Currently, I use a sheet that I made on Finale that shows the complete one octave scale in C major, chords in root position (I IV V I progression) and one octave arpeggio. Then the consecutive scales I have the only key signature and any fingering changes. It seems to work out well and I managed to fit it on one sheet of paper (two sides) so it will always be in the student's notebook, but I'd like to know if there's something similar that looks a bit neater, and also does 2 octave scales and arpeggios as well as relative minors.

I have Bastien's book, but the problem with this is that I didn't like the order in which scales were introduced (it wasn't according to the Circle of Fifths, if I recall correctly), and the chords were in inversion. I would also prefer if the scales weren't completely written out, because I want students to be able to think in a key rather than simply reading the notes.

Exactly Morodiene!

I have made my own "method" with teaching scales, chord cadences and inversions of the root postition and arpeggios, too. It includes fingering for Black Key Groups and the White Keys in front at the "Orientation to the Piano" lesson at the interview.

With RH only:
UU (black keys)
23
UUU (white keys in front)
123-RH 543-LH

UUU (black keys)
234
UUUU (white keys in front)
1234
This plants the seeds for creating the RH Fingering 123/1234(5)for C Major later.

We do 5 Finger Positions as soon as the hands and fingers are physically stronger and can play a nice legato, and also they have experience with elementary songs under their belt.

We learn the 5 finger scale, the Tonic Chord and the Arpeggios. The positions are in 4 groups of 3 that have things in common - the order is:
Group 1: All white keys in the tonic chord
Group 2: Black keys under the middle finger in the tonic chord
Group 3: White keys under the middle finger in the tonic chord
Group 4: Have both black and white keys under the middle finger.

I now teach a mirrored D contrary motion which introduces movement in half steps.
Fingering rules are black keys - finger 3, white keys - finger 1, except for EF and BC which needs the 2 finger to "bridge" between 1-3. The 2 needs to be checked for placement in order the most likely finger to get confused, so you may need to work out the fingering in the "bridged" areas.

Then onto individual notes in scales from middle C taught by tetrachords formula [Keynote-M-M-m-*M-M-M-m with fingers LH 5-4-3-2/2-3-4-5 RH using both hands to complete the theory. From there, the *is the start of the new scale, and we are on our way to completing the Circle of 5ths diagram with "insider" knowledge.

The scales need to be completed for the Key Signatures you are assigning music literature before you begin new keys.

As a finalization, the "Key Signatures Quickly Identified" is my document to "prove" the theory of what has been learned in all previous learning of scales. The "Circle of 5ths" also "proves out".

Overall, we do and observe on the piano with action, then we diagram it graphically, finally over time, it is completed. We refer to the printed "authentic" theory page to show the complete "picture" of what it looks like on paper.

This has been working well for me for many years now. I think it relieves the student of always being on paper reading, and in my "Piano Power" way, he is inventing, thinking and doing which puts the student in charge of what happens, and at the same time, teaches him the "moves" and "logic" of the keyboard to manuscript. This helps them "own" both the keyboard and music theory.

I may have left a step or two out here, as I'm trying to hurry through a long thing. Also, I got started on reinventing the wheel because I, too, didn't like the order in the published versions, still don't.

I'll be interested in knowing how other people proceed.

Betty

I don't have a favourite scale book, and like you, Morodiene, I print out sheets (also using Finale ) which sound not unlike yours. I always seem to be trying to develop better versions of them. For my exam students who are about G4 or up, I get them to buy the scale book for the (Australian) exam system we use, just to cover everything, but I don't use this book much, and I really have issues with the technical requirements in the newest syllabus.
Actually, in general, I'm with both you and Betty on understanding the scales/chords at the piano more than just reading them.
Guess I should have a look at what's available. When I do a music-shop crawl I'm usually looking for, well, Real Music .

Well, I'm a big on the lazy side, so I like to use already published ones. Take a look at Keith Snell's piano repertoire series, published by Kjos. It has a grade scale book which accompanies the repertoire set (at each level, from preparatory through Level 10). Every series has some short comings, but this one is about as good as they get.

Currawong!

That's a good title for a new composition: "The Music Shop Crawl"!

(Stroll - Slow Boppin' Tempo in 2/4)

When I do the music shop crawl, I'm looking for -
(clap) real music! (clap, clap) real music!
When I do the music shop crawl, I'm looking for -
(clap) real music! (clap, clap) real music -
Gotta get me some!

Thanks for the inspiration and the exercise!

Thanks for the good advice everyone!

Betty

:D

Now I gotta go and teach. Have a good day, everyone - or maybe the day's finished where you are

John,
I do have a few of those and plan to look at them a bit more in depth (I think I have the first 3 levels). I acquired them from a teacher who was giving away a bunch of books because she was semi-retiring. I'll definitely take a look at them.

I use Hanon. In Taiwan, they have this Taiwanese edition of Hanon for children. In book one, they cut all the exercises, scales, and arpeggios to two octaves. The font size is large, which is very easy on the eyes.

I like the Macfarren Scale and Arpeggio Manual. It has all the major/minor scales with fingerings, major/minor arpeggios, scales in thirds, sixths, octaves, etc. Lots of good stuff in there.