This book, targeting ‘the older student’ (aged 10 to adult), is part of the Piano Safari series created by US piano pedagogues Katherine Fisher and Julie Knerr. There is a corresponding Sight-Reading & Theory Book 1 – which I’ll review next month – for this age group, and considerable supporting material at pianosafari.com, including audio downloads and reminder videos for home practice. As most piano method books are aimed at younger beginners, it is good to expand the range of material for this group.
This series’ approach claims to be unique in including rote learning alongside reading, because students are often able to play music that technically lies beyond their reading level and find it rewarding to develop their skills without the complication of reading notation.
Content
The method includes theory, rote learning, reading, improvisation, technique, and ‘challenge’ pieces, presented in a series of five carefully graded units. The purpose of each concept is clearly stated, along with an explanation of how the material should be learned – for instance, by imitation or by reading. Pieces include a mixture of originals composed by the book’s authors, traditional folk songs and repertoire. Most have teacher accompaniments.
Rote learning
Though the authors say their purpose is to prioritise playing and listening over reading, the book in fact begins with recognition of note values and reading rhythms. However, the first opportunity to play comes very soon with Alphabet Boogie, in which students play from the bottom to the top of the keyboard with one finger while the teacher plays an accompaniment. Notation is given but students are to learn from the teacher’s demonstration.
There are further rote pieces based on easily remembered patterns, including some catchy tunes such as I Love Coffee, and Diversion No. 12 by Juan Cabeza, an attractive piece involving hand crossing – always a fun exercise.
Technique
Useful technical tips and reminders are given throughout, encouraging students to play with relaxed hand, wrist and forearm working as one unit, and the last finger joint remaining firm. This is welcome, as many method books pay sparse attention to technique beyond the recommendation to play with curved fingers, and this lack of guidance can result in the build-up of unnecessary awkwardness and tension.
I have some reservations, however. The phrase ‘play in a detached manner using a forearm motion’ is used repeatedly without specifying which kind of motion. Teachers would need to consult the website for clarification of this and other techniques. More helpful are the later verbal directions for transferring arm weight from finger to finger to achieve forearm rotation, dropping into the keys using a loose heavy arm with up and down motion of the wrist, and rolling the wrist towards the fall board to release a note. These techniques will encourage free movement.
Articulation is dealt with in a slightly confusing way: earlier pieces are to be played ‘in a detached manner’ with ‘non-legato’ playing (surely the same thing?) coming later, but before legato has been addressed. I was surprised to see syncopated pedal technique introduced early in the book – in my experience, students have enough to think about at this stage without also using their feet.
Note-reading
This is approached systematically, beginning on page 13 with pre-stave notation which gives an outline of the tune with starting notes and fingerings specified. Reading stave notes begins in unit 2, starting with ‘landmark’ notes G and C. Initial exercises are restricted to intervals of a 2nd, with 3rds, 4ths and so on following later. Italian words and other musical directions are explained, and theoretical knowledge is reinforced through opportunities to answer questions and to analyse patterns. Successful acquisition of reading skills leads the student towards three challenge pieces presented later in the book.
Improvisation
There are four improvisation tasks, another welcome activity, but perhaps more could be made of this opportunity to encourage creativity and aural imagination. I’m not sure that the instruction ‘Improvise a melody on the black keys. Listen to match the style of the accompaniment’ is the most inspiring way to begin. Suggesting ideas through short, characterful motifs inviting the student’s response might trigger creative dialogue more successfully.
Summary
This method has many positives: encouraging free technique and separating reading and rote learning are welcome moves away from traditional methods. However, the material could perhaps have been presented with more imagination and sense of fun, even for older beginners, with greater emphasis on the communication of musical character and meaning. Only one piece suggests creating a storyline to engage the imagination, and although some of the titles of the original pieces evoke a picture or mood (Spring showers, Dancing with fireflies), these could be further developed by describing how the title is expressed by the music. The title Piano Safari is retained from earlier volumes in the series which use animal-themed technical exercises, even though these are not included in this book.
Overall, Piano Safari is well thought-out and thorough, although perhaps a little conservative. The key concept of prioritising ‘sound before symbol’ is cited on the website, but the focus nonetheless leans towards reading – no actual ear-playing activities are included – with technique, reading and theory making up more than half of the content. The full pack, costing around £23, includes a separate theory book plus much back-up material on the website, which would be worth making full use of. It could well prove a useful addition to the selection currently on offer for the older beginner.
Piano Safari
Repertoire & Technique £16.95; pack incl. Sight-reading & Theory, £22.95
