hoffman method · 24/03/2020 · piano posture c boogie: left hand f & g hunt five woodpeckers...

Hoffman Methodfor Piano

Unit 1

1

Student Achievement Page

Place a sticker in each box as you master each repertoire song.

Mastery means you can play confidently, without pause, while singing the lyrics or solfège.

For a Super Challenge, try the following:

Play with eyes closed

Transpose to a different pentascale

Once a piece is mastered, continue to review it at least once a day by playing along with the

Practice Album.

Hot Cross Buns

Five Woodpeckers

Frog in the Middle

Chocolate

Listen for Bells

Right Hand Left Hand Hands Together Super Challenge

•

•

ContentsTITLE PAGE

Welcome for Parents & Teachers

Welcome for Kids

Core Principles of the Hoffman Method

Solfège Hand Signs

Practice Album

Hot Cross Buns

Black Keys on the Piano

Musical Alphabet Snakes

C, D & E Hunt

Piano Posture Checklist

D Journey: Right Hand

Piano Posture

C Boogie: Left Hand

F & G Hunt

Five Woodpeckers

Rhythm Dictation: Hot Cross Buns

Frog in the Middle

C Major Pentascale

A & B Hunt

Missing Letters

Rhythm Composition

Chocolate

D Major Pentascale

Rhythm Dictation: Frog in the Middle

Backward Alphabet Snake

Finger Numbers

Listen for Bells

1

2 – 3

4 – 6

7

8 – 9

10

11

12 – 13

14

15 – 16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32 – 34

35

= Repertoire= Finger Power

TITLE PAGE

Rhythm Dictation: Chocolate

More Backward Alphabet Snakes

Adding Chords to Frog in the Middle

Review Challenge

Answer Key

Achievement Award

36

37

38

39 – 40

41 – 49

50

Contents Continued...

1© Hoffman Academy. All Rights Reserved.Permission is granted to print 1 single copy for personal use. File sharing or photocopying is not allowed.

Welcome to the Hoffman Academy family!....................................................................................................................................................................................

The Hoffman Method is rooted in the philosophy that ALL students – including kids, teens, and

adults of any age – can successfully and joyfully learn to play the piano, regardless of so-called

“talent.” Yes, there may be individual differences as to rate of progress. But I believe that when

you combine a sound teaching approach with consistent, focused practice, a great blossoming

of skill and ability will inevitably follow.

My goal in creating the Hoffman Method was to build on my own piano teaching experience and

integrate the most up-to-date research on learning theory and motivation to help anyone learn

piano successfully.

Learning music should be a joy, not a chore. Yes, piano learning requires dedication and

discipline. But, in my experience kids (and adults, too) learn and progress the fastest when they

are engaged and having fun. That’s why I strongly encourage you to approach lessons and daily

practice time with a playful, joyful spirit. As Mary Poppins so aptly puts it, “In every job that must

be done, there is an element of fun. You find the fun and... SNAP! The job’s a game!”

I have made it my professional life work to “find the fun” in piano learning, and I sincerely hope

that the Hoffman Method will help you to do the same. Yes, the Hoffman Method is carefully

designed to help students achieve a high level of skill and well-rounded musicianship, but first

and foremost, I want my students to feel joy in their learning journey. If my method helps bring a

smile to your face or the face of a child you love as you experience the deep joy and satisfaction

of music making at the piano, I will be very grateful.

Happy playing!

Joseph Hoffman

2 © Hoffman Academy. All Rights Reserved.Permission is granted to print 1 single copy for personal use. File sharing or photocopying is not allowed.

This section is for KIDS

Welcome to piano lessons!This book will be one tool to help you learn piano, but

the most important tools will be your own fingers and

ears, along with your focus and daily practice! Ever since

the first piano was invented over 300 years ago, millions

of kids around the world have learned to play piano.

Hi there! I’m Mr. Hoffman, and I’m excited to have you learn piano with me!

Why do kids play piano?

Always play with proper

“Piano Posture.”

Have fun!

Only practice on days that you eat.

In this book, be on the lookout for the

frog family! Can you find:

Grandpa Frog

Why do YOU want to play piano?

It’s fun!

I like playing fast, exciting songs!

I like creating my own music!

Playing piano makes me feel calm and happy.

1

2

3

FIND IT!

The Three Rules of Learning Piano

MommyFrog

Baby Frog


How To Learn a New Piano Song

Expert Tips for Practicing

Every time you learn a new song in this book, use these steps:

LISTEN - Great pianists are great listeners. Before you learn to play a song, first become familiar

with it by listening and singing along with the Listening Album.

SING - Once you are familiar with the song, try singing it by yourself to test your memory. First,

sing with lyrics (lyrics are just the regular words of the song). Then sing it again using solfège.

(To review solfège, go to page 7.)

FIND YOUR PIANO POSTURE - Using the correct piano posture is very important for

developing great habits and playing your best. To learn about piano posture, go to page 15.

1

2

3

4

You can learn piano with a

teacher, or on the Hoffman

Academy website with me!

PLAY AND REPEAT - Play the song with your right hand (RH),

while singing the lyrics. Play the song again while singing the

solfège. Repeat until you can play with confidence and no

missed notes. Then, do it all again with your left hand (LH).

SINGING

Mr. Hoffman encourages you to always sing along while you practice

your songs in this book. Singing is one of the best ways to develop your

musical ear. It will also help you hear and correct your own mistakes.

MEMORY

As you practice your songs in this book, it is best to not look at the page

while you sing or play. Try to play from memory and let your ear guide

you. If you need to refer to the page for help, that’s perfectly fine, but

then close the book and try again from memory.

REVIEW

Once a song is mastered, review it every day using the Practice Album.

Be sure to use both RH (right hand) and LH (left hand). For an extra

challenge, try playing hands together, or try a Super Challenge, like

playing with your eyes closed or transposing. As you learn new songs,

continue to review all the old songs that you already know.

How To Learn a New Piano Song


Ear Before Eye

One primary goal of the Hoffman Method is to

help children learn music in a manner that is

both efficient and joyful. Music is an art form

that is experienced and enjoyed through

listening, therefore the best music learning

begins with a strong foundation in the ear. With

an “Ear Before Eye” approach, the Hoffman

Method gets kids effortlessly playing “by ear”

(no sheet music) from day one. This provides

immense satisfaction and motivation to kids as

they realize how simple and joyful it is to make

music from the heart.

Unfortunately, piano lessons often begin with

learning to read music from a book. No wonder

so many kids ask to quit piano after just a few

months! No child would be expected to learn to

read in their native language before they were

allowed to speak. Children gain fluency in their

native language by first listening and imitating,

then learning to speak in full sentences, and last

of all learning to read and write. Likewise, piano

students benefit greatly from following the same

learning progression: listen, imitate, play songs

by ear, and then learn to read and write music

notation. Using this sequence, success builds on

success, creating natural, joyful learning.

Steps for Teaching New Songs

1) LISTEN The student should first become

familiar with a song by listening to it on the

Listening Album (see next section).

2) SING Students should be able to sing a

song using lyrics and solfège before

attempting to play it.

3) ESTABLISH PIANO POSTURE Students

should get in the habit of checking their

“piano posture” before and while they play.

4) PLAY Student plays the song:

• using RH (right hand) while singing

the lyrics

• using RH while singing the solfège

• using LH (left hand) while singing the lyrics

• using LH while singing the solfège

The Listening Album

The Hoffman Method begins with listening. Long

before a student learns to play a new piece, the

student should become familiar with the piece

by listening to it many, many times. All Hoffman

Academy pieces are available on the Listening

Album in artistic, professionally recorded

arrangements. The Listening Album can be

enjoyed anywhere and anytime, in the car,

during meals, or at bedtime. Have fun when

....................................................................................................................................................................................Core Principles of the Hoffman Method

This section is for Parents & Teachers


listening, and feel free to sing along, dance, or

drum with the beat. I have found that students

progress at a much faster rate when they come to

lessons already thoroughly familiar with the piece

to be learned.

Singing

Throughout the entire first year of piano study, I

ask my students to sing along while they play,

using lyrics, solfège, and letter names. So many

amazing things happen in the brain when you sing

and play at the same time. Singing has shown to

be one of the fastest ways to develop strong

rhythmic pulse and a keen musical ear. When

students sing, they are also much more likely to

be able to hear and correct their own mistakes.

Sight Reading vs. Playing By Ear

Parents and teachers may feel concerned that a

child who learns to play music by ear will never

adequately learn to read notes. With the Hoffman

Method, students do learn to play by ear first, but

within a few months they are learning to read

notes by mastering staff basics and dictating

(writing) the music they already know using

traditional staff notation. Dictation is a superior

tool for learning to read notes because the act of

writing notes down by hand creates a kinesthetic

experience, which helps encode the musical

symbols securely in the long-term memory.

Throughout Unit 1, students will learn all new

pieces by ear. In Unit 2, students will continue to

learn songs by ear while also dictating familiar

pieces on the staff to help master the symbols of

music notation. Beginning in Unit 3, students

begin genuine sight reading using hundreds of

short exercises which very gradually build from

simple to complex. Whereas most musicians

gravitate either to the ear or the eye, students

of the Hoffman Method have the unique

advantage of being highly trained to play both

by ear and by sight.

Improvisation

Just as fluency in a language implies you can carry

on a spontaneous, unscripted conversation, true

fluency in music means that you are able to

improvise. With the Hoffman Method, students

are asked to improvise from the beginning.

Improvisation promotes musical exploration and

discovery, and leads to developing composition

skills. It’s also a lot of fun!

Online Technology

The Hoffman Academy website has many video

tutorials, learning tools and games that will

greatly enhance any student’s learning

experience. From the Hoffman Academy website,

you can access hundreds of video lessons,

available for free, which guide students through

every new piece and new concept using clear,

step-by-step instructions and Mr. Hoffman’s

signature creativity and humor. You can also find

online music learning games to help students

drill and master music theory concepts and

staff reading skills. Learn more by visiting

www.hoffmanacademy.com.

....................................................................................................................................................................................


Transposition

The Hoffman Method trains students to transpose

their pieces into each new key that they learn.

Transposition is another skill that, unfortunately, is

often delayed until much later in a music student’s

career (or never at all), but it can be mastered

most easily if introduced from the beginning.

Transposition strengthens a student’s ability to

play by ear and to understand the relationships

of sounds within a musical scale.

Memory

To build a strong musical memory, throughout the

first few units of the Hoffman Method it is actually

best for the student to not look at the page as they

sing or play. If you always have music in front of

you while you play, it quickly becomes a crutch

that is hard to give up later. Challenge the student

to play from memory right from the start and let

their ear guide them. Refer to the page when

needed for help, but then close the book and try

again from memory.

Review

Children gain a huge confidence boost and great

satisfaction from frequently reviewing all the

pieces they have mastered. Students of the

Hoffman Method are encouraged to review every

day all the pieces they have learned within their

current unit, plus the previous unit. Reviewing old

pieces is also a great opportunity to incorporate

new skills and concepts, like transposing to newly

learned keys, or adding chords or dynamics.

The Practice Album

The Practice Album features accompaniment

tracks to play along with for practice, review, and

enjoyment. Playing along with a backing track

is not only a lot of fun, it also helps develop

steady beat and rhythmic accuracy. Plus, our

backing tracks also provide frequent

opportunities to improvise.

Want more tips, tools, and training for

developing joyful, confident musicians?

Visit the Hoffman Academy websites and

join our online community.


Solfège Hand Signs


A piece should be fully mastered before

attempting to play with the Practice Album.

It may be helpful to listen to the track once

without playing to get used to the tempo and

sound of the accompaniment. Then go back

and listen again and this time sing along with

the track.

When you are ready, try playing along with the

track. Each track begins with a musical

introduction that gives you time to prepare.

During the introduction, you will hear 3 or 4

distinct clicks, which will be your cue to begin.

After the 3rd or 4th click, start playing!

(See chart on next page to know whether to

expect 3 or 4 clicks on a particular track.)

As you play, listen to how your notes fit with

the accompaniment, and try to stay together,

at the correct speed. If you are having a hard

time staying with the accompaniment, try just

singing the words or humming the melody

(without playing) as you listen to the Practice

Album track. Or, perhaps you need to practice

a few more times on your own without the

track. Keep trying until you succeed!

Refer to the chart on the next page for specific

instructions about playing along with

each track.

Improvisation: Some tracks also provide time

for you to improvise. For these tracks, first play

through the piece. Then, after you finish

playing the piece, you get to improvise. There

are no right or wrong notes, and it can be

completely different every time. As long as you

••

•

•

•

•

•

•

•

•

•

Remember—there are no right or wrong notes!

Just have fun being creative!

If you’re not sure what to play, just start playing

some repeating notes, or some stepping notes.

If you don’t like the sound of a note you play,

no problem— just step up or down to the next

one. Enjoy listening to the different sounds you

can create!

Don’t just play an endless stream of random

notes. Try to really listen to what you are

playing, and use short, simple patterns. Play

one note at a time, and notice how your notes

fit with the accompaniment. Enjoy making your

own music!

Tips on Improvising

like it, that’s all that matters! If you hear clicks

again, this is your cue to end your

improvisation and to play the melody one

last time.

Review: As you continue to learn new songs, it

is highly valuable to go back and review old

songs every day. A great way to accomplish this

is to finish each practice session by using the

Practice CD, playing along with each song you

have mastered so far.

Tips for Students on Using the Practice Album:


TRACK TITLE POSITION CLICKS TO START INSTRUCTIONS

1

2

3

4

5

6

7

8

Hot Cross Buns 3 black keys

N/A

N/A

C major

C major

C major

D major

D major

4

4

4

4

4

4

4

3

Play RH, LH, or HTImprovise on black keysPlay RH, LH, or HT

Play RH, LH, or HTImprovise in C major arpeggioPlay RH, LH, or HT

Play RH, LH, or HTImprovise in D major pentascalePlay RH, LH, or HT

Play RH, LH, or HT 2xImprovise in C major pentascalePlay RH, LH, or HT 2x

Play RH, LH, or HT 2xImprovise in D major pentascalePlay RH, LH, or HT 2x

Play RH, LH, or HT

Play LH while counting the beats out loud.

Play RH while counting the beats out loud.

D Journey

C Boogie

Five Woodpeckers

Frog in the Middle

Chocolate in C

Chocolate in D

Listen for Bells

•••

•

•

•

•••

•••

•••

•••

RH= right hand

LH= left hand

HT= hands together

Practice Album Tracks

RH = right handLH = left handHT = hands together

A piece should be fully mastered before

attempting to play with the Practice Album.

It may be helpful to listen to the track once

without playing to get used to the tempo and

sound of the accompaniment. Then go back

and listen again and this time sing along with

the track.

When you are ready, try playing along with the

track. Each track begins with a musical

introduction that gives you time to prepare.

During the introduction, you will hear 3 or 4

distinct clicks, which will be your cue to begin.

After the 3rd or 4th click, start playing!

(See chart on next page to know whether to

expect 3 or 4 clicks on a particular track.)

As you play, listen to how your notes fit with

the accompaniment, and try to stay together,

at the correct speed. If you are having a hard

time staying with the accompaniment, try just

singing the words or humming the melody

(without playing) as you listen to the Practice

Album track. Or, perhaps you need to practice

a few more times on your own without the

track. Keep trying until you succeed!

Refer to the chart on the next page for specific

instructions about playing along with

each track.

Improvisation: Some tracks also provide time

for you to improvise. For these tracks, first play

through the piece. Then, after you finish

playing the piece, you get to improvise. There

are no right or wrong notes, and it can be

completely different every time. As long as you

••

•

•

•

•

•

•

•

•

•

Remember—there are no right or wrong notes!

Just have fun being creative!

If you’re not sure what to play, just start playing

some repeating notes, or some stepping notes.

If you don’t like the sound of a note you play,

no problem— just step up or down to the next

one. Enjoy listening to the different sounds you

can create!

Don’t just play an endless stream of random

notes. Try to really listen to what you are

playing, and use short, simple patterns. Play

one note at a time, and notice how your notes

fit with the accompaniment. Enjoy making your

own music!

Tips on Improvising

like it, that’s all that matters! If you hear clicks

again, this is your cue to end your

improvisation and to play the melody one

last time.

Review: As you continue to learn new songs, it

is highly valuable to go back and review old

songs every day. A great way to accomplish this

is to finish each practice session by using the

Practice CD, playing along with each song you

have mastered so far.

Tips for Students on Using the Practice Album:


One a pen - ny , two a pen - ny,

Hot cross buns!

Super Challenge

DO

RE

MI

Hot cross buns!

DO

RE

MI

Hot cross buns!

DO

RE

MI

RE RE RE RE

DO DO DO DO

DO RE MI

1

2

Play “Hot Cross Buns” with your eyes closed.

Play “Hot Cross Buns” and improvise using the Practice Albums

backing track. See page 8 for tips on using the Practice Album.

Remember, don’t use this page to teach this song! The songs in this

unit should be learned “by ear.” See page 4 for more information on

the purpose and steps for learning by ear.

PARENTS & TEACHERS

Time to learn our first song! You can learn this song with me online or with your teacher.

Hot Cross Buns


One a pen - ny , two a pen - ny,

Hot cross buns!

Super Challenge

DO

RE

MI

Hot cross buns!

DO

RE

MI

Hot cross buns!

DO

RE

MI

RE RE RE RE

DO DO DO DO

DO RE MI

1

2

Play “Hot Cross Buns” with your eyes closed.

Play “Hot Cross Buns” and improvise using the Practice Albums

backing track. See page 8 for tips on using the Practice Album.

Remember, don’t use this page to teach this song! The songs in this

unit should be learned “by ear.” See page 4 for more information on

the purpose and steps for learning by ear.

PARENTS & TEACHERS

Time to learn our first song! You can learn this song with me online or with your teacher.

The black keys are organized in groups of TWO and THREE on the piano.

2 23 3

Draw a circle around each group of TWO black keys on the keyboard below.

Play each group of TWO black keys on your own piano, starting from the LOWEST

(on the left) and going to the HIGHEST (on the right).

How many groups of TWO black keys did you find on your piano?

Draw a circle around each group of THREE black keys on the keyboard below.

Play each group of THREE black keys on your own piano, starting from the HIGHEST

and going to the LOWEST.

How many groups of THREE did you find on your piano?

GROUPS OF THREE

GROUPS OF TWO

1

2

3

LOW

LOW HIGH

HIGH

1

2

3

Black Keys on the Piano


The musical alphabet only uses the first seven letters of the alphabet, repeated over and over.

A B C D E F G A B C D E F G A B C D E F G A B C D E F G A B C D E F G

Write the musical alphabet on the snake below. Start at the head and work toward the tail.

AB

Musical Alphabet Snake


More Musical Alphabet Snakes

The musical alphabet can start on any letter:

B C D E F G A or

D E F G A B C

Write in the missing letters of the musical alphabet.

C

E

D

A

D

G


Color all the C’s BLUE on the piano below.

Play all the C’s on your own piano from LOWEST to HIGHEST. Say

“C” out loud as you play each one.

How many did you find?

C D E

Color all the D’s GREEN on the piano below.

Play all the D’s on your own piano from HIGHEST to LOWEST. Say “D” out loud as you play

each one. How many did you find?

Color all the E’s RED on the piano below.

Play all the E’s on your own piano from LOWEST to HIGHEST. Say “E” out loud as you play

each one. How many did you find?

1

2

1

2

1

2

Super ChallengePlay “Hot Cross Buns” using C, D, and E.

C, D, & E Hunt


Every time you sit to play the piano, first go through the Piano Posture Checklist.

Too close

1) Bench Position

2) Tall Back

Elbows will float slightly in front of torso when bench position is just right.

Avoid a slouched back

Too far

Use a footstool for feet to rest on something firm.

Shoulders are relaxed and down.

Back is comfortably tall and flexible.

Head is aligned over shoulders and hips.

Adjust bench height so forearms

are parallel to floor. In many cases student

must be raised using folded blankets

or towels.



3) Arm Weight

4) Finger Shape

Pianists use the natural weight of their arms as they play. To help discover the natural weight of your arms, imagine you are a puppet and both hands are being lifted up by strings.

Knuckles have a natural, comfortable curve.

Finger joints for fingers 2-5

have a natural, comfortable

curve.

Finger 1 (thumb) is long and loose, and plays on its side edge near the tip.

Wrist should not be locked in an elevated position. Knuckles should not be flat or concave.

Wrist should not be locked in a lowered position. (If this happens, bench may be too low.)

Avoid finger joints bending backward. Maintain proper curve by keeping finger joints firm as they strike the key.

Fingers 2-5 play near the tip.

As you play the piano, think of your arm, hand, and fingers falling or dropping into each key. Instead of relying on finger motion, let gravity do most of the work for you! Mr. Hoffman or your teacher can demonstrate this for you.

Now imagine that the strings get cut, and your hands and arms drop limply on your lap or by your side.

Gravity

Wrist is flexible and level with forearm.



D Journey: Right Hand

START

Play “D Journey” using your “chicken head” while counting “1 - 2 - 3 - 4” out loud. Play “D” every time you say “1,” using arm weight to comfortably “drop” into each key.

Start on the D nearest the middle of your piano, then journey up to the next D. When you reach the highest D, go back and do it one more time.

D D D D

- 2 - 3 - 4

1

Practice counting “1 - 2 - 3 - 4” with a steady

beat, repeated several times. Clap your

hands every time you say “1”.

Sit at the piano and go through the Piano

Posture Checklist.

Use your RH thumb and pointer finger to

make a “chicken head”.

1 2

3

4

1- 2 - 3 - 4

1- 2 - 3 - 4

4 - 3 - 2

1

Go back and do it one more time!

1 - 2 - 3 - 4

Super ChallengePlay “D Journey” using the Practice Album backing track.

(clap)

As you move from D to D, float your forearm, and let your hand and wrist relax and go limp.


For each picture below, circle the ‘thumbs up’( ), if good piano posture is being used or the ‘thumbs down’ ( ) if the posture needs improvement.

Draw a circle around words that are a part of good piano posture. Mark an X on words

that are not a part of good piano posture.

Relaxed fingers

Claw fingers

Feet dangling in air

Tall back

Elbows slightly in front of torso

Flat fingers

Piano Posture


C Boogie: Left Hand

START

Play “C Boogie” using your “chicken head” while counting “1 - 2 - 3 - 4” out loud. Play “C” every time you say “1.”

Start on the C nearest the middle of your piano, then go down to the next C. When you reach the lowest C, go back and do it one more time.

As you move from C to C, float your forearm, and let your hand and wrist and relax go limp.

C C C C

4 - 3 - 2

1

Go through the 4 steps of the Piano Posture Checklist.

Use your LH thumb and pointer finger to make a “chicken head”.

1

2

3

4 - 3 - 2 4 - 3 - 2

1 1 1

Go back and do it one more time!

2 - 3 - 4

Super ChallengePlay “C Boogie” using the Practice Album backing track.


Several keys are labeled with a . Write the name of each key on the lines below.

F G

Color all the F’s YELLOW on the piano below.

Play all the F’s on your own piano from LOWEST to HIGHEST. Say

“F” out loud as you play each one.


Color all the G’s GREEN on the piano below.

Play all the G’s on your own piano from HIGHEST to LOWEST. Say “G” out loud as you

play each one. How many did you find?

1

2

1

2

E

F & G Hunt


Look - ing for a bug.

Wood - peck - er Tap! Tap! Wood - peck - er Tap! Tap!

Wood - peck - er Tap! Tap!



Yum!

C Major Pentascale

DO RE MI FA SO

Super Challenge

Play “Five Woodpeckers” while singing the letter name of each key as you play it.

DO DO DO DO DO

DO

DO

MI

RE

RE

RE RE RE RE

MI MI MI MI

MI

SO

FA

FA

FA FA FA FA

SO SO SO SO SO

C D E F G

Five WoodpeckersC Major Pentascale


Dictate the rhythm for “Hot Cross Buns” in the

heartbeats below.

Sing the rhythm words (ta, ti-ti, etc.) while

touching each heartbeat. Touch each heartbeat

only once, regardless of the rhythm inside.

Super ChallengePlay “Hot Cross Buns” on the piano while singing the rhythm words.

2

1 QUARTER NOTE

2 EIGHTH NOTES

QUARTER REST

“ta” “ti – ti”“rest”

(whispered)

For guidance using this page, refer to our online lesson “Rhythm Dictation: Hot Cross Buns.”

PARENTS & TEACHERS

Rhythm Dictation: Hot Cross Buns


Dictate the rhythm for “Hot Cross Buns” in the

heartbeats below.

Sing the rhythm words (ta, ti-ti, etc.) while

touching each heartbeat. Touch each heartbeat

only once, regardless of the rhythm inside.

Super ChallengePlay “Hot Cross Buns” on the piano while singing the rhythm words.

2

1 QUARTER NOTE

2 EIGHTH NOTES

QUARTER REST


(whispered)

For guidance using this page, refer to our online lesson “Rhythm Dictation: Hot Cross Buns.”

PARENTS & TEACHERS

DO DO DO

MI

MI

MI

Frog in the mid - dle,

Frog in the sea,

Can’t catch me!

SO SO SO

MI MI

Frog in the mid - dle,

SO SO SO

SO SO SO

C Major Arpeggio

DO MI SO

Super ChallangePlay “Frog in the Middle” with your eyes closed.

C E G

Frog in the MiddleC Major Arpeggio


Write the letter names of each note of the C major

pentascale in the circles on the solfège ladder.

Improvise your own song using the C

major pentascale or arpeggio.

Find and play all the C major pentascales

on your piano. Sing the letter names as

you play each key. How many C major

pentascales can you find?

Super Challenge

C Major Pentascale

C Major Arpeggio

Draw circles to create three C major pentascales.

Draw circles to create three C major arpeggios.

SO

FA

MI

RE

DO

C D E F G

C E G

2

1

DO RE MI FA SO

DO MI SO

C

C Major Pentascale


A B

Color all the A’s RED on the piano below.

Play all the A’s on your own piano from LOWEST to HIGHEST. Say “A”

out loud as you play each note.


Color all the B’s BLUE on the piano below.

Play all the B’s on your own piano from HIGHEST to LOWEST. Say “B” out loud as you

play each note. How many did you find?

1

2

1

2

Several keys are labeled with a . Write the name of each key on the lines below.

D

Super Challenge

Can you play “Hot Cross Buns” using the notes G, A, and B?

A & B Hunt


Fill in all of the missing letters on the pianos below.

Decode a secret message from Mr. Hoffman by writing the alphabet letter that corresponds

with each number on the keyboard.

4 5 1 3 2

D E C E F A D G B

F G B D E A C F C

R ____ M ____ M ____ ____ R , O N L Y

P R ____ ____ T I ____ ____ P I ____ N O O N

____ ____ Y S T H ____ T Y O U ____ ____ T !

Missing Letters


Fill in all of the missing letters on the pianos below.

Decode a secret message from Mr. Hoffman by writing the alphabet letter that corresponds

with each number on the keyboard.

4 5 1 3 2

D E C E F A D G B

F G B D E A C F C

R ____ M ____ M ____ ____ R , O N L Y

P R ____ ____ T I ____ ____ P I ____ N O O N

____ ____ Y S T H ____ T Y O U ____ ____ T !

Write your own rhythms in the heartbeats below.

Speak your rhythm while tapping each heartbeat.

Touch each heartbeat only once, regardless of the

rhythm inside.

Super Challenge

Play your rhythm on the piano. Use any keys – you choose!

1

2

QUARTER NOTE

2 EIGHTH NOTES

QUARTER REST


(whispered)

Rhythm Composition


Transpose “Chocolate” to the D major pentascale.

Yum, yum, yum, yum, yum! choc’ – late I have some!

Super Challenge

D Major Pentascale

RE

MI

FA SO

D E F# G A

C Major Pentascale

MI

C D E F G

FAFA

SO

RERE

DO

MIMI

DODO RE MI FA SO

REPEAT SIGNA REPEAT SIGN

means to go back and play it again!

HALF NOTEA half note holds

for 2 beats.

“two - oo”

Mmm...

chocolate!

For guidance on how to transpose “Chocolate” to D major, refer to our online lesson “D Major Pentascale.”

PARENTS & TEACHERS

SO

DO

ChocolateC & D Major Pentascales


Play these songs in D major:

Five Woodpeckers

Frog in the Middle

D Major Pentascale

AD E G

D Major Arpeggio

D F A

Write the letter names of each note of the D major

pentascale in the circles on the on the solfège ladder.

Draw circles to create three D major pentascales. Draw a line to connect the two keys that form a half step.

Draw circles to create three D major arpeggios.

Super Challenge

SO

FA

MI

RE

DO

SHARPA SHARP raises a note by

one half step. HALF STEPA HALF STEP is the

distance between any two adjecent keys,

black or white, with NO KEY in between.F

G

G

1

2

F

F

DO RE FA

MI

SO

DO

MI

SO

D

D Major Pentascale


Dictate the rhythm for “Frog in the Middle” in the heartbeats below.

Sing the rhythm words while touching each heartbeat. Touch each heartbeat only once,

regardless of the rhythm inside.

Super Challenge

Play “Frog in the Middle” on the piano while singing the rhythm words.

1

2

Rhythm Dictation: Frog in the Middle


Backward Alphabet Snake

GF

GFEDCBAGFEDCBA

Write the musical alphabet BACKWARD on the snake below. Start at the tail and

work toward the head.


Finger Numbers: Left Hand

Trace the outline of your left hand in the box below.

Write “LH” for “left hand” in the middle of the outline.

Write the correct finger number inside each finger.

My Left Hand

1

234

5

LH

1

2

3


Trace the outline of your right hand in the box below.

Write “RH” for “right hand” in the middle of the outline.

Write the correct finger number inside each finger.

My Right Hand

1

2 34

5

RH

1

2

3

Finger Numbers: Right Hand


Label each hand RH or LH.

Write the missing finger numbers.

L H

RH

4

4

5

3

21

2

Remember: “The thumb is one.”

1

21

Missing Finger Numbers


List - en for bells in the stee - ple to ring :

Ding, ding, ding, ding, ding, ding, ding, ding, ding, ding!

Super Challenge

D Major Arpeggio

DO

MI

SO

D F A

SO SO SOSO

DO DO DODODODO

SO SO

MI MI

DO DO

DO

SO SO SO

DO

SO SO SO

Sing the finger numbers while you play “Listen for Bells.” Try with both RH and LH.

Transpose “Listen for Bells” to the C major arpeggio.

1

2

Echo softly higher or lower on your piano:

DOTTED HALF NOTE

A dotted half note holds for 3 beats.

Listen for BellsD Major Arpeggio


Rhythm Dictation: Chocolate

Dictate the rhythm for “Chocolate” in the heartbeats below.

Sing the rhythm words while touching each heartbeat.

Rhythm Listening GameYour teacher or parent will speak, drum, or play one of the rhythms you see below. Point to the one you hear to earn 1 point. If you’re correct, then perform the rhythm yourself using rhythm words. 5 points wins!

HALF NOTE A half note holds for 2 beats.

1

2

“two-oo” =

Touch both heartbeats while saying “two-oo”

two ------------------------- oo

This heartbeat stays empty because it

belongs to the half note in the beat

before it.


Practice the musical alphabet BACKWARD by writing in the missing letters for each snake. Start at the tail and work toward the head.

B

E

A

G

AG

D

More Backward Alphabet Snakes


A CHORD is a group of 2

or more notes played

TOGETHER.

For “Frog in the Middle,”

use C and G played at

the same time using

fingers 1 and 5.C G

Play together

Use arm weight to help play each

chord by dropping into the keys. After

you play a chord, relax by floating up

from the wrist.

Play chords with your RH while you

sing “Frog in the Middle.” Play a

chord every time you sing the word

“Frog.” When you sing “Can’t catch

me!” play a chord on every word.

Play chords with your LH while you

sing “Frog in the Middle.”

Play chords with your LH while your

RH plays the melody.

Tips for Learning to Play with Chords

2

3

1

Frog in the Middle

Play

Release

DO DO DO

MI

MI

MI

SO SO SO

MI MI

SO SO SO

SO SO SO

CHORD

CHORD

CHORD

CHORD CHORD CHORD

Adding Chords to Frog in the Middle


Draw a line to connect each letter to the correct key.

Finger Number Mystery Songs! Place the indicated hand in the C major pentascale on your piano and figure out the mystery song by playing the finger numbers shown. Write the name of the song on the given line.

Draw circles to create the pentascales and arpeggios below. For the pentascales, draw a line connecting the two circles that form a half step.

D

E

E

C

G

AA

BB

F

LH

RH 3 2 1 3 2 1

Mystery Song

Mystery Song

C Major Pentascale

D Major Pentascale D Major Arpeggio

C Major Arpeggio

1 1 1 1 2 2 2 2 3 2 1

Review Challenge


Match the rhythms on the left to their names on the right.

Match the symbols on the left to the correct term on the right.

Half note

Quarter rest

2 eighth notes

Quarter note

RH, finger 4

Stepping down

Sharp

LH, finger 1

Skipping up

D major pentascale

Repeat sign

Review Challenege

Blac

k K

eys

on

the

Pian

o (

Page

11)

Mu

sica

l Alp

hab

et S

nak

e (P

age

12)

Wri

te th

e m

usi

cal a

lph

abet

on

the

snak

e b

elo

w. S

tart

at t

he

hea

d a

nd

wo

rk to

war

d th

e ta

il.

AB

GG G

G

F

F

F

F

E

E

E

E

D

D

D

D

C

C

C

C

B

B

B

A

A A

UN

IT 1

AN

SWER

KEY

Th

e b

lack

key

s ar

e o

rgan

ized

in

gro

up

s o

f TW

O a

nd

TH

REE

on

th

e p

ian

o.

22

33

Dra

w a

cir

cle

aro

un

d e

ach

gro

up

of T

WO

bla

ck k

eys

on

the

keyb

oar

d b

elo

w.

Play

eac

h g

rou

p o

f TW

O b

lack

key

s o

n y

ou

r o

wn

pia

no

, sta

rtin

g fr

om

the

LOW

EST

(on

the

left

) an

d g

oin

g to

the

HIG

HES

T (

on

the

righ

t).

Ho

w m

any

gro

up

s o

f TW

O b

lack

key

s d

id y

ou

fin

d o

n y

ou

r p

ian

o?

Dra

w a

cir

cle

aro

un

d e

ach

gro

up

of T

HR

EE b

lack

key

s o

n th

e ke

ybo

ard

bel

ow

.

Play

eac

h g

rou

p o

f TH

REE

bla

ck k

eys

on

yo

ur

ow

n p

ian

o, s

tart

ing

fro

m th

e H

IGH

EST

and

go

ing

to th

e LO

WES

T.

Ho

w m

any

gro

up

s o

f TH

REE

did

yo

u fi

nd

on

yo

ur

pia

no

?

GR

OU

PS

OF

TH

REE

GR

OU

PS

OF

TW

O

1 2 3

LOW

LOW

HIG

H

HIG

H

1 2 3

Mo

re M

usi

cal A

lph

abet

Sn

akes

(Pa

ge 13

)C

, D &

E H

un

t (Pa

ge 14

)

UN

IT 1

AN

SWER

KEY

Wri

te in

the

mis

sin

g le

tter

s o

f th

e m

usi

cal a

lph

abet

.

C D A

D

D

D

EE

E

E

E

F

F

F

F

G

GG

A

A

AB

B

B

B

C

C

C

G

FG

AB

CD

Pian

o P

ost

ure

(Pa

ge 18

)F

& G

Hu

nt (

Page

20

)

UN

IT 1

AN

SWER

KEY

E G

C

F

D

G

C

E

Rh

yth

m D

icta

tio

n: H

ot C

ross

Bu

ns

(Pag

e 22

)C

Maj

or

Pen

tasc

ale

(Pag

e 24

)

UN

IT 1

AN

SWER

KEY

Wri

te th

e le

tter

nam

es o

f eac

h n

ote

of t

he

C m

ajo

r

pen

tasc

ale

in th

e ci

rcle

s o

n th

e so

lfège

lad

der

.

C M

ajo

r P

enta

scal

e

C M

ajo

r A

rpeg

gio

Dra

w c

ircl

es to

cre

ate

thre

e C

maj

or

pen

tasc

ales

.

Dra

w c

ircl

es to

cre

ate

thre

e C

maj

or

arp

eggi

os.

SO FA MI

RE

DO

C

D

E

F

G

CDO

MI

SO

DO

MI

FAR

ESO

EG

G F E D C

A &

B H

un

t (Pa

ge 2

5)M

issi

ng

Lett

ers

(Pag

e 26

)

UN

IT 1

AN

SWER

KEY

C

F

G

A B

D

G

B

C E

F

A

D F

B

G

E A

D

B

Fill

in a

ll o

f th

e m

issi

ng

lett

ers

on

the

pia

no

s b

elo

w.

Dec

od

e a

secr

et m

essa

ge fr

om

Mr.

Ho

ffm

an b

y w

riti

ng

the

alp

hab

et le

tter

that

co

rres

po

nd

s

wit

h e

ach

nu

mb

er o

n th

e ke

ybo

ard

.

D E

A C

F

G

B D

E

G A

B

R _

___

M _

___

M _

___

___

_ R

,

O

N L

Y

P R

___

_ _

___

T I

___

_ _

___

P

I __

__ N

O

O N

____

___

_ Y

S

T H

___

_ T

Y O

U

__

__ _

___

T !

E E

B

E

A C

C

E

A

D A

A

E A

D M

ajo

r Pe

nta

scal

e (P

age

29)

Rh

yth

m D

icta

tio

n: F

rog

in th

e M

idd

le (

Page

30

)

UN

IT 1

AN

SWER

KEY

A G E DF #

DO

MI

SOSOFA

MI

RE

DO

Back

war

d A

lph

abet

Sn

ake

(Pag

e 31

)M

issi

ng

Fin

ger

Nu

mb

ers

(Pag

e 34

)

UN

IT 1

AN

SWER

KEY

G

E

E

E

C

C

C

D

D

D

DF

CB

B

B

B

G G

G

A

A A

FE

Wri

te th

e m

usi

cal a

lph

abet

BA

CK

WA

RD

on

the

snak

e b

elo

w. S

tart

at t

he

tail

and

wo

rk to

war

d th

e h

ead

.

F

FA

LH

RH R

H

LH

LH

RH

RH

44

44

4 4

33

33

3

55

5

5

5

5

21

1

1

11

1

4

5

33

2

221

2

22

Lab

el e

ach

han

d R

H o

r LH

.

Wri

te th

e m

issi

ng

finge

r n

um

ber

s.

1 2

Rh

yth

m D

icta

tio

n: C

ho

cola

te (

Page

36

)M

ore

Bac

kwar

ds

Alp

hab

et S

nak

es (

Page

37)

UN

IT 1

AN

SWER

KEY

Prac

tice

the

mu

sica

l alp

hab

et B

AC

KW

AR

D b

y w

riti

ng

in th

e m

issi

ng

lett

ers

for

each

sn

ake.

St

art a

t th

e ta

il an

d w

ork

tow

ard

the

hea

d.

B EAG

AG

FE

D

D

D

D

C

C

C

C

CA

A

AG

G

GF

F

F

FE

E

E

DB

B

B

B

Rev

iew

Ch

alle

nge

(Pa

ge 3

9)

Rev

iew

Ch

alle

nge

(Pa

ge 4

0)

UN

IT 1

AN

SWER

KEY

RH

, fin

ger

4

Step

pin

g d

ow

n

Shar

p

LH, fi

nge

r 1

Skip

pin

g u

p

D m

ajo

r p

enta

scal

e

Rep

eat s

ign

Dra

w a

lin

e to

co

nn

ect e

ach

lett

er to

the

corr

ect k

ey.

Fin

ger

Nu

mb

er M

yste

ry S

on

gs! P

lace

the

ind

icat

ed h

and

in th

e C

or

D m

ajo

r p

enta

scal

e o

n y

ou

r p

ian

o a

nd

figu

re o

ut t

he

mys

tery

so

ng

by

pla

yin

g th

e fin

ger

nu

mb

ers

sho

wn

. Wri

te th

e n

ame

of t

he

son

g o

n th

e gi

ven

lin

e.

Dra

w c

ircl

es to

cre

ate

the

pen

tasc

ales

an

d a

rpeg

gio

s b

elo

w. F

or

the

pen

tasc

ales

, dra

w a

lin

e co

nn

ecti

ng

the

two

cir

cles

that

form

a h

alf s

tep

.

D

E

E

C

G

AA

BB

F

Mys

tery

So

ng

Mys

tery

So

ng

C M

ajo

r P

enta

scal

e

D M

ajo

r P

enta

scal

eD

Maj

or

Arp

eggi

o

C M

ajo

r A

rpeg

gio

Hot

Cro

ss B

uns

List

en f

or B

ells

for o

utstan

din

g achievem

ent in

com

pletin

g

H

o�man M

ethod Piano Unit 1

Joseph Hoffm

an

Th

is award

is presen

ted to

on

(date)

Achievement Aw

ard

hoffman method · 24/03/2020 · piano posture c boogie: left hand f & g hunt five woodpeckers...

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