When you hear any kind of Music, what you are enjoying is the end result of a long chain that begins somewhere in the unconscious area of pure sound in our beings.

Then like an image far away becoming clearer, that sound becomes conscious. If we are so inclined, we try to bring it out through singing, banging, clapping, blowing, whistling, and other means, even man-made instrumentation.

Then we experiment with “hearing” sound, until it resembles the inner sound we heard at the beginning, in our unconscious.

When it is satisfactorily close to the original inner sound, we play it as clearly and passionately as possible, so others can share our enjoyment in the gift of organized sound. MUSIC ----------MUSIC FIRST! TECHNIQUE SECOND!

When you love the sound or melody or feeling of a certain piece of music, you will do anything to get it out, even though it may be beyond your technical means,but ----- in order to express yourself, you will learn how!

So ----- I choose to learn and play only music I really want to express myself with, and if it’s technically too difficult, I sit down, and develop and practice that technique and pattern. This is the method.
The means is through 'pattern memory.'

PATTERN MEMORY is the method whereby the eye absorbs the pattern of musical notes on the page. The brain quickly processes this information and then sends it directly to the fingers. With repetition, these note patterns are memorized and then the fingers play the right keys in the appropriate pattern on the keyboard.

In my books, I have chosen certain consistent Patterns, such as Triads, Chords, Arpeggios,Scale Passages, for Beginning to Advanced level Musicians. These Patterns are arranged in sections, each containing 5 - 8 compositions from the Public Domain Classical repertoire which use these patterns extensively.
This is how the technique is learned. TECHNIQUE THROUGH MUSIC.

Also, I give a list of additional examples on the explanatory page preceding the musical examples. These Additional Examples contain Public and Non-Public domain Music, including jazz, popular, and any other selections I have come across in my researching which I feel demonstrate the Pattern being presented. Repertoire is being developed simultaneously with technique!

This does not mean that if a student wishes to do scales, etc., in the traditional manner, that he/she should not. Please, learn standing on your head, upside-down if you wish.

Just remember - - - - - MUSIC - - - - -
self-expression through organized sound is what it's all about. ENJOY!!

As a child, I loved playing piano...music...pieces...'stuff' that would impress family, friends, and others.   But I definitely did not like practicing!

My teacher was a very smart lady, and a little intimidated by my mother I think, but she didn't force me to play scales, etc., and gave me music I liked. I always managed to make it sound good, by devising my own ways of getting those notes in to express what I was hearing in my head.

It was only in my middle forties that I consciously realized that I was `teaching` the same way, with more direction for `pattern memory', but with the goal being that these `students` would play music, through piano, or any other instrument, for the rest of their lives for their own pleasure. That in the course of being `taught`, they would NOT be put off by rules, the `right` way to play — the `right` music to play — and what `grade` they were in.

I have chosen certain prevalent patterns such as triads, arpeggios, tremolo, to name only three of the 20-30 in my books for beginning to advanced level, and set them up in sections. Each of these sections contains 5-8 compositions in the public domain classical repertoire which uses these patterns extensively. That is how the technique is learned.

I give a list of additional examples on the explanatory page preceding the musical examples. These additional examples contain non-public domain music, as well as jazz, popular, and any other selections I have come across in my researching, which I feel demonstrate the pattern being represented.

This does not mean that if a student wishes to do scales, etc., in the traditional manner, that he/she should not. Please...learn standing on your head, upside
down if you wish.

Just enjoy what you are doing, and do it as best you can.
And don't forget..MUSIC...self-expression through sound is what it's all about.

Thank you for reading my spiel, and now I hope you pick up a piece of music you like, and just play!   ENJOY!!!!!!!!!!

Music is a creative expression of your deepest feelings. Just as you wouldn’t want your feelings to be an imitation, so it is with music. Each person should play only music that lets them feel a connection with their innermost being.

Just as ripples on a pond keep spreading in ever increasing circles of energy and light, so too are the effects of music when it comes from within you. It wraps you in an embrace that is both stimulating and soothing.

All of life has boundaries and any art is no different. You cannot create out of a vacuum just as you can’t cook or build without the tools. Music’s tools, PATTERNS, are the scales, arpeggios, triads etc. My approach bridges the gulf by incorporating techniques with properly chosen music,“letting the music be your guide.”

As an example: Beethoven’s Moonlight Sonata is constructed of broken triads. Instead of teaching triads as a drill, I guide the student through the playing of the Sonata using either the original or simplified editions. In this way, the student learns broken triads while simultaneously enjoying a piece of music they love, and also building repertoire. Hence the series “Technique Through Music,” 13 books suitable for learners of all levels.

For younger beginners to about the age of 10, the patterns are presented in simple format through nursery rhymes, poetry, fairy tales, fables, tongue twisters, riddles, etc. set to folk songs of many lands. In addition simplified classical music is presented.

Older beginners of any age are presented with songs such as ‘Michael Row the Boat Ashore,’ ‘You Are My Sunshine,’ ‘Greensleeves’ or well known classical pieces in simplified form. The pace is also quicker than the three beginner books for younger children.

More advanced musicians who wish to improve their technique and expand their repertoire can benefit by using the more advanced ‘pattern’ books.

The books are designed to be used by any age student either with a teacher or without, or a parent. There is a CD or audio tape of the second of the two primary beginner books and the elementary level book available separately.

Using the same techniques that Bach used to teach his 20 children, you too could be a musical creator not an imitator. You too could experience the same musical passion, if you “Let the music be your guide.”

Thank you for sharing this time with me.