exploring

A Comprehensive Piano Method by

Cathy Albergo J. Mitzi Kolar Mark Mrozinski

Introduction
Celebrate Piano! sets young students on the
path to lifelong success in music with its
innovative approach, exceptional repertoire, and
engaging activities. This comprehensive method
builds a solid foundation of musicianship,
preparing students for the study and enjoyment
of a wide variety of musical styles. With
Celebrate Piano!, students are assured a
complete, inspiring, and well-rounded music
education.

Celebrate Piano! is the first piano method

designed to prepare students for the curricula of
The Royal Conservatory of Music and the
National Music Certificate Program.

Highlights

Integrated Approach

We had three goals for the music of Celebrate

Piano!: the pieces had to appeal to teachers
and students, they had to stand alone as
compositions worthy of performance in their
own right, and they had to be carefully
designed so that students could experience selfexpression through music without being
frustrated by technical difficulties.
Mark Mrozinski, Co-author of
Celebrate Piano!

Celebrate Piano! integrates five major areas of

study into every level:


Rhythm


Ear Skills


Musicianship


Technique


Creativity

With both repertoire and musicianship

activities in each lesson book, students are
exposed to delightful music at every lesson
while simultaneously developing a solid musical
foundation.
Dr. Reid Alexander, Professor of Music,
University of Illinois

Superior Repertoire

Celebrate Piano! incorporates contemporary

and classical compositions as well as folk songs
and popular styles.

Sound Pedagogical Approach

Celebrate Piano! embraces an experiencebefore-symbol approach to learning using the

principles of preparation, presentation, and
follow-up to introduce new concepts.

Preparation for Piano Literature

Celebrate Piano! gradually introduces

students to the challenges of elementary
classical literature. Beginning in Level 3,
students are ready to explore the extensive
range of music found in Celebration Series
Perspectives.

Integrated Components
Lesson and
Musicianship

Accompaniments

Celebrate CD 1A
Piano!

LESSON AND
MUSICIANSHIP

Celebrate
Piano!

MIDI 1A
ACCOMPANIMENTS

Accompaniments 1

Accompaniments 1

Units 16
from
Lesson and Musicianship 1A
and Solos 1

Units 16
from
Lesson and Musicianship 1A
and Solos 1

CD 1A

Celebrate Piano!

Level
1

1B

ACCOMPANIMENTS

Ric Iannone

Ric Iannone

A Comprehensive Piano Method by

Cathy Albergo
J. Mitzi Kolar
Mark Mrozinski

Level
2

Level
3

Level
4

Teachers
Guide

Solos

Flashcards

Integrated Approach:Rhythm
Rhythm activities develop a sense of steady beat and reinforce rhythmic concepts.

Right from the start of

Celebrate Piano!, students are
taught to recognize the
importance of the concept of
steady beat.

Lesson and Musicianship 1A, page 3

Night in the Jungle is a fun,

rhythmic piece that may be
performed as an ensemble by
the teacher and student, parent
and student, or with a group
divided into gorillas and
monkeys. This activity and
others using clapping,
marching, and other off-bench
actions encourage students to
feel a steady beat.

Lesson and Musicianship 1B, page 32

Integrated Approach:Rhythm

Students are encouraged to use

syllabic counting to establish a
secure sense of pulse and
duration and reduce confusion
between finger numbers and
counting numbers.

Lesson and Musicianship 1A, page 16

F
Icons indicate when
flashcards can be used to
review and reinforce
specific concepts in the
Lesson and Musicianship
books.

Writing activities provide opportunities for

students to identify elements of music and
demonstrate comprehension.

Lesson and Musicianship 3, page 19

Integrated Approach: Ear Skills

Ear Skills activities are crucial to the development of aural awareness, good sight-reading
skills, and general musicianship.

Listening Game is an example of

pitch dictation in which the
student is asked to add one new
note to each example. In later
dictation activities, the student
will write three or more notes
before combining pitch and
rhythm in melodic dictation.

Lesson and Musicianship 1A, page 76

Echo GameClapbacks are ear-skills activities in

which the student echoes patterns that the
teacher claps or taps using various rhythms.
Clapbacks are also used as preparation tools for
new rhythmic concepts that have not yet been
formally introduced.
In Echo GamePlaybacks, the student copies or
echoes a short melodic phrase played by the
teacher. Playbacks are a part of the long-term
plan for developing aural awareness and
response.

Celebrate Piano! is the best piano method I have used in

my twenty-eight years of teaching. I am looking forward to
having students complete the entire series, because I believe
they will be the most musically well-rounded students I have
taught.
Carole Noel, Piano Teacher, Louisville, Kentucky
6

Integrated Approach:Ear Skills

Lesson and Musicianship 2B, page 40

Activities like Pattern Detective reinforce the

students ability to discriminate rhythms,
intervals, and patterns.

Chord Progression Hunt is an ear-training activity

in which the student learns to discriminate
between the I and V7 chords.

Lesson and Musicianship 3, page 34

Interval Safari
Interval Safari Songs

M2
M3
P5
P4
M6
P8
M7
m3
m2
m6
m7

Middle C Safari
Busy Bee Song
Cuckoo Bird Song
Owl Song
Kangaroo Song
Elephant Song
Donkey Song
Giraffe Song
Panda Song
Quiet Little Mouse Song
Lizard Song
Calico Cat Song

Level
Level
Level
Level
Level
Level
Level
Level
Level
Level
Level
Level

1,
1,
1,
1,
1,
2,
2,
2,
3,
3,
3,
4,

Unit
Unit
Unit
Unit
Unit
Unit
Unit
Unit
Unit
Unit
Unit
Unit

2
3
5
10
12
5
8
10
3
4
6
1

Students enjoy learning essential

aural skills with Interval Safari,
activities that are part of a longrange ear-training plan. Each
interval is identified with a
particular animal character that has
its own special song for students to
sing and play. Throughout the series,
illustrator William Kimber has
cleverly created a storyline in which
the characters follow clues leading to
new interval animals.

Lesson and Musicianship 1A, page 19

Lesson and Musicianship 1A, page 36

Lesson and Musicianship 1B, page 46

Lesson and Musicianship 3, page 85

Integrated Approach:Musicianship
Musicianship activities reinforce reading and theory.
Celebrate Piano! combines intervallic,
landmark, and multiple-key approaches to
ensure that students achieve a secure foundation
in reading. Students experience a wide
topography and a variety of keys.

The student begins by reading

off-staff notation in Units 1 and
2 of Level 1.

Lesson and Musicianship 1A, page 18

I can say without reservation that Celebrate Piano! is the

most pedagogically sound, exciting course of piano
instruction for children I've seen to date. It is a perfect
blend of sound intervallic reading skills, multi-key work, ear
training, harmony, composition, technique, and theory. All
this is coupled with a wonderful array of interesting,
motivating pieces and inviting artwork that encourage rapid
learning. Celebrate Piano! stimulates me to be a better
teacher as a result.
Kevin M. Coan, Piano Teacher, Newington, Connecticut

Intervallic Reading

Intervallic and directional

reading is introduced in Level 1,
Unit 3 with the presentation of
the staff, line and space notes,
and the interval of a 2nd.
Students begin their reading
experience by recognizing that
notes move up or down and
that they move a certain
distance.

Lesson and Musicianship 1A, page 31

Letter clefs are used in Units 4

through 7 of Level 1 to identify
the first note of the piece and
relate the music alphabet to the
staff. After finding their starting
note from the letter clef,
students can easily read the
interval direction and distance.

Lesson and Musicianship 1A, page 55

I found Celebrate Piano! to be a comprehensive, user-friendly piano method. Each unit

has an excellent sequence of activities; there are fine musical and pianistic compositions and
the flow of important ideas for student development is carefully worked out for maximum
learning. The delightful illustrations create a fun visual environment while enhancing the
learning experience.
Monica Gaylord, Piano Faculty, The Royal Conservatory of Music

10

Landmarks

The introduction of the Grand

Staff, Treble and Bass clefs, and
the Landmark Cs in Level 1,
Unit 8 is an important step for
students as they begin to
combine intervallic reading
with landmarks.

Lesson and Musicianship 1B, page 18

By Level 1, Unit 10, students

should recognize the Landmark
Cs and be able to visualize and
name the notes a 2nd or 3rd
away from each landmark. The
introduction of Treble G and
Bass F gives students a new set
of landmarks within the Grand
Staff.
Lesson and Musicianship 1B, page 43

The landmarks High C and Low C

are presented in Level 2 to expand
the reading range of students.
Familiarity with the ledger lines
above and below the Grand Staff
will serve students well when they
approach early classical music.

Lesson and Musicianship 2A, page 8

11

Transposition
Transposition, a musicianship skill
that reinforces reading and the
multiple-key approach, is introduced
step by step throughout Celebrate
Piano!.

In Level 1, pieces are transposed

by simply moving the hand from
a black-key group to a white-key
group and vice versa.
Lesson and Musicianship 1A, page 33

After the introduction of 5-finger patterns in

Level 2, Unit 3, students are asked to move from
one 5-finger pattern to another.
Lesson and Musicianship 2A, page 36

After the introduction of sharp key signatures in

Level 2, Unit 6, students are asked to move from
one key to another.
Lesson and Musicianship 4, page 32

12

Integrated Approach:Technique
Finger Gyms are technical exercises that develop physical skills.

These finger gyms are great

warm-up exercises to use at the
lesson and for at-home practice.

Lesson and Musicianship 1B, page 42

Balancing Act prepares the student to play

staccato in the left hand against the right-hand
legato phrases.

This approach to learning will create

young pianists who are completely
comfortable at the keyboard because they
understand the language of music. There is
good reason to celebrate!
Aasta Levene, Chief Examiner Emeritus,
RCM Examinations
Lesson and Musicianship 2B, page 32

13

Integrated Approach:Technique
DownUp Dance introduces the student to the
two-note slur.

Lesson and Musicianship 3, page 53

Exercises like Triple Cross are fun and

challenging to play. They help prepare the
student for a variety of finger crossings and
scales.

The most secure foundation in technique

and musicianship of any method . . . and
the kids love it!
Peter MacKinnon, RCM Examiner and
Piano Teacher, Peterborough, Ontario
Lesson and Musicianship 4, page 22

14

Integrated Approach:Creativity
Creative activities reinforce new elements and concepts and encourage students to
compose and improvise.

The Question and Answer activity is introduced in

Level 1 and continues throughout Levels 2, 3,
and 4. The student plays the Question and then
improvises an Answer. Eventually, the student
writes both the Question and the Answer,
leading to the composition of short pieces by
the end of Celebrate Piano!.

Lesson and Musicianship 2B, page 15

Lesson and Musicianship 2A, page 56

Starting in Level 1, students are asked to change

one or two notes or rests in creative activities to
create simple variationsan important first step
in stylistic and jazz improvisation.

Lesson and Musicianship 3, page 21

15

Integrated Approach:Creativity

In creative activities, the

student applies imagination and
an understanding of musical
elements and style to original
improvisations and
compositions.

Lesson and Musicianship 1A, page 13

Creative activities provide

students with an opportunity
for free expression and the
chance to experiment. In many
activities, students are
encouraged to draw a song in
any way they like.

Lesson and Musicianship 2B, page 71

Animal March as composed by David Grimm, age 5,

a student of Amy Immerman from Cincinnati, Ohio.

16

Superior Repertoire
Throughout both the Lesson and Musicianship
books and Solos books, Celebrate Piano!
introduces repertoire that will develop a strong
foundation in reading and foster a love of music
of all styles. The Solos books support and
reinforce key elements from the corresponding
Lesson and Musicianship books with a rich
and varied selection of repertoire.

Celebrate Piano! incorporates original works

by leading North American composers:
Susan Alcon
Anne Crosby
Mark Mrozinski
Susan Ogilvy
Elvina Pearce

Stephen Chatman
Pierre Gallant
Linda Niamath
Lorna Paterson
Dale Reubart

Dale Reubart, Square Dance, Solos 3&4, page 33

Celebrate Piano! also includes early

elementary compositions by:
Bla Bartk
Hermann Berens
Benjamin Carr
Muzio Clementi
Carl Czerny
Anton Diabelli
Cornelius Gurlitt
Johan Wilhelm Hssler
Franz Joseph Haydn

James Hook
Dmitri Kabalevsky
Louis Khler
Anton Krause
Leopold Mozart
Alexander Reinagle
Ludwig Shytte
Daniel Gottlob Trk

Dmitri Kabalevsky, Little Song and Polka, Solos 2, page 28

17

Superior Repertoire
Throughout Celebrate Piano!, aural awareness
is developed through exposure to diverse styles
and genres and through accompaniments that
present a rich musical soundscape.
Celebrate Piano! Accompaniments
are available in both CD and MIDI formats
include imaginative arrangements of the
student parts and teacher accompaniments
for all the pieces in the Lesson and
Musicianship books and Solos books
are orchestrated by Ric Iannone, a
professional performer with a diverse musical
background, specializing in piano and organ
incorporate diverse rhythmic patterns,
textures, and instrumentation
From using the Celebrate Piano!
Accompaniments, students will:
acquire an understanding of color and
articulation
be able to simulate performance in an
ensemble setting
develop an improved awareness of steady
pulse, secure aural skills, and confident
Elvina Pearce, Singin the Blues, Lesson and Musicianship 3, page 16
musicianship

Celebrate Piano! will

especially appeal to
teachers who value
creativity and who use
MIDI disks with their
teaching. The three authors
have created a method that
is logically sequential and
steadily develops
musicianship. Ric Iannone,
the orchestrator, has
developed accompaniments
that both inspire and
enhance. Congratulations
to all!
Brenda Dillon and
Lynda Garcia
Raindrops, Lesson and Musicianship 1A, page 6

18

Sound Pedagogical Approach

Preparation, Presentation, Follow-up
Preparation

Preparation activities allow

students to hear and physically feel
a musical element or concept
before it is formally introduced in
the repertoire. Preparation often
occurs in Ear Skills activities, Finger
Gyms, Musicianship, or Creative
activities. Preparation elements are
identified with a preparation icon
in the Lesson and Musicianship
books.
Lesson and Musicianship 1A, Unit 2, page 21

Presentation

The new element or concept is

presented in a highlighted box at
the top of the page. It is then
included in the repertoire and
activities.
Lesson and Musicianship 1A, Unit 3, page 32

Follow-Up

The element or concept is reinforced

in the repertoire and through an
improvisation, composition, or
other activity.
Lesson and Musicianship 1A, Unit 4, page 49

Celebrate Piano! is a wonderful music series. The students have many ways to practice the skills
or concepts: playing, writing, listening, singing, and performing. I love the way that the series uses
a spiral curriculum; students learn new concepts while continuing to build upon the old ones.
Patty Baranski, Piano Teacher, Southington, Connecticut

19

Sound Pedagogical Approach

Practice Plans

A Practice Plan at the top of the page encourages the

student to develop a good practice routine. Parents
can use the Practice Plan as a reference for
monitoring their childs practice.

TIPPS

Students use this abbreviation before playing a piece

at the lesson and during practice at home.
T = Tap and ta the rhythm with a
steady beat
I = Say the interval direction and size
P = Find the phrases and repeated patterns
PS = Play and say intervals, tas, note names, or words

Lesson and Musicianship 2A, page 11

For some pieces, students write their own Practice Plan,

which helps them to think about the piece, identify
musical problems, and incorporate good practice habits.

Lesson and Musicianship 1A, page 58

You Be the Judge!

This activity encourages students to

listen and evaluate their playing. If
students are able to hear and relate
what and how they are actually
playing to the written score, they are
more able to recognize errors and
make corrections.
You Be the Judge! was inspired by
Becky Corley, a piano teacher in
Dallas, Texas
Lesson and Musicianship 1B, page 38

20

Sound Pedagogical Approach

Planning Your Lesson
Celebrate Piano! is grouped into units of
study incorporating Repertoire, Finger Gyms
(technique), Musicianship (reading and theory),
Rhythm, Ear Skills, and Creativity.

The repertoire pieces are grouped in the middle

of the unit and sandwiched with activities.
Teachers are encouraged to organize the material
in each unit into one or two lessons according
to the age and learning pace of the student,
rather than teach page by page.

Sample Lesson for Introducing 3rds

Lesson and Musicianship 1A, Unit 5
Finger Gym
New Concept
Ear Skills
Repertoire
Repertoire
Creativity

Finger Aerobics, page 56

Discovering 3rds, page 60
Cuckoo Bird Song, page 63
Trombones, page 61
Fuzzy Caterpillar, page 62
Dancing Letters, page 66

page 56

page 60

page 61

21

Exploring
Celebrate Piano!
: Level 1
Sound Pedagogical
Approach
TM

Teachers Guide
This resource provides an introduction to the
pedagogical philosophy of Celebrate Piano!
and presents a level-by-level overview of the
method. The Teachers Guide offers strategies
for incorporating and sequencing activities
during lessons including:
charts outlining the Preparation, Presentation,
and Follow-up of concepts, elements, and
technical skills introduced in the Lesson and
Musicianship and Solos books
Teachers Notes and Tips

UNIT BY UNIT DISCUSSION

UNIT BY UNIT DISCUSSION

LEVEL 1UNIT 3: PLANNING FOR PREPARATION, PRESENTATION, AND FOLLOW-UP

LEVEL 1UNIT 3: INTEGRATED MUSICIANSHIP AND POSSIBLE SEQUENCE

Preparation
2nds
Music alphabet
Dotted half note
Legato
Hands together (HT)
Independent fingers 1, 2, 3

Presentation
Music staff
Line notes and space notes
Interval: 2nd or step
Dynamics: p and f
Phrase

Follow-up
Up/down/same
Low/middle/high
Black-key groups
Steady beat
Quarter and half notes
RH and LH
Finger numbers
Middle C

UNIT 3: OVERVIEW
PAGE ACTIVITY

PRESENTATION

PREPARATION

SPECIAL
ACTIVITY

DIV.

Div. 1
27
36
28
28
29
30
31
27
36
37
32
6Solos 1

Repertoire
31
32
33

Deep Blue Sea

Whisper or Shout
Brass Band

2nds
p, f; 2nds
f; 2nds

Transpose
YBTJ!
Transpose

1
1
2

34

Clouds

Phrase; p; 2nds

Transpose

39

Prairie Song

Phrase; p; 2nds

YBTJ!

Solos
Carousel Waltz
Lullaby

f; 2nds
Phrase; p; 2nds

6
7

16

27

Finger Gyms
LeftRightBoth Workout!

35

Fun Thumb Phrases!!

28

Musicianship
Line Note or Space Note?

28

Drawing Notes

Music staff; line and space

notes
Line and space notes

29
30

Discovering 2nds
Stepping Along

2nds
2nds

35
35

2nd Chance
Alphabet Cheer!

2nds

36

Rhythm
Rhythm Taps

27

Ear Skills
Middle C Safari

36
37
37

Interval Safari: Busy Bee Song 2nd

Game o Listening
Echo GameClapbacks!

37

Echo GamePlaybacks!

38

Creativity
My Day at the Circus

Phrase; p; 2nds

Legato; ind. fingers 1, 2, 3 Transpose

Reading
Intervallic and directional reading is introduced in
Unit 3 with the presentation of the staff, line and
space notes, and the interval of a 2nd. Students need
to begin their reading experience by recognizing that
notes move up or down and that they move a certain
distance.
Saying the interval direction and size before they play,
becomes a regular part of the Practice Plan. Students
may play the piece in their lap, on the keyboard
cover, or in the air, as they chant (start, up a 2nd,
down a 2nd, etc.). These activities give students a
physical sense of direction and highlight the fingers
they will use before they play their piece on the
piano.

1
1
F2

By using the principles of intervallic and directional

reading, students can read quickly and easily
anywhere on the keyboard, and transpose with ease.
Teachers and parents are cautioned to avoid naming
the lines and spaces as this slows down the reading
process and interferes with the students ability to
concentrate on the interval and direction. Note
naming should be introduced and reinforced with
flashcards after the presentation of the Grand staff
and landmarks in Level 1B, Unit 8.

1
1
2
2

Music alphabet
Create

1
1

Phrase; p; 2nds

1
2
Dotted half note

Dotted half note

Movement
When singing or chanting interval direction and size,
students can use large arm motions to draw the
directional shape of pieces in the air.

Level 1, Unit 3

iv. 2
37
37
33
35
38
34
35
39
7Solos 1
35

Echo GameClapbacks!
Game o Listening
Brass Band
2nd Chance
My Day at the Circus
Clouds
Fun Thumb Phrases!
Prairie Song
Lullaby
Alphabet Cheer!

TEACHERS NOTES AND TIPS

1
2
HT; 2nds

D
LeftRightBoth Workout!
Rhythm Taps
Line Note or Space Note?
Drawing Notes
Discovering 2nds
Stepping Along
Deep Blue Sea
Middle C Safari
Interval Safari: Busy Bee Song
Echo SongPlaybacks
Whisper or Shout
Carousel Waltz

elebrate Piano! Teachers Guide

Celebrate Piano! Teachers Guide

22

Musicianship
Phrasing
Expressive playing and phrasing is an essential part of
piano lessons. Although students may take some time
before they master the art of shaping a phrase, they
can understand that the last note in a phrase should
be played softly and that they should breath or lift
between phrases. Have your student listen as you
model beautiful phrases.
Practice Plan
In order to encourage good practice habits, the
authors begin introducing abbreviations for specific
activities. In Unit 3, the student learns: T = Tap and
ta the rhythm with a steady beat. These directions
should be followed both at the lesson and at home.
Ear Skills
Interval: 2nd
The Busy Bee Song uses 2nds. Students are
encouraged to sing this song several times a day,
starting from Middle C. The goal is to instill the
sound of a Major 2nd in the ear.
Tips:
Clouds (p. 34)
To reinforce the performance of the phrase, add the
word lift when chanting. For example, chant ta,
lift on the last half note in each phrase.
Drawing Notes (p. 28)
Specific instructions for drawing notes have not been
given because stem direction is not a major concern
at this point. However, the teacher may provide some
guidance regarding stem placement and direction.
The stem direction rule appears later.

Level 1, Unit 3

17

ExploringPreparation
Celebrate Piano!
: Level 1
for Literature
TM

Students will graduate from Celebrate Piano!

with the technical facility and musical
understanding needed to make a smooth
transition into classical literature such as that
found in Celebration Series Perspectives.

Year 1

Selected repertoire from Celebrate Piano!

serves the curricula of RCM Examinations and
the National Music Certificate Program at the
Preparatory A and Preparatory B Levels, and
Level 1.

Year 2

Year 3

Year 4

Preparatory B

Grade 1

LESSON AND
MUSICIANSHIP

1B

September

Celebrate Piano!

June

A Comprehensive Piano Method by

Cathy Albergo
J. Mitzi Kolar
Mark Mrozinski

Preparatory A

Students studying from Celebrate Piano! will be well

prepared and eager to approach the classical literature of
Celebration Series Perspectives. Teachers should indeed
celebrate this new resource which is certain to become the
method of choice for students moving into The Royal
Conservatory of Music curriculum.
James F. Lawless, Chief Examiner Emeritus, RCM Examinations

23

Exploring
Celebrate
About the
AuthorsPiano! : Level 1
TM

J. Mitzi Kolar is director of graduate

studies in music and the director of the
graduate degree program in piano
pedagogy at San Diego State University,
School of Music and Dance, where she
specializes in teaching piano
performance, class piano, and piano
pedagogy. Mitzi Kolar is the author of
Music in Education, a keyboard/
technology-based public school music
curriculum published and distributed
by Yamaha Corporation of America.
Mitzi Kolar currently serves on the
theory review committee for the Music
Teachers Association of California
(MTAC) Certificate of Merit program.

Cathy Albergo, a curricular expert in

the field of piano pedagogy, has
contributed numerous articles to
professional keyboard journals. She is
currently Professor of Music and Music
Department Chair at the University of
North Carolina at Wilmington and has
served as President of the Illinois State
Music Teachers Association, National
Certification Chair of the Music
Teachers National Association, and
Regional Chair of the National
Association of Schools of Music. Cathy
Albergo is a co-author of Celebration
Series Perspectives, Handbook for
Teachers, published by The Frederick
Harris Music Co., Limited.

Mark Mrozinski served for twelve years

as Coordinator of the Harper Music
Academy, the community music school
associated with William Rainey Harper
College in Palatine, Illinois. He has
served as both the East Central Division
President of Music Teachers National
Association and as President of the
Illinois State Music Teachers
Association. He currently serves as
Dean of Continuing Education at
Harper College. Mark Mrozinski
maintains a studio in his home, is an
active clinician and adjudicator, and
has published a collection of
elementary piano solos entitled
Enchanted Forest.

The Frederick Harris Music Co., Limited

Since 1904, The Frederick Harris Music Co., Limited has published educational print music materials designed to suit the
specific needs of studio teachers and their students. The Frederick Harris Music Co., Limited publishes the works of many
of the most widely recognized creators, teachers, and performers in the field of music education.

Canada: Unit 1, 5865 McLaughlin Rd., Mississauga ON L5R 1B8

USA: Suite 882, 60 Industrial Parkway, Cheektowaga NY 14227
Tel: 905-501-1595
Toll-Free: 1-800-387-4013
Fax: 905-501-0929
www.frederickharrismusic.com
24