Yamaha MIE-3XG User Manual

MUSIC IN EDUCATION

MIE Institute Handbook

Institute & Small Group Version

MIE Teacher Handbook

MUSIC IN EDUCATION

MIE Institute Handbook

MIE Teacher Handbook

©2013 Yamaha Corporation of America

The information contained in this book is believe to be correct at the

time of distribution. Yamaha reserves the right to change or modify

specification at any time without notice or obligation to update existing

systems and/or components.

i

Preface

Section 1

Component List

Preface

1. Component List

2. Authors & Contributors

Curriculum

✦

MIE Teacher Handbook (this digital book)

✦

40 Opuses (includes instructional and assessment activities and ma­terial)

✦

10 Preludes (instructional activities and materials targeting early
childhood and learners with special needs)

Literature

✦

20 MIE Songbooks (155 songs, all with vocal and /or instrumental
parts) Each song has full MIDI accompaniment available via the MIE
Software.

Hardware

✦

16 MIE-3XG Keyboards (accommodates 30 students) NOTE: 3 addi­tional MIE-3XG keyboards may be added if class size is from 31 to
38 students. Each keyboard includes a music rack, cover, and Split
Divider.

✦

16 Yamaha Power Adapters (1 for each keyboard)

✦

16 colored coded labels for MIE-3XG keyboards (2 sheets of 8)

3

✦

Intel Computer (exact specification subject to change)

a particular music concept and/or skill (see Curricu-
NOTE: MIE requires Macintosh System 10.7 (Lion) as
a minimum – this comes with the bundled computer.

✦

Set of MIE combo-cables for connecting all keyboards
(each is a color coded multi-plug cable for connect­ing MIDI and audio between the MIE-3XG keyboards)

✦

iPad to be used as MIE Remote Control (mieRemote
software available via iTunes App Store)

✦

MIE 4.00 software (license includes unlimited number
of installs)

✦

Free Access to software updates for life of active use
(see warranty)

✦

Technical support via email

lum Scope & Sequence Section for more detail).

✦

Each Opus is designed to develop comprehensive stu-

dent understanding of specific musical concepts. Stu-

dents will sing, play, discuss and/or listen using the

new concept, then apply that concept in individual

and group creative activities. Because the introduc-

tion of concepts is integrative and sequential, songs,

activities and skills in subsequent Opuses reinforce

and reapply the concepts introduced in previous

Opuses.

✦

Initial Opuses are ideally suited to be used with stu-

dents as early as the second and third grade who pos-

sess important basic reading skills and motor develop-

Staff Development & Support:

✦

MIE Institute – 2 day institute on all aspects of teach­ing MIE – system purchase includes travel, hotel, and
most meals for one music teacher. (Typically takes
place at National Association for Music Education­NAfME headquarters in Reston, VA)

✦

MIE Institute Guide – free updates of this ebook via Ya­maha Music In Education online resources.

NOTES:

✦

Curriculum: The curriculum is delivered via a series

ment. Introductory “Preludes” provide experiences for

early learners Pre-K through first grade, as well as

learners with special needs.

✦

Literature: Music In Education songs and listening ex-

cerpts have been selected to provide traditional and

contemporary musical examples for students. Multi-

part song arrangements accommodate learners of all

levels, regardless of their previous musical experience

as well as providing arrangements that incorporate

Orff, recorder, string, woodwind, brass, and percus-

sion instruments.

✦

Technology – Hardware: The MIE-3XG keyboards and

the Music In Education curriculum were specifically
of lessons grouped by “Opus”. An Opus focuses upon

4

designed to accommodate two students per keyboard.

access to group and individual achievement data, at­Each MIE-3XG has “Split” and “Ensemble” modes
with separate Left and Right volume and timbre con­trols.

✦

Each keyboard has two “Enter” buttons (one for each
student) as well as a voice chip that provides each stu­dent immediate and positive feedback when taking
quizzes. All quizzes are taken at the keyboard, elimi­nating the need for a separate computer lab.

✦

A unique “merge” feature allows the teacher to view
the performance of every student in the classroom in
real-time, using a single computer.

✦

Technology – Software: MIE software was designed by
music educators for music educators. It supports the

tendance, grades and curriculum progress.

✦

Staff Development: Yamaha provides, with each sys-

tem purchased, the travel and tuition costs for one mu-

sic teacher to receive extensive and graduate-level

training in all aspects of Music In Education. Partici-

pants receive approximately 16 hours of direct instruc-

tion, spread over two days. Music teachers need to al-

locate 4 days for the Institute (Day 1: travel, Days 2 &

3 institute, Day 4: travel)

music teacher in four major areas: lesson planning, in­structional activities, testing/evaluation, and class­room management/record keeping.

✦

For each Opus, every aspect of instruction including
songs, music accompaniment, keyboard controls,
charts, worksheets, etc. is embedded in software. This
provides the music teacher an “electronic lesson
book”. The remote control allows the teacher the abil­ity to control the software from anywhere in the class­room.

✦

The combination of instructional and management/
record keeping functions in the software continually
updates both class and individual records, provides

5

Section 2

Authors & Contributors

Preface

1. Component List

2. Authors & Contributors

Project Development Team

MIE 3rd Edition “Songbook” Curriculum

AUTHORS

✦

Brian R. Moore, University of Nebraska-Lincoln

✦

Lauren Altiere, Wilson Primary School, Phoenix, Arizona

✦

Katherine W. Punwar, Sennett Middle School, Madison, Wisconsin

Review & Quiz

✦

Brian R. Moore, University of Nebraska-Lincoln

MIE STUDENT SONGBOOK

✦

Brian R. Moore, Editor and Contributor, University of Nebraska­Lincoln

✦

Lauren Altiere, Contributor, Wilson Primary School, Phoenix, Ari­zona

6

✦

Katherine W. Punwar, Contributor, Sennett Middle

✦

North Star High School, Lincoln, Nebraska
School, Madison, Wisconsin

MIE PDF Charts & Worksheets

✦

Brian R. Moore, Editor, University of Nebraska­Lincoln

MIE TEACHER RESOURCES

✦

Brian R. Moore, Editor, University of Nebraska­Lincoln

✦

Katherine W. Punwar, Contributor, Sennett Middle
School, Madison, Wisconsin

✦

Julie Beaudry, Layout and Design, New Media Center,
University of Nebraska-Lincoln

MIE v4 SOFTWARE

Joni Osborn
Rob Salistean

✦

Sennett Middle School, Madison, Wisconsin

Katherine W. Punwar
Myrna Kay Young

✦

Wilson Elementary School, Phoenix, Arizona

✦

Wilson Charter High School, Phoenix, Arizona

Lauren Altiere

MIE 1st Edition Curriculum Authors

Curriculum

✦

J. Mitzi Kolar, Ed.D., Professor of Music, San Diego

State University, California

✦

Brian R. Moore, University of Nebraska-Lincoln

✦

Liz Riggleman, Graphic Design, New Media Center,
University of Nebraska-Lincoln

mieRemote SOFTWARE

✦

Brian R. Moore, University of Nebraska-Lincoln

✦

Lisa Ann Moore, Graphic Design, Lincoln, NE

MIDI Arrangements

✦

Brian R. Moore, University of Nebraska-Lincoln

✦

Michael Skinner, Chicago, Illinois

PILOT TEACHING (Curriculum, Repertoire, and
Technology)

Listening Activities

✦

Ernest Joseph Rideout, Concord, CA Public Schools

✦

Dennis J. Parnell, California State University at Fuller-

ton, California

Review & Quiz

✦

Brian R. Moore, University of Nebraska-Lincoln

MIE SOFTWARE

✦

Up to version 2.5:

Kevin Laubach, West Hollywood, California
Peter Laubach, West Hollywood, California
Brian R. Moore, University of Nebraska-Lincoln

✦

Version 2.9 and higher:

7

Matthew Henry, Seattle, Washington
Brian R. Moore, University of Nebraska-Lincoln
Bret Cline, Houston, Texas
Steve Erickson, Michigan

✦

Version 3.0 and higher:

Art & Logic, Mike Stone, Project Leader
Brian R. Moore, University of Nebraska-Lincoln

MIDI Arrangements:

✦

Michael Skinner, Chicago, IL

✦

Brian R. Moore, University of Nebraska-Lincoln

CURRICULUM ADVISORS AND REVIEWERS

✦

Lauren Altiere, Wichita Public Schools, Kansas

✦

Elaine Bernstorf, Wichita Public Schools, Kansas

✦

Brenda Dillon, Brookhaven College, Dallas, Texas

✦

Ron Johnson, Seattle Public Schools, Washington

✦

Barbara Lundquist, University of Washington, Seattle

✦

Linda Lungren, San Diego Unified School District,
California

✦

Coleen Myers, Capistrano Unified School District,
California

✦

Leora Osborn, Wichita Public Schools, Kansas

✦

Mary Palmer, University of Central Florida, Orlando

RESEARCH, TESTING AND EVALUATION ADVISOR

✦

Paul Haack, University of Minnesota, Minneapolis

8

Chapter 1

Quick Start
Guide

Setting up your MIE Classroom

Section 1

Quick Start Setup Guide

QUICK START GUIDE

1. Quick Start Setup Guide

2. MIE Tech Tips

3. Suggested Room Layouts

1. Arrange the furniture – see sample layouts on next page.

2. Keyboard Setup – (Each keyboard box contains a keyboard, a cover,
a split divider, and a music rack)

a) Lay the keyboards on the tables according to your floor plan.
b) Be sure the student keyboards are close enough for the connect-

ing cables to reach.

Keyboard Label

c) Label the back ledge of each keyboard with the colored sheets of

stickers.

d) Snap in the music racks, put the split dividers in place (fits over

the middle octave of each keyboard) and cover each keyboard.
(Note: it’s a good practice to cover the keyboards when not is
use.)

3. Power Setup

a) Plug in power strips to the wall in a daisy chain fashion. NOTE:

Your school may have different electrical requirements related to
fire code.

b) Connect PA150 external AC power adapters to the outlet strips

and keyboards.

10

4. Computer Setup – see instructions with computer (NOTE: You don’t need to install MIE software yet)

(a)

(b)

(c/d)

(e)

(f)

(g)

5. Teacher Area Setup
a) Yamaha UX-16 MIDI Interface – this

interface has a USB plug at one end
(b) and two MIDI plugs (c/d) at the
other...

b) USB Plug – Connect to a USB port on

the back of the iMac (NOTE: do NOT
connect this plug to a port on the typ­ing keyboard)

c) MIDI IN plug connects to MIDI OUT

(Blue on label) of Teacher Keyboard -

NOTE: the word ‘IN’ is on the plug,
but very difficult to read...

d) MIDI OUT plug connects to MIDI IN

Photo 1.1 Cables for Teacher Area Setup

(Yellow on label) of Teacher Key­board - NOTE: the word ‘OUT’ is on

the plug, but very difficult to read...

e) Audio [1/8 inch/RCA (red/white)

audio cable] – Connect from head­phone jack of Macintosh Computer to
Teacher Keyboard AUDIO IN (right

and left).
f) MIDI/Audio Cable – connect the orange and green MIDI plugs to the Teacher Keyboard
g) Audio [¼ inch/RCA (red/white) audio cable] – Connect to headphone jack of TEACHER KEYBOARD (either

side). Connect the RCA plugs of this audio cable to the RCA plugs (Audio OUT) of the MIDI/Audio Cable at

Teacher Keyboard (red to red, white to white or black). NOTE: The Audio OUT of the Teacher Keyboard will not

be used.

11

6. Student Keyboard Cables [MIDI/Audio Cable coming from Teacher Keyboard]
a) Connect to Yellow/Blue MIDI plugs of Student Keyboard #1
b) Connect RED/WHITE Audio plugs to AUDIO IN of Student Keyboard #1.
c) MIDI/Audio Cables –"Continue from keyboard #1 to keyboard #2 to final keyboard (NOTE: last keyboard will

have nothing plugged in GREEN THRU, ORANGE MERGE IN, and AUDIO OUT)

7. Student Headphones

a) Connect one headphone to each side of student keyboards. (NOTE: Headphones never need to be unplugged as

the keyboard speakers are independent of the headphones. They can remain plugged in even when the keyboard
covers are on.)

8. Software Installation

a) Install the MIE software to your computer using the MIE Flash Drive.

9. iPod Touch/iPad (mieRemote) –!Please see separate setup instructions.

Photo 1.2 iMac - Rear View

From Left to Right: Teacher Keyboard Audio In / USB MIDI Interface / Computer Keyboard / Video Cable to Projector

12

Photo 1.3 Teacher Keyboard - Rear View

Audio Out of Teacher Keyboard NOT used

13

Section 2

MIE Tech Tips

QUICK START GUIDE

1. Quick Start Setup Guide

2. MIE Tech Tips

3. Suggested Room Layouts

MIE Tech Tips

HOW TO START YOUR MIE SYSTEM

The proper order of turning on your MIE system:

1. Turn on the KEYBOARDS

2. Turn on the COMPUTER

3. Start MIE

4. Start mieRemote (iPod Touch / iPad)

WHAT SHOULD HAPPEN ONCE THE MIE SOFTWARE IS RUNNING

✦

Make sure the keyboards number properly.

✦

The Right LED Display of each keyboard should show its number:
0 = Teacher Keyboard
1-15 = Student Keyboards

NOTE: to check the student keyboards just look at the last (15) key­board. If it displays the correct number, all the others will be correct as
well.

If the numbers are correct, go to the NOTE MONITOR in the LESSON
BOOK and see if you can see the keys being pressed on the student key-

14

boards. Again, as long as you see the last (usually #15) student keyboard, all the others will be operating correctly.
When you wish to see the student numbers on the keyboards, go to UTILITIES or you can use the remote to RESET.

HOW TO TROUBLESHOOT YOUR SYSTEM

✦

If the keyboards do NOT number properly OR the Note Monitor does not function, it is always best to check ALL
your connections. Consult the QUICK START GUIDE if needed.

✦

EXIT MIE, check your connections, turn OFF the TEACHER KEYBOARD and then turn it back ON. Then boot up MIE
again and check your numbers.

✦

If you are still having issues, EXIT MIE, PULL the ORANGE and GREEN cables from the TEACHER KEYBOARD, then
restart MIE. This will tell you if your Teacher station cabling is working. If the TEACHER KEYBOARD shows a “0” in
the Right LED display, then your cable issue is elsewhere in the system.

✦

To test the remainder of the system, EXIT MIE – reconnect the ORANGE and GREEN into the Teacher Keyboard and
unplug the ORANGE and GREEN on STUDENT #5. Then restart MIE and check the numbers up to and including
#5. If they are incorrect, your cable problem is between 0 and 5. If they are correct, reconnect the ORANGE and
GREEN and unplug the ORANGE and GREEN at keyboard #10. Test again as per above.

✦

If you are still having issues, check the status of the RMB06 (black box with antenna). Make sure you have a POWER
light! If not, check your USB cable from the computer to the RMB06.

✦

When all else fails, contact Tech Support as per the UTILITIES page of the software.

CONTACTING MIE TECH SUPPORT

When contacting Tech Support (either by email or phone) you MUST provide your software version.

Look in the lower left-hand corner of your MIE screen OR in the UTILITIES page of the software.

HOW DO I SHUT DOWN MY SYSTEM?

At the end of the day, you should ALWAYS shut down your system.
The proper order of shut down is:

15

1. Exit the MIE software. To do this, click on MIEv4 in the APPLE TOOLBAR and follow the on screen prompt.

2. Turn OFF your computer. Just click on the Apple Icon in the upper left-hand portion of the APPLE TOOL BAR and
click Shut Down.

3. Turn OFF the keyboards.

NOTE: When possible, pull the main power plug from the wall outlet.

Tips for Setting Up Your Computer

(from http://support.apple.com/kb/HT2054

)

1. Plug In the Power - Carefully remove your iMac from the box and place it on a sturdy table or work surface. Thread
the power cord through the hole in the stand and connect it to the power port on the back of your computer, then
plug the other end into a working electrical outlet.

2. Connect Your Devices - Connect the mouse to a USB port on the keyboard and then connect the keyboard to one of
the USB ports on your iMac. If you purchased an Apple Wireless Keyboard and Apple Wireless Mouse with your
iMac, please see the instructions that came with them to set them up with your computer or see the Wireless Key­board & Mouse Support page for instructions. If you have Internet access, connect one end of an Ethernet cable to
the computer’s Ethernet port and the other end to a cable modem, DSL modem, or network, or connect your phone
line to a dial-up external modem then plug into the iMac built-in USB port.

3. Turn It On and Set It Up - After confirming that your iMac is connected to an electrical outlet, press the power but-
ton on the back of your iMac to turn on your computer. The first time you turn on your iMac, the Setup Assistant will
appear and walk you through setting up your account. If you have another Mac, the Setup Assistant can also help
you automatically transfer files and other information from your old Mac to your new one. If you prefer, you can do
this later with Migration Assistant (find it in the Utilities folder inside of the Applications folder). For more informa­tion, please see the manual that came with your iMac.

4. Have Fun! - Once you’re up and running, you’re free to get to work or go have some fun. If you’re a brand new Mac
user and haven’t a clue about what to do now, our Mac 101 series of fun, online courses will help you learn how to
use your Mac and all of the applications that came with it, including Mail (for email), Safari (to browse the web),

16

iTunes (to play music and more), and iPhoto (to view, edit, and share your pictures). And if you’re a switcher, be sure
to check out Switch 101—Mac 101 for former PC users.

http://www.apple.com/support/mac101/

http://www.apple.com/support/switch101/

MIE Install and Setup...

The MIE software must be run via an “Administrator” account.

1. Once your computer is up and running, insert the MIE SOFTWARE DVD and install it.

NOTE: If your computer tech sets up the computer, remember that the TEACHER must be an ADMIN ACCOUNT and
that the computer cannot be configured to write to another drive or server. The iMac must write to it’s own hard drive.

2. Multiple Teachers: If a second teacher will be using MIE, you may wish to create a second ADMIN account (see Sys-
tem Preferences: Accounts). Login to the computer with the second account and re-install the MIE software. In this
way, each teacher will have their own GradeBook, Keyboard Presets, and settings.

3. Other Computer Settings: Use the “Energy Saver” control
(see System Preferences un- der the Apple Menu) to

Screenshot 1.1 Energy Saver System Preference

change the sleep settings to “never”. (If your computer
goes to sleep, MIDI func- tions also go to sleep and may
have difficulty ‘waking up’).

17

Section 3

Suggested Room Layouts

QUICK START GUIDE

1. Quick Start Setup Guide

2. MIE Tech Tips

3. Suggested Room Layouts

Suggested Room Layouts for MIE

Gallery 1.1 Suggested Room Layouts

The “U” configuration is one of the most popular and
versatile arrangements

18

Chapter 2

Introduction

Philosophy and Brief Overview of Music In
Education

Philosophy

The purpose of the Music In Education program is to cre­ate a technology-empowered general music classroom
that enables the music teacher to provide a comprehen­sive music education. Supporting this purpose is the phi­losophy that every child should have a sustained educa­tion in music as an active music maker, creator, and re­sponder. Music In Education places the study of music –
a structured, systematic, comprehensive and conceptual
instructional framework – at the core of teaching and
learning experiences. The technology specifically de­signed for Music In Education provides an environment
in which students engage in music the way professional
musicians do: by performing, creating, and responding
to music as active participants rather than infrequent or
passive spectators. Increasing student participation in all
aspects of what it means to be a musician is important to
the future of music in education as well as developing a
society literate in the arts.

a) Elements of Music / Music Literacy: Music is an

artform as well as a discipline requiring knowl­edge, skill, and understanding. A focus on the ele­ments of music (rhythm, melody, form, expression,
etc.) provides the framework for the engagement of
students in musical thinking and music making.

b) Group Instruction: The class is the primary vehicle

of instruction. Technology, unique curricular de­sign, and cooperative learning experiences are di­rected toward reaching groups of learners, yet con­currently recognizing the special learning and per­ceptual needs of the individual.

c) Individualized Assessment: Instructional compo-

nents include measures to assess student under­standing, perception and achievement. The musi­cal growth and understanding of the individual is
essential to the success of the group.

d) Expert Thinking: Student musical experiences have

an application beyond the music classroom experi­ence, into other academic experiences and per-

There are five key components of Music In Education:

1. Curriculum: Instructional sequence, concept develop­ment, and guided practice toward mastery of skills
are central to the program. An experiential under­standing of the elements of music form the product
with a comprehensive view of what it is to be a musi­cian providing process. Within the curriculum of Mu-
sic In Education, four characteristics are:

sonal use outside of school, and in the develop­ment of lifetime participation with music. Music In
Education encourages students to emulate what ex­pert musicians do… perform, improvise, compose,
critique, and so forth.

2. Literature: Curriculum materials recognize and re­spect the traditions of classroom music and our rich
cultural heritage, and provide a bridge between those

20

traditions and a contemporary setting for instruction.

a music teaching/learning environment that allows in-

Music reading is viewed as a critical means toward
music literacy. Active engagement with literature from
multiple perspectives (performing, composing, analyz­ing, listening, etc.) fosters the development of music
literacy that leads to fluency.

3. Technology: MIE technology is conceived as an impor-
tant component that empowers the teacher and en­hances the classroom. Hardware and software were
developed as an outgrowth of the instructional pur­poses of the program. The technology in the Music In
Education program is a tool with which to teach,
rather than a separate subject that has to be specifi­cally taught. A unique aspect of the hardware and soft-

dividual, school, and district perspectives to flourish.

ware is the fact that design and development involved
active music educators working directly with hard­ware and software engineers.

4. Staff Development & Support: Music In Education in­cludes the travel and on-site expenses for the music
teacher to receive intensive graduate level in-service
on all aspects of the program. Ongoing support is pro­vided via web, e-mail, phone, and consulting services
for the school and music teacher.

5. Curricular & Instructional Inclusion: Music In Educa-
tion was designed with the expectation that the music
educator will bring unique and important topics, con­cepts, units, etc. to the MIE Classroom. MIE should
never be viewed as a “lock-step” program, but rather

21

Chapter 3

MIE
Curriculum

Overview

Summary of Opus Content

Instructional Planning

Overview

The Music In Education curriculum is sequential, compre­hensive and designed to systematically provide students
with musical knowledge that they can use to express
their own creativity. The foundation for this creative ex­pression is the development of musical literacy. The sys-

ers Pre-K through first grade, as well as learners with spe­cial needs.

Concepts and skills have been incorporated into a unit of
instruction called “Opus”. Each Opus has a sequence of
4 to 5 lessons that embrace the musical behaviors of:

✦

playing & performing (keyboards and optionally other
tematic acquisition of musical skills and the understand­ing of musical concepts is accompanied with integrated
assessment through review and quiz activities.

Music In Education supports and encourages the integra­tion of other methods and materials that will enhance stu­dent understanding and achievement. The curriculum is
delivered via a series of lessons grouped by “Opus”. An
Opus focuses upon a particular music concept and/or
skill.

Each Opus is designed to develop comprehensive stu­dent understanding of specific musical concepts. Stu­dents will sing, play, discuss and/or listen using the new
concept, then apply that concept in individual and group
creative activities. Because the introduction of concepts
is integrative and sequential, songs, activities and skills
in subsequent Opuses reinforce and reapply the con­cepts introduced in previous Opuses.

Initial Opuses are ideally suited to be used with students
as early as the second and third grade who possess im­portant basic reading skills and motor development. In-

classroom instruments)

✦

singing

✦

composing

✦

listening

✦

improvising

✦

reading

✦

notating

✦

analyzing

✦

describing

Each Opus has “synthesis”, “review”, and “quiz” sec­tions.

✦

Synthesis – focuses on higher level thinking skills.

This section typically asks the student to “put into

practice” the concepts and skills that have been pre-

sented in the various lessons through creative and/or

original thinking. Compositional activities often form

the basis of this section.

troductory “Preludes” provide experiences for early learn-

23

✦

Review – provides for technology–assisted activities

within classes, just as they do in all academic experi-

for formative assessment.

✦

Quiz – provides for technology–assisted activities for
summative assessment.

Each Opus provides instructional strategies that specifi­cally target secondary and elementary levels. To assist lo­cal, district, and state curriculum initiatives, each MIE
Opus also contains a cross–reference to the National
Standards for Music Education.

Because of the many differences in music program stan­dards found in today’s schools, the curriculum is de­signed to provide maximum flexibility in use and integra­tion into the music classroom. Class size, frequency of
instruction, school schedule, and student understanding

ences.
Following is a summary of all Opuses and Preludes, in-

cluding primary concepts and skills, repertoire, and sup­porting materials.

and achievement are key determinants in the ability of a
teacher to cover instructional content and pace.

Curriculum materials in the Music In Education program
are non–graded; there are no recommendations as to the
number of Opuses that should be accomplished in any
given year, nor is there a recommendation as to the
length of time that should be spent in accomplishing
each Opus. However, Music In Education recommends
that all students begin with the first Opus. Students who
are more mature and have greater reading abilities and
motor skills will progress at a faster rate than those with
less developed abilities in these areas, or students who
are younger. Rates of progress will fluctuate by age, and

24

Opus Summary

Opus

Area

Concept

Music

1

Rhythm

Steady Beat

1 – New River Train

2

Pitch: Melody/Harmony

Register/Clusters

2 – The Siamese Cat Song

3

Pitch: Melody

Up/Down/Same

3 – The Noble Duke of York

4

Duration: Rhythm

Tempo

3 – The Noble Duke of York

"

2 – The Siamese Cat Song

"

!

"

1 – New River Train

5

Duration: Rhythm

Quarter Note/Rest

4 – Supercalifragilistic

6

Harmony

Ostinato

5 – There’s a Hole in the Bucket

7

Pitch: Melody

Music Alphabet

6 – Alphabet Song

"

!

"

7 – Do-Re-Mi

8

Pitch: Melody

Steps/Skips/Same

8 – Zum Gali Gali
9 - Zum Gali Gali - Version B

9

Pitch: Melody

Rep. Mel. Pt./Call & Resp.

10 – Kye Kye
11 – Love Somebody

Below is a listing of the 40 Opuses with the musical area for each, the specific concept(s), as well as the curriculum ma­terials used in each.

25

Opus

Area

Concept

Music

10

Articulation

Legato/Staccato

12 – The Ghost of John

11

Pitch: Melody

Grand Staff

13 – Sakura

12

Duration: Rhythm

Eighth Note/Rest

14 – Polly Wolly Doodle

13

Duration: Rhythm

Duple, Strng./Wk.

15 – Minka

"

!

"

16 – March (from “Children's Notebook, Op. 69”)

14

Pitch: Melody

C Major tonality

16 – March (from “Children's Notebook, Op. 69”)

"

!

"

17 – A Whole New World (Aladdin’s Theme)

15

Duration: Rhythm

Half Note/Rest

15 – Minka

16

Harmony

2nds/3rds – intervals

18 – Mos', Mos'!

"

!

"

19 – Zip–A–Dee–Do–Dah

17

Pitch: Melody

G Major Tonality

14 – Polly Wolly Doodle

"

!

"

20 – Frère Jacques (4/4)

18

Duration: Rhythm

Meter (4/4, 3/4)

20 – Frère Jacques (4/4)

"

!

!

21 – Frère Jacques (3/4)

19

Harmony

Harm. Interval – 5th

20 – Frère Jacques (4/4)

26

Opus

Area

Concept

Music

20

Duration: Rhythm

Sixteenth Notes/Rest

22 – Listen to the Mockingbird

21

Dynamics

f/p, cresc./decresc.

23 – Jingle Bells

22

Pitch: Melody

Sharp and Flat

24 – Swingin' Sharp & Flat

23

Pitch: Melody

Music Reading – D Major

25 – The Muppet Show Theme

"

!

!

26 – Come to the Sea (“Vieni Sull Mar”)

24

Duration: Rhythm

6/8 meter

27 – Irish Washerwoman

"

!

"

28 – Mickey Mouse March

25

Form

Form

27 – Irish Washerwoman

26

Duration: Rhythm

Dotted Rhythms

29 – Shenandoah

"

!

!

30 – A Bushel and a Peck

27

Pitch: Melody

Music Reading – A Major

31 – Sweetly Sings the Donkey

"

!

"

32– Scotland the Brave (Tunes of Glory)

28

Pitch: Melody

Music Reading – F Major

33 – America

"

!

!

31 – Sweetly Sings the Donkey

29

Pitch: Melody

Minor Tonality

34 – Oh, How Lovely is the Evening (major)

27

Opus

Area

Concept

Music

30

Pitch: Melody/
Harmony

Major Scale/Diatonic Triads

36 – Chumbara

31

Pitch: Melody

Music Reading – Bb Maj/G
Min

37 – Feed the Birds

"

!

!

38 – Catch a Falling Star

32

Harmony

Single/Fing. Acc./Lead
Sheets

34 – Oh, How Lovely is the Evening (major)

"

39 – Skip To My Lou

"

!

!

40 – Kum Ba Yah

33

Harmony

Chord Progressions–Major

40 – Kum Ba Yah

34

Harmony

Chord Progressions–Minor

41 – Joshua Fit the Battle of Jericho

"

!

"

42 – Scarborough Fair

35

Harmony/Form

12 Bar Blues

43 – At the Hop

"

!

!

44 – Lollipop

36

Pitch: Melody

Variations

45 – Variations on “Ah Vous Dirais–Je Maman”

"

!!!

37

Pitch: Melody

Improvisation

43 – At the Hop

38

Pitch: Melody

Modes & Sequence

46 – Ah Vous Dirais–Je Maman à la Mode

"

42 – Scarborough Fair

"

26 – Come To The Sea (“Vieni Sull Mar”)

"

7 – Do-Re-Mi

"

!

"

47 – We Wish You A Merry Christmas

39

Harmony

Chord Symbols and
Inversions

48 – My Favorite Things

40

Summary Project

Composition

49 – Boogie Woogie Bugle Boy

28

Instructional Planning

As with any instructional endeavor, Music in Education
does require instructional planning and decision-making
on the part of the music educator. In preparing to teach
any aspect of the MIE Curriculum, the following points
will assist in this preparation:

6. Listen to all quiz examples [practice adjusting the vol­ume controls on quiz question if necessary].

7. Practice using the remote control [pre-load songs you
will be using and determine which presets will be use­ful].

8. Establish housekeeping parameters (covers [on or off],
headsets [rack or speaker], books [open or closed]).

1. Read through entire Opus or Prelude (either on
screen or via the pdf that will be found in your com­puter's Document folder)

2. Read the Opus Note for the specific Opus (either via
the 'Opus Info' button in the software or Section 9 of
the Music in Education Teacher Resources. Make note
of the teaching strategies for the grade level of your
students (elementary vs. secondary) NOTE: Add your
own state/local standards directly on the OpusFull.pdf
which was copied to your Documents folder during
the install of the MIE software.

3. Listen to all music examples, making sure tempos and
orchestrations are to your liking. (Remember that Sec-

9. Make clear your management [discipline conse­quences] for infringements (vandalism on keyboards
has same consequence as harming any technology at
school - computers, etc.).

10.Organize needed transparencies (if using LCD projec­tor system, make sure dual monitor settings are cor­rect).

tion 7 - Reference of the Music in Education Teacher
Resources contains complete information on the lis­tening excerpts).

4. Determine which aspects of each lesson within the
Opus you will and will not use [might be different for
each class].

5. Read Quiz Info.

29

Chapter 4

Software
Guide

Etudes are self-guided practice sessions and
tutorials for the MIE software and are used in
conjunction with the MIE Institute. They are
included here as an addendum to the MIE Help
section available through the Menu Bar of the
software.

Section 1

Etude #1 - Software Overview & Lesson Book

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #1 – Software Overview & Lesson Book

Themes: Overview, Navigation, and Menu Bar
OVERVIEW: MIE software is designed to be by the music teacher, stand-

ing up, moving around the music classroom. Some of these design fea­tures include:

✦

Black background with light-colored text for high contrast to en­hance viewing at a distance.

✦

Large icons for selecting various “books” and controls (Grade Book,
Lesson Book, Reference Book, Keyboard Presets, and Utilities).

✦

Music Toolbar that is always visible AND accessible via the MIE re­mote control.

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

31

1. Begin by clicking once on the large blue “Lesson Book” icon...

Version Number

Status Area

Date/Time

2. Identify the following information

✦

MIE Version Number (INFO: please have
this number when requesting any kind of
tech support).

✦

Status Area (INFO: displays current class
(if any) and current song (if any).

✦

Date/Time (INFO: displays today’s day and
time – If incorrect, please see your “Date
& Time” System Preference).

✦

Page/Line Up & Down (MOUSE: clicking
arrow scrolls up/down a single line. Click­ing area between arrows scrolls up/down a
page. NOTE: You can’t scroll up or down

Interactive 4.1 Version Number, Status Area, and Info

past the text. If nothing happens when you
click, you are at the beginning or end of
the text.)

3. Select other ‘books’ (i.e. GradeBook, Refer­ence Book)...

✦

Context Buttons: These appear in the top
left corner of the screen and change in rela­tion to the selected book.

1 2 3

32

4. Return to the Les-

Opus List

Opus Info

Opus Title

Note Monitor

PlayList

“Smart Text”

Lesson Selection

son Book (click
the Lesson Book)

✦

Note the following
buttons in any set
of lessons...

Interactive 4.2 Lesson Book Context Buttons

1 2 3 4 5 6 7

33

5. Play music content via the Music ToolBar

Play

Pause

Stop

Teacher Mute

Teacher Volume

Student Mute

Student Volume

Speakers

CD/Audio Volume

Eject CD

Interactive 4.3 Music Tool Bar

1 of 11

6. Menu Bar:

✦

MIEv4 –!Used for Preferences and Quit

✦

Window – typing keyboard access to Books/Controls

✦

Help – Specific assistance with all aspects of the MIE software. Includes search feature.

34

Section 2

Etude #2 - Grade Book (part 1)

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #2 – Grade Book [A]

Themes: Add/Edit Classes and Attendance

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

35

The Grade Book allows you to create classes via adding

5. Enter first and last names for the following four stu­students, assign seats to students, edit names of students
and classes, and take attendance.

dents. HINT: Use TAB key to move forward and
SHIFT-TAB to move backward. [Jessica Anderson,
Justin Parker, Nathan Thomas, Jessica Thacker]

6. Click the “Save Class” button.

7. Create one more class with three students. (Make

up your own names.)

2. Part 2 – Switch Seats

1. Select the first class you created.

2. Click “Switch Seats” button (turns blue). Check

boxes for seats are now active.

3. Click “1Hi” and then “6Low” – Notice that “Jessica

Anderson” is moved to the empty seat.

1. Part 1 – Create new classes…

1. Select Grade Book.

2. Click “GradeBook” context button. (Add/Edit
Classes will be selected by default.)

3. Click the “Create New Class” button.

4. Type the name for the class. NOTE: MIE will always
alphabetize the listing of classes so plan accord­ingly.

4. Click “2Low” and then “2Hi” – Notice that “Na­than Thomas” and “Jessica Thacker” are now
switched.

5. When done, click “Switch Seats” button. (Dialog
asking you to save changes will appear.)

6. Close GradeBook.

NOTE: The Grade Book seating chart only lists first
names. Part 3 (Editing Names) will address the “dou­ble Jessica” issue.

36

3. Part 3 – Editing Names

5. Part 5 – Taking Attendance

1. Return to “Add/Edit Classes” in the GradeBook.
(Note that the current class is still selected.)

2. Click “Edit Names” button (turns blue). Text fields
for names are now active.

3. Rename Jessica Anderson’s first name to “Jessica A”
– click after her first name and add “ A”. Do the
same thing for Jessica Thacker.

4. When done, click “Edit Names” button. (Dialog
asking you to save changes will appear.)

4. Part 4 – Delete Student(s)

1. Click the “Delete Student(s)” button (turns blue).
Check boxes for names are now active.

1. Click the “Attendance” context button of the Grade
Book.

2. For practice, mark Justin absent and Jessica A.
tardy.

3. Close “Take Attendance” window – you’ll be
prompted to post (select YES).

NOTE: Absent students are “greyed out” in seating
chart.

6. Part 6 – View Student/Class Information

1. Click on Justin’s name on seating chart to view his
individual data.

2. Click Justin’s name again to toggle between his

2. Click the check box to the left of Jessica’s name on
the seating chart. (NOTE: you can also lick on the
“6Low” label as well.)

3. If you have wanted to delete additional students,
you would click the appropriate box(es).

4. Click the “Delete Student(s)” button again (now
turns black). You’ll immediately see a window that
ask you to confirm whether or not you want to de­lete the selected student(s). Click “Yes”.

5. Close GradeBook.

data and the class data.

3. Click other students’ names to view their data.

37

Section 3

Alpha Listing

Song Edit

PlayList

Etude #3 - Reference Book

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #3 – Reference Book

Interactive 4.4 Reference Book - Number (& Alpha) Listing, Song Edit, PlayList

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

1 2 3

38

Screenshot 4.1 Song Orchestra Dialog

Screenshot 4.2 Voice Selection

Clicking on the “Song Edit” button for any MIE Song­Book song brings up the “Song Orchestration” dialog:

Every MIE Songbook Song has three possible accompani­ments: “Accomp. 1”, “Accomp. 2”, and “Factory”. You
can freely edit Accomp. 1 and 2. (Factory is the default
and cannot be changed.) Any changes you make are
automatically remembered for that song, even after you
quit MIE.

Track and Student Parts can be turned off (muted) or on
by clicking. Volumes are changed by dragging left and
right. Clicking on the name of a voice presents the
“Voice Selection” dialog:

There are over 700 timbres in the MIE-3XG keyboard, all
organized by instrumental family. Clicking on the name
of any voice will automatically send that voice to the par­ticular part. Note that you can make these changes even
while a song is playing.

39

Section 4

Etude #4 - Remote Control

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #4 – Remote Control

The MIE Remote Control provides access to all of the functions of the
music toolbar plus many others.

iPod Touch/iPad as Remote

An iPod Touch or iPhone or iPad can now be used as the MIE remote
control. The iPod Touch will ‘connect’ to your MIE Macintosh computer
via a wi-fi connection. Because of how wireless networks are typically
setup in schools, these instructions will ask you to create a ‘computer­to-computer’ network.

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

40

Notes for music tab:

Notes for curriculum tab:

Page Up & Page Down

✦

If “Keyboard Presets”
Screen, changes Banks

✦

If viewing a pdf (song,
chart, etc) pages up or
down

✦

Tapping any row will dis­play a list of all music used
in the particular opus.

✦

If the AutoPlay switch is
ON, music will start play­ing the moment a row is
tapped.

Notes for lesson tab:

Notes for presets/sfx tab:

✦

“BounceBack” switch if
ON will return to the mu­sic tab once any row is
tapped.

✦

The text of any particular
lesson which includes
“SmartText” which is ac­tive.

✦

To go to the next lesson
within an Opus/Prelude,
simply tap the ‘lesson’ tab­bar button (the red badge
will indicate the Opus/
Lesson number)

41

Step by Step Instructions for mieRemote

7. Create a wireless connection between your mac and

1. Using the connector cable that came with your iPod,
connect your iPod to whatever computer you will be
syncing with via iTunes.

2. iTunes may want to update the OS (operating system).
Click OK and let it sync.

3. On the iPod: Open SETTINGS (the Gear) on your
iPod.

4. Click on General, then Auto-Lock, then click on

your iPod/iPad... Here are the step by step instructions
for connecting the Mac (running MIE) with the iOS de­vice (iPod, iPhone or iPad) running the MIE Remote
software... This is to create a ‘computer-to-computer’
network...

!

NEVER. This will prevent your iPod from going to
sleep and losing the connection with your computer.

5. To conserve battery power, reduce the brightness set­ting.

6. Download mieRemote from the iTunes Store (either
via the iPod itself or your computer)

42

Setting up wifi for mieRemote: Creating a computer-to-computer network...

1. Choose “Create Network” from the AirPort status icon in the menu bar of
your Macintosh...!

Wifi Menu to Create Network

(NOTE: If the Airport icon is not in the menu bar, choose Apple menu ➢
System Preferences, and then click “Network”. Click Airport and select
the “Show Airport status in menu bar” option.)

2. Give the network a name and select a channel from the popup menu.
The default channel is 11, but you can choose channel 1 or channel 2.

3. Use the Security popup to select 40-bit WEP and enter a 5 letter/number
password in order to protect your new network.

Screenshot 4.3 Naming the Network Screenshot 4.4 Setting the Password

43

4. The Airport Icon in the menubar will now change to

5. Using your iPad, go to Settings ➤ Wi-Fi and make
sure Wi-Fi is turned on... Choose the network you just
created in the earlier steps on your computer.

6. Download and install the ‘mieRemote’ version of the
Macintosh application to your MIE macintosh.! (This

8. Click the OK button. Notice the “yellow light” in the
bottom left corner turns of the screen. This indicates
when your MIE software is connected to your iPod
app.

9. Start the MIE Remote app on your iPad and tap
“setup” - you should see the name of your com­puter... tap it and your iPod will connect to your Mac

is a full version of MIE that will NOT replace your cur­rent gradebook or settings.) You can download MIEv4

Screenshot 4.5 MIE Server Popup

Screenshot 4.6 MIE Server Connection

for mieRemote at the MIE software site. (Select Item
#2)

7. When it starts up, you’ll see a new popup...

(you’ll see a popup on the Mac, and the yellow light
will turn to green)

10.MIDI Interface Setup: Connect the UX-16 MIDI con­nections to the Teacher Keyboard MIDI ports. On the
UX-16, find the MIDI Connector that has OUT la­beled in the vinyl. Insert that into the IN of the
Teacher Keyboard. Insert the other connector to the

44

OUT of the Teacher Keyboard. Insert the USB connec­tor into an open USB port ON THE COMPUTER (not
on the computer’s keyboard). NOTE: if your system
has a different MIDI interface that is already installed,
you may continue to use it as it does not need to be
replaced in order to use the mieRemote iOS software.

11.UX-16 Drivers: Download the latest driver from

http://www.yamaha.com/mie/remote

45

Section 5

My Info

Save Log

Email Log

Etude #5 - Utilities

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #5 – Utilities

Interactive 4.5 Utility

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

1 2 3

46

Section 6

Responses

Eraser

Answer Key

Quiz Info

Etude #6 - Quiz

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #9 – MIE & iTunes

Etude #6 – Quiz

Interactive 4.6 Quiz

Etude #10 – MIE Tunes

1 2 3 4

47

1.

2.

3.

4.

5.

6.

7.

8.

Interactive 4.7 Taking A Quiz Question

Quiz Question with Volume Controls

Screenshot 4.7

Quiz Responses

As students respond, the seating chart

will display one of the following possi­bilities:

!

1. blank – (see Susie at keyboard 5 and
Jack at keyboard 9) – students have
made NO response at all.

2. ? – (see Lauren at keyboard 2 and
Thacker at keyboard 5) – students
have made an invalid response such
as pressing ENTER with no keys down
for a black/white question.

3. X – (see Kathy at keyboard 2) – stu­dents have gotten the question wrong.

4. √ – (see Brian and Debbie at key­board 1) – students have gotten the
question right.

1 of 9

Volume Drawer: Allows changing the
volumes of the individual parts of any
question music content. The “Reset
Volume Sliders” returns all 5 sliders to
their default volume.

48

There are several types of quiz questions. The various types can be seen in Gallery 4.1

Screenshot 4.8 Quiz Question Dialog

Gallery 4.1 Types of Quiz Questions

Black/White questions are used for ‘yes/no’ or ‘true/false’ types of
responses. The student keyboards are silent. Students use middle C
and C# in split mode for these questions. – see Quiz 1

49

Quiz Continued - Individual “Re-do” and Makeup Quiz

Individual “Re-do” – What if you accept an answer, but realize that one or two students did not respond? Or, you want

to give one student a chance to do a
question over, but still keep the other
students’ responses.

In Screenshot 4.9, question 1 has
been asked and notice that Justin, Na­than, and Jessica A got the question
wrong. In order for a “re-do”, simply
click on the student(s) to whom you’d
like to ask the question again. Their
name will be white text in a black
background. You may click on as
many names as you’d like. (See
Screenshot 4.10)

When you click on the Quiz Ques-

Screenshot 4.9 Quiz Question After Accepting All Responses

tion number, you are allowed to ask
the question, and only those students
whose names you selected will be
able to respond.

Makeup Quiz – If a student was ab­sent for a quiz and you want to give
them a “make-up”, simply have the
student(s) sit in the regularly assigned
seat(s). Make sure you do this when
the rest of the class is not on key­boards (perhaps during recess, after class, lunch or after-school). Take attendance for that student’s class making sure

50

everyone is marked PRESENT. (If you mark everyone absent except for student making up quiz, that absence would ap­pear on all of their personal information.) Give the quiz. As long as the other keyboards are “dormant,” the computer
will know to ignore them, and only register the keyboard(s) being “entered.”

Screenshot 4.10 Selecting individual student(s) to re-ask a question

51

Section 7

Etude 7 - Keyboard Presets

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #7 – Keyboard Presets

Themes: Banks, Edit, Send

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

52

Preset 1 from Bank A is the “Startup” preset. When MIE

Clicking the “Edit” button shows the “Edit Keyboard Con­is first run, this preset is automatically sent to all student
keyboards.

NOTE: You are encouraged to edit Preset 1. Suggestions
include:

• Front Panel Lock – Checked (On)

• Voice Select Lock – Checked (On)

• Speakers Locked – Checked (On)

• Touch On – Unchecked (Off)
Banks B through F are “empty” providing you 30 preset

options that can be named and freely edited.

✦

Use the Arrows to toggle between Bank A, B, C, D, E,
and F. Only Bank A comes with created presets. (You

trols” Window…

Screenshot 4.11 Edit Keyboard Presets

may also the the Page Up/Page Down buttons on the
remote when this screen is present.)

✦

Allows creation/edit of any preset. Displays the “Edit
Keyboard Controls” window (see below)

✦

Send selected preset to all student keyboards. Same
as pressing “PRESET” and then the number (1 to 6) on
the remote.

The five possible keyboard modes (see MODE column

on MIE-3XG)

Keyboard Percussion controls - if Normal or an Accomp

mode has been selected, only the Right Percussion will

be available.

Student Speakers On corresponds to the Speaker button

in the music toolbar. If Speakers Locked is on, students

will NOT be able to use their speaker buttons on their

keyboards, though the remote and music toolbar WILL

control the speakers.

53

Clicking the left or right buttons allows selection of any

their speakers ON… What Preset number would that
of the 710 timbres. If the voice is not on the Voice Panel
of the MIE-3XG, the timbre will be sent to the ASSIGN
button. Octave sliders provide -2 to +2 shifts. If Normal
or an Accomp mode has been selected, only the Left
Voice will be available.

✦

Locks disable the corresponding buttons on the stu­dent MIE-3XG keyboards.

✦

Front Panel = everything EXCEPT VOICE and LEFT/
RIGHT

✦

Voice Select = VOICE and LEFT/RIGHT

✦

Keys Silent = “disables” the black/white piano keys
(NOTE: NOT the same as muting.)

be?

2. You want students to be working cooperatively, imitat­ing percussion patterns with their partner… Which
Preset would you use?

3. Change the Preset from Question 2 so that students
will be still working with Keyboard Percussion, but in­dependently.

4. You are working on the concept of Registers and want
students to experience and experiment with the full
keyboard… Which Preset would you use?

Using Bank B of the Presets:

Selects one of the 15 panel rhythms for the student key­boards.

Turns touch sensitivity on/off – corresponds to the
TOUCH button on the student MIE-3XG keyboards.

Provides access to all voices of the MIE-3XG and sends
the selected voice to the ASSIGN voice button of the
teacher keyboard.

Using Bank A of the Presets:

1. You want the class to be working on an independent
activity using PIANO voice and you don’t wish to
give them the option of changing voices or turning

1. Using Bank B, Preset 1, create a specific instructional
activity AND a Preset that would support it.

54

Section 8

Etude #8 - Grade Book (part 2)

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #9 – MIE & iTunes

Etude #8 – Grade Book [B]

Delete Classes, Transfer Students, Export Class Info, Backup/Reset
Classes, “Import Class”

Part 1 – Delete Classes…

1. Select Grade Book.

2. Click “GradeBook” context button. (Add/Edit Classes will be se­lected by default.)

3. Click the “Delete Classes” tab.

4. Select the class(es) you wish to delete. (Hold the ⌘ key to select/
deselect multiple classes).

5. Click the “Click to Delete” button.

Etude #10 – MIE Tunes

NOTE: You cannot “undo” the deleting of classes!

Part 2 – Transfer Students

1. Click the “Transfer Students” Tab.

2. Select the “Current Class” and the “Destination Class” NOTE: they
must be two different classes.

55

3. Click a student name (either list) and click the “>” or
“<” button to transfer the student. Note that you can
only select one student at a time.

4. A transferred student will be placed in the first avail­able seat. (Use the “Add/Edit Classes” tab of the
GradeBook to switch seats.)

NOTE: You may want to create a mock class called
“Transferred Students” and rather than deleting a student,

Part 4 – Backup/Restore/Reset Classes

✦

The Backup feature makes a complete copy of y our
entire MIE GradeBook. Click the “Create Backup” but­ton.

✦

Select where you would like to save this backup.

✦

The Restore feature allows you to select specific

transfer him/her to this class. If that sutdent ever returned
to a class, you would still have their data.

Part 3 – Export Class Info

1. Select a class you wish to export.

2. Select “Student Progress” to export individual student
info. (Hold down the ⌘ key to select more than one
student at a time.)

OR

3. Select “Class Report” to export class information. (You
can only export one class at a time.)

classes from an MIE Backup.

✦

Click the “Select a Backup Folder” and navigate to
the location where you have previously saved an MIE
Backup.

✦

Select the class(es) you wish to restore.

✦

The Reset feature erases attendance, quiz scores, and
notes for every student. Names and seating charts are
NOT affected.

✦

Click the “Show” button to display your current class
list.

✦

Select the class(es) you wish to restore.

4. The name of the exported file can be changed in the
“Export Filename” box OR after you click the “Ex­port” button. The resulting file is a text file (.txt) and
can be used in any application that supports such a
format, including any word processor or spreadsheet
program.

✦

Click the “Reset Class” – you’ll be asked again if you
are sure.

NOTE: Resetting a class cannot be undone.

56

Part 5 – Creating a New Class via “Import Class”

1. Click the “Import Class” button. You will see a stan­dard “open file” dialog. Select the text file (.txt) or
comma delimited file (.csv) to import.

2. The name of the file will appear in the “Edit Class
Name” field – rename the class.

3. Click the “Save Class” button.

NOTE: The import file should be a textfile (.txt) with
firstname <tab> lastname <return> OR a comma delim­ited file (.csv) in the form of “firstname”,”lastname”<re­turn> (Note the use of the double-quotes and comma.)
Spreadsheets are an excellent way to create such an im­port file – enter firstname in Column A, lastname in Col­umn B, and then “save as” textfile OR comma-delimited
file.

57

Section 9

Etude #9 - MIE & iTunes

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #9 – MIE & iTunes

Etude #9 – MIE & iTunes

Apple’s iTunes is integrated within MIE. You can play any of your iTunes
library via MIE. This also means your remote control can be used to
PLAY, STOP, PAUSE and change volume.

To Use iTunes with MIE:

1. Open iTunes.

2. Create a new playlist: Choose File > New Playlist or click the Add
button (+) in the bottom-left corner of the iTunes window.

3. Type MIE as the name for the playlist. (Please make sure the playlist
name is all caps and only these 3 letters!)

4. Click Music (or another item below Library) and then drag an item
to the MIE playlist. To select multiple items, hold down the Com-

Etude #10 – MIE Tunes

mand or Shift key while you click. To remove an item from a
playlist, select it and press the Delete key (this does not remove the
item from your library or hard disk).

5. Quit iTunes.

6. Open MIE, and click on REFERENCE.

7. Click on Section 6 “iTunes MIE Playlist” and your choice(s) will ap­pear as tags ready to use!

58

To Use GarageBand to Create Audio Track for Use with
MIE:

1. Open GarageBand. (Create New Music Project) ­Save the Project with the title of the new song. (This
title is what will appear in MIE.)

2. Create your song using loops or direct recording of
the keyboard.

3. Use the Share Menu to send your song to iTunes.

4. In the following dialog, enter “MIE” as the name of
the iTunes Playlist - your music will now appear in­side MIE.

Screenshot 4.12

Sharing your
GarageBand song to
iTunes

Screenshot 4.13 Adding a

song to your MIE playlist

59

Section 10

Etude #10 - MIE Tunes

ETUDE TABLE OF CONTENTS

Etude #1 – Software Overview & Lesson Book

Etude #2 – Grade Book (part 1)

Etude #3 – Reference Book

Etude #4 – Remote Control

Etude #5 – Utilities

Etude #6 – Quiz

Etude #7 – Keyboard Presets

Etude #8 – Grade Book (part 2)

Etude #10 – MIE Tunes

MIE Tunes provides you and your students the means to save composi­tions they create using the MIE-3XG sequencer.

Songs created with the MIE-3XG are ‘.sng’ files. They can be loaded to
either the teacher OR all the student keyboards.

‘.sng’ files can be converted to standard MIDI files by selecting the
name of the .sng file and then clicking the “Convert .sng” button. You’ll
be able to save the resulting .mid file wherever you choose.

Standard MIDI files can also be added to the MIE system and played
by the teacher or student keyboards. Use the “Copy midifile” to copy a
.mid file from anywhere on your computer to the MIE Tunes library.
NOTE: your original midi file will NOT be moved or changed.

Etude #9 – MIE & iTunes

Etude #10 – MIE Tunes

You are able to save songs from any keyboard in the classroom. You
must save each song one at a time.

60

Chapter 5

MIE-3XG
Keyboard
Guide

Explanations of various MIE-3XG keyboard
functions including recording, playback, and
keyboard percussion.

General Description and Features

NORMAL

The keyboard is a five-octave keyboard (C1 to C6) play­ing the same voice in all five octaves.

SPLIT/ENSEMBLE

board) is referred to as “fingering”. There are 2 types of
fingerings as described below.

Diagram 5.1 Range for Accomp Mode

The keyboard is split into two separate two-octave key­boards. The divider should be in place. Middle C moves
to the solid triangles t above and below the Middle C
point found in the Normal mode (C2 for the left side and
C5 for the right).

ACCOMPANIMENT (ACCOMP)

When the Accompaniment mode is selected, the key­board is split at the ACCOMPANIMENT vertical mark,

SINGLE (Single Finger mode)

MAJOR CHORDS: are produced by the key correspond­ing to the root of the desired chord.

MINOR CHORDS: are produced by pressing the root
note and any black key to the left of the root.

DOMINANT 7TH CHORDS: are produced by pressing
the root note and any white key to the left of the root.

MINOR 7TH CHORDS: are produced by pressing the
root note and a white and black key to the left of the
root.

FINGERED (Fingered mode)

which can be found above G2. The keys to the right of
the vertical line remain in Normal mode with Middle C
at C3. Each key to the left of the vertical line mark plays
chords and bass notes in an arrangement preset by the
selected rhythm.

The way in which chords are played or indicated with
your left hand (in the accompaniment section of the key-

The Fingered mode lets you play full chords for the ac­companiment section of the keyboard (i.e., all keys to
the left of and including the split-point key –F#2), while
the MIE-3XG supplies appropriately orchestrated rhythm,
bass and chord accompaniment in the selected style.
This mode recognizes the following chords:

62

✦

Notes in parentheses can be omitted.

✦

The AUTO ACCOMPANIMENT will sometimes not

✦

If you play any three adjacent keys (including black
keys), the chord sound will be cancelled and only the
rhythm instruments will continue playing (CHORD
CANCEL function).

✦

Playing a single key or two same root keys in the adja­cent octaves produces accompaniment based only on
the root.

✦

A perfect fifth (1 + 5) produces accompaniment based
only on the root and fifth which can be used with
both major and minor chords.

✦

The chord fingerings listed are all in “root” position,
but other inversions can be used with the following
exceptions: m7, m7b5, 6, m6, sus4, aug, dim7, 7b5,

change when related chords are played in sequence
(e.g. some minor chords followed by the minor sev­enth).

✦

Two-note fingerings will produce a chord based on
the previously played chord.

Diagram 5.3 Chord Voicings

6(9), m7(11), 1+2+5.

✦

Inversion of the 7sus4 chord are not recognized if the
5th is omitted.

Diagram 5.2 Example of Fingered mode Chords

63

Diagram 5.4 Chord Voicings (continued)

INTRO, MAIN and ENDING BUTTONS

There are various types of Accompaniment sections that
allow you to vary the arrangement of the accompani­ment to match the song you are playing. They are: Intro,
Main and Ending. By switching among them as you play,
you can easily produce the dynamic elements of a
professional-sounding arrangement in your performance.

INTRO

This is used for the beginning of the song. When the in­tro finishes playing, accompaniment shifts to the main
section. The length of the intro (in measures) differs de­pending on the selected style.

✦

If you activate the right keyboard percussion in the Ac­companiment Mode, the accompaniment rhythm
function will stop.

MAIN

This is used for playing the main part of the song. It plays
an accompaniment pattern of several measures (2 - 4
measures), and repeats indefinitely until another section
button is pressed. The accompaniment changes harmoni­cally based on the chords you play with your left hand.

AUTO FILL

The Auto Fill function lets you add dynamic variations
and breaks in the rhythm of the accompaniment, to
make your performance sound even more professional.
While the accompaniment is playing, simply press the
MAIN button and an appropriate fill-in pattern will play
automatically. When the fill-in is finished, it leads
smoothly into the selected main section.

64

ENDING

ACCOMPANIMENT VOLUME CONTROL

This is used for the ending of the song. When the ending
is finished, the auto accompaniment stops automatically.
The length of the ending (in measures) differs depending
on the selected style.

SYNC START, START, AND STOP BUTTONS

These buttons control the playing of the accompaniment.

SYNC START

In Normal mode, press SYNC START, select a style, and
the rhythmic accompaniment will start as soon as any
key is played. In Accompaniment mode press SYNC
START, select a rhythm, and a harmonic accompaniment
will start as soon as any key below G2 is played.

This volume control adjusts the volume of the accompa­niment. The slider allows the user to control the balance
of the voices and the accompaniment. The combined
"mixed" volume is then adjusted by either the left or right
volume controls, depending on the mode in use, to
achieve the desired overall volume.

STYLE SELECTION

There are 15 styles and an ASSIGN button on the front
panel. Style choices are available in all modes. Note that
in Split or Ensemble mode it is not possible for two stu­dents to each select a different style.

Additional styles can be sent to the ASSIGN button via

START

The START button works in any mode and allows the
user to provide an introductory rhythmic accompani­ment The START button can also be used when record­ing.

STOP

The STOP button stops any rhythmic and harmonic ac­companiment, and can also be used to stop recording
and playback.

the software.

METRONOME

The METRONOME button provides a steady beat with
tempo depending on selected style. To activate the metro­nome, push the METRONOME button, and then adjust
the TEMPO buttons to select the desired tempo. Press the
METRONOME or STOP button to stop the metronome.

RECORDING AND PLAYBACK

A short performance can be recorded into the keyboard
memory, stored, and played back. It is not possible to
overdub or edit a recording, nor will a recording be re-

65

tained if the keyboard is turned off. Each time the record

them both down for approximately six seconds. (The
function is used, the previous recording will be erased. A
recording can be saved and stored in the computer by us­ing the Music In Education software (see “Software
Guide” for more details).

TO RECORD MELODY/ACCOMPANIMENT

✦

Press MELODY REC/ ACCOMP REC. The Beat light
will flash in time with the tempo and you will hear a
steady beat. The keyboard does not begin recording
until you begin to play.

✦

Select the desired accompaniment. The preselected
tempo of this rhythm will appear in the LED window.
Adjust the tempo.

metronome will click ONCE, the letters ‘Clr’ will flash

in the LED and finally, the tempo will reappear –!at

this point, release the two buttons.)

✦

To start the rhythm, either begin playing, or press the
START button if you wish an introductory accompani­ment to precede your playing. Begin playing. After
you begin playing, the BAR light will indicate meas­ures.

✦

To stop recording, press the STOP or the MELODY
REC/ ACCOMP REC button.

✦

To loop the recording, press PLAY at the end of the
pattern in tempo before pressing STOP.

✦

To playback your recording press the PLAY button. To
stop your playback, press the STOP button.

✦

To clear your recording, press the MELODY REC and
the ACCOMP REC buttons at the same time and hold

66

Keyboard Percussion

Diagram 5.5 Keyboard Percussion

C - Bass Drum

C# - Rimshot

D - Low Snare 1

D# - Hand Clap

E - High Snare 2

F - Low Floor Tom

F# - Open Hi-Hat

Diagram 5.6 Keyboard Percussion (continued)

C# - Crash Cymbal w/drumstick

D - High Tenor Drum

D# - Ride Cymbal

E - Claves

F - Shaker

F# - Tambourine

G - High Floor Tom

G# - Closed Hi-Hat

A - Low Tenor Drum

A# - Open Hi-Hat w/drumstick

B - Middle Low Tenor Drum

C - Middle High Tenor Drum

G - Low Timbale

G# - Cowbell

A - High Timbale

A# - Vibraslap

B - Low Bongo

C - High Bongo

67

Chapter 6

Peer
Teaching

Peer Teaching Guidelines and Instructions

Peer Teaching Guidelines

Get Opus Assignment from MIE Staff

3. Opus 5 – Quarter notes/rests
a) Lesson #2 – Student part 1
b) Lesson #3 – Examples and Activities

1. Go over entire opus with your group.

2. Give Quiz for your opus.

3. Teach assigned lessons and letters to your group.

4. Use ‘smart text’ and remote.

5. Program songs needed; use presets.

6. Before you start teaching, TAKE ATTENDANCE.

7. Teach other groups (5 minutes per teacher).

8. Give feedback to other groups when they teach you.

OPUS ASSIGNMENTS

Note: Your GROUP # is not the same as your OPUS #.

c) Synthesis – a) record and share (NOTE: please see

the chapter on the MIE-3XG keyboard if you need
assistance with the recording features)

d) Quiz examples

4. OPUS 6 – Ostinato
a) Lesson #2 – Student Part 2
b) Lesson #3 – Student Part 1
c) Lesson #4 – Create
d) Quiz examples

5. OPUS 7 – Music Alphabet
a) Lesson #1 – a) chant b) chart 2
b) Lesson #3 – Play Alphabet Song
c) Synthesis
d) Quiz examples

1. OPUS 2 – Register/Clusters
a) Lesson #1-Worksheet* 2; Chart 3
b) Lesson #3-Student Parts
c) Lesson #4-Examples and Activities
d) Quiz examples

2. OPUS 3 – Up/Down/Same
a) Lesson #2 – a) sing melody & d) play st. pt. 1
b) Lesson #4 – Play pt. 2 – notched notes
c) Lesson #5 – Examples and Activities
d) Quiz examples

6. OPUS 9 – Call and Response
a) Lesson #1-Listen A; B; C-play patterns
b) Lesson #3-Create/Write/Play melodic patterns
c) Lesson #4-Love Somebody-Student parts 1 and 2
d) Quiz examples

7. OPUS 11 – Grand Staff
a) Lesson #1-quick review
b) Lesson #2-Chart 6; Worksheet* 9
c) Lesson #3-Student parts 1 and 2
d) Synthesis

69

8. OPUS 12 – Eighth Note and Rest
a) Lesson #1-B; C
b) Lesson #2-Chart 8
c) Lesson #3-Polly Wolly Doodle-Student parts 1 + 2
d) Quiz examples

9. OPUS 13 – Duple Meter
a) Lesson #1-Listen; examples with activities
b) Lesson #2-A; B
c) Lesson #3-Minka-Student part 3
d) Quiz examples

10. OPUS 14 – C Major Tonality
a) Lesson #1-Chart 7
b) Lesson #2-A; B
c) Lesson #3-A; B; C-Worksheet* 7
d) Synthesis-A; B
e) Quiz examples

*simply use the pdf version of the worksheet

70

Chapter 7

Self-Paced
Review

This chapter presents a review of various aspects of
MIE that have been covered in the previous
chapters.

Review 7.1 Please choose all correct responses for each of the following questions...

Check Answer

Question 1 of 9

What is the difference between “speakers off”, and “student mute”?

A. Speakers off: nothing can be heard from the student keyboards

or student headphones

B. Student mute: speakers are off but headphones are not

C. Speakers off: only keyboard speakers are turned off!

Student mute: speakers and headphones are turned off

D. They function the same way... just different terms

E. Student mute: student keyboard volumes are set to zero

72

Chapter 8

Reference

Listing of MIE content arranged by concept, style,
and culture.

Section 1

Songbook Cross-Reference

Reference

1. Songbook Cross-Reference

2. Listening Excerpt Information

3. Charts & Worksheets

4. Opus 1 Notes & Content

Repertoire Cross-Reference & Index

A Major

Battle Hymn of the Republic (60)
Louie, Louie (106)
Scotland the Brave (Tunes of Glory) (32)
Sweetly Sings the Donkey (31)
The Star Spangled Banner (141)

Bb Major

Canon (63)
Canon (64)
Catch a Falling Star (38)
Feed the Birds (37)
Minuet (110)
Polonaise (125)
Silent Night (129)

C Major

A Whole New World (Aladdin’s Theme) (17)
A Whole New World (Aladdin’s Theme) (51)
Allegro (52)
At the Hop (43)

74

The Banana Boat Song (59)

Over the River and Through the Woods (122)
Boogie Woogie Bugle Boy (49)
Chopsticks (67)
Chumbara (36)
Come Sail Away (68)
Don’t Worry, Be Happy (73)
Do-Re-Mi (7)
Dry Bones (77)
Edelweiss (78)
Eine Kleine Nachtmusik: II (79)
God Bless the U.S.A. (88)
Hail to the Chief (89)
Hakuna Matata (90)
Hill and Gully Rider (94)
I Want to Hold Your Hand (95)

Polly Wolly Doodle (14)

Pop, Goes the Weasel (126)

Rock Around the Clock (127)

Sorida (133)

Stand By Me (134)

Step in Time (135)

Stick Game (136)

Surprise Symphony (138)

Swingin’ Sharp ‘n’ Flat (24)

Take Me out to the Ballgame (139)

The Unbirthday Song (142)

Under the Sea (146)

Variations on “Ah, Vous Dirais-Je Maman” (45)

Water Come A-Me Eye (148)
Jeopardy Theme (96)
Joy to the World (98)
Kye Kye Kule (10)
Largo (101)
Lollipop (44)
Love Somebody (107)
March (from “Children’s Notebook, Op. 69”) (16)
The Marvelous Toy (108)
Mein Hüt (109)
Mickey Mouse March (28)
Mos’, Mos’! (18)
My Home’s in Montana (114)
O Canada! (117)
O Come, Little Children (115)

When I Was a Lad (150)

When the Saints Go Marching In (151)

Yankee Doodle (152)

Zip-A-Dee-Doo-Dah (19)

D Major

Come to the Sea (26)

De Colores (70)

Don’t Be Cruel (72)

Everybody Loves Saturday Night (82)

Frosty the Snow Man (83)

Galway Piper (86)

Hallelujah (from “Messiah”) (91)

Irish Washerwoman (27)

75

Kum Ba Yah (40)

Sim Sa-La-Bim (130)
Musette (113)
Pachelbel Canon in D (123)
Shenandoah (29)
The Muppet Show Theme (25)

Db Major

New River Train (1)
Supercalifragilisticexpialidocious (137)
The Siamese Cat Song (2)

F Major

Alleluia (53)
Alouette (54)
America (33)

Skip to My Lou (39)

This Train (145)

What A Wonderful World (149)

Can Can (62)
Chiapañecas (65)
Deck the Halls (71)
Dona Nobis Pacem (74)
Erie Canal (81)
Halloween (92)
Hello! Ma Baby (93)
La Cucaracha (100)
Las Mananitas (102)
Lift Ev’ry Voice and Sing (103)
The Lonely Goatherd (105)
Love Somebody (11)
Oh, How Lovely Is the Evening (34)
San Sereni (128)

76

G Major

There’s a Hole in the Bucket (5)
A Bushel and a Peck (30)

Amazing Grace (55)
Au Clair de la Lune (58)
Bingo (61)
Down by the Bay (75)
Down by the Riverside (76)
Eleanor Rigby (80)
Frère Jacques (4/4) (20)
Frère Jacques (3/4) (21)
Give My Regards to Broadway (87)
Jingle Bells (23)
Jolly Old Saint Nicholas (97)
La Bamba (99)
Lightly Row (104)
Listen to the Mockingbird (22)
Minuet in G (111)

You’re a Grand Old Flag (154)

A Minor

Alphabet Song (6)

Für Elise (85)

Minka (15)

Sakura (Cherry Blossom) (13)

Zum Gali Gali (Version A) (8)

Zum Gali Gali (Version B) (9)

C Minor

Chim Chim Cher-ee (66)

Dark Eyes (69)

Joshua Fit the Battle of Jericho (41)

My Favorite Things (48)

Zangaiwa Chakatanga Pano (155)

Ode to Joy (116)
Oh Susannah (119)
Oh, Won’t You Sit Down? (120)
Old Dan Tucker (121)
Simple Gifts (131)
The Water is Wide (143)

Gb Major

A Ram Sam Sam (4)
Arirang (57)
The Eldest Daughter (Of the Jiang Family) (140)
The Noble Duke of York (3)

D Minor

A Taste of Honey (50)

Funeral March (84)

Oh Hannukah (Y’mey Hannukah) (118)

Oh, How Lovely Is the Evening (35)

Scarborough Fair (42)

Skin and Bones (132)

E Minor

The Ghost of John (12)

77

G Minor

Yankee Doodle (152)
Mission: Impossible Theme (112)

Pi M’Chinanga (124)

C Modal

Ah, Vous Dirais-Je Maman a la Mode (46)

2/2 Meter

Boogie Woogie Bugle Boy (49)
Eine Kleine Nachtmusik: II (79)
Hakuna Matata (90)
Zip-A-Dee-Doo-Dah (19)
Everybody Loves Saturday Night (82)
Supercalifragilisticexpialidocious (137)
Hello! Ma Baby (93)
Give My Regards to Broadway (87)
This Land is Your Land (144)
You’re a Grand Old Flag (154)

Galway Piper (86)

New River Train (1)

Alleluia (53)

Can Can (62)

San Sereni (128)

Skip to My Lou (39)

Bingo (61)

Jingle Bells (23)

Jolly Old Saint Nicholas (97)

Lightly Row (104)

Oh Susannah (119)

Simple Gifts (131)

The Noble Duke of York (3)

Alphabet Song (6)

Minka (15)

Sakura (Cherry Blossom) (13)

Zangaiwa Chakatanga Pano (155)

2/4 Meter

Do-Re-Mi (7)
Joy to the World (98)
Love Somebody (107)
March (from “Children’s Notebook, Op. 69”) (16)
Mos’, Mos’! (18)
O Come, Little Children (115)
Polly Wolly Doodle (14)
Variations on “Ah, Vous Dirais-Je Maman” (45)
When I Was a Lad (150)

Pi M’Chinanga (124)

3/4 Meter

The Star Spangled Banner (141)

Feed the Birds (37)

Minuet (110)

Polonaise (125)

Silent Night (129)

Chopsticks (67)

Edelweiss (78)

Mein Hüt (109)

78

Over the River and Through the Woods (122)

4/4 Meter

Stick Game (136)
Take Me out to the Ballgame (139)
Come to the Sea (26)
Kum Ba Yah (40)
America (33)
Chiapañecas (65)
Dona Nobis Pacem (74)
Halloween (92)
La Cucaracha (100)
Las Mañanitas (102)
Oh, How Lovely Is the Evening (34)
Amazing Grace (55)
Frère Jacques (21)
Minuet in G (111)

A Bushel and a Peck (30)

A Ram Sam Sam (4)

A Whole New World (Aladdin’s Theme) (17)

A Whole New World (Aladdin’s Theme) (51)

Ah, Vous Dirais-Je Maman à la Mode (46)

Allegro (52)

Alouette (54)

America, The Beautiful (56)

At the Hop (43)

Au Clair de la Lune (58)

Battle Hymn of the Republic (60)

Catch a Falling Star (38)

Chumbara (36)

Come Sail Away (68)
We Wish You a Merry Christmas (47)

Arirang (57)
There’s a Hole in the Bucket (5)
Für Elise (85)
Chim Chim Cher-ee (66)
Dark Eyes (69)
My Favorite Things (48)
A Taste of Honey (50)
Oh, How Lovely Is the Evening (35)
Scarborough Fair (42)

4/2 Meter

Canon (63)
Canon (64)

Deck the Halls (71)

Don’t Be Cruel (72)

Don’t Worry, Be Happy (73)

Down by the Bay (75)

Down by the Riverside (76)

Dry Bones (77)

Eleanor Rigby (80)

Erie Canal (81)

Frère Jacques (20)

Frosty the Snow Man (83)

Funeral March (84)

God Bless the U.S.A. (88)

Hail to the Chief (89)

79

Hallelujah (from “Messiah”) (91)

The Eldest Daughter (Of the Jiang Family) (140)
Hill and Gully Rider (94)
I Want to Hold Your Hand (95)
Jeopardy Theme (96)
Joshua Fit the Battle of Jericho (41)
Kye Kye Kule (10)
La Bamba (99)
Largo (101)
Listen to the Mockingbird (22)
Lollipop (44)
Louie, Louie (106)
Love Somebody (11)
Musette (113)
My Home’s in Montana (114)
O Canada! (117)

The Ghost of John (12)

The Lonely Goatherd (105)

The Marvelous Toy (108)

The Muppet Show Theme (25)

The Siamese Cat Song (2)

The Unbirthday Song (142)

The Water is Wide (143)

This Train (145)

Under the Sea (146)

Walking in the Sunshine (147)

Water Come A-Me Eye (148)

What A Wonderful World (149)

When the Saints Go Marching In (151)

Yellow Submarine (153)
Ode to Joy (116)
Oh Hannukah (Y’mey Hannukah) (118)
Oh, Won’t You Sit Down? (120)
Old Dan Tucker (121)
Pachelbel Canon in D (123)
Rock Around the Clock (127)
Scotland the Brave (Tunes of Glory) (32)
Shenandoah (29)
Stand By Me (134)
Step in Time (135)
Surprise Symphony (138)
Sweetly Sings the Donkey (31)
Swingin’ Sharp ‘n’ Flat (24)
The Banana Boat Song (59)

Zum Gali Gali (Version A) (8)

Zum Gali Gali (Version B) (9)

5/4 Meter

Sim Sa-La-Bim (130)

Mission: Impossible Theme (112)

6/8 Meter

Mickey Mouse March (28)

Pop, Goes the Weasel (126)

Sorida (133)

De Colores (70)

Irish Washerwoman (27)

Lift Ev’ry Voice and Sing (103)

80

Skin and Bones (132)

Iconic Notation

A Ram Sam Sam (4)
Alphabet Song (6)
Do-Re-Mi (7)
Hello! Ma Baby (93)
New River Train (1)
Supercalifragilisticexpialidocious (137)
The Noble Duke of York (3)
The Siamese Cat Song (2)
There’s a Hole in the Bucket (5)

Catch a Falling Star (38)

Come to the Sea (26)

Everybody Loves Saturday Night (82)

Hakuna Matata (90)

Jeopardy Theme (96)

Kye Kye Kule (10)

Mission: Impossible Theme (112)

Pop, Goes the Weasel (126)

Skin and Bones (132)

Sorida (133)

Zangaiwa Chakatanga Pano (155)

You’re a Grand Old Flag (154)
Zum Gali Gali (Version A) (8)
Zum Gali Gali (Version B) (9)

Black Key Pentatonic

Arirang (57)
The Eldest Daughter (140)
There’s a Hole in the Bucket (5)

Call & Response

Down by the Bay (75)
Kye Kye Kule (10)
Love Somebody (11)
When the Saints Go Marching In (151)

Ensemble Parts

A Bushel and a Peck (30)

A Taste of Honey (50)

A Whole New World (Aladdin’s Theme) (17)

Allegro (52)

Alleluia (53)

America (33)

Au Clair de la Lune (58)

Boogie Woogie Bugle Boy (49)

Can Can (62)

Canon (63)

Canon (64)

Catch a Falling Star (38)

Chiapañecas (65)

Percussion Parts

Au Clair de la Lune (58)
Bingo (61)

Chumbara (36)

Come to the Sea (26)

Dark Eyes (69)

81

Dona Nobis Pacem (74)

Polly Wolly Doodle (14)
Don’t Worry, Be Happy (73)
Down by the Bay (75)
Eine Kleine Nachtmusik: II (79)
Eleanor Rigby (80)
Everybody Loves Saturday Night (82)
Feed the Birds (37)
Frère Jacques (20)
Frère Jacques (21)
Hakuna Matata (90)
Hallelujah (from “Messiah”) (91)
Irish Washerwoman (27)
Jeopardy Theme (96)
Jingle Bells (23)
Joy to the World (98)

Polonaise (125)

Sakura (Cherry Blossom) (13)

Scotland the Brave (Tunes of Glory) (32)

Shenandoah (29)

Simple Gifts (131)

Skin and Bones (132)

Skip to My Lou (39)

Sorida (133)

Supercalifragilisticexpialidocious (137)

Sweetly Sings the Donkey (31)

Swingin’ Sharp ‘n’ Flat (24)

The Ghost of John (12)

The Muppet Show Theme (25)

The Unbirthday Song (142)
Lift Ev’ry Voice and Sing (103)
Lightly Row (104)
Listen to the Mockingbird (22)
Love Somebody (11)
March (from “Children’s Notebook, Op. 69”) (16)
Mein Hüt (109)
Mickey Mouse March (28)
Minka (15)
Minuet (110)
Mission: Impossible Theme (112)
Mos’, Mos’! (18)
Oh, How Lovely Is the Evening (34)
Oh, How Lovely Is the Evening (35)
Pachelbel Canon in D (123)

Walking in the Sunshine (147)

We Wish You a Merry Christmas (47)

When the Saints Go Marching In (151)

Yankee Doodle (152)

Yellow Submarine (153)

Zangaiwa Chakatanga Pano (155)

Zip-A-Dee-Doo-Dah (19)

1st & 2nd Endings

I Want to Hold Your Hand (95)

Lift Ev’ry Voice and Sing (103)

The Lonely Goatherd (105)

Rock Around the Clock (127)

The Star Spangled Banner (141)

82

The Water is Wide (143)

D. C. al Coda

Chopsticks (67)
Don’t Worry, Be Happy (73)
Feed the Birds (37)

Pop, Goes the Weasel (126)

San Sereni (128)

Step in Time (135)

When I Was a Lad (150)

Yankee Doodle (152)

La Bamba (99)
Louie, Louie (106)

D. C. al Fine

Alouette (54)
Largo (101)
Lollipop (44)
The Lonely Goatherd (105)
Oh, Won’t You Sit Down? (120)
This Land is Your Land (144)
We Wish You a Merry Christmas (47)
Yellow Submarine (153)

Triads

A Whole New World (Aladdin’s Theme) (17)
Banana Boat Song (59)
Chumbara (36)
Hill and Gully Rider (94)
La Cucaracha (100)

Ostinato

Arirang (57)

Boogie Woogie Bugle Boy (49)

Catch a Falling Star (38)

Frère Jacques (20)

Frère Jacques (21)

Funeral March (84)

Jingle Bells (23)

Louie, Louie (106)

O Come, Little Children (115)

Over the River and Through the Woods (122)

Pachelbel Canon in D (123)

Pop, Goes the Weasel (126)

Skin and Bones (132)

Stand By Me (134)

Sweetly Sings the Donkey (31)

The Eldest Daughter (Of the Jiang Family) (140)

This Train (145)

Largo (101)
My Favorite Things (48)
My Home’s in Montana (114)
Pi M’Chinanga (124)

Accidentals

America, The Beautiful (56)

At the Hop (43)

Catch a Falling Star (38)

83

Chim Chim Cher-ee (66)

America, The Beautiful (56)
Come to the Sea (26)
Dark Eyes (69)
Dry Bones (77)
Für Elise (85)
Give My Regards to Broadway (87)
Halloween (92)
Musette (113)
Swingin’ Sharp ‘n’ Flat (24)
Take Me out to the Ballgame (139)
We Wish You a Merry Christmas (47)
What A Wonderful World (149)

Scale

Alphabet Song (6)
Chumbara (36)
Stick Game (136)

Arirang (57)

Battle Hymn of the Republic (60)

Deck the Halls (71)

Don’t Worry, Be Happy (73)

Down by the Bay (75)

Dry Bones (77)

Erie Canal (81)

Feed the Birds (37)

Funeral March (84)

God Bless the U.S.A. (88)

I Want to Hold Your Hand (95)

Joy to the World (98)

Kum Ba Yah (40)

Largo (101)

Las Mananitas (102)

My Home’s in Montana (114)

Key Change

Dry Bones (77)
Jeopardy Theme (96)
Kum Ba Yah (40)
Variations on “Ah, Vous Dirais-Je Maman” (45)

Dotted Rhythm

A Bushel and a Peck (30)
A Taste of Honey (50)
Alouette (54)
America (33)

O Canada! (117)

Oh Susannah (119)

Pi M’Chinanga (124)

Scotland the Brave (Tunes of Glory) (32)

Shenandoah (29)

Silent Night (129)

The Eldest Daughter (Of the Jiang Family) (140)

The Star Spangled Banner (141)

Water Come A-Me Eye (148)

What A Wonderful World (149)

Yellow Submarine (153)

84

Syncopation

Mickey Mouse March (28)
A Whole New World (Aladdin’s Theme) (51)

Come Sail Away (68)
Down by the Riverside (76)
Hakuna Matata (90)
Hello! Ma Baby (93)
Hill and Gully Rider (94)
La Bamba (99)
Louie, Louie (106)
Mission: Impossible Theme (112)
Old Dan Tucker (121)
Pi M’Chinanga (124)
Rock Around the Clock (127)
Stand By Me (134)
The Eldest Daughter (140)
This Train (145)
Under the Sea (146)
Water Come A-Me Eye (148)

Oh Susannah (119)

Old Dan Tucker (121)

Scarborough Fair (42)

Silent Night (129)

Skip to My Lou (39)

The Star Spangled Banner (141)

This Land is Your Land (144)

Classical Repertoire

Ah, Vous Dirais-Je Maman a la Mode (46)

Allegro (52)

Alleluia (53)

Can Can (62)

Eine Kleine Nachtmusik: II (79)

Funeral March (84)

Für Elise (85)

Hallelujah (from “Messiah”) (91)

Largo (101)

Leadsheet

A Whole New World (Aladdin’s Theme) (51)
At the Hop (43)
Don’t Be Cruel (72)
Hello! Ma Baby (93)
I Want to Hold Your Hand (95)
Joy to the World (98)
Kum Ba Yah (40)
Lightly Row (104)
Lollipop (44)

March (from “Children’s Notebook, Op. 69”) (16)

Minuet (110)

Minuet in G (111)

Musette (113)

Ode to Joy (116)

Pachelbel Canon in D (123)

Polonaise (125)

Surprise Symphony (138)

Variations on “Ah, Vous Dirais-Je Maman” (45)

When I Was a Lad (150)

85

Movie/Cartoons

Dona Nobis Pacem (74)
A Bushel and a Peck (30)

A Whole New World (Aladdin’s Theme) (51)
A Whole New World (Aladdin’s Theme) (17)
Chim Chim Cher-ee (66)
Do-Re-Mi (7)
Edelweiss (78)
Feed the Birds (37)
Hakuna Matata (90)
Halloween (92)
The Lonely Goatherd (105)
Mickey Mouse March (28)
Mission: Impossible Theme (112)
My Favorite Things (48)
Stand By Me (134)
Step in Time (135)
The Muppet Show Theme (25)
The Unbirthday Song (142)
Under the Sea (146)
Zip-A-Dee-Doo-Dah (19)

Down by the Riverside (76)

Dry Bones (77)

Joshua Fit the Battle of Jericho (41)

Kum Ba Yah (40)

O Come, Little Children (115)

Oh Hannukah (Y’mey Hannukah) (118)

Oh, Won’t You Sit Down? (120)

Simple Gifts (131)

This Land is Your Land (144)

This Train (145)

Walking in the Sunshine (147)

We Wish You a Merry Christmas (47)

Yellow Submarine (153)

Folk Song

Alouette (54)

Arirang (57)

Au Clair de la Lune (58)

Bingo (61)

Chiapañecas (65)

Blues

At the Hop (43)
Boogie Woogie Bugle Boy (49)
Rock Around the Clock (127)

Spiritual/Religious

Amazing Grace (55)
Canon (63)

Chopsticks (67)

Chumbara (36)

Come to the Sea (26)

Dark Eyes (69)

De Colores (70)

Deck the Halls (71)

Down by the Bay (75)

Erie Canal (81)

86

Frère Jacques (20)

Skin and Bones (132)
Frère Jacques (21)
Galway Piper (86)
Hill and Gully Rider (94)
Irish Washerwoman (27)
Kum Ba Yah (40)
La Cucaracha (100)
Las Mañanitas (102)
Lightly Row (104)
Love Somebody (11)
Love Somebody (107)
Mein Hüt (109)
Minka (15)
Mos’, Mos’! (18)
My Home’s in Montana (114)

Skip to My Lou (39)

Sorida (133)

Sweetly Sings the Donkey (31)

The Eldest Daughter (140)

The Water is Wide (143)

Water Come A-Me Eye (148)

We Wish You a Merry Christmas (47)

When the Saints Go Marching In (151)

Yankee Doodle (152)

Zum Gali Gali (Version A) (8)

Zum Gali Gali (Version B) (9)

Africa

Kye Kye Kule (10)
New River Train (1)

Oh Hannukah (Y’mey Hannukah) (118)
Oh Susannah (119)
Oh, How Lovely Is the Evening (34)
Oh, How Lovely Is the Evening (35)
Old Dan Tucker (121)
Pi M’Chinanga (124)
Polly Wolly Doodle (14)
Pop, Goes the Weasel (126)
Sakura (Cherry Blossom) (13)
San Sereni (128)
Scarborough Fair (42)
Shenandoah (29)
Sim Sa-La-Bim (130)

America

America (33)

Erie Canal (81)

Love Somebody (11)

My Home’s in Montana (114)

New River Train (1)

Old Dan Tucker (121)

Polly Wolly Doodle (14)

Pop, Goes the Weasel (126)

Shenandoah (29)

Skip to My Lou (39)

Yankee Doodle (152)

87

Canada

Chumbara (36)
O Canada! (117)

Irish Washerwoman (27)

Israel

Zum Gali Gali (Version A) (8)

China

The Eldest Daughter (140)

Denmark

Sim Sa-La-Bim (130)

England

Scarborough Fair (42)
Sweetly Sings the Donkey (31)
We Wish You a Merry Christmas (47)

France

Alouette (54)
Au Clair de la Lune (58)

Zum Gali Gali (Version B) (9)

Italy

Come to the Sea (26)

Jamaica

Hill and Gully Rider (94)

Water Come A-Me Eye (148)

Japan

Sakura (Cherry Blossom) (13)

Korea

Arirang (57)
Frère Jacques (3/4) (21)

Frère Jacques (4/4) (20)

Germany

Lightly Row (104)
Mein Hüt (109)

Hassidic

Oh Hannukah (Y’mey Hannukah) (118)

Ireland

Galway Piper (86)

Latin America

San Sereni (128)

Mexico

Chiapañecas (65)

De Colores (70)

La Cucaracha (100)

Las Mañanitas (102)

Native American

Mos’, Mos’! (18)

88

Russia

Dark Eyes (69)
Minka (15)

Scotland

Scotland the Brave (Tunes of Glory) (32)

Wales

Deck the Halls (71)

Holiday/Patriotic

America (33)
America, The Beautiful (56)
Battle Hymn of the Republic (60)

You’re a Grand Old Flag (154)

Deck the Halls (71)
Frosty the Snow Man (83)
God Bless the U.S.A. (88)
Hail to the Chief (89)
Jingle Bells (23)
Jolly Old Saint Nicholas (97)
Joy to the World (98)
O Canada! (117)
Over the River and Through the Woods (122)
Scotland the Brave (Tunes of Glory) (32)
Silent Night (129)
The Ghost of John (12)
The Star Spangled Banner (141)
This Land is Your Land (144)
We Wish You a Merry Christmas (47)

89

Section 2

Listening Excerpt Reference

Reference

1. Songbook Cross-Reference

2. Listening Excerpt Information

3. Charts & Worksheets

4. Opus 1 Notes & Content

Listening Excerpt Cross-Reference & Index

A KNIFE AND A FORK (Hennie–Anderson–Barge) Rockpile.!p!1980 Riviera Global Re-

‣

cord Productions Ltd. Courtesy of Sony Music Entertainment Inc.
:29

A MIGHTY FORTRESS (Bach) E. Power Biggs, organ. Courtesy of Sony Music Entertain-

‣

ment Inc.
1:24
A TASTE OF HONEY (Marlow–Scott) Tony Bennett; Dick Hyman, conductor. Courtesy of

‣

Sony Music Entertainment Inc.
:31
ADAGIO (Albinoni) Royal Liverpool Philharmonic; Sir Charles Groves, conductor. Cour-

‣

tesy of EMI Records Ltd.
:55
AIR from SUITE No. 3 BWV 1068 (Bach) Academy of St. Martin-in-the- Fields; Neville

‣

Marriner, conductor.!p!1974 EMI Records Ltd. Courtesy of EMI Records Ltd.
:31
ALL BLUES (Davis) Miles Davis, trumpet. Courtesy of Sony Music Entertainment Inc.

‣

1:02
ALSO SPRACH ZARATHUSTRA, Op. 30 (Strauss) New York Philharmonic; Zubin

‣

Mehta, conductor. Courtesy of Sony Music Entertainment Inc.
:45
AMAZING GRACE (Traditional) The Pipes and Drums and Military Band of the Regimen-

‣

tal Brigade of Scotland.!p!1972 RCA Records Inc. Courtesy of BMG Special Products, a
division of BMG Direct Marketing, Inc.
1:02
ANOTHER BRICK IN THE WALL, PART 2 (Walters) Pink Floyd.!p!1979 Pink Floyd Music

‣

Ltd. Courtesy of Sony Music Entertainment Inc.
:29

90

ASCENDIT (OFFERTORY) Schola Cantorum of Amsterdam Students; Wim van Gerven, conductor.!p!1973 Sony Music Entertainment Inc. Courtesy of

‣

Sony Music Entertainment Inc.
BAILERO from CHANTS D’AUVERGNE (Cantaloube) Thelma Keating, soprano; The London Symphony Orchestra; John Keating, conductor.!p 1973

‣

EMI Records Ltd. Courtesy of EMI Records Ltd. :55
BALLET OF THE CHICKS IN THEIR SHELLS from PICTURES AT AN EXHIBITION (Mussorgsky) Sviatoslav Richter, piano. Courtesy of Sony Music Enter-

‣

tainment Inc. :35
BIJOU (Hendricks–Burns) Lambert, Hendricks and Ross. Courtesy of Sony Music Entertainment Inc. 1:01

‣

BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR (arr. Parnell) Dennis Parnell, synthesizers. Courtesy of Yamaha Corporation of America

‣

:26

:58

BLUE DANUBE WALTZ, Op. 314 (Strauss) The Philadelphia Orchestra; Eugene Ormandy, conductor. Courtesy of Sony Music Entertainment Inc.

‣

BOIL THE BREAKFAST EARLY (arr. Maloney) The Chieftans.!p!1979 Claddagh Records Ltd. Courtesy of Sony Music Entertainment Inc.

‣

BONGO BEEP (Parker) Dirty Dozen Brass Band. Courtesy of Concord Jazz Inc.

‣

BRIDGE OVER TROUBLED WATER (Simon) Courtesy of American Hero Music

‣

BRISAD DEL ZULIA, Steel Bands of Trinidad and Tobago. Courtesy of Delos International, Inc.

‣

CANON IN D (Pachelbel) Academy of St. Martin-in-the-Fields; Neville Marriner, conductor.!p!1974 EMI Records Ltd. Courtesy of EMI Records Ltd.

‣

:34
CANZON A 12 IN ECHO (Gabrieli) Philadelphia Brass Ensemble. Courtesy of Sony Music Entertainment Inc.

‣

CAPRICCIO ITALIEN (Tchaikovsky) The Philadelphia Orchestra; Eugene Ormandy, conductor. Courtesy of Sony Music Entertainment Inc.

‣

CARAVAN (Ellington–Tizol–Mills) New York Voices.!p!1989 GRP Records Inc. Courtesy of GRP Records Inc.

‣

CHEDO (Traditional) Sounds of West Africa. Courtesy of Lyrichord Records

‣

CHINESE DANCE from NUTCRACKER SUITE, Op. 71A (Tchaikovsky) Philharmonia Orchestra; Michael Tilson Thomas, conductor.!p!1985 Sony Mu-

‣

sic Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :28
COME IF YOU DARE from KING ARTHUR (Purcell) The Deller Consort. p!1979 Harmonia Mundi France. Courtesy of Harmonia Mundi U.S.A.

‣

CONCERTO FOR VIOLIN AND ORCHESTRA IN D MINOR (Tartini) Chamber Orchestra of the Vienna State Opera; Jan Tomasow, violinist and con-

‣

ductor. Courtesy of Omega Records, Inc. :27
CONCERTO No. 2 IN G MINOR from L’ESTRO ARMONICO, Op. 3, ADAGIO E SPICCATO (Vivaldi) Academy of Ancient Music; Christopher Hog-

‣

wood, conductor.!p!1982 The Decca Record Co. Ltd. Courtesy of PolyGram Special Projects, a division of PolyGram Records :56

:48
1:19

:29

:53

1:09

1:02

:26

:30

:48

:37

CONNECTION (Billings) The Gregg Smith Singers; Gregg Smith, conductor. Courtesy of Sony Music Entertainment Inc.

‣

COOL WATER (Nolan) Burl Ives. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc.

‣

DANCE OF THE MAYA (McLaughlin) The Mahavishnu Orchestra. Courtesy of Sony Music Entertainment Inc.

‣

DANIEL, Willis Proctor, leader with singers.!p!1977 Recorded Anthology of Music. Courtesy of New World Records.

‣

DO RE MI from THE SOUND OF MUSIC (Rodgers–Hammerstein) Mary Martin. Courtesy of Sony Music Entertainment Inc.

‣

DRY BONES, Delta Rhythm Boys. Courtesy of BMG Special Products, a division of BMG Direct Marketing, Inc.

‣

DUELING BANJOS (arr. Weissberg) Earl Scruggs, banjo.!p!1973 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc.

‣

EBONY AND IVORY (McCartney) Courtesy of American Hero Music

‣

:56

:51

1:04

1:06

1:01

:20

1:05

1:04

91

EINE KLEINE NACHTMUSIK, 1. ALLEGRO (Mozart) Academy of St. Martin- in-the-Fields; Neville Marriner, conductor.!p!1977 EMI Records Ltd. Cour-

‣

tesy of EMI Records Ltd.
EINE KLEINE NACHTMUSIK, 3. MENUETTO (Mozart) Academy of St. Martin- in-the-Fields; Neville Marriner, conductor.!p!1977 EMI Records Ltd.

‣

Courtesy of EMI Records Ltd. :48

:04

ESPAÑA RHAPSODY (Chabrier) Orchestre de Paris; Jean-Pierre Jacquillat, conductor. Courtesy of EMI Records Ltd.

‣

FETES from NOCTURNES (Debussy) Philharmonia Orchestra; Michael Tilson-Thomas, conductor.!p!1983 Sony Music Entertainment Inc. Courtesy of

‣

Sony Music Entertainment Inc. 1:10
FLIGHT OF THE BUMBLEBEE (Rimsky-Korsakov) Wynton Marsalis, trumpet; Eastman Wind Ensemble; Donald Hunsberger, conductor.!p!1988 Sony

‣

Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :29
FUGUE from CHAMBER MUSIC FOR FOUR B-FLAT CLARINETS (Owen) Los Angeles Clarinet Society. Courtesy of Avant Music

‣

FUGUE IN C MINOR (FUGA VULGARIS) FOR CALLIOPE FOUR HANDS from TOOT SUITE (Schickele) Peter Schickele and Robert Dennis, calliope.

‣

Courtesy of Welk Record Group :53
FUGUE IN G MINOR (Bach) E. Power Biggs, organ. Courtesy of Sony Music Entertainment Inc.

‣

GLASSPIECE No. 2 from FACADES (Glass) Philip Glass Ensemble; Michael Riesman, conductor.!p!1982 Sony Music Entertainment Inc. Courtesy of

‣

Sony Music Entertainment Inc. 1:01
HABANERA from CARMEN (Bizet) New York Philharmonic; Leonard Bernstein, conductor. Courtesy of Sony Music Entertainment Inc.

‣

HAPPY BIRTHDAY VARIATIONS IN LUDWIG‘S STYLE (Hambro) Leonid Hambro, piano. Courtesy of Sony Music Entertainment Inc.

‣

HAPPY TOGETHER (Bonner–Gordon) The Turtles. Courtesy of Flo and Eddie, Inc.

‣

HONEY HUSH (Turner) Count Basie, piano; Joe Turner, vocal.!p!1974 Pablo Records. Courtesy of Fantasy Inc. 1:00

‣

HOW DARE YOU (Trzetrzelewska–White) Basia.!p!1986, 1987 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :1:03

‣

I BOUGHT ME A CAT (arr. Copland–Fine) The Abbey Singers. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc. 1:05

‣

I CAN’T HELP IT IF I’M STILL IN LOVE WITH YOU (Williams, Sr.) Hank Williams, Jr. Released by agreement with SBK Record Productions Inc. :35

‣

I GOT RHYTHM from GIRL CRAZY (Gershwin–Gershwin) Mary Martin, vocal; Lehman Engel, conductor.!p!1973 Sony Music Entertainment Inc.

‣

Courtesy of Sony Music Entertainment Inc. :40
I WONDER IF I CARE AS MUCH (Everly–Everly) The Everly Brothers. Courtesy of Barnaby Records Inc. :55

‣

JAPANESE NATIONAL ANTHEM, The Royal Australian Air Force Central Band; L.H. Hicks, L.R.A.M., A.R.C.M. Courtesy of Sony Music Entertainment

‣

Inc. :58
JESU, JOY OF MAN’S DESIRING (Bach, arr. Thalben-Ball) Temple Church Choir; George Thalben-Ball, conductor. Courtesy of EMI Records Ltd. 1:02

‣

JOHN COME KISS ME NOW (Byrd) Paul Maynard, harpsichord. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc.

‣

1:41
JOY–RAGA DES, G.S. Sachdev, bamboo flute. Courtesy of Lyrichord Records :34

‣

KALEENKA (Traditional) Alexandrov Song and Dance Ensemble. Courtesy of Welk Record Group 1:10

‣

KETJAK, Gamelan Ensemble. Courtesy of Musical Heritage Society :54

‣

KLAVIERSTÜCK, Op. 33A (Schoenberg) Glenn Gould, piano. Courtesy of Sony Music Entertainment Inc. :38

‣

LA MOURISQUE (Susato) Early Music Consort of London; David Munrow, conductor. Courtesy of EMI Records Ltd. 1:14

‣

:38

1:01

1:03

1:02

1:26

92

LAISSER LES BONTEMPS ROULER (Kelly–Didier) Helen Reddy.!p!1977 Capitol Records, Inc. Courtesy of Capitol Records, Inc., under license from

‣

CEMA Special Markets :31
LAMA NORBU GYAMTSHO, sung by Monks of Bhutan. Courtesy of Lyrichord Records. :24

‣

LE BANANIER (Gottschalk) Eugene List, piano. Courtesy of Omega Records, Inc. 1:10

‣

LET THE GOOD TIMES ROLL (Lee) Shirley and Lee. Courtesy of M.C. Productions :30

‣

LITTLE STAR (Picone) The Elegants. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc. :35

‣

LOUIE, LOUIE (Berry) Paul Revere and the Raiders. Courtesy of Sony Music Entertainment Inc. :42

‣

LOUIE, LOUIE (Berry) Paul Revere and The Raiders. Courtesy of Sony Music Entertainment Inc. :24

‣

MARCH from SECOND SUITE IN F, Op. 28, No. 2 (Holst) Royal Air Force Central Band; Eric Banks, conductor. Courtesy of EMI Records Ltd. :54

‣

MARCHE SLAV, Op. 31 (Tchaikovsky) Andre Previn, conductor. Courtesy of EMI Records Ltd. :26

‣

MARTIAL AIR (Clarke) New England Brass Ensemble. Courtesy of Sony Music Entertainment Inc. :30

‣

MIAMI VICE THEME (Hammer) Jan Hammer. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc. :27

‣

MINUET No. 2 IN G (Beethoven) Igor Kipnis, harpsichord. Courtesy of Sony Music Entertainment Inc. :55

‣

MOUNTAIN CITY BLUES (Troutt) Clarence Williams Orchestra. Courtesy of Sony Music Entertainment Inc. :26

‣

MR. GONE (Zawinul) Weather Report.!p!1978 Sony Music Entertainment Inc., Courtesy of Sony Music Entertainment Inc. :32

‣

MY BONNIE LASS SHE SMELLETH (Schickele) Peter Schickele. Courtesy of Welk Record Group 1:06

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MY FEET CAN’T FAIL ME NOW (Dirty Dozen Brass Band) The Dirty Dozen Brass Band.!p 1984 Concord Jazz Inc. Courtesy of Concord Jazz Inc. :31

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MY SUGAR IS SO REFINED (Lippman–Dee) The Hi-Los. Courtesy of Sony Music Entertainment Inc. 1:04

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MYSTERIOSO (Monk) Thelonious Monk, piano. Courtesy of Capitol Records Inc., under license from CEMA Special Markets :41

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NUAGES from THREE NOCTURNES (Debussy) Philharmonia Orchestra; Carlo Maria Giulini, conductor. Courtesy of EMI Records Ltd. :40

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OLD JOE CLARK (Traditional) The Rooftop Singers. Courtesy of Welk Record Group :42

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OLE MISS RAG (Handy) Scott Joplin, piano roll. Courtesy of Biograph Records Inc. :41

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ON GREEN DOLPHIN STREET (Kaper–Washington) Miles Davis. Courtesy of Sony Music Entertainment Inc. 1:45

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ON GREEN DOLPHIN STREET (Kaper–Washington) Miles Davis. Courtesy of Sony Music Entertainment Inc. 1:09

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OVER THE RAINBOW from THE WIZARD OF OZ (Harburg–Arlen) Judy Garland. Released by agreement with SBK Record Productions Inc.

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OVERTURE TO L’ITALIANA IN ALGERI (Rossini) Philharmonia Orchestra; Carlo Maria Giulini, conductor. Courtesy of EMI Records Ltd. :32

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OYE COMO VA (Puente) Santana. Courtesy of Sony Music Entertainment Inc. :27

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OYE COMO VA (Puente) Santana.!p!1974 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :27

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PACHANGA ORIENTAL (Rivera) Ray Barretto and the Charanga Band. Courtesy of Fantasy Inc. :53

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PIANISTS from CARNIVAL OF THE ANIMALS (Saint-Saëns) Aldo Ciccolini, Alexis Weissenberg, pianists; The Paris Conservatoire Orchestra; George

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Pretre, conductor. Courtesy of EMI Records Ltd. :30
PIANO CONCERTO No. 1, First Movement (Tchaikovsky) Gary Graffman, piano; The Cleveland Orchestra; George Szell, conductor. Courtesy of

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Sony Music Entertainment Inc. :55
PRELUDE IN C MINOR, Op. 28, No. 20 (Chopin) Murray Perahia, piano. p!1975 Sony Music Entertainment Inc. Courtesy of Sony Music Entertain-

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ment Inc. :28
PRELUDE IN E MINOR (Chopin) Vladimir Feltsman, piano.!p!1985 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :37

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PRELUDE No. 1 from THREE PRELUDES (Gershwin) Oscar Levant, piano. Courtesy of Sony Music Entertainment Inc. :36

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93

PRELUDE No. 1 IN C MAJOR from THE WELL-TEMPERED CLAVIER, BOOK I (Bach) Glenn Gould, piano. Courtesy of Sony Music Entertainment Inc.

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:32
PRELUDE No. 12 IN B-FLAT MAJOR from THE WELL-TEMPERED CLAVIER, BOOK I (Bach) Glenn Gould, piano.!p!1975 Sony Music Entertainment

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Inc. Courtesy of Sony Music Entertainment Inc. :37
PSALM 67 (Ives) The Gregg Smith Singers; Gregg Smith, conductor. Courtesy of Sony Music Entertainment Inc. 1:06

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QUIET LADY (Garvin) Bill Watrous.!p!1975 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc.

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RHAPSODY IN BLUE (Gershwin) Columbia Symphony Orchestra; Leonard Bernstein, pianist and conductor. Courtesy of Sony Music Entertainment

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:51

Inc.(3) :49
RONDEAU (Mouret) Gerard Schwarz, trumpet; Philharmonia Virtuosi of New York; Richard Kapp, conductor.!p!1976 Sony Music Entertainment Inc.

‣

Courtesy of Sony Music Entertainment Inc. :25
RONDEAU (Mouret) Philharmonia Virtuosi of New York; Richard Kapp, ; Gerard Schwarz, trumpet.!p!1989 Sony Music Entertainment. Courtesy of

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Sony Music Entertainment Inc. :26
ROUND O (Purcell) Igor Kipnis, harpsichord. Courtesy of Sony Music Entertainment Inc. 1:04

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RUSSIAN EASTER OVERTURE (Rimsky-Korsakov) The Philadelphia Orchestra; Eugene Ormandy, conductor. Courtesy of Sony Music Entertainment

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Inc. :51
SALT PEANUTS (Gillespie–Clark) Dizzy Gillespie, Charlie Parker Courtesy of Fantasy, Inc. :41

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SCHEHERAZADE, 1. THE SEA AND SINBAD’S SHIP (Rimsky-Korsakov) Israel Philharmonic Orchestra; Zubin Mehta, conductor.!p!1988 Sony Music

‣

Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :56
SCHEHERAZADE, Op. 35, First Movement (Rimsky-Korsakov) Israel Philharmonic; Zubin Mehta, conductor.!p!1988 Sony Music Entertainment Inc.

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Courtesy of Sony Music Entertainment Inc. 1:08
SEGERA MADU, Balinese Gamelan Ensemble. Courtesy of Lyrichord Records. :47

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SOMEWHERE OUT THERE (Horner–Mann–Weil) Steel Bands of Trinidad and Tobago. Courtesy of Delos International, Inc. 1:22

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SONG WITHOUT WORDS from SECOND SUITE IN F FOR MILITARY BAND (Holst) Royal Air Force Central Band; Eric Banks, conductor. Courtesy

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of EMI Records Ltd. 1:20
SPIRIT IN THE SKY (Greenbaum) Courtesy of American Hero Music :37

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STAR TREK THEME (Courage) London Symphony Orchestra; Ettore Stratta, conductor.!p!1980 Sony Music Entertainment Inc. Courtesy of Sony Music

‣

Entertainment Inc. :28
STRANDED IN THE JUNGLE (Smith–Johnson–Curry) The Cadets. Courtesy of Virgin Records America Inc. :51

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STRANDED IN THE JUNGLE (Smith–Johnson–Curry) The Cadets. Courtesy of Virgin Records America Inc. 1:04

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STRAWBERRIES from PORGY AND BESS (Gershwin) Miles Davis. Courtesy of Sony Music Entertainment Inc. :46

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STRING QUARTET No. 13 IN B-FLAT, Op. 130, Fourth Movement (Beethoven) The Julliard String Quartet.!p!1974 Sony Music Entertainment Inc.

‣

Courtesy of Sony Music Entertainment Inc. :48
SUITE No. 1 IN G (Purcell) Jerold Ranck, harpsichord. Courtesy of Musical Heritage Society :25

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SUNRISE, SUNSET from FIDDLER ON THE ROOF (Bock–Harnick) Original London Cast–Topol, Miriam Karlin, and company. Courtesy of Sony Mu-

‣

sic Entertainment Inc. 1:54
SUR UN CASQUE (OF A HELMET) (Satie) Aldo Ciccolini, piano. Courtesy of EMI Records Ltd. :53

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94

SYMPHONY No. 2 IN C MINOR, Second Movement (Tchaikovsky) Chicago Symphony Orchestra; Claudio Abbado, conductor.!p!1985 Sony Music Entertain-

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ment Inc. Courtesy of Sony Music Entertainment Inc.
SYMPHONY No. 39 IN E-FLAT, K. 543, Third Movement (Mozart) Bavarian Radio Symphony Orchestra; Rafael Kubelik, conductor. Courtesy of Sony Music Enter-

‣

tainment Inc.

SYMPHONY No. 4 IN B-FLAT, Op. 60, Second Movement (Beethoven) The London Classical Players; Roger Norrington, conductor.!p!1989 EMI Re-

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1:22

:40

cords Ltd. Courtesy of EMI Records Ltd. :34
SYMPHONY No. 5 IN E MINOR, Op. 64, Second Movement (Tchaikovsky) The Chicago Symphony; Claudio Abbado, conductor. Courtesy of Sony

‣

Music Entertainment Inc. :47
SYMPHONY No. 6 IN F, Op. 68, Second Movement (Beethoven) The London Classical Players; Roger Norrington, conductor.!p!1988 Original sound

‣

recording made by EMI. Courtesy of EMI Records Ltd. :55
SYMPHONY No. 9 IN D MINOR, Op. 125, Fourth Movement (Beethoven) The London Classical Players; Roger Norrington, conductor.!p!1987 Origi-

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nal sound recording made by EMI. Courtesy of EMI Records Ltd. :30
SYMPHONY No. 9 IN D MINOR, Op. 125, Fourth Movement (Beethoven) The London Classical Players; The Schutz Choir of London; Roger Norring-

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ton, conductor.!p!1987 Original sound recording made by EMI. Courtesy of EMI Records Ltd. 1:02
SYMPHONY No. 9 IN D MINOR, Op. 125, Fourth Movement (Beethoven) The London Classical Players; Yvonne Kenny, soprano; Patrick Power,

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tenor; Sarah Walker, mezzo-soprano; Petteri Salomaa, bass; Roger Norrington, conductor.!p!1987 Original sound recording made by EMI. Courtesy of
EMI Records Ltd. :32

SYMPHONY No. 9, Op. 95, Fourth Movement (Dvorák) Philharmonia Orchestra; Riccardo Muti, conductor. Courtesy of EMI Records Ltd. 1:04

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SYMPHONY No. 94, Second Movement (Haydn) The Cleveland Orchestra; George Szell, conductor. Courtesy of Sony Music Entertainment Inc. :42

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TAKE FIVE (Desmond) Dave Brubeck Quartet. Courtesy of Sony Music Entertainment Inc. :25

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TAKE FIVE (Desmond) The Dave Brubeck Quartet. Courtesy of Sony Music Entertainment Inc. :24

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TANAC (Yugoslav Folk Music) Courtesy of Lyrichord Records

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TARANTELLA from LA BOUTIQUE FANTASTIQUE (Rossini, arr. Respighi) Toronto Symphony; Andrew Davis, conductor.!p!1980 Sony Music Enter-

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tainment Inc. Courtesy of Sony Music Entertainment Inc. :26
THE CASTLE OF THE WICKED WITCH from THE WIZARD OF OZ (Harburg–Arlen) Ray Bolger, Bert Lahr, Jack Haley. Released by agreement with

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SBK Record Productions Inc. :36
THE GREAT GATE OF KIEV from PICTURES AT A EXHIBITION (Mussorgsky, arr. Ravel) New York Philharmonic; Zubin Mehta, conductor.!p!1980

‣

Sony Music Entertainment :35
THE LION SLEEPS TONIGHT (Peretti–Creatore–Stanton–Campbell–Weiss) The Tokens. Courtesy of BMG Special Products, a division of BMG Direct

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Marketing, Inc. :43
THE LONGEST TIME (Joel) Courtesy of American Hero Music :38

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THE PIANO LESSON (Bley) The Carla Bley Band.!p!1984 Watt Works, Inc.– EMC Records GmbH. Courtesy of Watt Works, Inc. 1:03

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THE THRILL IS GONE (Hawkins) B.B. King. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc. 1:06

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THEME AND VARIATIONS FOR TWO TRUMPETS, HORN AND TROMBONE (Gardner) Philip Jones Brass Ensemble. Courtesy of PolyGram Special

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Projects, a division of PolyGram Records :54
THEME FROM JAWS (Williams)!p!1975 MCA Records Inc. Courtesy of MCA Special Markets and Products, a division of MCA Records Inc. :29

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THOSE WERE THE DAYS (Raskin) Bobby Vinton. Courtesy of Sony Music Entertainment Inc. :30

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95

THREE BLIND MICE (arr. Orff) Carl Orff and Gunild Keetman. Courtesy of EMI Records Ltd. :32

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TONIGHT from WEST SIDE STORY (Bernstein–Sondheim) Original soundtrack recording; Johnny Green, conductor. Courtesy of Sony Music Entertain-

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ment Inc. :44
TREAT (Santana) The Santana Band. Courtesy of Sony Music Entertainment Inc. :27

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TREAT (Santana) The Santana Band. Courtesy of Sony Music Entertainment Inc. :26

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TRUE COLORS (Kelly–Steinberg) Cyndi Lauper.!p!1986 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :43

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TWIST AND SHOUT (Medley–Russell) Courtesy of American Hero Music :47

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TWO PART INVENTION IN D MINOR (Bach) Wendy Carlos, synthesizer. Courtesy of Sony Music Entertainment Inc. :42

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TWO PART INVENTION No. 1 IN C MAJOR (Bach) Glenn Gould, piano. Courtesy of Sony Music Entertainment Inc. :44

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TWO PART INVENTION No. 8 IN F (Bach) Glenn Gould, piano. Courtesy of Sony Music Entertainment Inc. :31

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VARIATIONS ON THE CARNIVAL OF VENICE (Arban) Wynton Marsalis, cornet; Eastman Wind Ensemble; Donald Hunsberger, conductor.!p!1987

‣

Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc.(41, 57) 1:39
VOILES from PRELUDES, BOOK I (Debussy) Walter Gieseking, piano. Courtesy of Sony Music Entertainment Inc. :46

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WACHET AUF (Bach) Wendy Carlos, Moog synthesizers. Courtesy of Sony Music Entertainment Inc. 1:20

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WALTZ from SLEEPING BEAUTY, ACT I (Tchaikovsky) The Philadelphia Orchestra; Eugene Ormandy, conductor. Courtesy of Sony Music Entertain-

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ment Inc. :35
WALTZ IN D-FLAT, Op. 64, No. 1 (Chopin) Philippe Entremont, piano. Courtesy of Sony Music Entertainment Inc. 1:50

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WASHINGTON POST MARCH (Sousa) New York Philharmonic; Leonard Bernstein, conductor. Courtesy of Sony Music Entertainment Inc. :19

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WATERMELON MAN (Hancock) Herbie Hancock.!p!1973 Sony Music Entertainment Inc. Courtesy of Sony Music Entertainment Inc. :52

‣

WHAT’D I SAY (Charles) Jerry Lee Lewis. Courtesy of Sun Entertainment Corp. :46

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WHEN JESUS WEPT (Billings) The Gregg Smith Singers. Courtesy of Sony Music Entertainment Inc. 1:16

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WHEN JOHNNY COMES MARCHING HOME (arr. Parnell) Dennis Parnell, synthesizers. Courtesy of Yamaha Corporation of America :55

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WHEN THE SAINTS GO MARCHING IN, Jerry Lee Lewis. Courtesy of Sun Entertainment Corp. 1:10

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WHOLE LOTTA SHAKIN’ GOIN’ ON (David–Williams) Jerry Lee Lewis. p!1984 Sun International. Courtesy of Sun Entertainment Corp. :23

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WIMOWEH (Solomon–Campbell) Pete Seeger, banjo. Courtesy of Welk Record Group :52

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YESTERDAY (Lennon–McCartney) Courtesy of American Hero Music :59

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YOU ALL COME (Traditional) Gordon Terry. Courtesy of Flying Fish Records :57

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96

Section 3

Charts

Opus

1

Five Octave Keyboard

11aFive Octave Keyboard (vertical)

12Black Key Clusters / Two Octave Keyboard

1, 6, 7, 8

3

Single Line Staff (large)

2, 3, 4, 8

4

Single/Five Line Staff (large)

85Five Line Staff (large)

96Grand Staff With Keyboard

9,11

7

C Major Tonality

12, 14, 16

8

Reading Eighth Notes & Rests

129G Major Tonality

1710Reading G Major Tonality

17, 21

11

Reading Sixteenth Notes & Rests

2012Reading Sixteenth Note Melodies

2013Note& Rest Value Comparison

2014D Major Tonality

23, 29

15

Reading 6/8 Meter

2416Reading Dotted Rhythms

2617A Major Tonality

2718F Major Tonality

2819D Minor

2920C Major Scale

3021Diatonic Triads

30, 33

22

Bb Major/G Minor

3123C, F, and G Major Triads

3324C, D, and G Minor Triads

3425Leadsheets: Minor

3426Bass Riffs

3527Blue Notes

3728Melodic Sequence

3829Chord Symbols & Inversions

39

Charts & Worksheets

Reference

1. Songbook Cross-Reference

2. Listening Excerpt Information

3. Charts & Worksheets

4. Opus 1 Notes & Content

MIE Charts Table of Contents and Usage

97

Charts 1-3

Charts 4-7

98

Charts 8-11 Charts 12-15

99