Duet playing will help the student learn to keep a steady beat and to enjoy the fun of making music in an ensemble. The duet part can be played by the teacher, a parent, or a more advanced student. Lastly, the new symbol is included in a piece.Ĥ. Then there is a clapping exercise incorporating that symbol. A clapping exercise is sometimes included to introduce a new rhythm term or symbol.ģ. The definition is simple, precise, and clear.Ģ. New musical terms are enlarged and highlighted in a pink box. What Makes Alfred’s All-in-One Course Special?ġ. Students are provided with some final review and a certificate of promotion to the next level. The difference between melodic and harmonice intervals is explained. They are given opportunities to practice intervals in C position, specifically 2nds, 3rds, 4ths, and 5ths. The student is introduced to legato articulation, slurs, and tied notes. Intervals and Articulations (Pages 52–70) Students get to practice writing on the staff, specifically in C position on the grand staff, and they play songs with both hands in C position. Students are introduced to the bass & treble clef, and the bass & treble staff, and grand staff. A new dynamic sign ( mf ), 4/4 and 3/4 time signatures, and writing & playing dotted half notes are all introduced and practiced.īass, Treble, and Grand Staff (Pages 36–51) This visual concept prepareds students to easily read standard staff notation. Notes move up or down on the page as if they were on a staff. Tunes are played in Middle C position and C position for skill development and rhythmic reading. Students practice fluent recognition of white key letter names. Middle C Position and C Position (Pages 22–35) The student is introduced to reading and writing quarter, half, and whole notes, as well as writing note stems and bar lines. Two basic dynamic signs are introduced: p and f. Tunes are played on the black keys for basic rhythmic reading and development of finger skills. They are introduced to the concept of loud and soft tones by using more or less weight on the keys.įinger Numbers and Black Keys (Pages 6–21)īlack keys are used for keyboard orientation and finger number recognition, while still avoiding the association of any finger number with a specific key. Students learn how to sit at the piano, how to hold their hands, and about finger numbers. After completing Book 5 of the All-In-One Course, the student will be ready to start Level 3 of Alfred’s Basic Library. Assignments from the teacher can be simplified and shortened.Īfter completing Book 3 of the All-In-One Course, the student will be ready to start Level 2 of Alfred’s Basic Library.The need to carry multiple books to each lesson is eliminated.The student will only need to perform from one book.By combining the concepts from the first three Lesson Books (1A, 1B, and 2) of Alfred’s Basic Piano Library, and spreading them over five All-In-One Books that also include selected pages from the Theory and Recital Books, a new course has been developed that offers several advantages. This All-In-One Piano Course was written in response to many requests by teachers for a single book that would include material from Lesson, Theory, and Solo books. There are five All-In-One books, and each one combines pages from the Lesson, Theory, and Recital Books of Alfred’s Basic Piano Course. Palmer, Morton Manus, and Amanda Vick Lethco And so it proved worthwhile even though the composer's remuneration often exceeded half of the total cost for a printed edition.By Willard A. In addition, Beethoven's music enjoyed a certain constancy thus allowing large numbers of later new editions. To publish a Beethoven composition, however, also made the publisher's reputation rise. The publishers certainly gained quite some money with composers who received far smaller payments for their works but still had a broad target group in mind. Reprinted or copies of unprinted or printed works distributed by professional scribe offices did not bring him any earnings. Fixed one-time remunerations were set that also included the right to adapt the piece for smaller instrumentations.Īpart from this, Beethoven received no additional payment. Thereafter the piece was offered to several competing publishers. Ordered works were the exception, however, he offered noble patrons an exclusive right to use important pieces for a period of six to twelve months in exchange for payment before these compositions went to press. As a composer, Beethoven wanted to remain free and independent and create timeless compositions for a worldwide audience. His increasing deafness deprived him of another significant income source, such as performances as a musician. The remunerations Beethoven received from his publishers were by far his most important source of income.
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