- ホーム
- > 洋書
- > ドイツ書
- > Humanities, Arts & Music
- > Music
- > instrumental instruction
Description
Following the very successful piano method published in two volumes between 1958 and 1962, the three-volume "European Piano Method" represents a new textbook which takes into account the development of modern piano pedagogy. 7 Winning Features of the Emonts Method: 1. Songs from many European countries; 2. Pupils begin to play without music notation; 3. Improvisation and playing on the black keys; 4. Development of listening skills and aural awareness; 5. Simple and logical learning structure; 6. Lots of duets; 7. Attractive full-colour illustrationsBesetzung:piano Following the very successful piano method published in two volumes between 1958 and 1962, the three-volume "European Piano Method" represents a new textbook which takes into account the development of modern piano pedagogy.7 Winning Features of the Emonts Method:1 Songs from many European countries2 Pupils begin to play without music notation3 Improvisation and playing on the black keys4 Development of listening skills and aural awareness5 Simple and logical learning structure6 Lots of duets7 Attractive full-colour illustrationsVolume 1The most natural way of creating and nurturing the relationship of a child with an instrument is to stimulate and encourage the child to find on the keyboard, and to play by ear, all the tunes he or she has so far assimilated. Not only children's songs or folk songs are suitable for this but also other melodies that may be heard at home, at school, in church, on the radio and on television. The natural progression, from singing and listening to playing, forms the foundation for the development of listening ability and musicality. During a lifetime with an instrument one should always try to replay on it everything that one has heard.The child should, at the same time, be made familiar with the whole keyboard by touch as well as by ear, from the lowest register to the highest. the young player should already have a feeling of contact with the keyboard before piano playing is combined with the complicated process of reading music. Playing only on the black keys to begin with will offer a particularly good opportunity to grasp the arrangements of the black keys (literally) 'grasping'. For improvised melodies, too, the pentatonic scale formed by the black keys is easier to handle at the beginning stages than the diatonic scale of the white keys. For this reason, an introductory section 'Playing with the Black Keys' has been included.Here the teacher, through such material, should encourage the beginner to become familiar with the keyboard.Another advantage in beginning this way lies in the fact that training the functions of the motorial system does not only start within the narrow stretch of the fingers but with the larger playing apparatus of the arms and the whole body. In this way tension can be avoided.The suggestions for improvisation and song accompaniement given at the beginning (on the 'yellow' pages) should not necessarily be dealt with all at once before the chapter 'Playing from Printed Music' but should rather be gradually incorporated into lessons. Here, the printed music is intended primarily for the teacher who will play through the exercises. The pupil plays from memory rather than from the book.Instrumentation:piano Preface - Playing with the Black Keys - Playing by Ear - Tunes in the 5-Note Range - Songs with 6 Notes and More - Easy Accompaniment - Playing from Printed Music - Playing with 3 Fingers - Playing with 5 Fingers - Playing with 5 Fingers in Different Parts of the Keyboard - Starting on F - Starting on C - Major and Minor - Starting on D - Quavers (Starting on G) - Starting on A - Changing the Hand Position Withing the Same Piece - Legato, Staccato - Index of SongsIndex of Songs: Ah! Vous dirai-je, maman - Air populaire - Al die willen te kap'ren varen - Allons à Bordeaux - Alte spanische Melodie - Au clair de la lune - Bumble-bee Song - Carillon de Vendôme - C'est le roi Dagobert - Chanson hongroise - Chanson des esquimaux - Chanson de l'abeille - Chanson de berger - Chanson à danser - Chanson de marin néerlandaise - Dancing Tune - Danse russe - Der Kuckuck und der Esel - Der Meyen - Die Glocken von Vendôme - Die Tiroler sind lustig - Din, don - Dutch Sailor's Song - Eine kleine Geige möcht' ich haben - Folk Tune - Fuchs, du hast die Gans gestohlen - Girls and Boys Come Out to Play - Good Morning - Hänsel und Gretel - Hopp, hopp, hopp - Hungarian Folk Song - Il était un petit navire - Ist ein Mann in' Brunn' gefallen - J'ai du bon tabac - Je suis un petit garcon - Kommt, wir wollen singen, tanzen - Kuckuck - Le coq est mort - Les Tyroliens sont joyeux - Lied der Eskimos - L'inverno è passato - Little Bo-Peep - Little Sally Waters - Mélodie espagnole ancienne - Merrily We Roll Along - Michael Finnigin - Morgen kommt der Weihnachtsmann - Niederländisches Seemannslied - Oh When the Saints Go Marching In - Old Spanish Tune - Prends garde au loup, bergère - Que fais-je, pauvre petite fille - Russischer Tanz - Russian Dance - Shepherd's Song - Song of the Eskimos - Summ, summ, summ - Sur le pont d'Avignon - Swanee River - Tanzlied - The Bells of Vendôme - The Bells in the Steeple - The Tyroleans are Merry - This Old Man - Twinkle, Twinkle, Little Star - Ungarisches Lied - Volksweise - Was mach' ich armes Mädchen - Was soll das bedeuten - Wenn ich ein Vöglein wär' - What Shall I do Poor Little Girl - Winter ade - Zeg Moeder, waar is Jan Fritz Emonts, geboren in Breinig bei Aachen, studierte von 1936-39 Klavier bei Heinz Schüngeler in Hagen und Köln. Nach dem 2. Weltkrieg war er Klavierlehrer am Hagener Musikseminar, von 1963-86 Leiter der von ihm gegründeten städtischen Musikschule, außerdem Professor für Klavier und Klavierdidaktik an der Folkwang Hochschule für Musik in Essen. Emonts schrieb 1958-62 die Klavierschule "Erstes Klavierspiel", 1992-94 die dreibändige "Europäische Klavierschule".
