Keyboard Games

Teacher’s Edition

Music Moves for Piano

Books A & B

By Marilyn Lowe
In cooperation with Edwin E. Gordon

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 Time to Begin
Keyboard Games Book A and Keyboard Games hand straight with the arm and how to keep the
Book B are the first in a series of audiation-based fingers together, not isolated. Have students
books for piano. These books provide an informal use a separated touch. Pieces were composed to
foundation for developing audiation skills for help students learn these physical movements.
transfer students and beginning students of any 5. Musical Expression. Experiment with
age, including four and five year old children. Short different levels of articulation, dynamics, and
pieces in duple and triple meters can be used for tempos when playing keyboard pieces. Describe
improvisation activities, including making changes in sound as “separated,” “connected,” “a little
dynamics, articulation, meter, and keyboard range. soft,” “kind of loud,” “not too fast,” or “very
Creating medleys and mashups as well as original slow.”
story compositions are part of the method. Students
are engaged in away from the keyboard activities 6. Ensemble Playing. Duet parts can be played
that use the voice and body movement. Singing by another student, a parent, or the teacher.
develops tonal audiation and body movement 7. Rhythm. Develop the habit of chanting a
develops rhythm audiation. rhythm introduction to establish meter and
1. Music Aptitude. The potential to achieve tempo before beginning to play: “Du-de Du
in music is called music aptitude, which is Du-de Du” (doo-day) or ``Du-da-di Du Du-da-
developmental until age nine when it stabilizes. di Du” (doo-dah-dee). Have students chant out
A rich and appropriate musical environment loud or “think” the rhythm patterns of a piece
includes purposeful singing, chanting, body while they learn and perform it. Movement
movement, guided improvisation, and rhythm activities guide students toward feeling pulse,
and tonal pattern acculturation. meter, and flow.
2. The Tone. Game playing, absorbing music, 8. The Music Page. Pictures of hands and
movement, and singing are fun for all students. keyboards describe what is needed for each
Simple keyboard pieces add to the excitement piece. Students learn that printed music gives
of making music. “Practice” at home should directions such as meter, rhythm patterns,
be enjoyable with carefully guided adherence dynamics, tempo, fingerings, and keyboard
to detail. Keep it light, and move in the “right” playing location.
direction, remembering always that music is an 9. Creativity and Improvisation. Creating
aural art. something new reinforces musical thinking.
3. The Lesson Content. Activity time away from Story pages encourage writing a story and
the keyboard includes hearing tonal and rhythm illustrating it with music and drawings. Students
patterns, singing songs, chanting chants, and decide register, dynamics, tempo, and rhythm
body movement. All of these activities help to patterns before beginning to create music.
develop audiation skills, or the ability to “think” 10. Nonessentials. Letter-naming notes on the
music with comprehension. Keyboard pieces music staff, counting using numbers, as well as
provide familiarity with the whole keyboard using terminology such as up/down, step/skip,
(black and white piano keys) and help students high/low, right/left hand, or finger numbers
feel phrase structure. Variety among the pieces distracts from learning how to audiate and are
lets students experience “same and different’’ not necessary in beginning piano instruction.
and learn how to be creative.
11. Essentials. In beginning piano instruction,
4. Physical Movements at the Keyboard. students should chant and sing; recognize
Playing the piano is often a “come and go” same and different; engage in body movement
affair, especially for young students, who may activities; use the “right” hand-fingers on
stand or walk from one end of the keyboard the “right” piano keys; improvise; learn how
to the other. Encourage large-motor forearm to approach the keyboard physically; and
movement. Guide toward arm balance over remember “how a piece goes” along with its
each finger. Show students how to keep the playing location.

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 Keyboard Games A & B
Teacher’s Edition

Music Moves for Piano

By Marilyn Lowe
In cooperation with Edwin E. Gordon

Music Moves for Piano is designed to develop improvisation, audiation,

and keyboard performance skills. The method builds on the ideas and
theories of Orff, Kodaly, Dalcroze, Suzuki, and Gordon.

© 2009, 2010, 2012, 2015, 2020, 2021 Music Moves LLC

All Rights Reserved

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 G-7216T
©2009, 2010, 2012, 2015, 2020, 2021 Music Moves LLC
www.musicmovesforpiano.com
info@musicmovesforpiano.com
ISBN: 978-1-57999-755-7

Distributed by GIA Publications, Inc.

7404 S. Mason Ave., Chicago, IL 60638
(708) 496-3800 or (800) 442-1358
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All rights reserved. No portion of this book may be reproduced, stored

in a retrieval system, or transmitted in any form or means–mechanical,
photocopying, recording, or other–without prior permission of
Music Moves LLC.

Digital Version Created: July 29, 2021

Printed in the United States of America.

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 Table of Contents
Overview....................................................................................................................................1
An Audiation Approach........................................................................................................1
The Four- to Six-Year-Old Student.....................................................................................2
Parents of the Four- to Six-Year-Old Student...................................................................2
An Audiation-Based Beginning Piano Transitions Class..................................................2
Individualize Instruction.......................................................................................................4
Parent Education. Scheduling. Lesson Plans.................................................................5
Parent Education....................................................................................................................5
Scheduling ..............................................................................................................................7
Lesson Plans............................................................................................................................8
Suggested Lesson Plan Outline............................................................................................9
Rhythm.....................................................................................................................................13
Four Elements of Rhythm..................................................................................................13
Rhythm Pattern Presentation..............................................................................................14
Rhythm Activities.................................................................................................................15
What Are Rhythm Chants?.................................................................................................16
Coordinated Rhythm Movement Activities: ‘Watch Please’ Game..............................17
Duple Meter Rhythm Pattern Categories.........................................................................19
Triple Meter Rhythm Pattern Categories..........................................................................22
Rhythm Chants: Book A Audio Tracks............................................................................27
Rhythm Chants: Book B Audio Tracks.............................................................................28
Enrichment Rhythm Chants...............................................................................................30
Pitch..........................................................................................................................................33
Singing Songs........................................................................................................................33
Tonal Patterns.......................................................................................................................33
Tonal Solfege.........................................................................................................................34
Tonal Pattern Presentation..................................................................................................34
Tonal Activities.....................................................................................................................35
Tonal Patterns from the Pattern CD .............................................................................36
Activities for Songs ..............................................................................................................39
Songs and Audiation............................................................................................................39
Tonal Activities.....................................................................................................................39
Rhythm Activities.................................................................................................................39
Effort Movement Activities................................................................................................39
Activities for Songs: Book A .............................................................................................40
Activities for Songs: Book B...............................................................................................45

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 Songs: Book A Audio - Track 31.......................................................................................50
Songs: Book B Audio - Track 32........................................................................................52
Songs Arranged by Tonality: Book A and Book B Audio Tracks ...............................54
Body Movement.....................................................................................................................59
Why Body Movement Is Important for Keyboard Classes...........................................59
Flow, Weight, Space, and Time...........................................................................................59
General Movement Guidelines...........................................................................................59
Body Movement and the Four- to Six-Year-Old Student..............................................60
Pulsating Body Movement Activities.................................................................................61
Flow Movement Activities..................................................................................................62
Weight Movement Activities...............................................................................................62
Miscellaneous Movement Ideas..........................................................................................62
Props.......................................................................................................................................62
Creative Activities..................................................................................................................63
Creative Activities and Keyboard Games Classes...........................................................63
Exploration............................................................................................................................63
Guided Creativity..................................................................................................................64
Improvisation........................................................................................................................64
Music Composition..............................................................................................................66
Music Arrangements............................................................................................................66
Keyboard Pieces....................................................................................................................67
Keyboard Transition Time for Four- and Five-Year-Old Students..............................67
Performance Pieces..............................................................................................................67
Away from the Keyboard Preparation for Learning a Keyboard Piece.......................68
At the Keyboard Preparation for Learning a Keyboard Piece......................................68
After Learning a Keyboard Piece.......................................................................................69
Performance Piece Tips.......................................................................................................69
Study Habits..........................................................................................................................69
Physical Approach to the Keyboard..................................................................................69
Development of the Playing Mechanism.........................................................................69
Keyboard Games Audio Tracks.........................................................................................70
Activities for Keyboard Pieces .........................................................................................71
Preparation and Readiness Activities.................................................................................71
Activities for Keyboard Pieces: Book A ..........................................................................72
Activities for Keyboard Pieces: Book B ........................................................................102
Contents and Audio Tracks for Keyboard Games Books A & B .........................133
Bibliography.........................................................................................................................135
Student Book A - Preview Pages....................................................................................137
Student Book B - Preview Pages ...................................................................................159

vi

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 OVERVIEW

OVERVIEW

An Audiation Approach Music learning is like language learning.

Music Moves for Piano is a piano series First, we listen. Then we think/audiate, speak/
written to apply Dr. Edwin E. Gordon’s perform/improvise, and acquire a large
theories of audiation to piano instruction. vocabulary before we learn to read and write.
1. In music, we can only read and write with
Keyboard Games, Books A and B are
understanding what we know in the mind
designed to help young students, age four and and fingers.
five, as well as students in Book 1, learn how
to audiate and begin to develop keyboard 2. Music notation is complex. The elements
of rhythm, melody, harmony, texture, and
performance skills.
expression must be studied separately before
Activities to accomplish these goals include: they can be put together for a performance.
singing songs, chanting rhythm chants, movement The repetitive and circular process of the
activities, improvising, playing short keyboard “whole-parts-whole” learning style helps
pieces, and listening to and echoing tonal and students retain what they learn.
rhythm patterns. 3. Physical coordination skills for playing the
Internal learning is the focus. Students learn piano with ease are best achieved when
how to listen to music at the same time that the student is not looking at notation.
they learn how to perform music at the 4. A personal tonal and rhythm pattern
keyboard and with the voice. vocabulary is fundamental for listening
Audiation-based method. In contrast to, performing, and reading music with
understanding.
with “reading-based method books,”
Music Moves for Piano provides a strong 5. Improvisation is basic for reading music with
foundation for reading and writing music aural understanding. Improvisation activities
are similar to conversations in language.
notation with understanding. Aural learning
precedes learning from notation. 6. Music flows. Singing, chanting, and body
movement develop a sense of flow.
Reading-based method. Reading music Reading notation prematurely often produces
notation is the primary goal of “traditional” a note-to-note sound that interrupts flow.
piano methods. The reading-based focus omits
important aspects of music learning, such as Music vocabulary. A vocabulary of categorized
improvisation, building a music vocabulary tonal and rhythm patterns is the cornerstone for
of tonal and rhythm patterns, and developing learning how to audiate. During preschool music
technical and musical skills before learning classes, pattern activities are part of every class.
to read music notation. Students listen to and echo a variety of patterns.
Information about notation that is presented Steps for rhythm and tonal pattern
before students have learned how to audiate presentation.
and how to perform is often incorrect or 1. Establish context. First, the teacher should
misleading. Decoding notation does not sing a song or chant a rhythm chant in the
involve listening to music with understanding. tonality or meter of the patterns.
This provides a context for the patterns.
Music reading with understanding requires
abstract, or conceptual, thinking skills. Patterns may be, but do not have to be
Most students begin to think abstractly from a particular song or chant.
at around age 11.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

2. Students listen. Have students listen to 5. During the preschool age, students absorb
patterns for a few classes before asking the music that is in their environment.
them to echo patterns. Some students will 6. Young students like to work. The music
imitate intuitively. If students distract others class can have different “work stations”
by singing or chanting while the teacher is that provide a change in activities.
performing, ask the students to move and
listen quietly. Parents of the Four- to Six-Year-Old
3. Students move. Have students engage in Student
free-flowing movement while the teacher
chants or sings. Give movement suggestions The teacher of young students should help
or have students model the teacher’s body parents understand the value of the music class.
movements. Students learn from movement. Praise parents for their interest in music.
4. Class echoes patterns. After the students 1. Parent education about audiation and how
are familiar with some patterns, have them students learn to audiate should be ongoing.
echo the patterns as a class. 2. Familiarize parents with the different
5. Student echoes with the teacher. Next, sequential growth stages students pass
have each student echo a pattern alone through that relate to music learning.
with the teacher. 3. Become acquainted with parents’ interests,
6. Student echoes alone. When a student can activities, and abilities.
echo a pattern accurately with the teacher, ask 4. Common views about how students learn
that student to echo the pattern alone. Do not music can provide conflicting opinions.
ask students to echo individually who do not 5. Be patient with parents. Share a student’s
echo accurately with the teacher. progress and how this progress relates
7. Students improvise patterns. Most students to your expectations for musical growth.
like to create their own patterns. Simply say 6. There will always be some parents who
“Chant your own rhythm pattern” or “Sing do not “get it.”
your own tonal pattern.” Accept what they do.
An Audiation-Based Beginning Piano
The Four- to Six-Year-Old Student
Transitions Class
Know each student. There are wide differences in
Young students usually want to play the piano.
maturation between the four-year-old student and
Keyboard activities can be successfully added
the student who is finishing kindergarten.
to any preschool music class.
1. Know each student’s age, month-by-month,
and watch for individual differences among Classes for small groups of four- and five-year-
the students. old students bridge early childhood music and
formal piano instruction. Most students will
2. Many students in kindergarten are six-years
old. Changes happen at unexpected times complete Keyboard Games, Book B near the
between the ages of four and six. end of their kindergarten school year. Then
they will be ready to begin Music Moves for
3. Four-year-old students often prefer to create
Piano, Book 1-4.
their own pieces instead of learning pieces
from the book. When they are ready, these
students will begin to play the pieces in the
Keyboard Games books. Take time.
4. Adjust the learning pace for performance
pieces to meet individual interests and levels.
Expect different responses from students.
Performance perfection is not a goal.
2

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 OVERVIEW

Keep in mind the following when teaching. • Improvise melodies, and

1. One “do not.” Do not teach about music • Recognize and sing songs in a variety
notation or music symbols. Presenting music of tonalities and meters.
notation prematurely stifles audiation. 6. Body movement. Body movement activities
2. Audiation. are fundamental for building a physical
• Singing develops tonal audiation. Short internal feeling for rhythm and for
songs without words are in a variety of developing a sense of musical style.
tonalities and meters. Engage students in many different kinds
of purposeful body movement activities.
• Rhythm chants and rhythm patterns are
without pitch. • Movement is basic for rhythm
development.
• Tonal patterns are without rhythm.
• Body movement activities are based on
• Rhythm is based on body movement. Rudolf Laban’s four effort movements:
• Audiation skills develop before physical flow, weight, time, and space.
performing skills. • Coordinate body movement activities with
• Class activities should be organized by songs, chants, and performance pieces.
categories to help students audiate musical • Move with imagination as well as
meaning. Categories include: duple meter, suggestion. Sometimes say, “Listen to my
triple meter, major tonality, minor tonality, song and move your own way.”
and other tonalities or meters.
7. Imagination and improvisation.
3. Teach by modeling. Students learn by
absorption and from repetition. • Encourage preschool age students to use
Repeat material using different activities. their imaginations to improvise and create
Do not “teach” specific songs, chants, or new music. Internal learning takes place
patterns. Students will imitate and remember. through music “play” or music “work.”
4. Rhythm aspects. Students will learn how • Always have students improvise using
the four aspects of rhythm - flow, pulse, a rhythm pattern. Make decisions about
meter, and rhythm patterns - belong together. tempo, dynamics, keyboard range,
Students listen to and learn to: movement, and the meter of rhythm
patterns. Students can improvise
• Move in a flowing manner, at the keyboard or sing, chant, or move.
• Move to macrobeats and microbeats, • Use specific directions to guide
• Chant and recognize duple and triple improvisation. For example, say,
meter rhythm patterns, “Use my rhythm pattern that moves in
• Establish tempo and meter, and three.” Or, “Play quickly using only black
piano keys.” Or, “How does flow feel?”
• Play the rhythm patterns from pieces
and for improvisations. • Have students create stories and illustrate
them with music and drawings.
5. Pitch aspects. Students will begin to
recognize different tonalities and tonal • Have students draw pictures and create
patterns. Students listen to and learn to: music to illustrate them. Talk about
thoughts, imagery, tempo, meter, and
• Sing diatonic tonal patterns that step or dynamics with each picture/improvisation.
use upper and lower neighbors in both
major and harmonic minor tonalities, The total creative process is active when
students combine story telling
• Sing arpeggiated major and harmonic with feelings, drawings, and music
minor tonic and dominant tonal patterns, improvisation.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

• Suggest to students, “Choose any one 11. Keyboard preparation and readiness.
piano key to play my rhythm pattern.” Physical and aural preparation should take
Say, “Choose a keyboard area and place before a student is asked to play a
improvise with my rhythm pattern.” keyboard piece.
Or, “Play your own rhythm pattern on • First, have students listen and move while
one piano key.” the teacher performs a piece.
8. Variety of short activities. Keep students • Second, have students “play the piece in
engaged with many short contrasting singing, the air” using large hand-arm movements.
chanting, moving, and keyboard activities.
• Third, have students play keyboard
• Use different arrangements of standing patterns or moves from a piece.
and sitting groupings, such as: circles,
half-circles, line-dances, line-ups, seated • Fourth, have students play the piece in
floor activities, and “stations.” parts before they play the complete piece
• Contrast locomotor movement with • The ideas for technical preparation or
stationary movement. readiness in the “Keyboard Piece” sections
of this manual may be used for different
9. Names or labels. Use names during the keyboard pieces.
class, such as: triple meter, duple meter,
major tonality, minor tonality, macrobeats, 12. The goal. The goal is to develop audiation
and microbeats. skills by guiding students in informal,
structured music learning experiences.
Names give meaning to sounds. Students
will soon learn the connection between a Individualize Instruction
name and what it represents.
Students do not compare themselves, but
10. Keyboard pieces and activities. Keyboard
pieces in the Keyboard Games books respond to what interests them. The personality
provide contrast and variety. and music aptitude of a student will affect
individual participation and response. It is
• Students learn to play on both black
easier to motivate if you know each student’s
and white piano keys.
strengths and weaknesses.
• Students learn to find piano keys from
an 88 key picture. They learn to hear the 1. Students like to improvise. Some enjoy
sounds of different areas of the keyboard. making changes to a piece they are learning.
Encourage this, but help the students to know
• Students learn how to approach the the difference between their arrangements
keyboard. First, students are asked to use and the composer’s “real” piece.
a forearm movement, so that the fingers-
hand-arm unit is straight and balanced. 2. Duet parts. Some students will want to play
Moving the middle finger from one piano the duet parts. Show them how.
key to another keeps this sense of balance 3. Absorption. Quiet students are probably
and arm movement. absorbing as much as the more active
• Students may stand at the keyboard or students. Encourage response, but do not
walk as they move from one register to insist on a response.
another. Pieces are short and students 4. Coordinated movement. Use the
will not be at the piano very long. coordinated macrobeat and microbeat
• Activities to help learn the pieces in the movement activities even if all students
Keyboard Games books are presented cannot respond accurately. Have the class
in the “Keyboard Piece” sections of move only to macrobeats or microbeats for
this manual. the students who do not coordinate well.

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 PARENT EDUCATION. SCHEDULING. LESSON PLANS.

PARENT EDUCATION. SCHEDULING. LESSON PLANS.

Parent Education The “traditional piano method.” The goal

Inform parents. Teachers should help parents of the “traditional piano method” is to teach
understand the audiation approach of Keyboard music reading. Aural, creative, and performing
Games and Music Moves for Piano. aspects of music are not taught as preparation
for understanding music notation.
When explaining the program to parents,
The “audiation-based piano method.”
praise them for knowing that music is a
powerful human resource that enhances 1. Gordon’s research shows that aural skills
growth and development. For many parents may be stifled when music is taught from
it is both a time and a financial effort to notation and learned intellectually.
make music classes possible for their children. 2. The learning sequence for both music and
language is: listen, think (audiate), speak
Dr. Edwin E. Gordon. Tell parents about (improvise or perform), read, and write.
Dr. Edwin E. Gordon, his research, and its
3. Students should acquire an aural music
application to piano instruction for students
pattern vocabulary and learn the meaning
of all ages, and especially its application to of and labels for the sounds of patterns
music classes for young students. aurally, without music notation symbols.
Edwin E. Gordon is an American music 4. Students should learn to perform confidently
educator (born in 1927) who has devoted his without notation just like they learn to speak
lifetime to researching how we learn music. and carry on conversations without reading.
Gordon’s research. Gordon’s audiation research 5. Reading and writing skills are learned after
shows valid reasons to update music instruction. audiation and keyboard performing skills
He provides guidelines for making changes. are internalized and after a student is able
to think abstractly, around age 11.
Gordon’s audiation theories build on the insights
of some of the greatest musical thinkers of the 6. Students who learn music from an audiation
perspective develop musicianship.
20th century: Carl Orff, Emile Jaques-Dalcroze,
Zoltan Kodaly, Rudolf Laban, Carl Seashore, They become functional, literate musicans
and Shinichi Suzuki. who can:
The term “audiation” was coined by Gordon. • Play by ear,
It means, simply, to listen to and perform music • Improvise,
with understanding. Audiation is to music what • Compose and arrange music,
thought is to language. Music is in the mind. • Listen to music with understanding,
We take ongoing research in medicine and • Think music,
technology for granted. We want the latest • Play with technical ease,
techniques in surgery, and we want to own
updated computers and TVs. Likewise, • Perform in ensemble,
we should take seriously the latest research • Perform solo repertoire in a musically
about the best way to learn music. flowing manner, and
Music Moves for Piano is an audiation-based, • Read and write music notation.
or ‘sound to sight,’ approach to piano instruction
that applies Dr. Edwin E. Gordon’s longitudinal
research about how we learn music.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Music pattern vocabulary. A rhythm and tonal Absorption and assimilation. Students absorb
pattern vocabulary is similar to a word vocabulary. the large variety of contrasting music in the
A vocabulary is fundamental for understanding class curriculum.
and communicating. The variety of music is assimilated and the
Patterns are the organizing criteria for all music. student builds an individual internal listening and
Patterns are the parts that make music work. performance repertoire.
Patterns also influence thinking in musical Parent assistance with home study.
phrases by avoiding note-to-note playing. Parent encouragement is important for a student’s
Gordon’s rhythm and tonal pattern vocabulary continued enjoyment and success with music.
is organized, specific, and purposeful. Keep the piano time fun. Do not expect serious
Tonal patterns are without rhythm and are repetitive practicing or rigid practice schedules.
in a tonal context. Five to fifteen minutes at the keyboard is enough.
Rhythm patterns are without pitch and are The following are ways parents can assist their
in a rhythm context. children with music at home.
Music learning environment. From birth, both 1. Locate the piano in a place that is easily
environment and music aptitude affect a student’s accessible for the student.
musical growth. After age nine, a student’s music 2. Make a audio player available near the piano.
aptitude stabilizes and we measure achievement. Do not use headphones.
The environment for Keyboard Games classes 3. Listen with your student to audio tracks of
provides space for activities that are purposefully pieces learned during class.
chosen to develop audiation skills. 4. Listen to the songs, chants, and patterns
Contrast and variety of short musical examples on the audio tracks.
help students to audiate as they distinguish 5. Suggest going to the piano several times
between same and different sounds in music. during the day. Keep the tone pleasant
and relaxed. Sit with the student often.
An audiation-based music class provides a strong
foundation for making progress in music. 6. Find out how the teacher communicates
assignments and go over the assignment
What a student internalizes is not always visible
with the student.
because of the nature of the learning process.
7. Be enthusiastic about the pieces the student
Parents can trust that students are gaining is playing and ask to hear them.
invaluable, longlasting music experiences.
8. Encourage improvisation. Students can
Acculturation and imitation. During class time, create new music from rhythm patterns
students will become familiar with a large variety or rearrange a familiar piece.
of contrasting songs, chants, and patterns. They Suggest familiar ideas or thoughts to use
will recognize this class repertoire on the home for improvisation.
study recordings and begin to imitate on their 9. Help your student learn to play each piece
own. accurately. However, if the student changes
Keyboard pieces are taught at lessons by the piece, accept it and help the student
imitation and by applying audiation skills. recognize the difference between a learned
All keyboard pieces are on the audio recordings. piece and an improvised or changed piece.

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 PARENT EDUCATION. SCHEDULING. LESSON PLANS.

Set for success. In these audiation-based 5. Groups can meet in a small space where
lessons, the goals are for young students to: there are no physical distractions.
• Chant rhythm chants in different meters, Only one piano is necessary.
• Sing songs in different tonalities, Tips to keep in mind. Keep the following
• Move using flow and weight, tips in mind to effectively teach an
audiation-based approach to piano.
• Build a music vocabulary of tonal patterns
and rhythm patterns, 1. Singing, chanting, and movement activities
away from the keyboard form the curriculum
• Become familiar with the piano keyboard for a large portion of the class time.
and learn how to physically approach
the keyboard, • Singing develops tonal audiation.
• Think about the piano keys needed to • Chanting develops a sense for musical
play a piece and the fingers to use, form and phrasing.
• Chant the rhythm, play the rhythm, • Body movement is fundamental for
and play with a steady beat, rhythm development and cements learning.
• “Think” a piece in their heads, • Songs and chants without words let
students focus on pitch and rhythm.
• Experience differences in levels of
tempo and dynamics, and 2. Include songs in a variety of tonalities,
rhythm chants in a variety of meters, and
• Improvise with ease. tonal and rhythm patterns in every class.
3. Precede patterns with a song or chant
Scheduling
in the tonality or meter of the patterns.
Scheduling. Class schedules and groupings will 4. Provide resting tone activities.
vary because of individual teaching situations.
5. Have students use rhythm patterns and
The following are some ideas for scheduling make musical decisions for improvisations.
and grouping. Improvisation is a cornerstone for learning
1. Small groups of two- to four-students can how to audiate.
meet for 30 to 45 minutes a week. 6. Help students to use the imagination as
This is enough time for both keyboard they create or perform at the keyboard.
activities and circle-game activities.
7. Help students to “think” music in their minds.
2. Some teachers prefer larger groups of
8. Use the song, chant, and performance
students. These classes should be a little
repertoire on the audio recordings, the
longer, approximately 50-60 minutes.
Keyboard Games book, and this Teacher’s
3. Another possibility is to schedule one or Manual to provide
two young students with older students. a familiar core repertoire.
Have lessons for the older students before A curriculum of songs and chants with
or after the young students’s time. suggested activities is printed in this book.
Engage all in group activities.
Use additional materials as needed.
Older students are both models and leaders
9. Encourage ensemble playing for both
and will continue to develop their audiation
improvisations and keyboard pieces.
skills from this experience.
10. Repetition with variation solidifies learning.
4. Heterogenous groupings with students
of different ages and levels can work. 11. Remember that silence is audiation space.
Students learn from each other. The teacher
should be sensitive to the individual aptitude
of each student and match expectations.
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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Suggestions for teachers. Organization of lesson plans. Organize the

1. Place songs, chants, and class outline on a weekly lesson plans by categories.
large poster board or a cork board for Meter and tonality categories ensure the variety
quick reference. and contrast essential for learning how to audiate.
2. Keep activities brief and change activities Include activities in duple, triple, and unusual
often. Students learn from a large variety meters and major, harmonic minor, and other
of contrasting, short activities. tonalities in every class.
3. Have students draw pictures when one Away from the keyboard activities.
student is at the keyboard. Begin the class with singing, chanting,
Give students some perimeters for and movement activities. After students are
their drawings. For example engaged in away from the keyboard activities
• Draw a picture that looks strong. they are physically and aurally prepared to
• Draw a picture of an idea in the mind. participate in keyboard activities.
• Think about the sound of a piece and During this activity time, use a “whole-parts-
draw a picture to illustrate it. whole” learning style. Audiation is fostered
Use the drawings for discussion of flow when students hear the whole song or piece,
and weight, “sound” ideas, and for examine the parts, then hear the whole again.
keyboard improvisation ideas. Repetition. Repetition of songs, chants,
4. On days when students are extra-active, patterns, and keyboard pieces helps students
use a variety of calming activities. retain what they are learning.
For example, have each student curl up into For variety, use different activities for the
a ball, close eyes, and visualize a sailboat same repertoire. Students will have different
on a lake while the teacher sings.
responses and begin to imitate what they hear.
Or, have students form a circle and tiptoe
slowly and softly around a student sitting in Songs, chants, and patterns. The repertoire
the center. of songs, chants, and patterns in this book is
from the Music Moves for Piano curriculum.
5. Communicate with parents via e-mail, with
printed guidelines, and parent meetings. This familiar repertoire is used throughout
Schedule parent visiting days or visitation the Music Moves studio for developing
times during the last part of a class. advanced improvisation, composition,
and arranging skills.
Lesson Plans Familiar repertoire makes a smooth progression
Weekly lesson plans. Weekly lesson plans from book to book in this piano series.
organize class time, ensure that variety and Activities for the songs are included in the
repetition of activities is well sequenced and “Activities for Songs” sections of this book.
provide a record of what actually has been
Keyboard pieces: Readiness and preparation.
included in each class.
Provide readiness and technical preparation
Planned activities should be followed; but a activities for each of the keyboard pieces.
teacher may need to make changes because Suggestions are in the “Keyboard Pieces”
of the mood of the students. Keep a record sections of this book.
of the activities actually used during the class.
Permission to copy. The suggested lesson
plan that follows may be copied or altered
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 RHYTHM

RHYTHM
Four Elements of Rhythm 1. Duple meter moves in two. Microbeats are
named “Du-de” (pronounced “doo day”).
Rhythm elements. The four essential elements
Triple meter moves in three. Microbeats are
of rhythm are: flow, pulse, meter, and rhythm named “Du-da-di” (pronounced
pattern. Feel these four elements simultaneously “doo dah dee”).
to create a consistent and strong rhythmic feeling.
2. Microbeat movement is accompanied with
Each of these rhythm elements is one of four macrobeat movement. See the coordinated
layers that are inseparable, interrelated, and movement ‘Watch Please’ game (p. 17) for
superimposed on each other. macrobeat and microbeat activities.
First element of rhythm: Flow 3. Preschool age students like to move to a
A flowing movement underlies a strong rhythmic faster tempo than macrobeat movement and
sense. Have students move their bodies in may only feel the faster microbeats at first.
smooth, rounded ways while singing and listening Let them move to microbeats. Eventually,
to music. The body will feel “flow.” they will feel comfortable moving to slower
moving macrobeats.
Second element of rhythm: Pulse
(Macrobeat). The pulse is the tempo beat that Combine pulse and meter: Macrobeats and
underlies music. The pulse, or tempo beat or “big microbeats. Slowly work toward having students
beat,” is named the macrobeat. combine macrobeat and microbeat movements.
1. The macrobeat in any meter is named “Du.” Very young students may find it difficult to
Chant the macrobeat while moving. move to both at the same time, but five-year-old
First, use a neutral syllable “Bah” then use students should be successful with this kind of
the macrobeat rhythm syllable name “Du.” movement activity. Always keep the “flow.”
2. Students internalize a feeling for the pulse 1. First, have students move to macrobeats.
(tempo beat or macrobeat) by moving to Then add microbeat movement.
the macrobeat in a variety of ways.
See the ‘Watch Please’ game (p. 17) for 2. Keep pulsating movements fluid and flowing.
macrobeat movement activities. Phrasing is disrupted by regular metric
accents or strong recurring accents.
3. The tempo of the macrobeat is decided Eliminate metric accents. Accents and
by the performer and the performer’s stresses should be determined by the
understanding of the performance piece. musical nature of a piece.
4. Movement to the macrobeat should be An internal feeling for flow and for
fluid and flowing while maintaining a groupings of microbeats over macrobeats
consistent tempo. moves music in a musical way.
Third element of rhythm: Meter When the internal feeling for pulse and meter
(Microbeats). A feeling for pulse is essential in is strong, the weighted stress of macrobeats
order to determine meter. Duple and triple meter is not heard but will provide a solid rhythmic
microbeats are equal divisions of the macrobeat. foundation for a musical performance.
The macrobeat is divided into two equal parts for 3. Students should move to macrobeats
duple meter. The macrobeat is divided into three and microbeats with songs and
performance pieces.
equal parts for triple meter. In meters of five and
seven the macrobeat is divided differently. Continue to associate “Du-de” with duple
meter moving-in-two and “Du-da-di” with
triple meter moving-in-three.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Fourth element of rhythm: Rhythm patterns. Rhythm Pattern Acculturation

Rhythm patterns are without pitch and consist The voice and presentation. Use the voice
of two- or four-macrobeats in different meters. in a musical way to chant rhythm patterns.
Rhythm patterns printed in this unit are in Cue students to repeat each pattern immediately
two-macrobeat pattern categories. Syllables are following the teacher’s pattern. Sitting or
written for the teacher but should not be written standing in a circle encourages participation.
for students. The patterns are enrhythmic. Movement and props. Students can engage in
Longer patterns of four-macrobeats can be either continuous fluid movement or pulsating
created by combining two-macrobeat patterns. movement while rhythm patterns are presented.
Preschool music classes bridge the informal Students also can wave scarves, roll balls, or pass
guided learning-listening environment to the bean bags during the chanting of rhythm patterns.
formal type of instruction of Book 1. Rhythm labels or names. The rhythm syllable
When students begin Music Moves for Piano, system used to foster audiation is based on
Book 1, they will have weekly pattern instruction function. Function means that there are syllable
in rhythm categories. names for the pulse (macrobeat is “Du”) and for
Some general ideas for rhythm pattern learning meter (microbeats are “Du-de” and “Du-da-di”).
for students in “Keyboard Games” classes follow. These syllable names are not tied to note
1. Help students to differentiate between names or metric accents like other rhythm
duple meter (moving in two - “du-de”) or counting systems.
and triple meter patterns (moving in Use names, or labels, such as duple meter, triple
three - “du-da-di”). meter, macrobeat, microbeat, and divisions.
2. Guide students toward feeling rhythm Have students repeat the proper names.
patterns in phrases of two-macrobeats or
1. Use words for directions to develop
four-macrobeats.
familiarity. Say, “move to macrobeats” or
3. Expose students to a large variety of “chant triple meter rhythm patterns.” Young
rhythm pattern categories for familiarity. students may not always remember the names
4. Nudge students to imitate patterns or associations for a few years. Patience here.
accurately but do not emphasize perfection. 2. Ask students to repeat the words after you.
5. Have students consciously perform the For example, “When I say, ‘Ready - set - go,’
rhythm patterns of performance pieces. I want everyone to say ‘macrobeat’ together.”
Tell them that these words are difficult to say
6. Have students chant their own rhythm
and remember. Usually, students want to
patterns. Do not always correct patterns.
prove that they can say and use the words.
7. Expect students to remember a rhythm
3. Remind students about the meter of their
pattern when they it use for improvisation.
songs and performance pieces. Tell them,
8. Have patience while students gain for example, that “Woodpecker” moves in
competency coordinating feet and hands to two because we chant “Du-de Du-de.” Have
macrobeats and microbeats while chanting students move to macrobeats and microbeats
rhythm patterns. It is difficult but possible. to feel the pulse and meter.
9. Do not try to teach young students specific 4. Continue to associate “Du-de” with “duple
patterns during the preschool music class. meter moves-in-two” and “Du-da-di” with
Most students will imitate and naturally “triple meter moves-in-three.”
remember patterns on their own.
5. Young students like to chant division patterns
that use the syllable “ta” (pronounced tuh).

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 RHYTHM

Presenting rhythm patterns. In early childhood Rhythm Activities

music there are two ways to present patterns. Macrobeat activities.
The first way is informal. Simply chant patterns 1. Have students “drive the train” by moving to
at random during the class time. Students may macrobeats while listening to a performance
or may not echo. of a song, chant, or keyboard piece.
The second way is more formal. Patterns • Have some students “pull” the whistle
may be two-macrobeats or four-macrobeats. while softly chanting “toot, toot.”
In general, stay within a category, such as • Have other students make forward
macrobeat-microbeat or division. However, rolling movements with both arms
for variety, categories may be mixed for the while softly chanting “chug-a-chug-a.”
preschool age student. 2. Play a simple folk song and have students
Encourage moving to macrobeats and microbeats find the macrobeats with their heels, arm-
while chanting rhythm patterns. All students will hand touches, or by patting hands in the air.
not be able to do this, but some can and the rest 3. Pretend to go to the zoo. Decide the speed
will gain experience and move when ready. of macrobeat movement for different animals.
The teacher can improvise using the voice or
Here are the steps for presenting rhythm patterns.
piano while students move to macrobeats.
1. Establish a meter context. Sing a song
or chant a rhythm chant in the meter of the Microbeat activities.
patterns before chanting rhythm patterns. 1. The teacher or a student decides the
Then, before chanting rhythm patterns, macrobeat tempo and chants for duple meter,
further establish context by chanting “Bah-bah Bah-bah Rea-dy Pat-now.” While
“Du-de Du Lis-ten and Ech-o” in the duple some students move to macrobeats, other
meter tempo of the patterns or “Du-da-di Du students pat microbeats in the air, pretending
List-en and Ech-o” in the triple meter tempo to swat flies, paint, or hand-dance.
of the patterns. 2. Have students chant “Du” and pat
2. Signal. Signal students with a hand microbeats.
movement to breathe and echo the rhythm 3. Have one student perform microbeats at the
pattern immediately on the next macrobeat. keyboard while the group chants “Du.”
This signal is on the fourth macrobeat.
4. Show students how to feel the difference
3. Individual chanting of patterns. between duple meter and triple meter.
First, have each student chant a pattern
individually with the teacher. When a student Have students find the macrobeat in their
is able to chant a pattern accurately, ask the heels, then tap hands and full-arms to body
student to chant that same pattern alone. sides to find the microbeats.
Tell the students that you are going to cue There should be two taps for duple meter
one student to chant a pattern. (say “Du-de”) and three taps for triple meter
(say “Du-da-di”).
Make it difficult for the students to know
who will be chosen by not looking at the Many five-year-old students are successful
chosen student while chanting or before with this activity.
cueing the individual student to chant. 5. Chant a rhythm pattern using a neutral
Surprise the chosen student. syllable. Ask if the students hear duple
meter moving-in-two (Du-de) or triple meter
Neutral syllables and rhythm syllables.
moving-in-three (Du-da-di).
Chant patterns using both neutral syllables,
such as “bah,” and rhythm syllables.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

6. Play any performance piece. Ask if the 2. The rhythm chant may be eight-macrobeats
students hear duple meter moving-in-two or sixteen-macrobeats. Any combination
(Du-de) or triple meter moving-in-three of rhythm patterns can be used. However,
(Du-da-di). the rhythm chant should make musical sense.
Rhythm pattern activities. 3. Always use neutral syllables for rhythm
chants. Only rhythm patterns of two- or
1. Have students move their hands like the four-macrobeats are chanted with both neutral
keyboard movement of a piece while syllables and rhythm syllables.
chanting the rhythm patterns from the piece.
Play the piece, or another piece, and ask if 4. Choose two or three chants to use regularly
the hand movements match the piece. during each class. Students will recognize
the chants and begin to perform them.
2. Ask each student to echo any duple meter
rhythm pattern individually after the group 5. The teacher should improvise chants and
has echoed the teacher’s pattern. ask students to improvise chants. Encourage
students to group patterns for their chants,
3. Have students chant any duple or triple but do not correct if their phrases are
meter rhythm pattern to use for keyboard irregular. Students will gradually begin to
improvisation. sense phrase structure.
Same and different activities. Chant sources. In addition to the chants
Show students how to indicate same and printed in this book, use chants from Edwin E.
different using their fists: two closed fists Gordon’s “Songs and Chants” book published
mean the same and one closed fist and one by GIA Music Publications, Inc..
open fist means different.
1. Chant or play two rhythm patterns in the
same meter. Ask if the two patterns are
the same or different.
2. Chant or play two rhythm patterns in the
same meter or in different meters. Ask if
the two patterns move the same, in two or
in three, or does one pattern move in two
and the other pattern move in three.
3. Play part of two pieces. Ask if they move
the same or different. Ask the students if
they hear “Du-de” or “Du-da-di.”

What Are Rhythm Chants?

A rhythm chant is like a story told in rhythm.
The voice can be quite expressive. Students
have a natural interest in rhythmic expression
and find it fun to use the voice expressively.
1. Rhythm chants provide a way to internalize
rhythm. Feeling rhythm internally helps to
develop the motor skills that are important
for a rhythmic performance.

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 RHYTHM — PATTERNS

Triple Meter Division Patterns

 

 

 

 

 

 

 

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 RHYTHM — CHANTS

Rhythm Chants

Rhythm Chants: Book A Audio - Track 32

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 PITCH

PITCH

Singing Songs 3. A song may be repeated several times

during a class session.
Singing songs develops tonal audiation.
Students learn to audiate when they listen Repetition of contrasting songs provides
to and sing short songs without words in familiarity with different tonalities.
contrasting tonalities and meters. Singing Use a variety of movement activities
for the same song.
develops pitch awareness and tonal accuracy.
4 Repeat songs during other class sessions
1. Students respond positively to the
using the same or different activities.
human voice.
2. The teacher should sing a variety of short Tonal Patterns
songs in different tonalities and meters
during every class. Singing tonal patterns develops tonal
audiation.
3. Songs from the Music Moves for Piano
song repertoire are recorded on the 1. Tonal patterns are without rhythm.
Keyboard Games Audio Tracks and are 2. Tonal patterns are pitches of two, three
printed in this section. or four tones.
Songs without words. Sing the songs Diatonic tonal patterns of three pitches
using a neutral syllable, such as “Bum.” may be used first for young students.
Diatonic patterns use pitches next to
1. Songs without words help students to each other such as upper neighbors, lower
focus on the rhythm and pitch aspects neighbors, and passing tones.
of the melody.
Use harmonic tonal patterns: tonic,
2. Words can distract students from dominant, and so forth, most of the time.
singing accurately in tune.
3. The lowest pitch for a tonal pattern should
Vocal confidence. When students hear the be in a student’s singing range of D above
teacher sing songs, they develop confidence Middle C.
for using their own voices to sing. Many students learn how to use the singing
1. Encourage singing without expecting it. voice by echoing tonal patterns.
2. Do not “teach” songs. The songs are short 4. Encourage the singing of tonal patterns
and, with repetition in class, students will with the group and alone with the teacher.
begin to sing them on their own. Also, encourage students to sing
by themselves.
3. Have students sing individually as well
as with the class. 5. If a student has difficulty singing in tune,
Students can improvise part of a melody, sing with the student and match the student’s
sing tonal patterns, or sing a song. pattern response.
Remind students to listen carefully and to
Songs and body movement. “think” the sound in their heads as they
1. Students should move while listening breathe to prepare for singing.
to the teacher sing songs. 6. Remember that the Keyboard Games
2. Body movement using flow, weight, classes are a time to become familiar with
space, and time is fundamental for differences in tonalities and tonal patterns.
rhythm development. Patterns may be sung using both neutral and
tonal syllables, but do not teach patterns.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Tonal pattern goals. Tonal pattern goals for Practice this audiation “pause-breath” timing
students in preschool music classes are to: with the students. Tell them that, as they breathe,
1. Learn to hear the difference between they should hear the pattern in their minds.
major and harmonic minor tonalities. This “audiation breath” helps to sing in tune.
2. Listen to precise, in-tune singing of short Neutral syllables and tonal syllables.
tonal patterns. 1. First, sing tonal patterns using a neutral
3. Eventually be able to sing tonal patterns syllable “Bum.”
accurately in tune. 2. After students are familiar with
8 to 10 patterns, add tonal syllables
Tonal Solfege but continue to sing patterns with a
Solfege system. The movable-Do- with a neutral syllable..
La-based minor solfege system is the only 3. Most young students enjoy echoing patterns
tonal syllable system that fosters audiation. with “Bum” and with tonal syllables.
1. Tonal syllables give meaning to letter 4. Introduce new patterns at any time for
names and to harmonic functions. preschoolers. Repeat familiar patterns.
For example, when D is “Do” A is “So.”
When A is “Do” D is “Fa.” Tonal labels or names. Use labels, or names,
such as major tonality, minor tonality, tonic,
2. Tonality means loyalty to a resting tone.
Resting tones are: “Do” for Major tonality, and dominant with songs and pieces. These
“La” for Aeolian or Harmonic Minor tonality, names provide an aural classification system.
“Re” for Dorian tonality, 1. Say the labels and have the students repeat
“So” for Mixolydian tonality, them. Make a game out of this. Ask,
“Mi” for Phrygian tonality, “How fast can you repeat this name.”
“Fa” for Lydian tonality, and Or say, “I can say it faster than you can.”
“Ti” for Locrian tonality. However, do not expect young students
to always remember the labels and their
Tonal Pattern Presentation associations. Help them with the answers.
Teacher’s singing voice. The teacher should 2. Connect labels with music. Use labels for
use a light, clear voice without vibrato to sing directions. Tell students that we will “sing
tonal patterns. Each tone should be slightly major tonal patterns” or “sing a minor song.”
separated, but keep it musical in sound. 3. Use syllables. For example, have students
Establish a tonal context. Establish context sing the resting tone “La” or “Do” before
by singing a song or cadence in the tonality of singing a song and tell the students to hold
the tonal patterns. the resting tone in their minds.

Audiation breath: pause and breathe. Always

observe a short amount of silence between the
teacher’s pattern and the student’s echo of the
tonal pattern. The space is just enough time to
pause and breathe before echoing the pattern.
If the tonal response is immediate, students
imitate the pattern. If the response is late,
students remember the pattern.
In neither case do they audiate.

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 PITCH — ACTIVITIES FOR SONGS: BOOK A

Audio Track 31 Song 3 – Mixolydian Tonality: D is SO Start on SO Unusual Meter

Flow Activity S move the body as if it is stuck in the mud.
Weight Activity S do a light, crooked dance using arms and gentle
body movement.
Space Activity S sit and move the upper body in all the space possible.
Time Activity S pat the air to the crooked macrobeats.
Tonal Activity T sings the first tonal pattern “So-Re” using BUM. Sing
the song and ask S to bend at the waist when they hear the
special sound “So-Re” in the song.
Rhythm Activity S move while T chants the macrobeats of the song. S move
while T chants the microbeats of the song. Use BAH.
Other Activity S move the upper body for the first half of the song and
the lower body for the second half of the song. At the end,
pause, then T repeats the song ending several times.

_________________________________________________________________________________

Audio Track 31 Song 4 – AeolianTonality: F is LA Start on LA Duple Meter

Flow Activity S move as if floating in space.
Weight Activity S move as if jumping on a trampoline with the feet “glued.”
Space Activity S do a hand-dance in front of the chest.
Time Activity S move alternating heels to the microbeats.
Tonal Activity T repeats and holds the last pitch of each phrase during the
singing of the song.
Rhythm Activity T chants the rhythm pattern of the song, then improvises a
new rhythm pattern with a distinct voice change during the
long space (the half-note duration).
Other Activity S stomp a foot at the beginning of each phrase.
Keep moving in a continuous fluid way.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Songs: Book A Audio - Track 31

A-Audio Track 31 - N 1 – Lydian Tonality: D is FA Start on FA Duple Meter

A-Audio Track 31 - N 2 – Har Minor Tonality: E is LA Start on LA Triple Meter

A-Audio Track 31 N 3 – Mixolydian Tonality: D is SO Start on SO Unusual Meter

A-Audio Track 31 N 4 – AeolianTonality: F is LA Start on LA Duple Meter

A-Audio Track 31 N 5 – Major Tonality: F is DO Start on DO Duple Meter

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 BODY MOVEMENT

BODY MOVEMENT

Why Body Movement Is Important General Movement Guidelines

for Keyboard Classes 1. Give general instructions, such as, “move
Body movement is fundamental for like...,” “move as if you are...,” “pretend
understanding rhythm and musical style. you are...,” or “move your (name a body
Good rhythm requires body coordination, part).” Students will model the teacher
or other students.
freedom, flow, weight, relaxation, and balance.
Musical style is understood through flow, 2. Ask students to move different body
weight, time, and space movement activities. parts, such as, shoulders, elbows, arms,
hands, hips, or knees.
In addition to developing a sense for musical
This body part awareness transfers to
expression, physical movement activities
understanding the body mechanism
release body tension and prepare students and how different body parts function
to play the piano comfortably. when playing the piano.
Students like to move, and they learn through 3. Find ways to help students experience
body movement. Movement cements learning. both the extremes and varying degrees
Have students move both without sound of flow and weight. Flow and weight
and when listening to a song or rhythm chant. are important in developing musicianship.
To experience flow extremes, have the
Flow, Weight, Space, and Time students feel stuck (bound) in concrete and
gradually wiggle out until they are floating
Rudolf Laban, the famous dance educator used
in space (free).
four words to describe movement: flow, weight,
space, and time. These four effort movements To experience weight extremes, have
students dance while pretending to carry a
are the basis for different body movement
huge suitcase of rocks (strong). Then have
activities for students in audiation-based classes. students dance while pretending to carry
Eventually, music students must learn to audiate a bag full of feathers (light).
flow, weight, space, and time, because these When moving, have students feel smooth
elements interact with each other to create rounded movements that are continuous
rhythm and musical artistry. and fluid.
Following are the extremes of each effort 4. Explore space with both stationary and
movement. Help students to learn to move from locomotor movement activities. Space
one extreme to the other. is important for understanding time.
1. Flow can be defined as bound to free. Help students find all the space around
them with their arms. Have them move
2. Weight can be defined as strong to light.
in space using large or small movements.
3. Space is referred to as direct or indirect
5. Engage students in both pulsating
(traditionally called ‘duration’).
and continuous fluid movement activities.
4. Time is referred to as sustained or quick
For example, have students pat the air.
(traditionally called ‘tempo’).
Then, for contrast, have them make
rolling movements with the arms.
6. Use contrasting movement activities
when the same song or chant is repeated
during a class or during weekly classes.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Body Movement and the Variation: Instead of chanting “me,” chant

Four- to Six-Year-Old Student a student’s name to create new movement.
Preschool age students are more comfortable 2. Movement in class area - “Go-go-go.”
with locomotor activities than with stationary Have students move like the teacher moves.
movement activities. They run, skip, and hop. The teacher chants,
Establish movement guidelines to maintain “I’m going to go-go-go,
order in the class. I’m going to go-go-go,
I’m going to go-go-go and stop.”
Class movement guidelines. Students can
Change the words “go-go-go” to different
be asked to:
movements, such as: “move real slow”;
• not touch anybody or anything, “move real fast”; “jump-jump-jump”;
• remain in a personal space, “creep like a cat”; “move real big”;
• keep feet “glued” to the floor when “tip-tip-toe,” and so forth.
the teacher asks them to, and Stationary movement activities. Following
• stay within the teacher-designated area. are some stationary movement activities without
sound that help the preschool age student to
Arrangements for movement activities.
become aware of different body parts. Have
Different group arrangements may be used
students yawn and breathe. These movements
for locomotor and stationary activities.
are also relaxing. Students may form a circle.
Students may stand or sit.
1. Circle. Sing and chant patterns. Move to Above-the-waist body part movement activities.
songs. Use any locomotor or stationary 1. Move the head in circles. Change direction
movement activity. For variation, have of movement. Move the head to each side.
students move to the center and back again. 2. Put one arm in the air above the head and
2. Forward facing line. Have the students make large circles. Use full arm movement.
face forward in a line. They can imitate Find other ways and places in space to move
the teacher’s movements all together and the full arm(s). Use each arm alone.
tap the pieces in the air. 3. Move the arms from the elbows in many
3. Line-up. Students are lined up behind each different ways.
other. Form a train with the teacher or older 4. Bring the shoulders up to the ears. Hold,
student as the engine. then drop them to a normal, relaxed position.
Activities can include moving at different 5. Move one shoulder in circles. Change
speeds. For example, move very slowly, move directions. Move the other shoulder.
a little fast, move very quickly, move on tiptoe. Move both shoulders.
Move in different styles. For example: 6. Wiggle the fingers.
waddle like a duck; take slow large steps
like an elephant; or, take little slow steps Below-the-waist body part movement activities.
like a turtle. 1. Bend the knees.
Locomotor movement. 2. Move the heels together and alternating.
1. Movement in class area - “Hey, hey, look 3. Move the hips.
at me.” The teacher chants or sings on
“So-mi,”
“Hey, hey, look at me,
Can you move just like me?”
The students should imitate the
teacher’s movement.
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 CREATIVE ACTIVITIES

CREATIVE ACTIVITIES

Creative Activities and Exploration

Keyboard Games Classes Students are curious about sounds and how
During the creative process, students apply they are made. Encourage this curiosity by
what they have learned about music. having students explore contrasting music
Their acquired music knowledge, or sounds with both the voice and the keyboard.
information, is used to create something new. During exploration time, give short, definite
This process makes creative activities basic for instructions. The following are some guided
learning how to audiate. exploration activities with some structure.
Creative activities include exploration, guided 1. Have four students stand in front of the
creativity, improvisation, making arrangements, keyboard. Ask them to each find one set
playing by ear, and composition. of three black piano keys with their eyes.
Short creative activities have no sense of Next, have the students take turns playing
“right or wrong.” The act of creating ensures each key of the three black piano key
group, one at a time.
learning along with a feeling of success.
There is fulfillment in the creative process used Accept each student’s personal answer to the
for these “throw-away” activities. following questions:
• Do the individual piano keys sound
General thoughts about creative activities.
the same or different?
1. When students explore, create, and
• Do the sets of piano keys, played by other
improvise they:
students, sound the same or different?
• reach within themselves to make decisions,
• What set would sound most like a bird?
• think about music and use their
• What set would sound most like a bear?
imaginations,
• What set would sound most like clouds?
• learn to be flexible and explore different
options, and • What set would sound most like rain?
• gain experience in problem solving 2. Repeat the above activity using sets of two
because they must make appropriate black piano keys.
choices from a variety of music elements. 3. Show students how the hammers look when
2. Teachers and parents should encourage they strike the strings to produce the sound.
students to engage in the process of 4. Show students the piano strings and talk
creating and praise their creative efforts. about the difference in thickness, length and
3. Gently guide students toward following how the sound of each string is different.
some directions. Creative projects are 5. Have students explore different sounds they
effective learning tools when there is can make with their voices. Have them cluck,
positive reinforcement and teacher guidance. say “choo,” make siren sounds, make fog horn
4. The process of improvising is important sounds, make soft sounds, make loud sounds,
for long-term learning and retention of and sing two separate tones.
musical concepts.
Students learn to “think” music because
improvisation has guidelines.
Students must make decisions or follow
someone else’s instructions.

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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Guided Creativity 7. Select different combinations of piano

keys to use, such as black keys, white keys,
The imagination sparks ideas that need some
or a combination of black and white keys.
decision-making to fulfill. Think of these Talk about ways to make different sounds.
decision-making events as belonging in a
“sand box” filled with many “music play” toys, For example, piano keys may be used to:
play together at the same time; alternate
such as rhythm, pitch, dynamics, articulation,
playing separately; imitate a rhythm pattern
piano keys, and so forth. like an echo; or, contrast a “crunch” sound
How to encourage creativity. The following with the sound of one piano key.
are ways to encourage students to be imaginative
and creative. Improvisation
1. Think about animals, scenery, sport activities, Improvisation is a structured creative activity.
personal experiences, or feelings. Students need to follow guidelines given to them
2. Look at pictures or drawings and ask or guidelines which they make by themselves.
students to think about how they might Decisions need to be made about tempo,
interpret the picture with music. meter, rhythm pattern, sounds to use, piano
3. Same and different activities foster creativity. keys to use, keyboard register, dynamics,
Through these kind of activities students articulation, and form.
will learn what to listen for and how to make
logical choices. Exploration and creative activities establish
a framework for improvisation.
Guided creative activities. Students may use the keyboard, the voice,
1. Have students choose from different or body movement for improvisation activities.
elements of music when creating, such Improvisation in class and at home.
as rhythm patterns in duple meter or triple
meter, tempo (fast, moderate, slow), and 1. Improvisation activities can be used
dynamics (loud, medium, soft). frequently and spontaneously during class.
2. Chant a rhythm pattern using two- or 2. The teacher should give careful guidance
four- macrobeats (DUs). Ask the students and direction to help students make
to chant a different rhythm pattern using individual decisions about an improvisation.
the same number of macrobeats (DUs). 3. Consider individual differences when
3. Play a rhythm pattern using two- or choosing how many decisions a student
four- macrobeats (DUs) on one piano key. can remember for an improvisation activity.
Ask the students to play any rhythm pattern • The teacher may make choices or write
of their choice using the same number down the student’s choices.
of macrobeats (DUs). • The class can make choices for a student
4. Play a rhythm pattern using two- or to use for an improvisation.
four- macrobeats (DUs) on one piano key • Some students may only be able to
at a fast tempo. Ask students to play any remember a few choices, but always have
rhythm pattern using the same number of students improvise using a rhythm pattern.
macrobeats (DUs) in the same meter at a
slow tempo. 4. Students should be encouraged to
improvise at home. Praise improvisation.
5. Play three black keys softly and ask
students to play them differently.
Use a soft fist.
6. Have students play in a chosen area of the
keyboard and talk about the sound.

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 KEYBOARD PIECES

KEYBOARD PIECES

Keyboard Transition Time for Performance Pieces

Four- and Five-Year-Old Students Many short pieces keep students’s interest
Young students are naturally interested in playing and are easy to remember or “relearn.”
the piano. Encourage their enthusiasm and help
The short “game-like” piano pieces in the
them to feel successful at this young age.
Keyboard Games books encourage students
Because this is an audiation-based approach to be imaginative and help them to explore
to music learning, keyboard activities are the keyboard in a meaningful and fun-filled way.
always accompanied by other class activities.
The contrast and variety of pieces help
Singing, chanting, and movement activities away students develop a kinesthetic, aural, and
from the keyboard are necessary for students to visual familiarity with the keyboard geography.
learn and apply audiation skills. Music making is Students use:
with the voice as well as at the keyboard. • the whole range of the keyboard,
It is also important to help students develop • both black and white keys,
a healthy approach to the keyboard and think • one hand alone,
about how they use their arms, hands, and fingers. • alternating hands,
Keyboard activities and a sensitivity to students’s • hands playing together,
special interests make this keyboard transition • movement in different directions,
time a smooth pathway to structured lessons.
• ensemble playing,
The following are some general guidelines for
keyboard activities and performance. • contrast in sound,
1. Have students explore the full range of • differences in phrase endings,
the keyboard with teacher guidance and • variety in tempo and dynamics, and
game-like activities.
• duple and triple meters.
Pay attention to finger-hand movements.
2. Show students how to create or improvise Rote Notation. The rote notation template for
their own pieces. Play rhythm pattern games. keyboard pieces was created by young students.
They understand the meaning of the pictures.
3. Have students create a musical description
of a picture or idea using a rhythm pattern. The page design for Keyboard Games pieces
4. Encourage improvisation with guidelines. gives students the following information about
Some students prefer to improvise. each piece. Have students use this outline at
Students’s interest in learning “prepared” home when they play a keyboard piece.
pieces varies due to age and maturation. • name of the piece,
In time, playing these “prepared” pieces • rhythm patterns,
will be important for them.
• dynamics,
5. Expect individual differences. Students in
• tempo,
a class do not need to learn the keyboard
pieces at the same pace. • keyboard register,
6. “Perfect performance” is a long-term goal. • fingers-hands,
• piano keys to use, and
For general reference, read the “Time to Begin”
introduction on the front cover of this manual • where to begin.
and the Keyboard Games books.
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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Away from the Keyboard Preparation 4. Piano keys to use. The “keyboard picture”
for Learning a Keyboard Piece shows the piano keys to use for each
piece. Dots are on the white piano keys
1. Tell the students the name of the piece,
and dots are above the black piano keys.
then perform it while the students listen.
5. Where to begin. The symbol S1 shows the
2. Chant the tempo-meter introduction. Play
starting hand/finger and the starting piano
the piece again while the students move to
key. The symbol S2 shows the hand/finger
macrobeats and microbeats.
and piano key that is used second.
3. Form a line-dance and have the students
6. Establish meter and tempo. Have students
“play” the piece or parts of the piece in
chant “Du-de Du read-y play/chant (now)”
the air. Keep the arm movement gentle,
or “Du-da-di Du read-y play/chant (now)”
loose, and light.
in preparation for another performance of
This activity reinforces hand movement the piece by the teacher.
coordination.
Have students move to macrobeats and
4. Separate the phrases of the piece during microbeats while chanting the introduction
the learning process. and listening to the piece.
Point out the sameness or difference
between two phrase endings. At the Keyboard Preparation
Divide the students into two groups and for Learning a Keyboard Piece
have each group chant different rhythm 1. Have a student locate the piano keys for the
patterns for the piece. If the phrases end piece then check the hands and arms to
differently, switch parts. see if they are loose, not rigid on the keys.
Preparation activities for each piece are The teacher should demonstrate how to
included in the “Activities for Keyboard Pieces” play the piece with “loose and gentle”
section that follows. hands and fingers.
Students Look at Rote Notation. After students 2. Show students keyboard patterns or “moves”
participate in singing, chanting, and movement from a piece. Have them practice the moves.
preparation for learning a new keyboard piece, 3. When learning a new piece, students may
have them look at the rote notation information use words like “jump over,” “land here,”
in the Keyboard Games book. “go this way,” “go that way,” “start here,”
“stop here,” or “let go of the sound.”
1. Read out loud. Help the students to read Use their word choices and have fun with
the following information on each page, their insights.
then talk about the piece.
4. Teach students how to establish tempo
• read the title, and meter before beginning to play.
• chant the rhythm pattern(s),
• read the dynamics suggestion, and After Learning a Keyboard Piece
• read the tempo suggestion. 1. Accompany with the duet part as soon as a
2. Hands and fingers. The “hand picture” student plays the piece well and is able to
shows the hand(s) and fingers to use. concentrate when something else is going on.
3. Keyboard register. The “keyboard picture” 2. Have two students play together, if they can.
shows where to play each piece. Students 3. Have the students close their eyes and audiate
learn to count the sets of black piano keys or “think” about the piece in their heads.
to find the playing location. Can they hear it?

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 ACTIVITIES FOR KEYBOARD PIECES

Activities for Keyboard Pieces

Preparation and Readiness Activities 3. Some teachers have longer classes that
include craft work stations.
Activities that develop audiation skills also help
students to learn and remember keyboard pieces. • Have students create a bookmark from
Class-time preparation and readiness activities a drawing that relates to a keyboard piece.
set the stage for confident and accurate playing. • Have students cut out a picture of an
apple and make a worm out of pipe
This unit provides suggestions for a variety of
cleaner for “The Apple and the Worm.”
activities for each piece in the Keyboard Games
books. Use what is appropriate for the class, • Have students incorporate the four effort
movements in their drawings (see page 39).
individual student, and personal teaching style.
Movement Activities. Students learn through Keyboard Preparation. Prepare before playing.
body movement. 1. Keyboard-hand moves. Have students:
1. Use the effort body movements: flow, • Alternate hands.
weight, space, and time to create a variety • Play with each hand alone.
of movement activities. The teacher should
model and describe the movement activity. • Play with two hands at the same time.
Have students move while listening to the • Learn how to move in and out from
teacher, or other student, play a keyboard a white piano key to the very next
piece. Tell the students, for example, to black piano key.
“Move 2. Visualize the keyboard. Have students:
like feathers while I play the piece that • Play sets of two black piano keys.
moves in two.”
• Play sets of three black piano keys.
2. Songs and rhythm chants in the meter of a
piece prepare for performance. • Locate individual piano keys on the
Ask the students if we are moving in two keyboard from a paper picture.
or three, then give them the answer. • Think about the sound of a piece while
looking at the keyboard and hands pictures.
Away from the Keyboard Activities.
These activities relate directly to each piece. 3. Experiment with sound. Have students:
1. Ask students to chant rhythm patterns • Become familiar with the sounds
from a piece while moving. of different keyboard registers, or areas.
2. Have students move their hands in the air, • Use different areas of the keyboard to
using the hand movements of a piece. perform keyboard moves and improvise
with rhythm patterns.
Creative Play Activities. Pictures, craft Talk about the keyboard sound qualities.
work, and discussions about a piece help • Use different dynamic levels and
students to connect with the music. articulations.
1. For example, show students a picture of
Teaching Tips. Special suggestions for
a woodpecker, a shark, or bridges.
teaching individual pieces are included in
2. Students like to draw. Drawing helps students the “teaching tips” category.
think expressively about a keyboard piece.
Use effort movements. Any activity suggested in this unit can be used
For example, have students draw a light during a keyboard “work station time” as well
or a strong picture of a bike ride. as with other pieces.
Improvise music to the pictures.
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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Page 1 Audio Track 1

MUSIC INFORMATION CREATIVE PLAY ACTIVITIES

Duple Meter 1. Show students a picture of a woodpecker.
Rhythm Pattern(s):
2. Listen to the sound of a woodpecker from
Du-de Du-de a recording of bird calls.
Dynamics/tempo:
A little soft A little fast 3. Draw or color pictures of a woodpecker.
Have students use space when drawing
their pictures.
MOVEMENT ACTIVITIES
1. T sings a Duple meter song and asks S to fly KEYBOARD PREPARATION
like a bird. Keep feet glued and only use arms.
1. Have S play different sets of three black keys.
2. T establishes tonality and sings the resting
tone of a duple meter song on BUM. 2. Have S make a soft fist and pretend it is a little
Tell S that when T stops singing they bird with an egg inside it. Play different sets
should freeze and sing the same of three black keys one or two times only.
resting tone on BUM. Use each hand alone.
3. T plays “The Woodpecker” and S fly their 3. Help the bird do a little bird dance on the
imaginary woodpecker with one arm and three black key sets.
land on the other arm. Careful, do not crack the egg.
4. Ask S to “fly” while chanting “Du-de Du-de.” 4. Have S play two sets of three black keys
See if they can move and chant at the same with alternating hands. Use a soft fist.
time. For some S this may not be possible.
TEACHING TIPS
AWAY FROM THE KEYBOARD 1. Have S play the same piano key making
1. T chants the rhythm pattern “Du-de Du-de” circles in the air with the arm-wrist-hand
and asks S echo it. Have each S chant the then landing gently on the piano key.
rhythm pattern alone, one after the other. Make circles in both directions.
2. Have two S echo the rhythm pattern. 2. Tell S that the arm will drop the soft fist
Let one S be a baby woodpecker and the gently into the piano keys.
other its mother. Have them feel the keys move down then up.
3. Do a line dance. T chants “Du-de Du-- Chant 3. Have S touch T arms while T plays the piece.
with me” to establish tempo. All pat the piece Ask S to describe how T arms feel.
in the air. Change hands at the right time.
Use a forearm movement. NOTES
4. Have S tap “Du-de Du-de” in the air then
tap “Du-de Du-de somewhere else, such
as the stomach, arm, or floor.
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MUSIC MOVES FOR PIANO • KEYBOARD GAMES TEACHER’S EDITION

Page 26 Audio Track

MUSIC INFORMATION CREATIVE PLAY ACTIVITIES

Triple Meter 1. Where do mosquitos live? Draw a picture
Rhythm Pattern(s): of a swamp land, or small bodies of water.
Du-da-di Du-da-di Use a little strong and space.
Du-da-di Du 2. Draw a mosquito bite.
Dynamics/tempo: Use a little strong.
Medium loud Fast
KEYBOARD PREPARATION
MOVEMENT ACTIVITIES 1. Have S practice the two piano keys that
1. T sings a Triple meter song. Ask S to keep end the second phrase.
their feet glued while they pretend to move • S should pretend the first piano key
like very tiny mosquitos. is a trampoline that throws the finger
2. T sings the song again and asks S to echo to the second piano key.
the resting tone and remember it. Every time • Have S practice the movement while
T stops singing, S freeze and sing the resting looking at the piano keys to prepare
tone BUM. the movement.
3. T chants a Triple meter chant. • The hand should make a gentle
• Ask S to make gentle wrist movements rounded movement.
in the air. 2. Have S practice playing from any black piano
• Have the wrists lead the arm movement key to the very next white piano key.
in a continuous flowing way, like sail boats. • Make this movement very quickly.
• Stay close to the black piano key.
AWAY FROM THE KEYBOARD
1. T plays the piece. Ask S if they hear “Du-de” TEACHING TIPS
or “Du-da-di.” Remind S that “Du-de” moves
in two and “Du-da-di” moves in three. 1. Remind S that one hand does not move
until the very end.
2, Have S audiate the rhythm pattern while T
plays the piece. 2. Have S feel that their finger is resting
on a piano key until it sends it to the
Ask them to chant softly at the right time the next piano key.
endings of each phrase, “di Du.”
3. T plays each phrase announcing “this is one” NOTES
and “this is two.” Ask S if the endings are the
same or different. How are they different?
• Is the rhythm different?
(No. It is the same)
• Is the sound different?
(Yes. The last piano key is played in
two different places.)
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 BOOK 1• BIBLIOGRAPHY

Bibliography

General Information
Berenson, Gail, Jacqueline Csurgai-Schmitt, William DeVan, Dr. Mitchell Elkiss, Seymour Fink,
Phyllis Alpert Lehrer, Barbara Lister-Sink, Robert Mayerovitch, Dr. Norman Rosen,
Dylan Savage, Luiz de Moura Castro. A Symposium for Pianists and Teachers: Strategies to
Develop the Mind and Body for Optimal Performance. Dayton: Heritage Music Press, 2002.
Bluestine, Eric. The Ways Children Learn Music. Chicago: GIA, 2000.
Curwen, Mrs. A.J. Mrs. Curwen’s Pianoforte Method – A Guide to the Piano. 17th Edition. From Amazon.com.
Eskelin, Gerald. Lies My Music Teacher Told Me. Woodland Hills, CA: Stage 3 Publishing, 1999.
Fink, Seymour. Mastering Piano Technique. Portland: Amadeus Press, 1992.
Gordon, Edwin E. The Aural/Visual Experience of Music Literacy,. Chicago: GIA, 2004.
Gordon, Edwin E. Awakening Newborns, Children, and Adults to the World of Audiation. Chicago: GIA, 2007.
Gordon, Edwin E. Clarity by Comparison and Relationship. Chicago: GIA, 2008.
Gordon, Edwin E. Corybantic Conversations. Chicago: GIA, 2008.
Gordon, Edwin E. and others. Experimental Songs and Chants Without Words. Chicago: GIA, 1993.
Gordon, Edwin E. How Children Learn When They Learn Music. Chicago: GIA, (reissue of 1968 edition).
Gordon, Edwin E. Improvisation in the Music Classroom. Chicago: GIA, 2003.
Gordon, Edwin E. Introduction to Research and the Psychology of Music. Chicago: GIA, 1998.
Gordon, Edwin E. Inseparabiltiy of Space and Time in Rhythm Improvisation. Chicago: GIA, 2014.
Gordon, Edwin E. Learning Sequences In Music: A Contemporary Music Learning Theory. Chicago: GIA, 2012.
Gordon, Edwin E. Music Learning Theory for Newborn and Young Children. Chicago: GIA, 2013.
Gordon, Edwin E. Music Listening Experiences for Newborn and Preschool Childern. Chicago: GIA, 2012.
Gordon, Edwin E. Preparatory Audiation, Audiation, and Music Learning Theory. Chicago: GIA, 2001.
Gordon, Edwin E. Rhythm: Contrasting the Implications of Audiation and Notation. Chicago: GIA, 2009.
Gordon, Edwin E. Space Audiation. Chicago: GIA, 2015.
Gordon, Edwin E. Structuring Comprehensive and Unified Music Curriculums. Chicago: GIA, 2015.
Gordon, Edwin E. Study Guide to Learning Sequences In Music. Chicago: GIA, 2007.
Gordon, Edwin E. Takin a Reasonable and Honest Look at Tonal Solfege and Rhythm Solfege. Chicago: GIA, 2009.
Mark, Thomas. What Every Pianist Needs to Know About the Body, Chicago: GIA, 2003.
Martin, Michael E. Parents’ Guide. Chicago: GIA, 2002.
Seymour, Harriet Ayer. How To Think Music. 1910. Free download: Available through interlibrary loan.
Seymour, Harriet Ayer. Philosophy of Music: What Music Can Do for You. Harper, 1920. Print from Espresso
Music Machine. Interlibrary loan. 135

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MUSIC MOVES FOR PIANO•LESSON PLANS

Taggart, Cynthia, Beth M. Bolton, Alison M. Reynolds, Wendy H. Valerio, and Edwin E. Gordon.
Jump Right In The Music Curriculum, Teacher’s Guide Book 1. Chicago: GIA, 2000.
Valerio, Wendy H., Alison M. Reynolds, Beth M. Bolton, Cynthia C. Taggart, and Edwin E. Gordon.
Music Play Book 1, The Early Childhood Music Curriculum. Chicago: GIA, 1998.

Pattern Instruction
Gordon, Edwin E. Reference Handbook for Using Learning Sequence Activities. Chicago: GIA, 2001 .
Gordon, Edwin E. & David G. Woods. Rhythm Register Book One. Chicago: GIA, 1990.
Gordon, Edwin E. & David G. Woods. Tonal Register Book One. Chicago: GIA, 1990.

Enrichment Materials
Grunow, Richard F., Edwin E. Gordon, and Christopher D. Azzara. Three CDs:
Don Gato -100 Familiar Tunes Performed on a Variety of Instruments. Chicago: GIA, 1995.
Simple Gifts - 100 Familiar Tunes Performed on String Instruments. Chicago: GIA, 1996.
You Are My Sunshine - 100 Familiar Tunes Performed on a Variety of Instruments. Chicago: GIA,
1997.
Grunow, Richard F. and Edwin E. Gordon. Jump Right In, The Instrumental Series -
Solo Book One -Reading. Notation for melodies on the CD: Simple Gifts. Treble clef or bass clef.
Chicago: GIA, 1993.
Solo Book Two - Reading. Notation for melodies on the CD: Don Gato. Treble clef or bass clef.
Chicago: GIA, 1993.
Solo Book Three - Reading. Notation for melodies on the CD: You Are My Sunshine. Treble clef or bass
clef. Chicago: GIA, 1996.
Lowe, Marilyn. Music Moves for Piano. A piano method based on Edwin E. Gordon’s
Music Learning Theory. Music Moves, 2004-2021.
Testing Materials
Gordon, Edwin E. Advanced Measures of Music Audiation (Grades 7-12 & College). Chicago:
GIA, 1989.
Gordon, Edwin E. Am I Musical? Music Audiation Games (Adults and Children Ages 7 and up).
Chicago: GIA, 2003.
Gordon, Edwin E. Intermediate Measures of Music Audiation (Grades 1-6). Chicago: GIA, 1986.
Gordon, Edwin E. Musical Aptitude Profile (Grades 5-12). Chicago: GIA, 1995.
Gordon, Edwin E. Primary Measures of Music Audiation (K-Grade 3). Chicago: GIA, 1979.

Website Contacts
GIA Publications, Inc.: www.giamusic.com
Gordon Institute of Music Learning: www.giml.org
Music Learning Academy: www.musiclearningacademy.com
Music Moves for Piano: www.musicmovesforpiano.com
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 KEYBOARD GAMES BOOK A - PREVIEW PAGES

Keyboard Games

Music Moves for Piano

Book A
By Marilyn Lowe
In Cooperation with Edwin E. Gordon

Time to Begin
Keyboard Games Book A and Keyboard Games Book B are the first in a 5. Musical Expression. Experiment with different levels of articulation,
series of audiation-based books for piano. These books provide an informal dynamics, and tempos when playing keyboard pieces. Describe sound as
foundation for developing audiation skills for transfer students and beginning “separated,” “connected,” “a little soft,” “kind of loud,” “not too fast,”
students of any age, including four and five year old children. Short pieces or “very slow.”
in duple and triple meters can be used for improvisation activities, including
making changes in dynamics, articulation, meter, and keyboard range. Creating 6. Ensemble Playing. Duet parts can be played by another student, a
medleys and mashups as well as original story compositions are part of the parent, or the teacher.
method. Students are engaged in away from the keyboard activities that use 7. Rhythm. Develop the habit of chanting a rhythm introduction to
the voice and body movement. Singing develops tonal audiation and body establish meter and tempo before beginning to play: “Du-de Du Du-de
movement develops rhythm audiation. Du” (doo-day) or ``Du-da-di Du Du-da-di Du” (doo-dah-dee). Have
1. Music Aptitude. The potential to achieve in music is called music students chant out loud or “think” the rhythm patterns of a piece while
aptitude, which is developmental until age nine when it stabilizes. A they learn and perform it. Movement activities guide students toward
rich and appropriate musical environment includes purposeful singing, feeling pulse, meter, and flow.
chanting, body movement, guided improvisation, and rhythm and tonal 8. The Music Page. Pictures of hands and keyboards describe what is
pattern acculturation. needed for each piece. Students learn that printed music gives directions
2. The Tone. Game playing, absorbing music, movement, and singing are such as meter, rhythm patterns, dynamics, tempo, fingerings, and
fun for all students. Simple keyboard pieces add to the excitement of keyboard playing location.
making music. “Practice” at home should be enjoyable with carefully 9. Creativity and Improvisation. Creating something new reinforces
guided adherence to detail. Keep it light, and move in the “right” musical thinking. Story pages encourage writing a story and illustrating it
direction, remembering always that music is an aural art. with music and drawings. Students decide register, dynamics, tempo, and
3. The Lesson Content. Activity time away from the keyboard includes rhythm patterns before beginning to create music.
hearing tonal and rhythm patterns, singing songs, chanting chants, and 10. Nonessentials. Letter-naming notes on the music staff, counting using
body movement. All of these activities help to develop audiation skills, or numbers, as well as using terminology such as up/down, step/skip,
the ability to “think” music with comprehension. Keyboard pieces provide high/low, right/left hand, or finger numbers distracts from learning how
familiarity with the whole keyboard (black and white piano keys) and to audiate and are not necessary in beginning piano instruction.
help students feel phrase structure. Variety among the pieces lets students
experience “same and different’’ and learn how to be creative. 11. Essentials. In beginning piano instruction, students should chant and
sing; recognize same and different; engage in body movement activities;
4. Physical Movements at the Keyboard. Playing the piano is often a use the “right” hand-fingers on the “right” piano keys; improvise; learn
“come and go” affair, especially for young students, who may stand or how to approach the keyboard physically; and remember “how a piece
walk from one end of the keyboard to the other. Encourage large-motor goes” along with its playing location.
forearm movement. Guide toward arm balance over each finger. Show
students how to keep the hand straight with the arm and how to keep the
fingers together, not isolated. Have students use a separated touch. Pieces
were composed to help students learn these physical movements.

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Book A
Music Moves for Piano

KEYBOARD GAMES
By Marilyn Lowe
In Cooperation With Edwin E. Gordon

Music Moves for Piano is designed to develop improvisation, audiation, and keyboard
performance skills. The method builds on the ideas and theories of
Orff, Kodaly, Dalcroze, Suzuki, and Gordon.

© 2007, 2008, 2011, 2013, 2015, 2021 Music Moves LLC

All Rights Reserved

G-7216
© 2007, 2008, 2011, 2013, 2015, 2021 Music Moves LLC
www.musicmovesforpiano.com
info@musicmovesforpiano.com
ISBN: 978-1-57999-698-7
Distributed by GIA Publications, Inc.
7404 S. Mason Ave., Chicago, IL 60638
(708) 496-3800 or (800) 442-1358
www.giamusic.com
All rights reserved. No portion of this book may be reproduced,
stored in a retrieval system, or transmitted in any form or means–
mechanical, photocopying, recording, or other–without prior
permission of Music Moves LLC.
Printed in the United States of America
August 2021

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iii

Table of Contents
CD Track CD Track
1 The Woodpecker .................................................1 My Story ............................................................ 21
2 The Apple and the Worm ................................. 2 20 If You‛re Happy and You Know It.................22
3 Silly Silly .............................................................. 3 21 Stuck ...................................................................23
4 London Bridge ..................................................... 4 22 The Green Caterpillar .....................................24
5 Donkey Ride ......................................................... 5 23 T-Rex ..................................................................25
6 The Jack O‛ Lantern.......................................... 6 24 The Merry-Go-Round ......................................26
7 Jumping Beans .................................................... 7 25 The Farmer in the Dell ...................................27
My Story .............................................................. 8 26 The Whale Shark .............................................28
8 Floating Clouds .................................................... 9 My Story ............................................................29
9 Looby Lou ........................................................... 10 27 Holiday Bells ......................................................30
10 The Turtle. The Rabbit. .................................. 11 28 Raindrops............................................................ 31
11 Climbing the Mountain..................................... 12 29 Turkey Gobbler.................................................32
12 Circles ................................................................. 13 30 Twinkle, Twinkle, Little Star.........................33
13 Old MacDonald .................................................. 14 Original Composition ........................................34
14 The Waterfall ................................................... 15 Descriptions of Keyboard Pieces .................35
My Story ............................................................ 16 31 Songs in Different Tonalities
15 Snowflakes ......................................................... 17 32 Chants in Different Meters
17 Row, Row, Row Your Boat ............................... 18 33 Major Tonal Patterns
18 Bike Ride ............................................................ 19 34 Minor Tonal Patterns
19 The Race Car .....................................................20 35 Duple Meter Rhythm Patterns
36 Triple Meter Rhythm Patterns

iv

Symbols Used for Beginning Performance Pieces

Fingers/Hands

S Starting finger (starts the piece)

1
S Starting finger of the other hand
2
Play these fingers at the same time

S 1
S 2

Piano Keys

S Starting key (starts the piece)

1
S Starting key for the other hand
2
Play these keys at the same time
S 1
S 2

Arrows/Recording

Arrows show the direction to play Home Study CD

Track
1

Keyboard Playing Location

Black dots show the keyboard playing location. Black dots are on the white keys. Black dots are above the black keys.

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Track
1

Rhythm Pattern Chant A little soft

Du-de Du-de A little fast

S2 S1
••• •••

Track
2

Rhythm Pattern Chant A little loud

Du-de Du-de Not too slow

S2 S1

S2 S1
•• ••

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Track
7

Rhythm Pattern Chant Soft

Du-da-di Du-da-di A little fast

S1 over S2 S1

S1 over S2 S1
•• •• ••

My Story

low middle high loud soft fast slow Rhythm chant: Du-de Du-de Du-da-di Du-da-di

low middle high loud soft fast slow Rhythm chant: Du-de Du-de Du-da-di Du-da-di

low middle high loud soft fast slow Rhythm chant: Du-de Du-de Du-da-di Du-da-di

low middle high loud soft fast slow Rhythm chant: Du-de Du-de Du-da-di Du-da-di

low middle high loud soft fast slow Rhythm chant: Du-de Du-de Du-da-di Du-da-di

low middle high loud soft fast slow Rhythm chant: Du-de Du-de Du-da-di Du-da-di

INSTRUCTIONS. The teacher-parent writes the student’s story on the lines. Circle the choice of performance ideas. Encourage
thinking about different levels of soft-loud and slow-fast, such as “not too soft” or “a little fast.” The student improvises the music.
This creative project may be completed in class or at home. It may be an individual project or a group project.

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35
Descriptions of the Keyboard Pieces
Page 1 “The Woodpecker” Page 5 “Donkey Ride”
Dynamics: A little soft Dynamics: Loud
Tempo: A little fast Tempo: Slow
Meter: Duple Meter: Duple
Piano Keys Used: Sets of three black keys Piano Keys Used: Two sets of two black keys
Keyboard Register: High and middle Keyboard Register: Low and bass
Hands: Two hands play separately Hands: Two hands play separately
Technique: Arm movement with a soft fist Technique: Arm movement
Duet Part: Young children can play this using any fingers Duet Part: Young children can play this using two hands

Page 2 “The Apple and the Worm” Page 6 “The Jack O’ Lantern”
Dynamics: A little loud Dynamics: Soft
Tempo: Not too slow Tempo: A little slow
Meter: Duple Meter: Triple
Piano Keys Used: Sets of two black keys Piano Keys Used: All the sets of two black keys
Keyboard Register: High and treble Keyboard Register: The whole keyboard
Hands: Two hands play separately Hands: Two hands played separately changing register
Technique: Arm movement with the middle finger Technique: Arm movement
Duet Part: Young children can play this using two hands
Page 7 “Jumping Beans”
Page 3 “Silly Willy” Dynamics: Soft
Dynamics: A little loud Tempo: A little fast
Tempo: A little fast Meter: Triple
Meter: Duple Piano Keys Used: Three sets of two black keys
Piano Keys Used: Sets of two black keys Keyboard Register: Bass and low
Keyboard Register: Low and bass Hands: Two hands played separately
Hands: Two hands play separately Technique: Arm movement and crossing hand
Technique: Arm movement Duet Part: Can be arranged for young children
Duet Part: Young children can play this
Page 9 “Floating Clouds”
Page 4 “London Bridge” Dynamics: Soft
Meter: Duple Tempo: Slow
Piano Keys Used: Two black keys (F sharp and C sharp) Meter: Triple
Keyboard Register: High Piano Keys Used: A set of two black keys
Hands: Two hands play microbeats together Keyboard Register: Treble
Technique: Arm movement Hands: Right hand alone
Duet Part: Played by the teacher Technique: Arm movement using the middle finger
Young children can play the melody using Duet Part: Young children can play this using any fingers
any fingers
Young children can play the bass clef duet part

36

Page 10 “Looby Lou” Page 13 “Circles”

Meter: Triple Dynamics: Soft
Piano Keys Used: Two white keys (SO) Tempo: Fast
Keyboard Register: High Meter: Triple
Hands: Two hands play together Piano Keys Used: Three white keys around the sets of
Technique: Arm movement playing macrobeats two black keys
Duet Part: Played by the teacher Keyboard Register: Low and bass
Young children can play the melody using Hands: Two hands play separately
any fingers Technique: Arm movement using adjacent white keys
Young children can play the bass clef duet Duet Part: Young children can play this
part
Page 14 “Old MacDonald”
Page 11 “The Turtle and the Rabbit” Meter: Duple
Dynamics: “The Turtle” is soft, “the Rabbit” is loud Piano Keys Used: Two white keys (DO-DO sound)
Tempo: “The Turtle” is slow, “the Rabbit” is fast Keyboard Register: High
Meter: Duple Hands: Two hands played separately
Piano Keys Used: Two black keys moving up the keyboard Technique: Arm movement and alternating hands
(SO-DO sound) Duet Part: Played by the teacher
Keyboard Register: Low to high Young children can play the melody using
Hands: Left hand alone any fingers
Technique: Arm movement using the middle finger and Young children can play the bass clef duet part
changing register
Page 15 “The Waterfall”
Page 12 “Climbing the Mountain” Dynamics: Soft
Dynamics: Loud Tempo: Fast
Tempo: Slow Meter: Duple
Meter: Duple Piano Keys Used: Sets of two black keys
Piano Keys Used: Sets of two black keys Keyboard Register: High to bass
Keyboard Register: Low to middle Hands: Two hands play separately, with each hand moving
Hands: Two hands play separately Technique: Arm movement using the middle finger
Technique: Alternating arm movement and changing
register
Duet Part: Young children can play this Page 17 “Snowflakes”
Dynamics: Soft
Tempo: A little slow
Meter: Triple
Piano Keys Used: Two white keys (SO-DO sound)
Keyboard Register: High
Hands: Two hands play separately, with each hand moving
Technique: Arm movement using the middle finger

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Keyboard Games

Music Moves for Piano

Book B
By Marilyn Lowe
In Cooperation with Edwin E. Gordon

Time to Begin
Keyboard Games Book A and Keyboard Games Book B are the first in a 5. Musical Expression. Experiment with different levels of articulation,
series of audiation-based books for piano. These books provide an informal dynamics, and tempos when playing keyboard pieces. Describe sound as
foundation for developing audiation skills for transfer students and beginning “separated,” “connected,” “a little soft,” “kind of loud,” “not too fast,”
students of any age, including four and five year old children. Short pieces or “very slow.”
in duple and triple meters can be used for improvisation activities, including
making changes in dynamics, articulation, meter, and keyboard range. Creating 6. Ensemble Playing. Duet parts can be played by another student, a
medleys and mashups as well as original story compositions are part of the parent, or the teacher.
method. Students are engaged in away from the keyboard activities that use 7. Rhythm. Develop the habit of chanting a rhythm introduction to
the voice and body movement. Singing develops tonal audiation and body establish meter and tempo before beginning to play: “Du-de Du Du-de
movement develops rhythm audiation. Du” (doo-day) or ``Du-da-di Du Du-da-di Du” (doo-dah-dee). Have
1. Music Aptitude. The potential to achieve in music is called music students chant out loud or “think” the rhythm patterns of a piece while
aptitude, which is developmental until age nine when it stabilizes. A they learn and perform it. Movement activities guide students toward
rich and appropriate musical environment includes purposeful singing, feeling pulse, meter, and flow.
chanting, body movement, guided improvisation, and rhythm and tonal 8. The Music Page. Pictures of hands and keyboards describe what is
pattern acculturation. needed for each piece. Students learn that printed music gives directions
2. The Tone. Game playing, absorbing music, movement, and singing are such as meter, rhythm patterns, dynamics, tempo, fingerings, and
fun for all students. Simple keyboard pieces add to the excitement of keyboard playing location.
making music. “Practice” at home should be enjoyable with carefully 9. Creativity and Improvisation. Creating something new reinforces
guided adherence to detail. Keep it light, and move in the “right” musical thinking. Story pages encourage writing a story and illustrating it
direction, remembering always that music is an aural art. with music and drawings. Students decide register, dynamics, tempo, and
3. The Lesson Content. Activity time away from the keyboard includes rhythm patterns before beginning to create music.
hearing tonal and rhythm patterns, singing songs, chanting chants, and 10. Nonessentials. Letter-naming notes on the music staff, counting using
body movement. All of these activities help to develop audiation skills, or numbers, as well as using terminology such as up/down, step/skip,
the ability to “think” music with comprehension. Keyboard pieces provide high/low, right/left hand, or finger numbers distracts from learning how
familiarity with the whole keyboard (black and white piano keys) and to audiate and are not necessary in beginning piano instruction.
help students feel phrase structure. Variety among the pieces lets students
experience “same and different’’ and learn how to be creative. 11. Essentials. In beginning piano instruction, students should chant and
sing; recognize same and different; engage in body movement activities;
4. Physical Movements at the Keyboard. Playing the piano is often a use the “right” hand-fingers on the “right” piano keys; improvise; learn
“come and go” affair, especially for young students, who may stand or how to approach the keyboard physically; and remember “how a piece
walk from one end of the keyboard to the other. Encourage large-motor goes” along with its playing location.
forearm movement. Guide toward arm balance over each finger. Show
students how to keep the hand straight with the arm and how to keep the
fingers together, not isolated. Have students use a separated touch. Pieces
were composed to help students learn these physical movements.

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Book B
Music Moves for Piano

KEYBOARD GAMES
By Marilyn Lowe
In Cooperation With Edwin E. Gordon

Music Moves for Piano is designed to develop improvisation, audiation, and keyboard
performance skills. The method builds on the ideas and theories of
Orff, Kodaly, Dalcroze, Suzuki, and Gordon.

© 2007, 2008, 2011, 2015, 2020, 2021 Music Moves LLC

All Rights Reserved

G-7217
© 2007, 2008, 2011, 2015, 2020, 2021 Music Moves LLC
www.musicmovesforpiano.com
info@musicmovesforpiano.com
ISBN: 978-1-57999-699-4
Distributed by GIA Publications, Inc.
7404 S. Mason Ave., Chicago, IL 60638
(708) 496-3800 or (800) 442-1358
www.giamusic.com
All rights reserved. No portion of this book may be reproduced,
stored in a retrieval system, or transmitted in any form or means–
mechanical, photocopying, recording, or other–without prior
permission of Music Moves LLC.
Printed in the United States of America
August 2021

160

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 KEYBOARD GAMES BOOK B - PREVIEW PAGES

Table of Contents
CD Track CD Track
1 Chocolate Chip Cookies ......................................1 19 Three Blind Mice ..............................................22
2 The Big Black Bear............................................. 2 20 Poor Blind Mice .................................................23
3 Creepy Crawly ..................................................... 3 21 Fireflies ..............................................................24
4 Yankee Doodle..................................................... 4 22 The Buzz Saw ....................................................25
5 The Flower Garden ............................................ 5 23 The Mosquito ....................................................26
6 Waddling Ducks .................................................. 6 24 Jolly Old St. Nicholas .....................................27
7 The Parachute. The Diver. ............................... 7 25 Bluesy Blues .......................................................28
My Story .............................................................. 8 26 Pop Goes the Weasel .......................................29
8 Pepperoni Macaroni............................................ 9 27 Giant Foot Steps ..............................................30
9 Valentine Box .................................................... 10 28 The Pilgrims ....................................................... 31
10 Sinking ................................................................. 11 29 The Low Down Boogie ......................................32
11 Ring Around the Rosy ...................................... 12 30 The Mulberry Bush ..........................................33
12 Dance of the Penguins..................................... 13 31 Flint Street Boogie ..........................................34
My Story ............................................................ 14 Original Composition ........................................35
13 Are You Sleeping .............................................. 15 Descriptions of Keyboard Pieces .................36
14 The Ghost .......................................................... 16 32 Songs in Different Tonalities
15 Splashing in Puddles ........................................ 17 33 Chants in Different Meters
16 Mary Had a Little Lamb .................................. 18 34 Major Tonal Patterns
17 Bears‛ Waltz ...................................................... 19 35 Minor Tonal Patterns
18 The Jazzy Crocodile........................................20 36 Duple Meter Rhythm Patterns
My Story ............................................................ 21 37 Triple Meter Rhythm Patterns

Symbols Used for Beginning Performance Pieces

Fingers/Hands

S Starting finger (starts the piece)

1
S Starting finger of the other hand
2
Play these fingers at the same time

S 1
S 2

Piano Keys

S Starting key (starts the piece)

1
S Starting key for the other hand
2
Play these keys at the same time
S 1
S 2

Arrows/Recording

Arrows show the direction to play Home Study CD

Track
1

Keyboard Playing Location

Black dots show the keyboard playing location. Black dots are on the white keys. Black dots are above the black keys.

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Track
1

Rhythm Pattern Chant

A little soft
Du-de Du Du-de Du
Not too slow
Du-de Du Du Du

S
• •• •

Track
2

Rhythm Pattern Chant Loud

Du-da-di Du-da-di Slow
Du-da-di Du

S
• •• • • • ••

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37

Page 10 “Valentine Box” Page 15 “Are You Sleeping”

Dynamics: Soft Meter: Duple
Tempo: Not too slow Piano Keys Used: Two white keys (DO-SO sound)
Meter: Duple Keyboard Register: High
Piano Keys Used: White keys Hands: Two hands play separately on microbeats
Keyboard Register: High Technique: Alternating arm movement using the
Hands: One hand alone middle fingers
Technique: Arm movement Duet Part: Played by the teacher
Duet Part: Played by the teacher with damper pedal Young children can play the bass clef duet part

Page 11 “Sinking” Page 16 “The Ghost”

Dynamics: A little soft Dynamics: Not too soft
Tempo: A little fast Tempo: Slow
Meter: Triple Meter: Duple
Piano Keys Used: Chromatic Piano Keys Used: Chromatic around two black keys
Keyboard Register: Treble to low Keyboard Register: Bass
Hands: Two hands play separately Hands: Left hand alone
Technique: Arm movement and changing register Technique: Arm movement using the middle finger
Duet Part: Young children can play this Duet Part: Young children can play this

Page 12 “Ring Around the Rosy” Page 17 “Splashing in Puddles”

Meter: Duple Dynamics: A little loud
Piano Keys Used: Alternating black keys Tempo: A little slow
Keyboard Register: Low Meter: Triple
Hands: Two hands play separately on microbeats Piano Keys Used: White and black keys around bass C
(DO-SO sound) Keyboard Register: Bass
Technique: Alternating arm movement using the Hands: Two hands play together
middle fingers Technique: Hands together arm movement
Transposition to a new keyality Duet Part: Played by the teacher
Duet Part: Young children can play this using any fingers
Page 18 “Mary Had a Little Lamb”
Page 13 “Dance of the Penguins” Meter: Duple
Dynamics: A little loud Piano Keys Used: Two sets of two black keys
Tempo: Slow Keyboard Register: High
Meter: Triple Hands: Two hands and two fingers play together
Piano Keys Used: Three pair of 2nds on microbeats
Keyboard Register: Middle Technique: Hands together movement in contrary motion
Hands: Two hands alternate playing Duet Part: Played by the teacher
Technique: Alternating arm movement Young children can play the melody or the
Duet Part: Played by the teacher bass clef duet part

38

Page 19 “Bears’ Waltz” Page 24 “Fireflies”

Dynamics: Loud Dynamics: Soft
Tempo: Slow Tempo: Fast
Meter: Triple Meter: Triple
Piano Keys Used: White keys and three black keys Piano Keys Used: White and black key chromatics
Keyboard Register: Low and middle Keyboard Register: High
Hands: Alternating hands Hands: Two hands play together
Technique: Arm movement Technique: Arm movement
Duet Part: Young children can play this Duet Part: Young children can play this

Page 20 “Jazzy Crocodile” Page 25 “The Buzz Saw”

Dynamics: A littl loud Dynamics: Loud
Tempo: A little fast Tempo: A little fast
Meter: Duple Meter: Triple
Piano Keys Used: Black keys and one white key Piano Keys Used: A set of two black keys and two white keys
Keyboard Register: Treble Keyboard Register: Middle
Hands: Alternating hands using only middle fingers Hands: Two hands play together
Technique: Arm movement Fingers two and three
Duet Part: Played by the teacher Technique: Arm movement

Page 22 “Three Blind Mice” Page 26 “The Mosquito”

Meter: Triple Dynamics: Medium loud
Piano Keys Used: Two black keys (SO-DO sound) Tempo: Fast
Keyboard Register: High Meter: Triple
Hands: Two hands play separately on macrobeats Piano Keys Used: Chromatics
Technique: Alternating arm movement using the Keyboard Register: Bass
middle fingers Hands: Two hands play separately
Duet Part: Played by the teacher Technique: Arm movement
Young children can play the bass clef duet part
Page 27 “Jolly Old St. Nicholas”
Page 23 “Poor Blind Mice” Meter: Duple
Meter: Triple Piano Keys Used: Two black keys (DO-SO sound)
Piano Keys Used: Octave G (MI-MI sound) Keyboard Register: High
Keyboard Register: High Hands: Two hands play separately on macrobeats
Hands: Two hands play separately on macrobeats Technique: Alternating arm movement using the
Technique: Alternating arm movement using the middle fingers
middle fingers Duet Part: Played by the teacher
Duet Part: Played by the teacher Young children can play the melody using
Young children can play the bass clef duet part any fingers

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Music Moves for Piano is the first piano method
of its kind. It applies Edwin E. Gordon’s Music Learning Theory
to the teaching of piano. When music is taught as an aural art,
lessons build a foundation for lifelong musical enjoyment and
understanding. With guidance, “sound to notation” leads to fluent
music performance, reading, and writing. Following are some of
the major concepts of this approach:
• Rhythm is based on body movement: Feel the pulse
and meter then chant rhythm patterns. Move in both
a continuous fluid way and a rounded, pulsating way.
• Tonal audiation is developed by singing. Singing songs
and tonal patterns develops pitch sensitivity, singing in
tune, and a “listening” ear.
• Music pattern vocabularies are acquired and applied to
listening and performing
• Various elements of music, such as rhythm, meter, pulse,
tonality, harmony, style, and form, are studied.
• Creativity is fostered by using different elements of music,
such as rhythm, pitch, harmony, and form to create with. Credits
• Improvisation activities apply everything a student learns.
Use familiar patterns from folk songs, transpose, change Music Engraver: Doug Lowe
tonality and meter, create variations and medleys, and Assistants: Louis Claussen
create melodic, harmonic, and rhythmic variations. William Chiles
• Perform with technical freedom. Students learn how to
Layout/Design: Mary E. Geise
use the playing apparatus from the beginning of lessons.
Cover Designs:
Marilyn Lowe, who has taught piano for more than William Chiles
40 years, has used her experiences and knowledge to create a non- Brad Scott
traditional piano method based on Edwin E. Gordon’s theories
Lori Tack
of audiation. Other influences include the techniques and
theories of Carl Orff, Shinichi Suzuki, Emile Jaques-Dalcroze, Editor: Amber Stenger
Zoltan Kodaly, and Dorothy Taubman. Lowe has Consultant: Jennifer Lowe
been using this approach successfully with her students for more
than 20 years. Her academic credits include degrees in liberal Original Music/Arrangements:
arts and piano from Knox College in Galesburg, Illinois, and a Andrea Apostoli
master’s degree in piano from Indiana University in Bloomington. Michael Brill
Lowe completed additional graduate study in organ and Marilyn Lowe
music theory at Indiana University. She would like to express Francesca Tortora
appreciation to her former music teachers: Nadia Boulanger, Performers:
Murray Baylor, Walter Robert, and Menahem Pressler.
Marilyn Lowe, Piano
Edwin E. Gordon is known throughout the world as John H. Morton, Vocal
a preeminent researcher, teacher, author, editor, and lecturer in Jerry Pollock, Vocal
the field of music education. In addition to advising doctoral Tina Sibley, Vocal
candidates in music education, Gordon has devoted many years Betty Warren, Vocal
to teaching music to preschool-aged children. Through extensive Julie Wilkins, Vocal
research, Gordon has made major contributions to the field of Recording Studio:
music education in such areas as the study of music aptitudes,
Music Precedent Ltd.
stages and types of audiation, music learning theory, and rhythm
in movement and music. Engineer: John H. Morton

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