Easy Steps
About the methodbook
There is no dedicated website for the Easy Steps method, but on various retail sites selling this book (muziekboekhandel.nl, stretta-music etc.), I find the following information: ''The successful Easy Steps method was developed in response to the demand for a method with a more gradual progression. Many existing methods on the market had steps that followed each other too quickly. The result is a unique, practical method designed for use in music lessons, with ample room for personal interpretation. New editions of the books in this successful series have now been released. Besides being given a fresh look, they are even better tailored to the youthful user and group lessons. The CDs and CD-ROMs accompanying the books have been updated to meet current standards, and the corresponding piano parts are now included directly on the CD-ROM.''
About the author
This method book is written by Jaap Kastelein, just like ''Horen Lezen & Spelen''.
Content of the introduction of the method
Easy Steps begins with a brief explanation of how to use the book. How the book is structured, how the CD and CD-ROM work.
Following that, there is an image of the horn with its various components. There is a photo depicting both the left and right hand.
The playing posture is also described, explaining that you can play both seated and standing.
Next, it explains how to produce a lip tone.
It is explained as follows:
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Tighten your lips slightly together, as if saying the letter 'P.' (In contrast to "Horen Lezen & Spelen" here it is explained that for the mouthpiece tone, you should say "Tu" instead of "P''.)
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Blow firmly from this lip position, without puffing your cheeks.
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Ensure that you keep your lips tightly together, causing them to vibrate (you can achieve this by tightening the corners of your mouth).
Then, it states that you should place the mouthpiece on your lips and do the same as with the lip tone, but now with the word 'tu.'
Next, we move on to the 'horn tone,' where you do the same but with the horn.
Depending on the lip tension, a low or high tone will result. If you find it easier to play the low tone, start on page 6. If you find it easier to play a high tone, start on page 12.
Lesson Content
Lesson 1
The book distinguishes between low and high starters. Low starters begin on page 6, and high starters on page 12. First, the various lengths of notes and rests are explained. The G clef is explained, along with different time signatures, the barline, and the double barline. Next, there is an exercise with notes of 4 beats alternating with rests of 4 beats.The following exercise consists of playing for 2 beats and resting for 2 beats. The subsequent exercise consists of playing for 1 beat and resting for 1 beat. The low starters play a C and the high starters play a F.
Personal Reflection
Lesson 1
I find the brief explanation already quite extensive. Personally, I would choose to gradually introduce theory in a playful manner.
Think of it like this: 'Count with me up to 4. One, two, three, four. Now, let us blow for 4 counts and be silent for 4 counts. And again, blow for 4 counts, be silent for 4 counts.' I would explain the theory through practical examples. 'If a note is played for 4 counts, it looks like this.' I appreciate that only one note is used. This way, students do not have to focus on the correct fingerings yet, allowing more attention to be given to the blowing technique.
The pieces consist of no more than 4 measures, which, in my opinion, is quite short.
In this lesson, I would also alternate between the 3 different rhythms so that it is not entirely new in the next lesson, where students will also learn a new note.
Lesson 2
In this lesson, we will learn two new notes, D and E, for both the low and high starters. We will also learn a repeat sign, a 3/4 time signature, and a doted half note. The different rhythms from the previous lesson are used interchangeably. The new note (D) is practiced in a piece alone and then alternated with C. After that, we learn E.
Next is a finger exercise described as preparation for the upcoming pieces. Following that, there is a song in a 3/4 time signature and two more pieces in 4/4
Lesson 2
I like that the first exercise consists only of the note C for low starters and F for high starters. Children have learned this note in the previous lesson and should be able to play it, providing a confident start.
The finger gymnastics are mentioned as preparation for the following pieces. While this sounds logical, after the finger gymnastics, there is suddenly a piece in 3/4 time. The quarter notes from the finger gymnastics are not present here, and the time signature does not match. I wonder why they chose this sequence. Learning the 3/4 time might take some time since it is introduced for the first time. By the time students reach the next piece, they might have already forgotten the finger gymnastics.
I think the 3/4 time comes in too early. It might be better for children to become more familiar with 4/4 first. Opinions may vary, but I believe more repetition is needed to truly learn and feel the 3/4. In this entire lesson, there is only one piece in 3/4 time, which I find insufficient
Lesson 3
In this lesson, the low starters learn the F, and the high starters learn the C. There are two exercises of the so-called finger gymnastics. Next, there is a piece that consists of the 3 notes we have learned so far. Following that is the piece 'Mieke hou je vast.' Different measures have no written notes. It is mentioned: 'You probably know this song well. That's why we haven't written down two measures. Play them from memory.' After that, there is a song with the new note C/F. Two finger gymnastics exercises follow, and there are two more pieces. Of all the songs in this lesson, only one is in a 3/4 time signature
Lesson 3
it is nice that the low starters gradually move towards the F, and the high starters towards the C. Comparing this with ''Horen Lezen & Spelen'', I notice that low starters only need to play the F in the third lesson here, while it appears in the first exercise of ''Horen Lezen & Spelen''. So, Easy Steps takes more time for this progression. It seems good to me that we gradually move towards more challenging notes, and it is not expected that students can play them from lesson 1. This lesson also starts with a review of what students should already be able to do.
In 'Mieke hou je vast,' it is assumed that students know this song. I can say from experience that this is certainly not the case for everyone. If you do not know it, you can not play it from memory. Of course, this book is already quite old, and probably a few years ago more children were familiar with this song. However, times change... Perhaps it is an idea to anticipate on this by never assuming that everyone must know a piece. For instance, including a cheat sheet at the back of the book for those who are unfamiliar but still want to play. The song is, after all, very suitable.
I find it noteworthy that, once again, there is only one piece in a 3/4 time signature. Because, as I mentioned before, repetition is needed to learn something well!
Lesson 4
From this point onward, the low and high starters come together. The low starters have gradually developed a range from C to F, and the high starters from F to C.
This lesson does not introduce new notes or other information. It is a review of what the students already know. The lesson concludes with a medley
Lesson 4
The repetition of the range appeals to me, but once again, I miss the repetition of the 3/4 time signature. In this lesson, it is only used once. The pieces are all quite short, only 8 measures each, but the piece in 3/4 time is suddenly 16 measures long. It is good to play longer pieces that require a longer attention span, but I do not understand why the longer song is specifically the one in 3/4 time, since the students are likely not familiar with it yet, making it not the most suitable piece to suddenly play for such an extended period.
I like the medley. It includes 'Mieke heeft een lammetje' ('Mieke had a little lamb'). I know that my students enjoy playing this because they are familiar with it and know how it should sound.
(Look at the following four pages to see how infrequently the 3/4 appears compared to the 4/4)
Lesson 5
In this lesson, we learn the G and the slur. As usual in this book, we start with an exercise where nothing new happens. Then the slur is explained as follows: ''The slur connects two or more different notes. Always start with the first note and keep blowing while changing the fingering.'' Two exercises follow, one in 4/4 and one in 3/4. Then, the new note is introduced. Several songs featuring the G are practiced, and the lesson concludes with a medley.
Lesson 6
In lesson C, students learn the B note. They also learn a comma indicating musical phrases. A piece is played in 3/4 time, with a brief reminder: "Pay attention, this section is in triple meter, so there are three beats in each measure." It is explained that with a slur, multiple notes should be played smoothly together. In an earlier lesson, it was mentioned to continue blowing while changing fingerings. There is a musical riddle included, and the lesson concludes with a waltz medley.
Lesson 6
I find this lesson to be pleasant and suitable. It covers a wide variety of topics. Taking time to focus on the 3/4 time signature is appreciated; I felt this was missing in earlier lessons. The musical riddle can serve as a fun break from playing and provide a moment to rest the lips. Additionally, the introduction of the new note is done in a pleasant manner. It is immediately incorporated into a finger exercise and is also present in the subsequent songs, except for in the waltz medley, which is likely due to the key.
Lesson 7
In lesson 7, students learn the A' note and a first and second repeat. The lesson begins with "Bogen die mogen" (Bows allowed). Then, they move on to "Hoedje van Papier" (Paper Hat), where not all notes are written down, and students are encouraged to fill in the missing ones themselves. This is followed by a longer piece in 3/4 time signature. Next, it is time to introduce the new note, A'. It is then used in "Au Clair de la Lune." The concept of repetition is explained, followed by a rhythm exercise, a simple 4/4 piece, and a task where students fill in missing bar lines. The lesson concludes with an international medley.
Lesson 7
This lesson involves a lot of playing, which I appreciate. However, I find the introduction of the A to be early; I would prefer to cover more material between C and G first, but it is what it is. The lesson is clear, and I particularly enjoy the activity with "Hoedje van Papier," which is both fun and straightforward. Unlike similar tasks, I assume that most children are familiar with this song, which is a requirement if they are to play it from memory without a model. There is a good balance between high and low notes, which is helpful in preventing lip fatigue.
Lesson 8
In this lesson, students learn a slur, which connects two notes of equal pitch. They also learn eighth notes. The lesson begins with a warm-up exercise, followed by an echo exercise and several songs, including "Kortjakje," which must be partly played from memory. In the song "Soepele Vingers," there are two accompaniments available: a slow one and a faster one. Then, there is a duet, followed by a rhythmic exercise explaining eighth notes, and a song incorporating eighth notes. This time, the lesson does not conclude with a medley but with a longer piece incorporating improvisation.
Lesson 8
The warm-up starts low, which is nice to begin with. I assume most children know "Kortjakje," making it a fun exercise, similar to the previous lesson. I appreciate that "Soepele Vingers" has two different accompaniments, catering to different skill levels. If you are not yet fast enough for the higher tempo, that's okay; it gives you a goal for the next lesson, and you can still play along with the CD. Personally, I would choose not to introduce the new rhythm immediately in a relatively challenging song right after its introduction. I would prefer to practice eighth notes first without them being part of a song with difficult jumps. Notably, the improvisation section suggests using tones that students have invented themselves. I like that; it feels more liberating than "here are 5 tones, and you have to do something with them for a certain number of measures."
Lesson 9
In lesson 9, the student learns the F sharp (Fis). They also learn how multiple measures of rests look like when written consecutively. Attention is given to syncing with the CD. A song with many eighth notes is presented, followed by the introduction of the F sharp. it is explained that a sharp before a note raises the pitch. Students are asked to play the notes sequentially and listen to the difference. Then, the F sharp is alternated with the F. A song featuring the F sharp extensively is provided. it is noted that a sharp applies to the entire measure. A rhythmic exercise follows, involving playing 4 to 6 eighth notes in succession. This is initially clapped, then played as a short piece, and finally used for a longer song called "Ali Blabla." A listening quiz and an eighth note medley with rests lasting 2 measures conclude the lesson.
Lesson 10
In lesson 10, the student learns the B', a fixed accidental, D.C. al Fine, and rallentando. The lesson begins with a warm-up called "lip binder." Then, there is a piece called "supple fingers," which is presented twice on the CD, once slowly and once quickly. Next, there is a song consisting of quarter notes/quarter rests. Then, a new note, the B', is introduced. Following that, there is a song where the F sharp serves as a fixed accidental in the key. This is followed by a duet, a rhythmic exercise with a pickup measure, a song with a pickup measure, and a medley.
Lesson 10
Although I find the introduction of B' in lesson 10 to be a bit early (as mentioned earlier, this is due to the physical strength required), there has been quite a bit of time between A and B. The song with D.C. al Fine has been appropriately named "the maze." Perhaps it would be useful to include something in Dutch alongside the musical term (since this is the first time) such as "Terug naar het begin."
With the repetitions and D.C. al fines, the songs are getting longer and longer. This seems good for concentration, as it requires a longer attention span. However, I miss rests in the second half of this lesson; it continues non-stop, which is physically quite demanding. The rallentando is only explained two measures before the end of the lesson. Also, in the following lesson, it only appears in the last two measures. It could be practiced more frequently.
Lesson 11
In this lesson, the flat is introduced for the first time, along with Bb, C'', and the natural sign. In "Old MacDonald," transposition is required. In "Morning Mood," students are asked to place the bar lines correctly. Then we learn Bb, which is immediately alternated with B. In the following exercise, C is newly introduced. The exercise after that has one flat as a fixed key signature. It is explained that this indicates that every B becomes a Bb. This is followed by a rhythm exercise, two songs, and a "guess the meter" quiz. The lesson concludes with a "key signature medley," where the natural sign is introduced for the first time.
Lesson 11
I find this lesson confusing in some aspects. I think it is too fast for students to start transposing in lesson 11; I would first ensure that they can read and play well before adding something like that.
This lesson the Bb is introduced. I find it unfortunate that there are not a few songs following with the Bb in them. I believe it is crucial for students to hear the logic, to hear that a B sounds odd and a Bb fits well. These songs are missing.
there is an exercise where Bb and B are immediately alternated. This misses the opportunity to really learn the Bb properly first.
Then, a new note, the C'', is introduced. I do not think you should introduce a new note when the previous one has barely been repeated.
In the next exercise, one flat is written at the key signature. it is explained that every B becomes a Bb, both high and low, but there is no low Bb in the song at all. Indeed, the low Bb has not been taught yet! This only comes in lesson 13, so for me it seems early enough if they only indicate there that a flat on the key signature also applies to this octave.
There is once a arrow pointing to the note with ''Bb thus'' written next to it. In my opinion, they could have done this more frequently.
The lesson concludes with a key signature medley. Instead of introducing different key signatures in one piece, I would like to see more exercises with the Bb first, since it was new in this lesson.
Lesson 12
I appreciate the review of things from the previous lesson, but I miss repetition for the newly learned A. After its introduction, it is only played twice. I think it takes more effort to learn it well.
(Below you can see how it is introduced in 3.4, written only twice in 3.5, and then does not return in this lesson.)
Lesson 13
In the previous lesson, the students learned the low A, and now they are learning the B-flat. I do not quite understand this sequence; personally, I would have reversed it to avoid leaps and maintain the logical order of notes.
What surprises me is that in the explanation, the separate eighth note is not linked to the doted quarter note, even though it is used in this way in this lesson. They use the rhythm doted quarter note followed by eighth note all the time. As far as I am concerned, a separate eighth note should not exist. It always forms a rhythm together with a note of a different length or with multiple eighth notes. However, the doted quarter note has never been explained.
Lesson 14
This is the final lesson of this book. In this lesson.
At the top of the lesson, it says, "Read about the history of the horn on page 66.
This lesson the note D'' is taught. The lesson begins with a lip binding exercise. Then, an echo exercise follows, a piece called "Turbo Fingers," an exercise with the new note, the song "Auld Lang Syne," a song where students themselves have to fill in the bar lines and determine musical phrases by placing commas in the right places. Students also have to write down a rhythm of 4 bars in 3/4 time. Then, there is a duet where the question is asked, "Are the instruments well coordinated?" Next, there is an exercise where two notes are written, and the student has to indicate whether the second note is higher or lower than the first. The lesson ends with a piece where, in addition to playing the normal notes, improvisation is also included.
Lesson 14
I do not quite understand why the comment about the history of the horn comes now and not at the beginning of the book. It seems interesting to be able to read about this (for those who want to) before starting to play. I would expect this earlier in an introduction, not at the end.
I find the lip slur exercise to be quite unpleasant to start with. In my opinion, it does not fit the idea of a warm-up. Upward buzzes require a lot of effort. The note C'' is the highest note learned so far, so it is at the limit of what students should be able to play at this point. That is why I do not think it is suitable to start with.
As a professional horn player, I would not even feel comfortable having to start warming up from this note. My thoughts: A bodybuilder who can lift 100 kilograms with great effort would not start with this weight at the beginning of their warm-up. In my opinion, beginner horn players should not do this either. My preference is to start by warming up slowly, playing at a comfortable pitch first.
The D is introduced and then, in my opinion, repeated too infrequently.
Just like what happened with the A in lesson 12, the D is taught, played for a song length, and then not revisited.
My overall impression of book 1 from this method:
I think it is beneficial that a distinction is made between high and low starters. This prevents students from having to force themselves to play at the correct pitch, increasing the likelihood of success compared to "Horen, Lezen & Spelen". The lessons always begin with a review of material from the previous lesson, which the students can likely play without too much difficulty. This ensures there is a moment of success. Even if an exercise with new notes is challenging, they play something they already know in that lesson, which probably feels good. Sometimes, I find that things do not come at a logical moment. The sequence of introduction can be different from what seems logical to me. Additionally, I notice that some topics are covered extensively while others are addressed very little.