PIANO INTRO Level

CURRICULUM BOOK
piano intro Level
CURRICULUM BOOK
 ©2022 | THE EAR ACADEMY (20230427)
FIRST PUBLISHED IN SOUTH AFRICA IN 2022 BY THE EAR ACADEMY PUBLISHING
ALL RIGHTS RESERVED | ISBN XXX-X-XXXXXXX-X-X

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INTRODUCTION
FOUNDATION:
At the heart and base of our curriculum lies the belief that learning music should be a playful

process. A process that might be compared to a combination of learning a language and

learning a sport.

The main focus is on the power of listening, imitating and using intuition to bridge the listening

to the playing and not on the cerebral understanding of the elements used in the notation of

music. The explanation of theoretical concepts is one that should follow the practice of

playing; not vice-versa.

The eAr elevates the development of the ear-hand coordination above the more traditionally

used eye-hand coordination. Audiation, i.e. the inner understanding of musical meaning, is

fundamental to all our teaching.

The eAr elevates the development of the ear-hand coordination above the more traditionally

used eye-hand coordination. Audiation, i.e. the inner understanding of musical meaning,

is fundamental to all our teaching.

Target:
The eAr’s curriculum, and the presentation of it, is focused on learners of all ages. Children will

initially work best with The eAr’s content through the guidance of a teacher or facilitator. This

can be done during individual lessons, as well as in group lessons.

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 Structure:
The eAr has organised learning material into levels (e.g., Introductory Level; Level 2). Each

level consists of 12 so-called Playgrounds (6 Playgrounds on the Introductory Level).

On each Playground, we placed 7 facets of music learning:

• TUNES: Concrete pieces organised in a structured and progressive order.

• ETUDES: Musical pieces that elaborate on one or two specific aspects of playing.

• EXERCISES: Instrumental workout pieces, such as scales, arpeggios, etc.

• READING: he student is presented with a part that goes together with a backing track.
The repertoire is taken from the history of popular music over the last 70 years.

• IMPROVISATION: Backing tracks form the basis of the student’s guided improvisations.

Explanations and strategies are offered to put the student on a working path.

• HEARING: This trains the student’s ear. It is presented in 4 modes:

Hear & Sing; Hear & Play; Hear & Write; Read & Sing.

• THEORY: Specific theoretical subjects are presented and explained, accompanied by

PDF material.

Shedding Sessions:
The Tunes and Etudes are accompanied by guided practice sessions in which the eAr teacher

plays a small unit of the whole tune, and the student then repeats it one unit at a time. These

unique and specially designed Shedding Sessions present the music in units that move from

small to large.

Educational Material:
All written material is accompanied by backing tracks and downloadable PDFs. Backing tracks

come in two forms: one with the teacher playing, and one without. This way students can make
a choice according to their level of independence.

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Overview of content:
Here is a list of the educational material per facet:
TUNES: IMPROVISATION:
1. A video lesson, including a play-through of the 1. A video lesson discussing a possible approach to
tune with the backing track take with the improvisation
2. A backing track with the teacher playing 2. An audio-only version of the teacher playing over
3. A backing track without the teacher playing part of the improvisation track
4. An online PDF with the sheet music of the tune 3. The complete backing track to improvise over
5. A downloadable PDF with the sheet music of 4. A downloadable PDF with essential material and
the tune a concise explanation of a possible approach to
take
ETUDES: 5. An online PDF with essential material and
1. A video lesson, including a play-through of the a concise explanation of the possible approach
etude with the backing track to take
2. A backing track with the teacher playing
3. A backing track without the teacher playing HEARING:
4. An online PDF with the sheet music of the etude This facet addresses 4 modes of ear training:
5. A downloadable PDF with the sheet music of 1. A number of Hear & Sing exercises
the etude 2. A number of Hear & Play exercises
3. A number of Hear & Write exercises
EXERCISES: 4. A number of Read & Sing exercises
1. A video lesson, including a play-through of the
exercise THEORY:
2. An audio-only version of the teacher playing the 1. A video lesson discussing a specific theoretical
exercise concept in depth
3. An online PDF with the sheet music of the exercise 2. An online PDF with the theoretical concept
4. A downloadable PDF with the sheet music of the explained visually
exercise 3. A downloadable PDF with the theoretical
concept explained visually
READING:
1. A video lesson discussing the approach to take
when learning the song, starting with an excerpt
of the song
2. A backing track with all instruments
3. A backing track without the student’s part
4. An online PDF with the sheet music of the Hein Van de Geyn
student’s part of the song Education Director,
5. A downloadable PDF with the sheet music of the The eAr Academy
student’s part of the song

NOTE: Teachers are able to download a Teachers Book for each level, in which all the material is presented, providing an
easily accessible and complete overview of that specific level. There are also Students Books available, comprising all
the available material within one level.

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 Piano INTRO LEVEL
General:
On this introduction level the student learns how to manoeuvre both hands around middle c.

Some of the easy key signatures are explained. The first scales and arpeggios are looked at in

1 flat and 1 sharp. Chord symbols are explained and students combine these with written

melodies in RH or LH. Some very easy Reading tunes are covered. Rhythms are addressed in

an imitative way. Students manoeuvre through some of the tunes in chord symbols, some in

simple notes. Improvisations are in one mode or in a blues environment and are approached in

a purely intuitive way. A first level of familiarity with the instrument is being reached, as well

as an initial comfort with the language of music in general.

Essential Facets

READING:

The students will be presented with material that gives them three basic reading options:

1. Simple combination of a few triads in chord symbols, which are repeated;

2. Single line parts in one of the 2 basic clefs;

3. A repetitive basic comping pattern that, once learned, can be applied over most of the song.

There might be more complicated parts within a song that can be skipped over initially and

addressed at a later stage.

NOTE: The main goal of this facet is to This means they can simplify things, skip written rhythms that may be impossible
give students the opportunity to over things, ignore complicated varia- for them to decipher at their level, but
musically and instrumentally connect tions. They can also leave out part of the which will be executed anyhow through
with a song that might resonate with written notation, play the left hand only, imitation and memory. We expect that
their own listening experience. It is play the cymbal pattern only, etc. We the above process will stimulate musical
important for students to realise that the simply want students to be excited to be and instrumental intuition. The desire to
goal is not to understand everything they part of the “band” and manoeuvre stay with the music will push students to
see on the paper. Rather, they need to through the music as best as possible. use all the tools they have available:
understand the song acoustically, use the Finer details will be addressed when the memory, reading skills, imitative skills,
sheet music as a road map to manoeuvre time is ripe. This means that students can physical intuition. These tools are, in fact,
through the song from beginning to end, and will be presented with musical used by any musician at any level and in
and try to catch on as much as possible. material in difficult keys, or encounter any genre.

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IMPROVISATION:

On this level students will be given a certain mode and will freely improvise within (or outside)

the given material. Some episodes will be within a groove, some of them will be without time

and groove. We use easy key signatures on this level with a maximum of 1 accidental. Form is

not addressed explicitly, although the natural 2-4-8 division surely will be recognised

subliminally, as well as the blues form.

NOTE: The goal of this facet is growing ability to control what is the initial phase, the improvisation
threefold: produced on the instrument. There are process depends heavily on the ear and
1. Stimulate the students to find notes obvious beneficial emotional effects the intuition of the student. The intel-
on their instrument that originated in that go hand in hand with this process. lectual approach is kept to a bare mini-
their own head. The importance of 3. Develop a relationship with playing mum. It is only later in the development
constantly triggering the development the instrument that is not based on that students will learn to use mathe-
of proper ear-hand coordination composed expectation, but generated matical strategies to manoeuvre
cannot be understated. within the player’s musical mind an through more complex harmonic situ-
2. Trigger the students to think in instant before the playing takes place. ations.
artistic As any mature improviser knows, the The most important sensitivity to de-
terms such as loud/soft, dense/spaci- learning of one’s own strengths, velop is the ability to hear and play in a
ous, tension/release, high/low, etcetra. weaknesses, possibilities and impossi- horizontal way; to experience the
Since the music is generated in bilities, and applying that realisation overall tonality above the individual
students’ musical imaginations, there into the playing process, will strongly vertical harmonies, and be able to hear
will be a great sense of ownership of develop musical personality and indivi- the coherence between different
the played material, as well as the duality. chords.
satisfaction that comes with the An approach is taken in which, during

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 Piano INTRO LEVEL
Supporting Facets

HEARING:

In Hear & Sing, students will start on the root of the tonic chord. Rhythmically things are

slowly being expanded and include swing feel. From quarter notes moving into 8th notes and

rests.

In Hear & Play, the root is still the main starting point. Intervals are presented in steps only.

Rhythmically the exercises are simple and predicable; they included swing feel.
In Hear & Write, students will be able to function within the tonality of C major and A minor,

and rests and the very basic note lengths are offered.

Read & Sing is still on a very simple level. Stepwise movements only. The most simple tonalities

are represented.

NOTE: In general, the Hearing facet’s stand the musical phrase, be able to ear-hand coordination has the highest
goal is to develop a solid inner ear with sing it, hear it and use auto-feedback priority. This facet addresses the
the student. The immediate goal is to connect the hearing with the complete realm of melodic ear training
audiation: to have students under- playing. Again, the development of in all its approaches.

THEORY:

The essential concepts in music theory are addressed on this level. Students will now have

access to the basic theoretical information that will give them confidence in their daily

musical practice. These episodes can be used in cross-relation to whatever playground

students are working on. Knowledge is empowering.

NOTE: The Theory facet will be used and investigate any lesson that fits will be watched, but a liberal use of all
somewhat independently of the their curiosity or answers imminent available Theory lessons on this and
Playground structure. Students will be questions at that moment. Obviously, previous levels is stimulated.
invited to browse the Theory offering the actual Playground Theory facet

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Instrumental Facets

TUNES:

The material offered is in different simple time signatures (4/4, 3/4, 6/8) and in the tonalities

of C major and A and E minor. Phrasing and melodic playing is addressed. All white note

chords in symbols are presented. Simple written out chords can be found in Tunes as well.

The hands are approached very individual still, with activity only in one of them. The very

essential dynamics are exposed.

NOTE: Tunes are relatively short culum in terms of key and time thorough progressive line is created
playing pieces that remain within the signatures, rhythmic complexity, range, per level, and between levels.
parameters set in the overall curri- intervals, and technical level. A

ETUDES:

Basic rhythms, ties and dots are being addressed here. The hand in closed and open position

is being explored. Basic chords and arpeggios are exposed as well. There is a recurrence of

some very basic chords and patterns.

NOTE: In Etudes, one or two elements further elaborated upon in the form of a curriculum.
(often originating from the tune on the musical playing piece. Again, a progres-
same Playground) are addressed and sive line is followed, laid out in the

EXERCISES:

Contrary motion, as well as initial parallel motion is being introduced. The most basic scales

and arpeggios are presented. The very basics of harmonic degrees are introduced.

NOTE: Exercises approach a specific it. The goal is to construct the exercise independent of the sheet music.
technical or mental element of playing in a logical way, such that students will
and offer a thorough investigation of be able to play and practice it by heart,

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 TABLE OF CONTENTS:
Piano INTRO LEVEL
PLAYGROUND 1 | water and stone

Facet Title Description Style Key Time BPM

Three fingers in the right hand - Middle C - Quarter

TUNE Major Mood General C major 4/4 80
notes, half notes, whole notes

Middle C - C major scale - Time signature 4/4 -

ETUDE Major Etude Half notes, quarter notes - Half note rest, quarter General C major 4/4 72
note rest

Finger positions - Middle C - Quarter notes, half

EXERCISE Introductory Exercises n/a C major 4/4 70
notes - Rests

Soundtracks And
READING Repetition of 2 phrases Dance G minor 4/4 125
Comebacks (Goldfish)

IMPROV Dorian Drone An introduction to improvisation - D dorian scale Ambient D dorian n/a n/a

A series of hearing exercises in four different

HEARING Testing The Waters modes (Hear & Sing, Hear & Play, Hear & Write, n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Whole Steps and Half Whole and half steps - Sharps and flats - The basic
THEORY n/a n/a n/a n/a
Steps | Sharps and Flats alphabet in music

PLAYGROUND 2 | major walk

Facet Title Description Style Key Time BPM

Time signature - 8th note rhythms - Rests -

TUNE Sunny Day General C major 4/4 80
Harmony

Up and Down And Up Five finger exercise - Whole note - Quarter notes,
ETUDE Pop C major 4/4 62
Again eighth notes - Rests

EXERCISE Stepping It Up Five fingers: up-down and down-up - Hand position n/a C major 4/4 90

Walk On The Wild Side

READING 3 chords in chord symbols - Slightly irregular Pop C major 4/4 104
(Lou Reed)

Blues In C - Scales: C major pentatonic and C

IMPROV Even Blues Blues C major 4/4 80
minor pentatonic

A series of hearing exercises in four different

HEARING Up And Down modes (Hear & Sing, Hear & Play, Hear & Write, n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Time Signatures | Note

THEORY Time signatures - Note lengths - Triplets n/a n/a n/a n/a
and Rest Lengths

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TABLE OF CONTENTS:
Piano INTRO LEVEL
PLAYGROUND 3 | albert’s pocket

Facet Title Description Style Key Time BPM

Melody in the left hand - Chords: Cma, Fma and

TUNE Walking Around General C major 4/4 60
Gma - Repeat signs

Three Triads In All

ETUDE Triads C, F and G major - Dotted rhythms Pop C major 4/4 80
Ways

Major chords - Accidentals - Rests - Rhythms -

EXERCISE Major Chords n/a n/a 4/4 100
Chord symbols

Hand in My Pocket
READING Nice and easy organ part Pop G major 4/4 92
(Alanis Morrissette)

Quasi
IMPROV Alberti In Major Create your own melodies with the C major scale C major 4/4 70
Classical

A series of hearing exercises in four different

HEARING Long and Short modes (Hear & Sing, Hear & Play, Hear & Write, n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Middle C and The

THEORY Middle C - Octaves - Octave names n/a n/a n/a n/a
Octaves

PLAYGROUND 4 | tempotonic

Facet Title Description Style Key Time BPM

Exploring different hand positions - Clapping

TUNE Skating Song rhythms - Quarter notes, half notes and whole Pop C major 4/4 76
notes

ETUDE Broken Triads Root notes of chords concepts - Minor triads General n/a 6/8 54

Hand positions and root position fingerings -

EXERCISE Minor Chords Arpeggios - Inversions of chords - Quartad n/a n/a 4/4 100
fingerings

I Can See Clearly Now Very simple whole note piano part - You can play
READING Pop D major 4/4 121
(Jimmy Cliff) the notes, or the chord symbols

IMPROV Minor Pentatonics A minor pentatonic scale - Tension and release Ethnic A minor 4/4 70

A series of hearing exercises in four different

HEARING Swinging Cat modes (Hear & Sing, Hear & Play, Hear & Write, n/a n/a n/a n/a
Read & Sing) will help the development of your ear
Italian tempo terms - BPM number - The
Tempo and Tempo metronome - Tempo is not always fixed - Tempo
THEORY n/a n/a n/a n/a
Change notations - Tempo changes in Italian - Rubato -
Spaces and holds

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 TABLE OF CONTENTS:
Piano INTRO LEVEL
PLAYGROUND 5 | jamming and knocking

Facet Title Description Style Key Time BPM

TUNE We're Jamming Chord symbols - Playing rhythmically Country C major 4/4 82

Characteristics of an etude - Extending the hand

ETUDE Broken Inversions Groove C major 4/4 82
position - Inversions

Five finger exercise - Right hand, left hand:

EXERCISE Nimble Fingers n/a C major 4/4 82
ascending and descending - Contrary motion

Knocking On Heaven's
READING 3 chords in chord symbols - Repeat signs Pop G major 4/4 70
Door (Bob Dylan)

Scales: C minor, C minor pentatonic and C blues

IMPROV Blues Slow Swing Jazz C minor 4/4 50
scale - Swing feel - Exploring sound and feeling

A series of hearing exercises in four different

HEARING Jump A Bit modes (Hear & Sing, Hear & Play, Hear & Write, n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Ties and Dots | Basic Dots - Ties - The construction of the major triad -
THEORY n/a n/a n/a n/a
Triads From major to minor - Closed and open voicings

PLAYGROUND 6 | road rolling

Facet Title Description Style Key Time BPM

Pick up bar - 4/4 time signature - Key signature: E

TUNE Minor Mood Pop E minor 4/4 80
minor

3/4 time signature - Exploring dynamics - Dotted

ETUDE Dynamics General C major 3/4 96
notes - Ties

Chords All Over The Search for interesting sounds - Diatonic series
EXERCISE n/a n/a n/a n/a
Piano (chords I – VI – III – IV – II)

Papa Was A Rolling 3 notes - Rhythm through imitation - Get with the
READING Stone Funk Bb minor 4/4 124
groove
(The Temptations)

C
IMPROV Mixolydian Groove C mixolydian scale - Slow 3/4 groove Groove mixolydia 3/4 100
n

A series of hearing exercises in four different

HEARING On The Road modes (Hear & Sing, Hear & Play, Hear & Write, n/a n/a n/a n/a
Read & Sing) will help the development of your ear

Staves and notes - Clefs - Notes and note heads -

THEORY Staves and Notes n/a n/a n/a n/a
Stems - Ledger lines - Middle C

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Piano INTRO LEVEL
Instrumental parameters

MU SICA L EL EM EN T S COVER ED ON T H I S LEV EL

C maj, A min, G maj, E min, F maj, D min; contrary motion, similar motion and ascending,
Scales and Arpeggios descending, broken triads: contrary motion, similar motion, ascending and descending,
broken triads

Chord Symbols All white notes chords, in all inversions (Cma, Ami, G, Emi, F, Dmi)

Genres rock, pop, blues, latin, classical andcountry

Ornamentation n/a

Range 2 basic octaves

Instrumental Techniques n/a

Dynamics p and f

Articulation staccato, and legato

Key Signature C major and E minor

Time Signature 4/4, 3/4, and 6/8

NOTE: Teachers are able to download a Teachers Book for each level, in which all the material is presented, providing an
easily accessible and complete overview of that specific level. There are also Students Books available, comprising all
the available material within one level.

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