Bayeux Thompson Chelny, China’s great door god of piano education
To advance to the next level, any child who wishes to learn the piano must first meet with this god and pass a series of tests.
Do you know what the similarities and differences are between them? Do you know how to match them for more effective practice?
When it comes to structure and content,
The “Bayou” can be divided into sections.
The first section is an introduction to music, and it is distinguished primarily by its intuitive nature. For example, when learning equal temperament, the keyboard diagram is used to quickly demonstrate it.
The first section is a warm-up for touching the keys. The left and right hand single and double touch exercises, for example, train finger independence, and the joint playing exercises with the teacher increase the students’ learning pleasure.
The first section is the material’s core, and it consists of progressive two-hand exercises for skill training, gradually achieving the goal of exercising strong and flexible fingers.
The first section includes some fundamental exercises and scales in major and minor keys.
Op.599: Cherney Piano Course for Beginners
The “Chelny’s Piano Course for Beginners Op.599” is an introduction to Chelny’s series of piano exercises, written during the time when Chelny began to specialize in piano instruction.
Stravinsky also stated, “The Cherny exercises not only provide me with benefits, but also real musical enjoyment……” The exercises are written from practical applications based on various training objects and techniques.
It is primarily based on technical training in melody and accompaniment, which has some similarities with the “Bayeux,” but it has more detailed and higher technical requirements in terms of key touch method, musical expression and application of various expression marks, as well as the discernment of tonal changes and timbre changes than the “Bayeux.”
Lesson 111929384351565766738092, for example, is based on independent finger training of the right hand, supplemented by left-hand accompaniment, with special emphasis on whether the 45 fingers stand steady and whether the sound is in the bottom.
The keys to good practice are accurate fingerings, skillful chord changes, and reasonable use of finger weight.
Thompson’s Modern Piano Lessons
Thompson’s Modern Piano Course, colloquially known as Big Thompson, is divided into two volumes, the first of which focuses on fundamentals.
The tutorials are distinguished by simple adaptations based on musical titles, and each piece has a title and special technique instructions, which adds a lot of interest for beginners.
Furthermore, some of the pieces are accompanied by lyrics and illustrations. Thompson followed this up with a set for younger children, totaling one volume.
Little Thompson has a similar personality to Big Thompson, but to a lesser extent than Big Thompson’s arrangement. Here is a comparison of the books only.
Book 1’s primary learning objective is
(A) learning to play on the basis of understanding music, emphasizing feeling music, and introducing the fundamentals of music
(B) gradually introduce other tonalities from C major, as well as gradually introduce and add relevant musical knowledge and common musical terms to the exercises.
(C) introduce different hand positions in some pieces to help students develop their transposition skills.
(D) Emphasize developing the habit of reading music and identifying patterns, as well as developing the fluency and rhythm of playing music through various types of patterns and grasping the overall sense of structure.
(E) Introduce different touch requirements for the keys, as well as more figurative pieces in the training of legato wrist breaks and chord doublets, such as “The Nasty Woodpecker,” “The Cuckoo,” “The Bells,” and so on.
Chopin: Ballades; Etudes; Barcarolle; BerceuseKrystian Zimerman – Chopin: Ballades; Etudes; Barcarolle; Berceuse
The first book is intended to improve musical comprehension and expression by consolidating basic techniques and gradually expanding musical content of expression, which is not limited to piano music, by introducing opera music, dance music songs, and so on, such as “Habanera” Offenbach’s “Boat Song,” and so on.
In the first book, the music is mostly single part and single part, with a lot of use of the near-relative tonal relationship between the major and minor keys, as well as the same major and minor key conversion.
Simultaneously, the introduction of finger-piercing exercises like major and minor scales, chromatic scales, arpeggios, leaning pedals, and other music theory knowledge and playing skills laid the groundwork for mastery of new skills.
These figurative pieces cause students to dilute technical concepts while having fun, and fun learning causes technical training to develop and improve unconsciously.
As a result, this set pairs well with the Chelney Piano Primer Op.599 for teaching.
In terms of advancement
In two ways, the Beyer is logical and systematic in its structural progression.
In terms of hand position on the keyboard, it is a training that begins with C – G notes in finger order and gradually progresses to G – DA – E notes.
First, the hands are parallelized, and then it progresses to keeping the C–G in the right hand and moving the left hand to the G–D position, which both expands the range of the two hands playing and trains the hands’ relative independence.
Simultaneously, the frequent repetition of phrases and the use of scales allow for a natural and rational expansion of the dominant range.
The learning of time values is organized in a step-by-step fashion, beginning with whole notes and progressing to divided notes, dotted notes to divided notes, divided notes to divided notes, easy to difficult, simple to complex.
Theme and Variations in A Minor from Paganini’s Grandes Etudes, S. 141/6 (Paganini Variations on a Theme in A Minor, Op. No. 141 6) Lang Lang & Franz Liszt: My Piano Hero (Deluxe Edition)
No textbook is perfect, and there will always be some flaws, and the Bär is no exception.
In the case of Bär, the study begins with the treble clef and ends with the bass clef in the 54th song.
According to some studies, if you only use the treble clef, you will be afraid of the bass clef, and your progress will be slow when the bass clef is available, negatively impacting your positive mood.
It is also a good idea to fix your fingers on a single note so that your fingers are compelled to move on the keyboard for an extended period of time, making learning boring and tedious.
Break playing requires no special training, and only a few phrase endings include skipping and staccato notes.
The arrangement of note time values is not very reasonable, for example, the interval between division practice and notes is too long.
The second half of the textbook (from 85 to 105) is not reasonable in terms of technical difficulty, and it moves too quickly, so students frequently feel uneasy after learning it.
Op.599: Cherny’s Piano Course for Beginners
In terms of progression, the “Chelney Piano Course for Beginners Op.599” has a strong logical and standardized structure, as demonstrated by
Its, NO.1-10, are in 4/4 time, both hands are in the treble clef range, a few chord exercises appear, and the fingering arrangement is smoother.
N0.19 is the first scale practice within one degree, N0.32 is the first appearance of the bass clef, N0.33 is the first appearance of the split notes in the left hand, and N0.36 is the first appearance of the temporary ascending and descending notation.
The entire set is dense with playing methods – N0.20233031515657687384, for example. There are skips and legato, breaks and discontinuities, double chords and chromatic scales, same tone and wheel fingers, temporary ascending and descending notation, scale arpeggios and leaning notes, and so on.
The musicality has improved. In the singing phrase, the coherence requirements are 29367384, etc., and in the cheerful music, the finger bounce requirements are 448395, etc.
The technique training is progressive and gradual. The technical range is broadened by the frequent alternation of break and legato, large jumps in double chords, and crossed hands.
Horowitz: Variations on a Theme from Bizet’s “Carmen” (Live at Philharmonie, Berlin / 2018) Yuja Wang – Horowitz: Variations on a Theme from Bizet’s “Carmen” (Live at Philharmonie, Berlin / 2018) Yuja Wang – Horowitz: Variations on a Theme from Bizet’s “Carmen” (Live at Philharmonie, Berlin / 2018)
Thompson’s Modern Piano Lessons
Thompson’s Modern Piano Course’s technique development and evolution are examined in light of the structural content of the preceding volumes, revealing that the author has systematically arranged and consistently planned the material.
Its progression is not as loose as that of Bayeux, but it is more compact overall.
The score reading is also distinctive, with titles and special technique notes for each piece, as well as a more systematic guide to music appreciation and basic music theory, and appropriate written practice assignments.
Furthermore, some of the pieces are accompanied by lyrics and illustrations, which adds a lot of interest for newcomers.
The fundamental techniques of piano playing are gradually demonstrated, beginning with the introduction of the grand stave, followed by the appearance of whole note divisions with dotted divisions, etc., and the early use of expression notation and temporary notation.
Beginning with the parallel C major fingerstyle hand position and gradually extending to the G major fingerstyle hand position, naturally introducing two-handed playing of these two tonal scales and introducing other major keys within one ascending and one descending sign by the end of the first book.
In terms of technique, both hands are introduced to single-note legato diatonic and chordal exercises, as well as power phrasing, and wrist breaks are introduced early on.
In terms of metrical rhythm, the common beat (2/43/44/46/8), appoggiaturas, and syncopated rhythms are featured in Book 1, along with special exercises. Furthermore, more pieces with slowly rising rhythms are arranged.
In terms of music,
The Beyer Scale
The “Bayeux” is a typical finger training textbook, focusing on technical exercises; the majority of the works are melodies with accompaniment in major keys, rarely involving polyphony (a few pieces do).
The melody is slightly monotonous, and the harmony is mostly dominant chord – subordinate chord – dominant chord, dominant chord – subordinate chord – dominant chord termination, and so on. The tonal shifts aren’t varied enough.
Although some folk songs are included in the textbook, they are not appropriate for beginning students in terms of technique.
From all of these perspectives, this textbook emphasizes technical training while ignoring singing training. When learning the etudes, the keyboard diagrams are simple to understand.
Op.599: Cherny’s Piano Course for Beginners
“Cherny’s Piano Course for Beginners Op.599” consists primarily of technical exercises, and the basic writing technique is in the form of melody with accompaniment in the main key, with very little polyphonic writing technique in the textbook.
The melodic writing, on the other hand, has a strong vocal quality and is richer than that of “Bayeux” in terms of ornamental notes and the use of various techniques.
The harmonic writing is primarily based on the functional harmonies of the major and minor key systems, with simple accompaniment.
The majority of the music is upbeat and cheerful, with a few marches, such as No. 55, such as Nol Coward’s song No. 71 elegant style There are 78 works.
The rhythmic writing is rich and varied, and it is both technical and vocal.
Thompson’s Modern Piano Lessons
Thompson’s Modern Piano Course is primarily structured in a variety of styles, with a variety of rhythms and melodies, as well as a variety of moods, such as cheerful, quiet, warm, and sad.
Despite the fact that the majority of the music is in the form of arrangements, it ranges from Baroque to contemporary works.
Each piece is given a title and a description of special techniques, as well as a more systematic guide to music appreciation and basic music theory, as well as appropriate written practice assignments.
Furthermore, some of the pieces are accompanied by lyrics and relevant illustrations, which add a lot of interest for beginners while gradually showing the basic techniques of piano playing in a variety of variations, making it a piano textbook with a perfect combination of educational and musical aspects.
Frédéric Franois Chopin – Fantasy Improvisation – Empty
It is not limited to piano music, but also includes opera and dance music songs. Music genres include Habanera, Offenbach’s “Boat Song,” and others.
Simultaneously, finger-piercing exercises, major and minor scales, chromatic scales, arpeggios, leaning pedals, and other aspects of music theory and playing techniques are introduced, laying the groundwork for mastery of new technical content.
These visualized pieces allow learners to dilute technical concepts in fun learning, making the learning interesting, and technical training is developed and improved unknowingly, while music appreciation ability grows concurrently.
Following the above detailed responses, I believe you have a good reference to choose and match the teaching materials, as a person who learns the piano systematically and professionally.
Because no textbook is perfect, each student should pick and choose according to his or her own situation and needs.