playing
class, the amount of time alloted for the lesson, habits.

6-
1- Teach D on the Keyboard. 7- On the Keyboard, teach F, G, A, B.
(Between the TWO black keys.) (F, and B are the four white keys that touch
G, A,
the THREE black keys,)
2- Teach the finger - numbers: 1, 2, 3, 4, 5.
(Use the rhyme on page 8 for this.) 8- Show the piano - key diagram with the letter-names
Morning" page 4 of the keys on page 6, so that the pupil can refer
3- Teach BY IMITATION "The Sun Rising in the
(Played on two D's.) to it at home when necessary.

4- Teach BY IMITATION "The Birds Began to Sing," page 5 9- On the Keyboard, review keys C, D, E, and
(Played on the TWO BLACK KEYS.) teach BY IMITATION "The March Hare," page 5.

On the Keyboard, teach C, D, E. 10- On the Keyboard, teach C, B, A,

(D already known, C, D, and E are the three white keys that
is (Going downwards from C. "C, B, A, the melody falling.")
touch the TWO
black keys. "C, D, E, the melody rising.")
11- Teach BY IMITATION "Stormy Weather." page 5.

Teach BY IMITATION "The Breeze." page 5.

(Played on the two groups of black keys.) 12- Next, teach the C-D-E and C-B-A Exercises, page 5,

BY IMITATION. Do not show the pupil the notes.

© Copyright 1950, 1973, 1977 8c 2001
International Copyright Secured, All Rights Reserved
Lfoo © Assigned to Mayfair Montgomery Publishing 2001
 3
First Lesson Outlined

13- Show the pupil how to cut out KEYBOARD CHART,

the (first REVIEW past lessons regularly. By reviewing, the pupil learns
detach chart from inside of book cover), and how to place it on to play up to the time and with expression; the notes on the
the piano keyboard. Stress MIDDLE C - near the piano staff become familiar; they gain keyboard facility, and
technique improves. The review work should be far enough
manufacturer's name.
back that the pupil has not been practising it for about two
14 - Now teach "Setting up Exercises" and "Here We Go!" on page 9, weeks.
using the NOTES. These two exercises are for co-relating NOTES and
KEYS; do NOT count.
MEMORIZING is one of the very best forms of musical training.
Memorizing should begin with the first pieces. Each lesson
assignment should contain a small piece of memory work.
15- Show the pupil the one-count note, and the two-count note, page 10.

A SECOND PART (duet part) has been provided for several

pieces in the book, as an aid to the pupil in hearing the
16- Teach "The Flyer" page from the NOTES. When the pupil can
10,
harmonic background that an experienced player hears in ones
play it fairly well, play the duet part with the student, to
mind when playing a melody or scale. The use of a Second
emphasize rhythm. (The second parts should generally be played Part will enrich the pupil's experience, and will improve the
lightly and rhythmically; the pupil hears both harmony and feeling for rhythm, harmony phrasing and inflection, The
rhythm much better when their own solo part stands out.) Second Part should be used ONLY when the pupil can play
the right notes, with the right fingers, at a fairly steady
17- "The Flyer" and all pieces following, should be learned from the notes tempo. The pieces are primarily SOLOS, but may be used
in three ways: either as solos or duets. Pedal may be used with the Second
a) Playing and saying the letter-names. Part, at the player's discretion.

b) Playing and counting aloud. (The pupil should say the

BEGINNERS should practise not longer than ten minutes at a
counts, softly, rhythmically, in a rather staccato or detached
time. More be accomplished in this way. The young pupil
will
manner. Never allow a pupil to sing the counts!
concentrates better in short periods. Accomplished musicians
c) Playing, and singing or saying the words of the text,
find they get better results by practising in short periods, with
Note: an interval of change or rest between practice sessions,
Teachers who wish to use less rote-playing at the beginning may omit
"The March Hare" and "Stormy Weather" in point 9 & 11 These may be taken up later.

ROTE PLAYING
THE PIECES PRESENTED HERE, TO BE TAUGHT BY IMITATION, If, however, the pupil begins by playing with attention focused
ARE PERHAPS THE MOST VALUABLE PART OF THE BEGINNER'S upon the intricacies of musical notation, the student will not be

PIANO BOOK. so able to hear the tone they produce because they will be too
ROTE PIECES are valuable because, in playing them, the pupil fully occupied with note-reading, finding the right keys, using

has only two things to think of: the SOUND (tone) being the right fingers, and counting the note-values,
produced, and the simple mechanics of PLAYING the piano
THE TIME TO TEACH A PUPIL TO LISTEN-WHEN-THEY-PLAY,
keys. If a pupil BEGINS by playing with a soft, clear, pleasing
IS AT THE BEGINNING OF MUSIC STUDY.
tone, and by LISTENING to the VERY FIRST notes played, it will
It is often very difficult to teach a pupil to listen when they
have
not be difficult for the student to continue to produce good tone
formed the habit of playing without giving any attention to the
when they progress to playing from the printed notes.
sound!
IfOOl
4 Rot© Playing

The Rote with their descriptive titles, and the

Pieces, are necessary for finger independence and tone control,
harmonic backgrounds supplied by the teacher's Demonstrate to the pupil how easUy the piano keys are
accompaniment, stimulate the child's imagination. The student played: when depressed they drop only a short distance,
is immediately interested in the SOUND of their playing. less than half an inch! When the pupil regards playing as
Follow this up through-out music study. The object is to easy and natural, they will play with a more relaxed, more
always make MUSIC. flexible arm and hand. In beginning music, have the pupil

ROTE PLAYING gives the teacher the opportunity to establish listen when playing, and play as naturally as possible,

a natural, comfortable playing position. Muscular rigidity, Good playing conditions affect the tone; good tone will
which causes harsh and uncontrolled tone, is usually the induce good playing conditions - the usual cause and effect
result of mental tension. A somewhat relaxed hand and arm circle.

No. I - The Sun Rising in the Morning

THE SUN RISING IN THE MORNING should be played softly and rather slowly. Finger 3 of both hands, plays this piece. The finger
plays in the centra of the keys sides. The arm should be free, the elbow loose, the wrist flexible. Touch the surface
and not near the
of the key about to be played, with the finger tip; then push the key down gently so that it sounds softly.

No. II - The Birds Began to Sing

THEN THE BIRDS BEGAN TO SING played on the TWO black keys. It should be played mezzo-piano, with the thumbs. It may also
is
balance which is
be played with the second fingers, and again with the third fingers. The words (text) supply a rhythmic sense of
caught by the pupil. Use the words in teaching this piece.
If 001
 5
Rote Playing
No. ill - The Breeze

THE BREEZE is played on the TWO hand), and the THREE black keys (right hand). It is played mezzo-piano and
black keys (left

legato. Legato may be likened to finger-walking; each key is released when another
key is played, not before, not after. For the pupi
inclined to hold down more that one key at a time, this rhyme is helpful: "Don't collect them,
Just CONNECT them!' The pupil who
comfortable and easy, the wrists flexible,
plays in a detached way is "hopping down the street, not walking." The hands must be
same fingering, the
and the tone pleasing. (Later, The BREEZE may be played on the white keys (D, E, and G, A, B) using the
accompaniment being played in the Key of G Major.)

No. IV - The March Hare No. V - Stormy Weather

THE MARCH HARE - playing UP the Keyboard. STORMY WEATHER - playing DOWN the keyboard

No. VI - C-D-E Exercise C-B-A Exercise

C B A B C

are in preparation of the first pieces that will be played by note. Teach the exercises by
immitation only, do
The C-D-E and C-B-A exercises
C-B-A should be played legato -

NOT show the pupil the notes. Have the pupil say the letter-names of the keys as he plays them. C-D-E and
finger- walking on the white keys.
IfOOl
6
LETTER NAMES OF THE PIANO KEYS

The FIRST SEVEN LETTERS of the alphabet, A, B, C, D, E, F, G, are used as NAMES for the PIANO KEYS.

The Piano Keyboard has WHITE keys and BLACK keys. The BLACK keys are grouped in TWOS and THREES.

The white key named D is between the TWO BLACK keys.

"Look for TWO BLACK KEYS, to find the D's.

(Find different D's. Find highest D, and lowest D.)

C, D, and E are the three white keys that touch the TWO black keys,
(find different C-D-E's.Find highest C-D-E; and lowest C-D-E.)

G and A are within the THREE BLACK keys.

(Find different G-A's; look carefully for G-A's.)

F, G, A, and B are the four white keys that touch the THREE black keys.

(Find different F-G-A-B's. Find lowest F-G-A-B; and highest F-G-A-B.)

Notice that MIDDLE C is in the centre of the keyboard.

Note to Tkacher: Review the Piano Keyboard often to make sure that the pupil is thoroughly familiar with it and can find anykey quickly and easily.

Drill: Find D's; find C-D-E's; find G-A's; find F-G-A-B's; find C-D-E-F-G‘s; find A-B-C-D-Es; find single keys: D's, A's, etc.

HOW MUSIC IS WRITTEN

This is a STAFF of five lines: NOTES are written on the lines,
cv 31
and in the spaces between the lines:

LrOOl
 7
How Music Is Written

The BASS CLEF In PIANO MUSIC,

The TREBLE CLEF <ff) 9 ;

the Treble Staff and

placed on the staff,
^ placed on the staff,
makes this the BASS STAFF: Bass Staff are
makes this the TREBLE STAFF: connected by a BRACE:

LETTER - NAMES OF NOTES

J A two-count note: J A three-count note: J- A four-count note: O

This a one-count note:
is
(dotted half-note, 3 beats) (whole note, 4 beats)
(quarter-note, 1 beat) (half-note, 2 beats)

From bar line to bar line A double bar line marks

is a measure. the end of a piece.

The TIME SIGNATURE Two counts in a measure. Three counts in a measure. Four counts in a measure.
is placed at the beginning
Bar Double
of a piece: i
line bar

The UPPER figure tells r/i?»

III IIIIII IIIllll imiKSi
how many counts (beats)
in each measure. Count: 1 2 1 2 'ount: 12 3 1 2 3 12 3 4
measure
« a measure Vj a measure U a measure y a measure a
The LOWERfigure tells
mw —
m. n; -ss&es&ss
1

that this note J receives

one count, or beat.
IF001
 HOW THE FINGERS ARE NUMBERED FOR PLAYING THE PIANO
3 2
Memorize this Rhyme:
TOMMY THUMB is finger ONE;

FINGER THREE is the tallest finger;

FINGER FIVE is the smallest finger.

POSITION AT THE PIANO

Adjust the height of the chair so that the . BAD:

fore-arm and hand are about level.
i Fingers are curved too much.
The feet rest on the floor. If the feet do
not reach the use a foot
floor, rest.

The music should be placed slightly

below eye-level, and not too far back.... so
The back of the hand is held fairly level, so
that it can be read with ease.
that the 4th and 5th fingers are in good
Practiseby daylight, if possible. When you playing position. The fingers are curved, to
practise by artificial light, be sure you play on the soft finger tips just back of the BAD:
have sufficient light, and that the light is finger nails. f
placed so that it falls on the music page. (The finger-nails should be kept short enough
Fingers are too straight
,

that they do not click on the piano keys.)

which makes playing awkward.

The fingers lift and drop from the knuckle. The thumb lifts and drops from this joint. GOOD BAD
There should be a feeling of looseness at The thumb should feel loose at this joint,

the knuckle. The knuckles curve outwards, The thumb plays on its side, It is always Play in the centre of each key, and not
they do not sink in. The finger tips are firm; over the keys. When the fingers are nicely near the side of the key. Go slowly and
when the key is played the finger tip does curved, the thumb will naturally remain watch to see that each finger is in the
over the keys. centre of its key.
not "break" in.

iooi
 9

exercises on this page are designed to CO-RELATE NOTES, KEYS and FINGERINGS. Have the pupil play
them
TO THE TEACHER: The
fingering numbers. DO NOT count the note-values. Counting
in two ways: first, play and say the letter-names; second, play and say the
Circus
1

is begun more advantageously with the pieces 'The Flyer' "Off

,
to the ,
etc.

Setting Up Exercises
First,play and say the letter-names of the notes.
Second, play and say the finger-numbers.

RIGHT HAND NOTES are: Middle C, D, E. LEFT HAND NOTES are: Middle C, B, A.
Right Hand Notes have stems turned up: Left Hand Notes have stems turned Down:

Here We Go!
Time Signature: J -one-count note
|
2 beats in each measure.
J -two-count note

THE FLYER Second

- Part
(For Teacher or another more advanced pupil)

B
% a
1

You ore now reody to play

y
Three Wise Mice” in Performance Fun Book 1A.
 Left Hand IrVoi Fingers 1,2,3,
plays these notes. play C, B, A!

MfftIII

m
)
CD Track 4-Practise

3. Off to the Circus

OFF TO THE CIRCUS - Second Part

(For Teacher, or another more advanced pupil

C -
g
or-

r r

f4j
WL\iWj

Come say* the

r-% TJ
 PRACTISE in two or three short
CD Track 5 -Practise
periods each day, NOT ALL AT ONCE.

Find these three groups 4. Tiger Hunt

of A-B-C on your piano:
VISUALIZING THE PIANO KEYS
Memorize The STEAMBOAT, so that you can
play it without looking at your book. Then
close the book and play it without looking at
your hands.
First, find your hand position on the keys, then
look away from the keyboard and play. As you
play, feel the keys beneath your fingers, and
listen to the melody.
 You are ready to play "My Shadow" from Performance Fun book 1A
IF 00
 TWO NEW NOTES: UP to F, and DOWN to G

IBDQaEHiai
Right Hand
notes:
—r— 4
_

G 3 C D E F

Left Hand
notes: M5= l

Time Signature: \ CD
mvm 4 beats in each measure.
7. Fishing Track 8 -Practise

mu

Note to Teacher:

The very last note in FISHING

(Middle C) played by
may be
immitation an octave lower than
written. Just one note, the last C.
Say:
"Right hand, finger 3, over to low C

:
00 !
18

The PHRASE

There are four lines of words in the verse

of EVENING SONG, and the music for each
line of words is called a phrase, The musical
phrase is marked by a slur: ^
Notes under the slur are played
connectedly.... singingly. Phrasing is really
punctuation in music, and there is a slight
"break" at the end of the phrase, just as
there usually is at the end of a line of
poetry. This slight break gives meaning to
the music, as it also gives sense to the
words of a poem. Begin to think and play a
phrase at a time, so that your playing will
have meaning.

You ore ready to play ’'Twinkle Twinkle Little Star" in Performance Fun Book 1A.
 You are ready to play "Eensy Weensy Spider" in the Performance Fun book 1A.
LFOOl
TWO NEW NOTES: UP to G, and DOWN to F

You are ready to play "Camptown Races" in Performance Fun Book 1A.
LKX)'
 Note to Teacher:
Teach by rote the scale of C ascending: Left hand: Right hand: Have the pupil play the scale in several different places on the keyboard.
C D E F -G A B C
fingers: 4 3 2 1 1 2 3 4 fO) ^ Track 15 for Practi**

REPEAT DOTS at the end of The

GIANT tell you to go hack to the 14. The Giant
beginning and play it again!

rr\
ifooi You are readylo ploy "London Bridge" in Performance Fun Book 1A.
 23

15. Flute Song

The one-beat rest:
i

When playing FLUTE SONG as a Duet,

both hands play an octave higher than written.
An Octave higher is eight keys higher.
24 MARCH OF THE DWARFS - Second Part

T- r rfr ir r r r rr
The two-beat rest:
A CD Track 18 - For Pracfiie
The four-beat or ; 16. March of the Dwarfs ^ ) CD Track 19 • Performance

whole measure rest:

(Tiny drums) (Trumpets)

gradually softer
Note to Teacher: It is not intended that staccato be taught
to the pupil in the usual manner here. The notes should
sound detached, but should be played with a very small
movement of the hand. Focus the attention on the sound
effect. (In all playing, in order to avoid harshness and to
have tone control, the wrist must be flexible, and if neces-
sary this may be recalled to mind. In order to play softly,
the wrist must be loose ) In first staccato playing, direct
the attention to tone; the use of this approach method is
an excellent preparation and will ensure a more successful
technic when the staccato touch is taken up more fully
later on.

You ore ready to ploy "Papa Haydn" in Performance Fun Book 1A.
25
IFOOi
 27

Notice that this piece begins with an incomplete

measure - it begins on the fourth beat of the
measure. Also notice that the very last measure
of the piece has only three beats! When a piece
of music begins with an incomplete measure,
then the last measure contains only the counts
not used in the first measure.

English Folk Song Arr. by Leila Fletcher

This is a SHARP: ft

When a sharp placed before a

is
note, the note is raised to the next
BLACK or WHITE key to the right.

h
 (SECONDO)
28
(For Teacher, or another more advanced pupil)
Yankee Doodle (Duet)

In TOWER CLOCK, finger one of left hand The PAUSE

plays G! And finger three plays E! r
When the pause is placed over a note, hold
At the end of this piece right hand helps left
the note longer than its actual time- value.
hand toll the bell-right hand plays A on the
In TOWER CLOCK, hold the notes that are
bass staff!
marked by the pause long enough to imitate
Left Hand:
the sound of the great bell tolling the hour.

•
m '
2 rn
~*i > rj
7 11
!

® CD
CD
Trock
Track
26 - Praclii®
27 - Performance

Westminister Chimes

You are ready to play" When The Saints Go Marching In" from Performance Fun Book IB
LfOOl
 29

In theChorus of Yankee Doodle, you play the

accompaniment to the melody while your CD Track 28 - Practise
partner plays the tune! CD Track 29 - Performance

Be sure accompaniment softly so

to play the 21. Yankee Doodle (Duet}
that your partner's melody can be heard.
(Primo)
American Traditional Arr. L. Fletcher

ro - ni . Yan - kee Doo - die, keep it up,

Mind the mu -sic and the step, And

You ore ready to play "The Hikers" on Progress page 57.

30 ARE YOU SLEEPING? . Second Part

The KEY SIGNATURE

The Sharp placed on line F, just after the treble clef
and after the bass clef, tells you that the note F is to
be played F sharp throughout the piece. This sharp
pi The Whole Rest -w - (four-beat rest) is used

placed at the beginning of the piece is called the Key

Signature. The Key Signature in OATS AND BEANS
AND BARLEY GROW is one sharp F sharp.
Key
-
m for one whole measure of silence in any kind of
time:
|
or
|
CD
CD
Track 31
Track 32
-

-
Practise
Performance

——
Signature
4 22. Oats and Beans and Barley Grow
rii— MM mmmcmmmmm mmmmmmm
SwS ss twShs wk^SSlB
tmmmm mmmmmmrnmm

i |mSSmmmmm V7BHI
5E3 IS SSSrS
mSSmmSSm mm mSSSSZm SSSSE

7
gg
55 S5SSS jMi»
mmmmmmmm "TT
55 mm

SSSB
5
mf
/drrrMjnsa
HH
HH m
- 4
^ — mm ehjMmmmmmmm
— i i

tmmmm i HI mm
i r
|l/
Q 0— ZZ 1
—-

—
|aHH| -
xu

HHI! —ii
i 1

7 W~
or a kn<5W How oats and beans and bar - ley grow?
7 2
.

p p
ssss wssa
=f -f-f- ~zr*
1 HE — r- 1
'4 5BI
Note to Teacher:
Teach by rote the scale of G ascending: Left hand: Right hand: Have the pupil play the scale in several different places on the keyboard
—D E
G A B C F#G
IFOOl fingers: 4321 — 2 1 3 4
You are ready to play "Bear Went Over The Mountain" in Performance Fun Book IB.
 RIGHT HAND OVER to Play BASS D

When played as a Duet, both hands

play an octave higher than written.
An Octave higher is eight keys higher.

J 1 count)
(
^ ’i CD Track 33
CD Track 34
- Pradiie
Performance
Notes with the stems joined ) -

are two-to-a-count notes.

23. Are You Sleeping?
Old French Round Arr. Leila Fletcher
 -

You are ready to play "Rain, Rain go Away" in Performance Fun Book 1 B.
LF001
 33

Note to Thacher:

Teach by rote the scale of F ascending: Left hand: Right hand; Have the pupil play the scale in several different places on the keyboard.
F G A —C D E F
fingers: 4 3 2 1 —1 2 3 4

t You ore ready to play "The Balloon" on Progress page 57.

[,
ifooi
 You are ready to play "Billy Boy" from Performance Fun Book IB
LF001
 35
This is an ACCENT: > > 27. The Old Woman in a Shoe
An accent placed over a note
f or
under note means that the note
is be played a little louder; the
to When played as a Due t, both hands
play an octave higher than written.
note is to be accented.
A Octave higher is eight keys higher.

The KEY SIGNATURE

The Flat placed on line B, just
after the treble clef and after the
bass clef, tells you that the note B
isto be played B flat throughout
the piece. This flat placed at the
beginning of the piece is called
the Key Signature. The Key
Signature in The OLD WOMAN
IN A SHOE is one flat - B flat.
In BINGO, the one-count notes have a small dot directly
above or below the note head: f J Play these notes
lightly and detached; let each key up as soon as you play
it, so that you can hear a silence between the notes. The

two-count notes, however, have a small dash above or

below them: p The dash means that the note is to be
held down. In BINGO, the one-count notes should sound
detached; the two-count notes should sound singing.

4
38

PHRASING and ACCENT

In music the first beat of the measure is accented.,.. that
is, played a little louder than the other beats in the
measure. The accented note comes right after the bar
line, on count one. The LIGHTHOUSE begins on the very
last beat of the measure, count four. Play this beginning
note lightly, and accent the next note, count one. The
two lines of music in The LIGHTHOUSE printed as
are
poetry is printed, according to the lines of words
in the
verse, This will help you to play the four phrases of the
piece rhythmically. Each phrase begins on count four;
play count four lightly, and give count one a slight
accent.
 39

RULES OF THE GAME

1. In playing CRACK-THE-WHIR fingers

2, 3, 4, 5, must play in the centre of the
keys, and not touching the sides. (See
illustration on page 8.)

2. The End Man (5th finger) must not he

crowded over sideways. Watch to see
that he is standing! Hold the back of
your hand fairly level so that the fifth
finger has room to play.)
31. Crack-the-whip ^ \ CD Track 50 - Practise
) CD Track 51 • Performance

L. Fletcher

IF00! You are ready to play" Lazy Mary" from Performance Fun Book IB and "Down the Road" on Progress poge 58.
 41

Note to the teacher:

Teach by rote the scales of C major, G Major, and F Major, ascending and decending. Play the upper key-note again in decending. (For ear training)

IFOOi
 When the frog hops, we hear those detached notes again
...the same
as the notes in BiNGO. This detached sound
is called "staccato," and the small dot above or below
the note-head is the "staccato dot."
When you play the staccato notes with a little bounce of
CD Track 57 For Practi se
•

the hand from the wrist, so that each staccato note CD track 58 Performance
-

sounds short and detached, you will be doing very good.

35. The Frog
Ukrainian Folk Song Air. by L. Fletcher

36. Simple Simon ^ "N CD

CD
Track
Track
59
60
- For Practise
Performance
/ -

Sim - pic Si-mon madesome stilts, He wore them to the Fair; Sim-ple Si-mon took long steps, In jal-most no time he was there

IFOOl "
You ore ready to play Vacation Days" on Progress oaae 60.
44

Watch fingering 37. The Parade CD Track

CD Track
62
63
-

-
For Practise
Performance
in right hand.

wtv S5 1 IHWI
iHNn
ML
"HT^WE H^T ^BH^.^B
JB
ttaraMi
W
BB
JBB JBn H BBI
bbjbhsbv^ IB
BBBBBBBB Bl BBHBBHBB HBBHBHI
wa
bbb
HHmJBBBI
BBH T* Hi HTBHIH 1 BT.BBI ^^^BBBIHil
Wm JHBHI HBi pi.V,—

Mj
91 Bism HI T Jw Jm

mihumb BBHHHBBHHB
Ji
1||MB v m smtSbkm® yrw g|
® akoiw
r4T.BBB
HBBHI^BBHI
BIHHTSBBBI
HHTBHI
jBBH^^HI
Memorize Treble lines and spaces Upwards from Middle C (E, G, B, D, F; and F, A, C, E)
Memorize Bass lines and spaces Downwards from Middle C (A, F, D, B, G; and G, E, C, A). ..THIS IS MOST IMPORTANT.
IF001 You are ready to play "Lightly Row" in Performance Fun Boole IB.
When the sign 8 is placed above \ CD Track 64- Practise

an octave higher than they / CD Track 65- Performance

notes, play the notes
are written. (An octave higher is 8 keys higher.)

38. The Crocodile

if you like ;
But when he went on a hike, Could- n’t sing this song, Oh, doo-dah- day How sad to say
9

You are now ready to play "The Secret" page 61 and "Ode To Joy" from Performance Fun Book 1 B.
IFOOl
 47

In thesetwo pieces, left hand plays the

same notes as the right hand, only an CD Track 69- Practise

Hay
i

octave lower on the keyboard. 40. Making ) CD Track 70- Performance

(An octave lower is eight keys lower.)

41. Roller Skates a \ CD Track 71- Practise

i CD Track 72- Performance

Left Hand ;

over r" J

miA-4
If 00!
r
m 12 it=F
~5
You ore ready to play "Row Row Row Your Boa!" in Performance Fun book IB.
48

42. A Knight Comes Riding

fan ^amsi
|H m MnM
SSS3S SBBB USB"i=55BBSS==35sbS
ISIIIIIS9!

Ml
hkHKtBnn

L^TMHMMMM^Jgl | 1
m
sss
iSB! s
mmm s
IBS

1
Ml
MMI

B B SBBBBBSS 55“ w*
car
IV M
mm
WM'
issaai
MMI
You are now able to ploy "Boom Boom" in the Performance fun Book IB
LF001
T,l!7mSS£
1
==
HI
= 5S lllk —— BS s555 s— i
wmmmm
mmmmi
—i

Wh MIB
H
nn
mm s ili HHI
I
r mmmmm (
1
m
| s 1
Mil 1 11 ngr™"
ammmi

When you have learned this piece, memorize then play it from memory one octave higher on the piano
it,

sounds... especially if you play it softly.

(both hands an octave higher) and you will notice how "enchanted" it

You are ready to play " lazy Mary'' on progress page 61

LFOOI
50
LEFT HAND PLAYS NOTES ON THE TREBLE STAFF

RIGHT Hand. Play these notes with the LEFT Hand.

Plav these notes with the
When NOTES on tbeTREBLE STAFF
44. are to be played by the LEFT HAND,
the stems of the notes are usually
turned down and the notes are
marked Left Hand.
Sometimes only the letters L.H- are
used for Left Hand.

Now play the

SCALE of C Major:
45. Use the fingering marked. Left hand
plays notes with stems turned down.
Right hand plays notes with stems
turned up.

46. The Third Little Pig CD

CD
Trock 78-Practise
Trock 79-Performance

(
A Scale Piece)

ready to ploy "Music Box Dancer" in Performance Fun Book IB.

You are now
LfOOl
IFOOI
 C.D.E occupies three degrees on the staff: line, space, line; and
INTERVALS: An the distance between two notes.
interval is
on the piano three white keys and so on.
An interval is measured by the number of letter-names it
contains.,. which is the same thing as saying, by the number
When you play PENNY WHISTLE, notice that it is in C Major....
of lines and spaces it occupies on the staff.
(the scale of sharps
C, no or flats). Can you play
PENNY WHISTLE using the notes of the scale of G? Watch for
Each and each space on the music staff is called a
line
the sharp; use the same fingering as your book. Sing the
degree. In PENNY WHISTLE, C to D is a second: it contains
in

two letter-names: C and D; it occupies two degrees of the words as you play: a second, a third," and pause at each
"

staff: line, space; and on the piano it takes in two

white keys. pause mark. Can you play it using the notes of the scale of F?
C to E is a third; it contains three letter-names: C.D, E. Watch for the flat; use the same fingering as in the book.

You are ready to play "Sweetly Sings The Donkey" from Performance Fun Book 1

IFOOI
56
PROGRESS PAGES
The PROGRESS PAGES are designed to promote a livelier, keener awareness in music study... thereby advancing the pupil's interest in
music, and augmenting their ability to make progress on their own initiative.

The examples in the Progress Pages are be assigned by the teacher, but should be learned by the pupil, with little or no assistance
to
from the teacher. In this way own resources, will necessarily become more observant, more competent; and the
the pupil, left to their
teacher will obtain much critical knowledge of the pupil's comprehension of what has been taught in past lessons.
The Progress Pages may be begun when good fingering habits have been established, and not before! This is a basic requirement of
utmost importance. The teacher will decide when to assign a piece or exercise in the Pages; suggestions regarding this will be found
below the examples, but the suggestions signify only that all the musical facts necessary for the intelligent performance of the example
have, at the point indicated, been presented.

TO THE PUPIL: Check all the points on the various POSTS (\/> with pencil that can be erased in case you are wrong!
When the teacher agrees that all the points checked are correct, you may then re-mark with a pen or crayon.

O )
CD frock \7 For Practise

1 . By the Sea

(Suggested for use after Flute Song, No. 15, on page 23)
 2. The Hikers 57

O J CD Track 30 - For Practise

5^3 J J
We sure - ly like to take a hike, With all our pals to roam* And I play this piece with: Check:

m 1 — the right notes

2— the
3— even
4
right fingering.
rhythm
— from memory
.

... .

Eg 2—

then when we are far a - way, We find a short - cut homel

(Suggested for use after Yankee Doodle, No. 21)

M OBSERVATION
POST

1
for THE BALLOON
I play this piece:

saying the letter-names

correctly
Check:

LJ
saying the finger-numbers
correctly Q
3. The Balloon O j
CO Track 39 • Far Practise

love-ly bal loon, We can go sail-ing right

P
up to the moon

Ltooi (Suggested for use after Bill’s Piece, No. 25)

58 4. Down the Road (Duet)
CD For Praclise
(Adventures in Rhythm) Track 52 -

SSBSgJgLJ SEiSSS ss s
55 —
mm H5J
i

walk-
-d
®
ing-
r~ri

down the road,

|3*
I saw

p.
&
a lit -
&
tie
i

—
1

— —

H ... —
dra -
j
gon -
-

fly, He tipped

42
If
=
his wings
gt

as

DOWN THE ROAD - (SECONDO)

As U (I saw) (I
R.H.

m
<

ju i ii I'D JJ j J J j

i? 1
? r r r r r r r r
saw) (He tippeci)
X - u As I)

r r r
H —**
1
pt 4r

r
1...1

r
4 m -4
t-
i

r
4 4
r
|

*
.| 4-

rtr ^
j | | F4 ±d=b=t=
slowing
-

1 1

LF001 r
(I did not)

r r
(I

r
^= ^
die not)
l

- i=ii
r r
(Who tipped)

1 ==,;=,== jj-j
r t
m r.
JJ—J
r
J J...J —
r
J.
iC\

4—
 59

TAKE-OFF
2—
DOWN THE ROAD is an animated adventure in rhythm— a keen POST
3— for DOWN THE ROAD
experience in KEEPING THE BEAT Imagine you are playing in
!

an orchestra you must count like a “pro" /—count silently but 1 play this duet Primo:
rhythmically LOW C in the Second player’s part gives you COUNT 1 fingering and notes correct d
ONE. Listen for count one, and emphasize it in your mind, so that
when you reach the third measure on this page, (below), you will counting alertly
be able to carry on without missing a beat up to time throughout Q
(Count: 1 2 3 4 1 2
 m
m
FISHIN’
LIFEGUARD fi
1—
POST for THE SECRET
POST for VACATION DAYS 2—
J play this tune: Check:
1 play this song with: Check:

— correct hand
from memory, looking at the keyboard D
1

2— a
fingering in left
singing melody and soft accompaniment M
5. Vacation Days
from memory, looking away from the keyboard.

I CD Track 61 - For Pracfis®

O

Iff fm* 1

Old sum-mer school

|i f-ki
LM«

IW*'

[ r.M
m>avi

LF001 (Suggested for use after Simple Simon, No. 36)

 6. The Secret
(Tune for Left Hand)

CD Track 66 -For Practise

1—
2—
3—
LAZY MARY, WILL YOU
4— GET UP?
I play this piece: Check:
he lived ver - y hap pi - ly, He kept the Gold - en Rule!
-
with no wrong notes. . .
. D
with perfect fingering. . .
(~|

with a slight accent on

count one LJ
(Suggested for use any time after No. 25)
at a fairly fast tempo . . . f~~l

7. Lazy Mary, Will You Get Up?

@ CD Track 77 -for Practise

'^(Suggested for use after Through the Enchanted Forest, No. 43)
 TOE-TAPPERS’
POST
for PAWPAW PATCH
3—
I play this singing-game: Check:

1 with fingering correct O

2 rhythmically, in strict
time LJ
from memory D

1—
2—
3—
MOVE- OUT
POST
{or KEYBOARD MAGIC
/ play this three different ways: Check:
Where, oh, where is both hands play as written.
right hand plays one octave
higher on the keyboard, left
hand as written Q
left hand plays one octave
(Suggested for use after Hickory, Dickory, Dock, No. 47) lower on the keyboard, right
hand as written

9. Keyboard Magic @ CD Track 85 - For Practise

tF001
(Suggested for use after Mountain Trails, No. 48)
IMPORTANT NOTE TO THE PUPIL: you have completed BOOK ONE and are going on to BOOK TWO, but keep Book One handy so that you can REVIEW it
occasionally. It fun to play your old pieces, and you will benefit greatly by playing them often. Of course, they will seem easy to you, but that is what makes
is
them valuable: you will be able to think more and more of how they sound as you play them, And you
can check your playing for these qualities: pleasing tone;
steady rhythm {no stops or stumbles); expression; fingering; phrasing (you can
think and play a phrase-at-a-time). Be sure to play the pieces in BOOK ONE every
Once-in-a-While! It will make it. easier for you to play the new pieces in BOOK TWO!
if oo i
 THE LEILA FLETCHER PIANO COURSE
for Individual and class instruction

THEORY FUN PIANO COURSE BOOK TWO PIANO COURSE BOOK FIVE
For the beginner a delightful elementary theory A wealth of tuneful five finger position pieces ensures and interpretation. For the pupil’s musical
For style
book with fun creative games, puzzles and good playing habits and sound, steady progress. enrichment, Presents a large variety of effective
activities designed for the 5-7 year old. Covers the Duets, and Duet Parts are included for ensemble numbers suitable for Recital use. Transposition
basic music theory concepts in an appealing way playing. Ten very easy studies with key charts provide (Keyboard Harmony), cadences, preparation for
and can be used effectively with book one of the for transposition at the keyboard .presented in on octave playing, etc. Grade 2 to 3.
course or any published piano method. easy, enjoyable, practical manner. Scales, Chords, the
Damper pedal are all covered.

PERFORMANCE FUN PIANO COURSE BOOK THREE PIANO COURSE BOOK SIX
An exciting supplimentory book for the beginning Contains an abundance of increasingly attractive Builds musicianship through the use of Choice
piano student, providing additional pedagogically pieces Requires only a very gradual progress in Selections from the Masters and from Modern
sound principals. Appealing repertoire combines musicianship. Each new technical point is applied Classics, and superbly playable arrangements of
16 familiar tunes with new compositions with and mastered in musical examples that hold the famous pieces Technical explanations, biographical
teacher duet parts. A wonderful companion to interest. Many fine Recital numbers. Transposition sketches and more. Grade 3 to 4,
the Leila Fletcher Piano Course Book One, and is studies continue in Major Keys and are begun in
idea! with any beginner using the middle C Minor
approach.

PIANO COURSE BOOK ONE PIANO COURSE BOOK FOUR MAYFAIR MONTGOMERY PUBLISHING
/
For the beginner. Sixty-four pages, graded so that Leads smoothly info The musical examples
grade 2.
progress is almost automatic. Interest catching are somewhat longer, more varied, and include
ISBN 0-921 965-77-X
pieces from the very beginning. Duet Parts original piano solos. Arrangements of favorite pieces,
supplied for 19 pieces, and for 3 rote pieces, and easy selections from the Masters. Many new
broadens the pupil's musical experience, and odd teaching procedures for simp er, better instruction,
interest to the early-grade Recital. Unique pull out Scales, Chords, Transposition Studies included.
Keyboard Chart is included with Book One

7 MI 77 5 3 5 HO 1 001 ll!| 8
$6.75 in USA