Piano World Home Page Forums Our Most Popular Forums Adult Beginners Forum Alfred's Basic and ALL in One Adult Piano Course Book #1

That's really a shame about your lessons GracieCat, they should be enjoyable not a discouragement. I really lucked out with my teacher. He is very encouraging, patient and understanding. He knows when I am having trouble because of performance anxiety and when I don't fully comprehend something. He also listens to me and wants me to enjoy playing, practicing and most of all learning. It's the way it should be for us adults. I hope you are able to find a more suitable teacher when you are ready.

I just got back from a very good lesson. I also got passed on Good People and Little Brown Jug. I also still have some polishing to do on Chiapanecas but I am almost there on it. I just have a couple things to work on, mainly getting the dynamics correct. We worked through Auld Lang Syne and I should have that down by next lesson and we did a quick run through of O Sole Mio!.

Then he helped me with my problems with What A Wonderful World. GracieCat, you suggested slowing it down and I am already doing that out of necessity. We pretty much decided that my problem is just not being able to read the notes well enough for the left hand. I almost have them memorized and can do them fine hands separate but there's a lot going on with hands together and it's just to much to process all at once. He gave me a little confidence boost by saying that the piece is a notch or two above my abilities but it was a good challenge. He wants me to put away the 3rd and 4th pages for now and concentrate on the first 2 until I have that in hand. He also wants me to give more attention to hands separate until I am better at it and told me to call out the note names as I play them.

I asked him if thought we would move on to book 2 upon completion of book 1 or if he had other ideas and he said this series is a good one and we should stick to it if I was comfortable with it. Might as well order book 2.

Id love to learn What a Wonderful World aswell. Are you playing it from a book or if its from a sheet music website could you give me the address please ? love that song.

Im pretty much sticking with the whole series as I dont have a teacher and need to try and keep myself focused and only use the one method series for a uniform progression.

Starting Greensleeves tonight! been waiting ages for this

Hi Gracie. At least when it comes to classical pieces, you will find many, many of the pieces you will learn have scale runs in them in one hand or the other or both. This might be anything from just 4 or five notes to three or four complete octaves. I'm not that much further along than you and one of the pieces I'm now working on has several long runs such as: (ascending) b,c,d (decending) c,b,a,g,#f,e,d,c,b,a,g,#f,(ascend)g,a,b,c,d,(decend)c,b. All of which you will recognize as just running up and down the G scale. These types of things come up time after time in many pieces. Practicing scales is really practicing the nuts and bolts of much of the music I hope to play in the future.

Its an old old story...you ask any seasoned musician what they would go back and change about when they learned to play the answer you'll most often get is "studied my scales"

I got this when I learned to play guitar and didnt listen. Im now telling my son in law the same thing. learn your scales !!

Think of scales as your musical vocabulary. I really wish I knew more scales for the guitar. hoping to not make that mistake with the piano.

SmokestackLightnin - I started the version of What A Wonderful World in the Alfred's Greatest Hits book. I didn't like the arrangement at all because it had the melody in both hands and just didn't inspire me. So I went in search of a better simple version and found the one I am using at Yamaha's Digital Music Notebook site. I have a Yamaha digital and the stuff that came with it got me connected to that site. Owning a Yamaha is not necessary to use the site and they have quite a library of material available and it provides some nice practice components if you have a computer near your piano. I can't send you the sheets because of the limitations to the digital copy and you can only print it twice per purchase but it was only $3.99 for the sheets. It's the big notes version and you can view a page or two of it before you buy.

This should get you to it:

What A Wonderful World

Thanks for that Doug. That Digital Music Notebook software looks really cool. I dont have a Yamaha but im definetly going to give it a go. Looks like there is some free piano tuition stuff for it.

Do you use it a lot ?

I don't use it a lot, but only because there never seems to be enough time. I've bought a few selections from it, a half dozen classic rock songs I hope to be able to play some day. In my case, with a Yamaha digital I can transfer the files to my instrument and it has some learning tools built in but so far they are way beyond my abilities so I didn't get anywhere with them. For What A Wonderful World I am only using the printed sheets so far but if I ever get it to where I can play it smoothly there's accompaniment to it. I can set up my laptop next to me while I play and the player feature of the software lets you isolate the left/right hand parts and remove the backing track so it helps hear what it's supposed to sound like.

JimF and SmokeStackLightning, I will never admit to hearing you guys say that scales are important.

Doug, glad you had a good lesson. We're at the same spot in the book. Do you want to know what "landmarks" I used when learning the Bass notes?

-The three spaces (between the lines) on the lower part of the staff spells "Ace".
-Know where F is on the staff (on the line between the dots on the bass clef). Page 18 of Alfred's All In One.

From there I know all the notes as long as they don't go below the bass staff.

I had to go back a couple weeks ago and really study the bass notes. I also printed up some bass clef note worksheets to work on and my theory book is keeping me drilled every day or so now. I don't think we'll be able to read and play very quickly until we progress a little further and get into CONSISTENTLY playing harder stuff in the left hand. Good luck with that. I'm playing one classical piece that feels impossible to my left hand.

Anyway, spent time today concentrating on O Sole Mio!. I really like it.

Im a bit depressed tonight with my piano journey thus far. I see a lot of you guys talking about being 'signed off' on the pieces we're working on. Not having a teacher ive had to do that myself and move to the next piece on when I feel ive gotten good enough. I have to admit however that ive probably moved too fast and havent spent enough time polishing or even learning properly some of the pieces.

So ive gone back. far back. as far as Lullaby and im going to do all the pieces from there on in all over again.

I have felt the same way, SmokestackLightnin. I've moved too fast at times (if two years can by any stretch of the imagination be considered too fast), haven't polished or even properly learned some of the pieces. I guess that happens when you don't have a teacher. I hit a wall in Book 2, and am back reviewing my Book 1 pieces too. I went back a bit further than you, starting with my nemesis, Blow the Man Down. I actually like the darn thing now. I'm actually doing Lullaby right now. LOL This isn't the first time I've gone back to review, and I think it helps a lot - with note knowledge, with confidence, and with picking up some of the theory that I didn't understand the first time around. The last time I did a review I got as far as Good People, and then I got too busy with Book 2 to continue. This time I'm going to do review all of them - while I continue to work on my two current Book 2 pieces.

How is the review of Lullaby going for you? Did you know that it comes up again in Book 2? :-)

Don't get depressed. It takes as long as it takes. I'm enjoying my reviewing.

SmokeStack, don't get depressed. Going back is a great idea. I redo the book about every other week myself.

My teacher told me when I first started that I had to have the basics firmly under me before we could more forward. She said the music only gets harder, and it's frustrating to tackle without a good foundation.

She's really strict on dynamics, rhythm, and good fingering. (At times I can get away forgetting to use the pedal.) She'll also start me at various places in the music so I can't rely on my memory so much. She points to this measure, and then to another measure...and so on.

When you think you have the piece down completely, spend another 3-4 days on it. LOL You'll only get better.

mom3gram, Alfred has a good theory book. LINK HERE I'm working through this one. Bastien also has a similar book to ALfreds All In One that I've been working through as time permits. If you're tired of Alfred's #1, then maybe switch to Bastien. It's the same basics and progresses the same way. You might enjoy something a little different to reinforce the basics. Link Here

Thanks for the peptalk was much needed and its much appreciated.

I did go back and play BTMD down earlier and played it through about 5 times without missing a note which I was very happy with.

Lullaby is going better than the first time around since im getting into a new habit that I picked up from this forum of reading out all the notes before I play and during.

Some of the pieces after Lullaby I was able to play really well first time so I wont go over those again for too long. The 3 bluesy ones for example.

and yeah funnily enough I noticed today that Lullaby is in the 2nd book aswell. Its in a different key I think but listening to both versions off the cds I couldnt actually say which I preferred.

thanks again lass

Funny you should mention that SmokeStack - I just did that yesterday too. I'd got as far as The Can-Can, but I really was feeling I was rushing and not taking everything in; particularly the theory bits. I do have a reasonable understanding of musical theory from years of guitar playing, but it just seemed that latterly I've just been battering through the book, just to get to the end. Whilst I have been making sure I've got every piece to a reasonable standard, I don't think I've been learning that much and as you say, without an objective listener to tell me when something's not up to scratch, it's too easy to do.

So, last night I went right back to Standing In The Need ... and played through each piece until the first one that I had any trouble with, which turned out to be The Lone Star Waltz, of all things. Seemed that I haven't really mastered the necessary hand placements for the jumping around the keyboard that that piece needs. Back to school for me, and I'm going to try to take it all a bit slower and more methodically from now on.

Had a good week or two, managed solid practice sessions every day. Steady progress in AIO, I am starting The Entertainer this week. I feel good about that.

Then in Jazz, Blues and Rags I have hit a big problem. Surfboard Boogie is nice left and right hand boogie woogie. I am okay with the left hand runs. But I just don’t get the right hand rhythm. I can hear it in my head, but I cannot play it. I have been able to work through all the other 8th note challenges, swing 8th, straight 8th, syncopation, triplets. I am okay on all of that. Eight to the bar in boogie rhythm... it’s just not coming to me. I am open to any and all suggestions. If playing it a million times will get it done, I may succeed. But other than that option, I’m stuck.

I have not been playing scales much at all. I don’t see the point… I am willing to be wrong. In any case my teacher is not stressing scales, at least not yet. As I start work in a new key we do them once as a concept or exercise, and then move on. I do a lot of Hanon, daily sets, but not scales.

Don't feel depressed and don't assume that you didn't learn it properly if you can't play it perfectly a few weeks later. I don't think that my teacher has "passing" criteria nearly as strict as Gracie Cat's, but I have been passed on pieces that I, while practicing, revisit several weeks later. I am astonished by how I struggle with them and wonder how I ever passed them in the first place. I suspect it has a lot to do with the muscle memory thing (at least to a certain extent). I have played Raisins and Almonds every day since learning it and I can play that very well. Others that I haven't played in a bit would take some time to bring them to the point they were when I passed them.
Another additional perspective: Bringing a piece to "perfection" isn't the only way to develop our skills. Think back on the earliest piece with chords....didn't your hands feel perfectly awkward with certain chords? I bet they don't any longer feel that way. Sure, a small step, but a step nonetheless. Any playing, whether the result is something you regard as adequate, or not, is useful.
Don't be so hard on yourself, I am sure that you are making wonderful progress. Play the pieces you like the most and enjoy them.

Captain Zero: I am working on The Entertainer too. I have all but that nasty measure 11 at tempo with dynamics. It has taken two weeks though. I am also working on Amazing Grace. I have made some progress with it. The coolest thing is the arpeggiated chord (which I absolutely hated just three short days ago). Once you master it, it sounds really cool.

I totally agree with that statement. That's a big frustration point with me and my lessons. I get a piece down but if I play it at the lesson with a mistake, then she won't pass it. I'd much rather be able to play 2 songs pretty well with a full understanding of fingering, rhythm, dynamics and fingering then I would to play 1 junky song to perfection.

I would think a person would learn more doing 2 songs well, rather than spending the same amount of time perfecting one.

Thoughts anyone?

Yes, I think that is absolutely true!!!!!
I have even had a piece that my teacher has encouraged me to put away for awhile. She believes working week after week on the same piece (at least as a beginner), isn't very useful at all. If I learn other pieces, improve my skills and then come back to the piece we put away for a bit (a sonatina), I will be happily surprised with the result (according to her, I haven't taken lessons long enough to go back to the piece, but I am trusting her at this point). The only time I saw her insist on perfection (or one's closest approximation to it) was when she helped my son with his recital piece (which my little guy and his nerves of steel performed perfectly )
I have played a total of two pieces in the Alfred book for more than 1 week: the dreaded blow the man down and the entertainer. In each instance it was because I truly hadn't mastered a big component of what the song is there to teach (BTMD: a timing thing; Entertainer: Fingering in the 11th measure). I suspect I will be playing amazing grace for two weeks as well (I can play it but I am VERY SLOW).

For the learning experience, I think 2 pieces played well is more important than one piece at perfection. At some point perfection matters, for a recital or performance. But for developing as a pianist, I think it is better to gain more exposure to a broader range.

I have been tasked with the same Alfred's piece more than one week - on many occassions. I accept that, it takes me awhile to get to smooth on many pieces. Anytime I don't pass a piece, we talk about why and specifically what to do to improve. Even with multiple weeks of effort, I won't claim have attained perfection on anything. But I have gotten incredibly better over that time. Maybe that's a shot at how poorly I start... ha!

I guess I don't see a lot of benefit between one piece played well and the same piece played perfect. If perfection was the absolute standard for advancement, then my progress would very poor indeed. I would be only pages from the start. Instead I am within pages of the end of book 1 and feel competent on all preceeding material. Competent but not perfect. Even being my own harshest critics, I am satisfied with that.

It generally takes me two weeks to play an Alfred song well. One week to learn it and one week to polish. These last 2-3 weeks I've been working very hard on just Alfred's book trying to get as far as I can since my lessons are over next week.

On the other hand, I have 4 easy supplementary pieces I've been working on for months. One I started in Jan (before I started lessons), and the others in Feb. These aren't hard pieces, and I can play them. However, I always make mistakes in them. Usually it's a wrong note, or I hesitate somewhere. She'll start counting or tapping if I hesitate and that just throws me completely off. Carry on a conversation with me while I play, but DON'T count!

Last week I played 12 songs for her during my 45 minute lesson. I find it's hard to transition into some songs. I get tripped up if one song is in the key of G and the next is in F. Or, I go from a Blues Song to a Mexican song...or to a Religious song or heaven forbid into my classical book. It's hard to transition between the different types of songs as well.

She really wants the song perfect before she signs off on it. It's easy to play a song 5 times in a row and play it very well the last time, but it's hard to play that same song "perfectly" right out of the gate when it's in a line of 11 other songs. I've told her so many times and it's almost like she doesn't "get" it. But then I think of the lady that plays the piano on Tuesdays when our trio gets together to sing. The girl will play anything you put in front of her. She's a good sight reader, but I just find it amazing how she can just go from song to song without problem. We'll easily go through 10 songs that day, and 2 those songs will be new to her (or at least the arrangement will be new to her).

That's my frustrations with lessons. When my last lesson is over next week I'm putting away those pieces I've been working on forever and moving onto something else. I can't wait.

It usually takes me 2 weeks to get an Alfred's piece good enough to get passed on it also. There have been a few exceptions (Good People took about 4 weeks because of rhythm errors).

I normally have 3 or 4 pieces going at a time, one that I am ready to get passed on, one that still needs polishing, one that I have just started and my supplemental piece.

I've said it before that the criteria of being passed is not perfection but rather a real good grasp of what is being taught and now it seems that I need to be able to do previously taught techniques better than when they were first introduced. Makes sense.