piano adventures teacher - nancy and randall faber's...

PIANO AdventuresTEACHER

T H E

Who Is the Piano AdventuresTeacher?

What’s Your Personal Learning Style?

The Pedagogy of Piano Adventures

Think Like a Businessperson

Three Predictions About The Future of Technology

Methods–200 Years Ago

F JH PEDAGOGY NEWSLETTER February 2003 No. 1

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®

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FEBRUARY 2003 NO. 1 THE PIANO ADVENTURES® TEACHER2

T his is the first issue of an “adventur-ous” newsletter. It’s coming to you

courtesy of a music publishing companythat wants to support and encourage you asa piano educator. That’s neither a casual normerely a sound-good statement. FJH is seri-ous about offering this service because weknow that independent piano teachers oftensearch for a sense of community. Thisnewsletter says, “Let’s work together.”

The newsletter is designed for both thepedagogy student and teachers already “inbusiness.” In some ways, these groups havesimilar concerns and questions. In otherways, group needs and interests maydiverge. At times articles and columns mayfavor a particular group with this-is-for-yourecommendations. But most of the time thecontent will be directed to encouraging allreaders to become—and remain—the ideal,professional piano educator.

We’re eager to share ideas and sugges-tions to make your teacher-training daysand the hours in your teaching studio a biteasier, a bit richer, and perhaps even a bitmore fun. Our intention is to be down-to-earth and practical even as we urge you toaim high and reflect deeply. We’re in a jour-ney together, and our aim is to help map theterritory, to show the best possible routes,and sometimes to point out detours andpotholes. The “yellow brick road” to a suc-cessful professional career is not alwayseasy to determine or follow. We’re here toserve as guides.

You’ll get the most from this newsletterif you join us in this common quest. Tryout the teaching hints and test their effec-tiveness yourself. Answer the questionsposed (no one will be keeping score) andsee how ready you are to stretch your hori-zons and take on new challenges. The keyis to be active, to do something with thismaterial. In that way you’ll be carving out apersonal path instead of ambling downeasy street. One thing is certain: You makeyour own career. A universal blueprint tosuccess doesn’t come with a degree, nordoes it evolve from hit-or-miss teachingexperiences.

Another way to use this newsletter is tolet us hear from you. What do you like/notlike? Do you have a burning question youwant answered? Are there opinions you’dcare to share? Are there issues you feel we’renot addressing? Is there a story you’d like totell? What would you really like to know?All you need is a bit of enterprise andcourage. We’re listening …

How to contact usEditor: Marienne Uszler ([email protected])Editorial Directors: Randall and Nancy Faber([email protected])Websites: www.PianoAdventures.com

www.PianoTeaching.comwww.FJHMusic.com

From the EditorBY MARIENNE USZLER

THE PIANO ADVENTURES®

TEACHER

Marienne Uszler, EditorRandall and Nancy Faber,Editorial DirectorsCover: Terpstra Design, SanFranciscoDesign: Susan PinkertonProduction Coordinator:Derek Richard

Advisory Board Suzanne GuyPaul JohnsonFrances LarimerBarbara English MarisJoanne SmithRichard Weise

Frank and Gail Hackinson,Publisher

The Piano Adventures® Teacher is published three times a year by The FJH Music Company Inc.2525 Davie Road, Suite 360Fort Lauderdale, FL 33317-7424

The FJH Music Company Inc.([email protected])(800) 262-8744

Websites:www.PianoAdventures.comwww.PianoTeaching.comwww.FJHMusic.com

© 2003 The FJH Music Company Inc.

All rights reserved. While FJH welcomes the dissemination of the articles in this newsletter as a service to teachers, please contactus before making photocopies fordistribution. The music containedherein cannot be reproduced withoutexplicit, written permission from FJH.

Position Announcement

The FJH Music Company will begin interviewing highly qualified candidates to fill the positionDirector of Keyboard Pedagogy Publications for the Fall, 2003. Significant college teachingexperience required. Doctorate preferred. Composition background a plus for this distinguishedposition. Excellent compensation and benefits.

Please send resume and cover letter to: Frank J. Hackinson, President, 2525 Davie Rd., Suite 360, Fort Lauderdale, FL 33317.

FEBRUARY 2003 NO. 1THE PIANO ADVENTURES® TEACHER

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Who Is The Piano Adventures® Teacher?BY RANDALL AND NANCY FABER

Welcome to the inaugural issue of The Piano Adventures®

Teacher!

We are launching this newsletter to support piano pedagogyprograms in higher education and to assist piano teachers infield practice. We invite you to discuss and debate the content,and also to share your responses. Our objective is to engage youin a discussion of ideas that will improve the quality of pianoteaching. We thank you for teaming with us in this regard.

The newsletter title suggests a specific method series, but italso suggests a certain spirit of music teaching. The PianoAdventures® Teacher refers then, not just to the choice of methodmaterials, but to a teacher who shares the philosophy themethod embodies. In this symbolic sense, we take the liberty touse The Piano Adventures® Teacher as a metaphor for a teacherwho puts the personal development of the student in the fore—for the 21st-century piano teacher. In this article, we illustratethe metaphor by asking, “Who Is The Piano Adventures®

Teacher?” In this way, we attempt to share with you our philoso-phy of music teaching.

The Piano Adventures® Teacher is someone who has� a clear mission for music teaching� a special attitude toward the student and toward teaching

music� a manner of delivery that engages student participation.

MissionMost of us grow to recognize the potential for profound influ-ence on our students’ personal development. Piano lessons canbe considered a vehicle for developing a host of valued outcomesthat lie outside the realm of musical skill. Among these are:

• confidence• self-esteem• discipline• work habits• patience• sensitivity to nuance• understanding of process to product

While the ostensible focus of a lesson is to develop musicalproficiency, we have the opportunity to develop these other valu-able outcomes along the way. The Piano Adventures® Teacher hasan eye on these secondary outcomes, ensuring they unfold withpositive value, and understanding that they are sometimes moreimportant than the musical skill we attempt to impart.

AttitudeThe Piano Adventures® Teacher puts the student first, even abovethe music. We share with students our awe of the art form, but

refrain from letting this respect for art overwhelm the student.We let music ennoble the student by developing the student’sappreciation for musical artistry and by conveying the skills withwhich to embrace it.

We teach the student music, rather than teach music to the student.

The Piano Adventures® Teacher recognizes that his or herown ego is subordinate to the teaching goals. Piano lessons arefor the student, not to bring glory to the teacher. Thoughteaching skill and reputation may (and should) be used toinspire, the focus is not on the teacher, but on the student andon the music.

King’s Keyboard House, Ann Arbor, Michigan


Teaching ProcessIt is necessary to recognize that fun is an important motivator forchildren. In fact, the need to have fun carries into all ages.Consequently, the piano lesson should be conducted with a spirit of play. This does not imply inefficiency or ineffectiveness.To the contrary. Because the playful character of the lessonengages the attention and energy of the student, more learning isaccomplished. The degree of student participation predicts thedegree of retention and application.

The Piano Adventures® Teacher avoids “being serious”because seriousness can impede communication with young stu-dents. Instead, we invite student talk. It is the relationship andthe dialogue between student and teacher that provide

• a foundation for long-term learning• a platform for resolving motivation issues that may

arise in the future• a vehicle for the non-musical outcomes.

We engage the student with a sense of adventure and dis-covery. There is purpose and direction in the lesson and lots ofhard work. But work can be “fun” when one’s attention and senses are fully engaged. This blurring between work and fun is

precisely what we intend because it can lead to effective learninghabits and a healthy work ethic.

Teaching MaterialsOur discussion of The Piano Adventures® Teacher would beincomplete without mention of teaching materials, not justbecause of the Piano Adventures® implication, but because thechoice of music and method can dramatically influence the suc-cess of piano lessons. The teacher, the student, and the musicform a lesson triangle. The method is a partner with the teacherin the lesson, and a partner with the student at home.Consequently, the importance of the music and method cannotbe overstated. They are vital in retaining student interest and inbuilding lasting skills.

A good teacher chooses teaching materials wisely and knowsthe materials thoroughly. This enables the teacher to provide a good fit between teaching material and student need. Butmatching a student with appropriate teaching materials does not imply a mixing of methods. The latter is a risky practicebecause mixing methods can sacrifice the synergy that isdesigned into a comprehensive and multifaceted method. A hodgepodge of teaching materials is a poor substitute for awell-conceived curriculum.

The Piano Adventures® Teacher� allows the chosen curriculum to unfold, staying the course

when all is well� intervenes appropriately when a skill falters or motivation flags� provides aural feedback, physical modeling, and effective

supplements that accentuate individual student interest andaccommodate individual student need.

The NewsletterThe above discussion recaps the primary mission of this newslet-ter, which is to share ideas for the best teaching practice and toconvey a deeper understanding of the teaching materials. It isalso the aim of the newsletter to support you by offering regularcolumns on subjects that affect you as a teacher, subjects that areoutside the scope of teaching materials and how to use them.

Our educational psychology column, “We’re Psych-Ed,” isintended to communicate pertinent and up-to-date theory fromthe psychology and education fronts. Piano pedagogy is essen-tially a marriage of keyboard performance expertise and issues ofeducation. Considering that the field of education is itself anapplied art with foundations in psychology and sociology, it is nosurprise to find many complex issues interwoven in the pianoteaching context. We hope to bring clarity and focus to impor-tant issues.

In “Talking Tech,” Edwin McLean discusses ways in whichtechnology may affect you and your students, and Beth GiganteKlingenstein makes it all relevant to your studio in “Taking Careof Business.” Marienne Uszler traces the historical roots of ourfield in “Family Tree.”

Whether you are a college student, a new teacher, an accom-plished teacher, or university professor, we hope you join us byreading and responding to these newsletter issues. We are confi-dent that you will apply the ideas presented with an infusion ofyour own personality and your own authenticity. What elsewould one expect from The Piano Adventures® Teacher? ❙❙❙

From the studio of Mary Toy, Kirkland, Washington

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The Pedagogy of Piano Adventures

Synergy at the Primer Level BY RANDALL FABER

Many teachers remark that Piano Adventures® is easy toteach—that it progresses smoothly, almost teachingitself. One might assume that ease-of-use implies a sim-

plistic design. But such an assumption would be like hearing thesmooth purr of a sports car engine and inferring simplistic engi-neering. Smooth performance comes from sophistication ofdesign. In the method, it is the hundreds of interrelating detailsof pedagogical design that cause it to work so smoothly.

These details lie “under the hood”—not readily apparent,but accessible with a deeper look. While the method functionswell even when a teacher doesn’t know all of its inner workings,an understanding of the pedagogical plan can amplify teachingresults. That is the goal of this column: to make explicit theinner workings of Piano Adventures® so as to maximize results forstudents.

In this issue, we look at the synergy among certain conceptspresented at the Primer level. (Our plan is to move up by levelin subsequent issues.) Pedagogical techniques can have expo-nential value when taught in combination. We look at three suchelements:

• presentation of new notes with varied fingerings (todevelop note-reading skill)

• use of arm weight (for tone production and techniquedevelopment)

• braced third finger (for rounded hand shape and firm fingertip)

While each is introduced for its own purpose in the PrimerLesson Book or Technique & Artistry Book, the three conceptsreinforce each other in synergistic fashion when the teacher con-scientiously integrates them in subsequent pages.

Varied FingeringOne of the pioneering features of Piano Adventures® is the intro-duction of new notes using varied fingerings. Thus you canteach a specified set of notes (such as those that surroundMiddle C) without a fixed, preset hand position (such as MiddleC Position). Middle C March, for example, introduces Middle Cas played by fingers 1, 2, then 3. Consequently, the student doesnot equate Middle C with finger 1.

Treble G, the next note introduced, is played with finger 3as often as with finger 5. In Best Friends finger 3 plays Treble G,while the LH finger 3 plays Middle C. Bass F is similarly playedby LH finger 3 in My Invention and The Dance Band.

In addition to enhancing note recognition and preventingequating of a finger number with a given note, this varied fin-gering has technical value. To understand this, we look at one ofthe “technique secrets” from the Primer Technique & ArtistryBook and a teaching technique presented early in the PrimerLesson Book.

Arm WeightThe ability to release the weight of the arm into the keyboard isthe basis for good tone production. It requires the undoing of anautomatic and unconscious muscle response that holds the armup, in suspension, for routine life activities—like holding a pen-cil, grasping a fork, or waving to grandmother. Breaking thisreflex is not quickly or easily achieved. Yet, it is of such impor-tance to piano playing that Piano Adventures® addresses armweight early and continues to refine the concept at later levels.

Failure to use arm weight in piano playing places excessiveburden on the fingers. Instead of over-taxing the finger musclesand tendons (with the risk of incurring physical problems liketendinitis), the pianist should use gravity efficiently to overcomethe weight of the key. The weight of the arm can be dropped,thrust, tossed, balanced on the fingertips, and transferred fingerto finger. Effective handling of arm weight forms the basis of aneffortless, virtuoso technique.

The Primer Technique & Artistry Book introduces armweight as “technique secret” number four, using an exercisecalled Heavy Wet Ropes. The student experiences the feeling ofheavy arms by imagining them as waterlogged ropes. The eventu-al release of heavy arms into the lap gives the sense of dead weight.

There is ample opportunity to apply the concept of armweight, beginning with the pre-reading pieces (in the LessonBook) that traverse the range of the keyboard—Two Black Ants,Into the Cave, Balloons, The Escalator, and others. In each ofthese, a brief pattern is repeated in lower or higher octaves.

Copyright © 1993 The FJH Music Company Inc.



Each pattern is initiated with a drop of arm weight, and isfinished with a lift of the hand that initiates a new drop intothe next octave. Notice that the thumb is not used in theseearly pieces. This allows an easy drop of arm weight into thetall fingers 2, 3, and 4, avoiding a gripping thumb and col-lapsing wrist.

The Old Clock introduces quarter-note rhythm using asteady, rhythmic drop of arm weight into alternating arms: right-left-right-left. This delivers a strong sense of pulse and puts thestudent in touch with the larger motions of piano playing.

All the Stars Are Shining (the initial “artistry piece” inTechnique & Artistry) explores arm weight applied to a grandgesture and the implications of arm weight for dynamic change.These same concepts are mirrored at the end of the PrimerLesson Book in The Bells of Great Britain.

In discussing varied fingering, we observed the frequent useof finger 3 for a given note. Finger 3 invites a drop of arm weight.In contrast, fingers 1 and 5 tend to tense the hand and pull thewrist down. Finger 3 also promotes a tall knuckle, which itselfcarries the weight of the arm. Contrast this to fixed hand positions, which foster tension and minimize coordinatedinvolvement of the arm.

Braced Finger 3The thumb can be a useful brace for a flattened fingertip. Placedbehind the tip of an offending finger, just below the last knuckle,the bracing thumb rounds the hand and firms a potentially collapsing fingertip. The student’s first activity at the keyboardoccurs in the Lesson Book with The Pecking Hen and ThePecking Rooster. Here the braced finger 3 is used to round thehand as the student explores pitch direction—pecking higher,then lower, up and down the keyboard.

In the Technique & Artistry Book, the bracing technique ishinted at in Making O’s, the exercise for “technique secret” num-ber three—firm fingertips. This drill accentuates a firm fingertipby bringing the thumb and each fingertip together, then lookingfor the “O.” (This is done in the air, away from the keyboard.)With just a slight adjustment of the thumb, Making O’s becomeseffectively synonymous with the braced finger technique of ThePecking Hen. Making O’s and the braced finger 3 reinforce eachother to make the concepts of rounded hand shape and firm fingertip more vivid, and the exercises more effective.

IntegrationWhile varied fingering, use of arm weight, and the braced fingertip are each effective in individual context, significantvalue derives from the way in which these concepts work intandem. The student need not be concerned with the technicaldetails of this integration and, in fact, shouldn’t be botheredwith terminology at this age. That can come at a later stage ofpianism. But the teacher’s understanding of how these conceptsintegrate can prevent bad habits and, with an occasional touchof the hand, can mold an impressive technical foundation.

To understand this integration, we need to explore the con-cept of alignment. When the arm, hand, and playing finger arein a straight line, arm weight can flow directly into the fingertip.If the playing finger and forearm show an angle at the wrist,there is a misalignment which breaks the distribution of armweight. The tall knuckle and rounded hand shape facilitate useof arm weight by preventing a collapsed knuckle and collapsedwrist. The finishing touch is to align a tall knuckle over the play-ing finger to provide a platform for balancing the arm.

If this sounds esoteric, don’t be dismayed. The braced fingertip and/or Making O’s handle the issue of alignmentbeautifully. And it can be done on the keyboard—right whenthe problem occurs. If a fingertip collapses or the finger andarm appear out of alignment, ask the student to “Make an O”with the finger still on its key. Making an O not only curvesthe errant fingertip, but it brings the arm, wrist, hand, knuckle,and finger into alignment, restoring a balanced platform forarm weight.





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It is clear from the above that bracing finger 3 implicitlyaligns the finger, hand, and arm. Thus a braced finger 3 is idealfor experiencing a drop of arm weight into the key. At the sametime, the concept of varied fingering provides ample opportunityto use a braced finger 3. Notice the value, for example, of using finger 3 to kick off the downbeats in My Invention andThe Dance Band. A braced finger 3 can be used here to ensurealignment and to increase the sensation of arm weight.

This is particularly useful in The Dance Band which pre-sents the concept of time signature. The drop of weight into beat1 ensures that the student feels the meter. And the use of finger3 on the F ensures that the student learns the note. The studentmight first play using a braced finger 3, then repeat without thethumb brace.

There are many places where the braced finger can be used:• with the sequential use of finger 2 in Frogs on Logs• with RH finger 3 on G in Let’s Play Ball!• with RH finger 3 on G in Rodeo

Even in Lesson Book Level One, you might come back tobracing finger 3 in teaching staccato with Mexican JumpingBeans, and in the arm weight exercise Bongo Drummers, with itsfour octaves of Gs.

You can find similar applications in the Primer Performanceand the Technique & Artistry books. These sophisticated con-cepts are revisited in different ways at higher levels. ThoughPiano Adventures® does not expect perfect execution from thestudent at this level, a foundation is laid at these early lessonsthat allows a natural, problem-free technique to develop.

“Right” from the Beginning It is easy to teach by finger number in a fixed hand position, butstudents then stumble and must re-learn the notes. It is easy tolet students lock wrists and flap their fingers, but then tensionsmust be undone and technique re-vamped.

It takes effort and concentration for the student to recognizeand associate a note with its corresponding key—but muchless effort than having to erase learned finger-number associa-tions. It takes effort and concentration to help a student bal-ance arm, wrist, and finger in coordinated fashion—but muchless effort than having to undo years of practiced tension. Thecombination of teaching techniques discussed here and usedin Piano Adventures® just might help the student “get it right”the first time. ❙❙❙

Popular Repertoire FF1256

Appealing popular standards arearranged to reinforce the concepts of the level. Each selection is pairedwith an Activity Page that addressesharmony, rhythm, ear-training, or other important musical skill.

Christmas Book FF1137

“Sightreading Stocking Stuffers” followeach Christmas selection. These melodicvariations build on the aural familiarityof the tune to promote recognition ofmusical patterns, and thus reading skill.

Technique & Artistry FF1096

The “Technique Secrets” lay a foundationof physical gesture with an ear towardexpressive playing. Each unit culminatesin an “Artistry Magic” page with tips forartistic performance.

Performance Book FF1077

This engaging and expressive collection of pieces offers a variedrepertoire while reinforcing the Lesson Book concepts.

Theory Book FF1076

Along with essential writing activities, the Theory Book presents sight-reading and ear-training instruction for each unit.

Lesson Book FF1075

Fingering is varied as new notes are presented. Additional emphasis on step/skip recognition provides a marriage of intervallic reading andnote recognition.

Primer Level Piano Adventures®

PIANO ADVENTURES®

SETTING THE STANDARD FOR THE 21ST CENTURY

by Nancy and Randall Faber

for more information, visit our website at:www.fjhmusic.com



From Piano Adventures Lesson Book Level 1, p. 29

C R E A T I V E Copyright © 1993 The FJH Music Company Inc.


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� Grumpy TrollHave student read m. 1. Teach sound and articulation by

imitation.Use words like “Grum-py Troll (Jump)” or “Jump-Jump-

Hold-(Pop)”

� Grumpy Troll WalksHave student read mm. 3, 4. Teach sound and articulation

by imitation.Use words like “Grum-py Troll is walk-ing smooth-ly.”

� Right Stomp/JumpHave student read mm. 5, 6. Teach sound and articulation

by imitation.Use words like “Stomp. Soft bounce up. Hold. Soft

bounce up.”Important to have enough tone in LH (Stomp) to last

through two measures.

� Left Stomp/JumpHave student read mm. 13, 14. Teach sound and

articulation by imitation.Use words like “Stomp. Soft bounce down. Hold. Soft

bounce down.”

� Left-Hand JumpsHave student read mm. 16, 17. Teach sound and

articulation by imitation.Use words like “Jump-(ing). Jump-(ing). Sshh.

� Jump and EndHave student read mm. 13-17. Teach sound and

articulation by imitation.Use words like “Stomp. Soft bounce down. Hold. Soft

bounce down. (Move your left hand.) Jump-(ing). Jump-(ing). Sshh.” Stress that RH Stomp must be very loud to last for four measures!

� Special JumpHave student read mm. 7, 8. Teach sound and articulation

by imitation.Use words like “Stomp. Jump down and hold (those)

sec-(onds).”

You can now put the piece together.This helps the student remember to play with the

right sound and articulations.This makes it easy for the student to know the

piece “by heart.”This shows the student how the piece is put together.

There are many fourths in “Grumpy Old Troll,” so create experi-ences with that interval. Then expand to include intervals contained within the fourth.

Building fourthsHow do fourths look on the keyboard? (Note-skip-skip-note)Which fingers usually play fourths? (Thumb and fourth finger)� Build and play fourths on different keys.� Build and play fourths in each hand all over the keyboard.� Build and play fourths from the bottom note up, top note down.

Fill-in the fourths� Start with a single pitch, then play each interval until you get

to the fourth.

� Make up a musical motif. Perhaps something like

Try this all over the keyboard, with each hand.

Hearing FourthsPlay ear games using fourths.� “Tune in” to a certain fourth by having the student play “fill-

in the fourth.”� Have student copy what you play at another piano. Perhaps

something like

You can also have the student copy melodic intervals. Perhapssomething like

Remember—it’s always easier to play ear games if they’replayed in rhythm!

Remember—don’t talk between the examples. Let the musicdictate what to do! ❙❙❙

How To

Teach “Grumpy Old Troll” Get the Most Use fromUsing a Rote-Note Approach the Intervals

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From Piano AdventuresLesson BookLevel 3B, pp. 26, 27

How ToTeach the Triad “Slides”� First prepare the outside notes.The 4th and 5th fingers play legato. The thumb slides. Showhow the wrist and the arm pull back (slightly) and float off.

� Then prepare the bottom thirds. The 2nd and 3rd fingers playlegato. The thumb slides. Keep the wrist and arm moving and“floating.”

� Then play the “sliding” triads. Be sure the wrist and armcontinue to float!

Relate technique to “feeling” and tocreating sound “colors.”

Stimulate the imagination to planand shape an interpretation.



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Teach the “Floating” ChordsThe trick here is to make sure that the fingers are firmenough so that all pitches sound simultaneously, but that theplayer’s arms “float” out of the keys after making a gentlesound.

� Have the student prepare to play m. 2. with the pedal. Askthe student to “brush” the first two chords (as if stroking orcaressing the keys), then play softly and deeply on the lastchord, as if landing on a pillow. You might suggest some-thing like “Brush Brush Drop Float.”

� This same technique can be applied to mm. 4 and 8.� In m. 5, there is a variant of this chord-playing technique.

The right hand plays “Brush Brush Drop Float” (as above)but, at the same time, the left hand plays a legato line(which should be done with the fingers.) First, have thestudent play hands alone, each hand with the pedal. Whenputting the hands together, suggest that the student thinkabout the left hand more than the right.

� In mm. 1, 3, 5, 7, and 11, all the quarter-note chords are“brushes.”

� In m. 12, all the left-hand chords are “brushes.”� The last chord (m. 14) is a gentle drop into a very fluffy

pillow. ❙❙❙

Use CD or MIDIAccompanimentto Create the Mood1 First, listen to the entire performance on the CD or MIDI disk.

Ask questions about what the stu-dent hears.� Where do you think the Tropical

Island is located?� Is this a night-time scene? A daytime

scene? At the beach? On a patio?� Who’s there? What’s going on?� Do you think the “sliding” chords

imitate any island sounds?� What kind of drums are playing?

How do they help set the mood?

2 Have the student play the “BrushBrush Drop Float” chords in mm. 2,4, 6, 8, and 12 with the CD or MIDIaccompaniment.

3 Have the student play mm. 13, 14with the CD or MIDI accompaniment.

4 Ask the student how the islanddrums prepare the tempo so that the“sliding” chords can fit in after theintroduction.

5 Play mm. 1, 3, 5, 7, and 11 withthe CD or MIDI accompaniment.

6 Play the entire piece with the CDor MIDI accompaniment.

D I S C O V E R Y


WE’RE PSYCH-ED

Your Personal Learning StyleBY MARIENNE USZLER

Every day we respond to people and events in terms of ourthoughts and emotions. We live in keeping with our psy-chological makeup even though we might not recognize it

as such, at least not on a daily, hourly, minute-by-minute basis.As we speak, choose, react, and evaluate, we are walking, breath-ing “psychological types.”

This is certainly true of learning … and therefore somethingof vital importance to those who teach. “Learning” is as much amatter of “feeling” as “knowing.” How, why, and what you learnis the result of innate tendencies, cultural conditioning, andtrained behaviors.

How Do You Learn?The study of educational psychology—learning about learning—should play a role in your development as a piano teacher. Thebest way to begin is to examine how you learn.

Ask yourself the following questions.� Do I prefer to try things out rather than listen to explana-

tions?� Do I like to have an outline or plan for what I’m about to

learn?� Do I look for a ready made outline, or would I rather design

my own?� Do I grasp a new idea or skill more quickly by modeling,

or by verbal direction?� Do I need time to make a new idea or skill my own, or am

I a quick study?� How curious am I to discover things on my own?

There are no “correct” answers to these questions. People learnin different ways and at different speeds, just as they prefer tolearn certain things more than others. Some respond best to ahands-on approach. Others love charts, notebooks, and sched-ules. Some can run with an idea, while others need time forthings to settle in. Some accept ideas without much questioning.Others are apt to be skeptical or analytic.

What did you learn about yourself?

Are you� Eager to try things on your own?� Cautious and thoughtful?� Searching and critical?� Trusting or skeptical?� Patient or impatient?� Spontaneous or organized?

“Feelings” and LearningEmotions also play a part in what and how you learn. Liking/notliking is something over which you have no control. Although

you can learn to govern or moderate your emotional reactions inorder not to offend or alienate others, you can’t ignore how youtruly feel.

Here’s a different set of questions.� Do I prefer music that is dramatic or subtle?� Do I thrive on public performance, or am I less comfortable

when “on stage?”� Am I happier playing in an ensemble or as a soloist?� Do I rely on extemporaneous emotions, or do I carefully plan

interpretations?� How important to me is the praise of my audience and my

peers?� How willing am I to learn something if I don’t “like” it?

Once again, some answers are not “better” than others.They indicate only who you are, what makes you “you.”

Answers to all the questions posed above give you a way tobegin to sketch your own “learner” profile. You have probablybeen aware of these attitudes and predispositions without givingthem much serious thought. But looking at your profile withsome objectivity now gives you added insight into how learningtakes place and what may affect the learning situation. That’s avery personal introduction to educational psychology. It’s a goodplace to start.

You Teach Like You LearnWhat you may be less aware of as you teach is that you tend toteach as if those you are instructing learn best the way you do.

� If you prefer the workbook-and-explanation approach your-self, you may be impatient with those who won’t wait forexplanations.

� If you’re a try-it-out kind of learner, you may find it hard tounderstand that some of those you teach aren’t comfortablewith such a direct approach.

� If you are analytical and probing, you may wonder why stu-dents don’t seem to respond when you list details and try tomake connections.

� If you are passionate and empathetic, you may feel challengedby those who always want answers to questions and reasonsbefore acting.

The successful teacher is one who knows many ways tosay the same thing to allow for differences in learning prefer-ences. This is only one of the insights you gain by a study ofeducational psychology—how to “get into someone else’shead” to figure out what it is that they need to know and howbest to deliver the messages. The more you learn along theselines, the more you’ll see how important and valuable it is tostay “psych-ed.” ❙❙❙


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13

TALKING TECH

PredictionsBY EDWIN MCLEAN

Keyboards

We live in a technological society. Many inventions which seemso indispensable today hardly existed before 1980: the CD player, the microwave oven, the home computer. Indeed, onehallmark of our society is that we are becoming increasinglytechnological—a seemingly irreversible process.

As pianists we are primarily engaged with a technology thatis over 300 years old—the mechanical piano. The acoustic pianoreflects a high level of craftsmanship, creating sonorous toneswhich cannot be duplicated electronically.

Despite their compromised sound, digital keyboards haveimproved dramatically in recent years. Not only do they soundmore realistic, but new keyboard actions are becoming more likethe “real thing.” And ... digital pianos never go out of tune.

Piano teachers are often asked by students and their parentswhat kind of instrument to buy. For those on a budget, a digitalpiano has become an ever more attractive option: It is affordable,stays in tune, is compact in size, and its volume can be adjustedto a level that doesn’t disturb family or neighbors. Though digital pianos are a compromise, some may be preferable to theinexpensive or used acoustic piano. What kind of piano will you recommend for your students? The more you know aboutpianos and keyboards, the better your advice will be.

Prediction Digital pianos will continue to grow in popularity and

improve in quality.

The Internet

Perhaps one of the most surprising technological developmentshas been the explosive growth of the Internet. It’s hard to believe,but soon most of our students will have used the Internet theirentire lives. This is a generation for whom e-mail, MP3s, andWebsurfing are routine.

Prediction The Internet will continue to grow in popularity,

serving as an important transmission medium for recorded and printed music.

Emerging Technologies

The typical 21st-century piano student uses computers atschool, e-mails his/her friends, downloads music from the Web,and may already own a digital keyboard. This is the technolog-ical picture of today. We cannot predict what new technologicalinnovations—already in development—will burst on the scene

and become pervasive. Superior technologies quickly crowdout and supplant previous technologies. In 1980, no one couldhave predicted how quickly the compact disc would renderphonograph recordings obsolete. Cassette tape is on the wayout, supplanted by CD burners. DVDs are replacing VCR tape.Quality acoustic pianos are already beyond the budget of many students.

Prediction New technologies will continue

to render past technologies obsolete.

Coping with Change

Teachers need to keep an eye on emerging technologies, but it isnot necessary to rush out and buy every new gadget that comesalong. However, the marketplace has its own driving power.Technology can achieve an unstoppable momentum. Acceptingthe pervasiveness of a successful technology involves a realisticrapprochement with the world around us. With this in mind, Irecommend that you become familiar with technologies thathave proven to be mainstream:

� Computers e-mail MP3 files music software

� Digital keyboards and MIDI players

� Digital audio and video CD burners DVD

Remember, most of these technologies are already an inte-gral part of many students’ lifestyle and classroom education.While the traditional paradigm of acoustic piano, paper and pen-cil, and oral instruction has not lost—and may never lose—itsrelevance, as teachers we need to confront the challenge of main-stream technology in order to stay relevant.

In subsequent columns, we will examine some of theseexisting technologies and offer strategies for incorporating tech-nology in the traditional piano lesson. ❙❙❙

Edwin McLean is a free-lance composer who also enjoys a busy careerin music publishing. As Senior Piano Editor for The FJH MusicCompany, he currently divides his time between editing and MIDIorchestration, as well as creating educational keyboard works, many ofwhich are published by The FJH Music Company.


TAKIN’ CARE OF BUSINESS

Starting OutBY BETH GIGANTE KLINGENSTEIN

Editor’s note: This first article is for the beginning teacher—whetherin college, just emerging from college, or making a new career choice.

One of the most rewarding and potentially lucrativecareers for a professional pianist is that of the indepen-dent music teacher. In order to operate a truly successful

studio, you must have top-notch musical and pedagogical skills,but you must also develop top-notch business skills.

If becoming an independent teacher is your career choice,it’s necessary to acquire the professional skills and attitude youneed to make such a business a success. One of the first steps isto get rid of any outdated stereotypes.

The independent piano teacher is not� a little old lady� a part-time teacher earning a bit of extra money� a mom with little kids at home� someone who had lessons as a child, but no other training� an “amateur”

Today’s independent piano teacher is highly trained.

The successful piano teacher� is of any age, either gender� operates a professionally run studio � thinks like a businessperson� is capable of earning a substantial salary � usually has a Bachelor’s degree in music� often has advanced degrees

Any businessperson does a great deal of planning beforestarting a new enterprise. So must you if you expect to open anindependent studio. Start with a plan.

Many decisions can be made in advance.� Choose an appropriate and functional space for your studio� Investigate all laws affecting small businesses, such as local

zoning, tax, and business license requirements� Research the cost of similar services in your chosen

geographic location before setting your own prices� Plan a budget that balances income and expenses� Organize a professional-looking studio� Determine all business policies that will affect students and parents� Develop attractive and carefully worded written materials� Devise a system for record-keeping� Develop a long-term plan for acquiring necessary inventory� Think how to market your business� Network with other professionals

If any of these areas seems foreign to the idea of establish-ing an independent studio, think again. What would happen if

some were eliminated? No budget could lead to unexpectedfinancial difficulties. No marketing plan could limit the numberof students. No preplanned policies could lead to endlessheadaches with attendance or collecting payments.

These areas will need continued attention and adjustments asyour business progresses, but a great deal of thought must go intothe business side of your studio before you teach your first lesson.

Once your business is started, project a professional image.� Dress appropriately� Keep the studio space organized and clean� Describe your expectations in professional language� Handle all communications in a businesslike manner� Separate home activities from business hours� Project real pride in your skill, experience, and position

There are many benefits to being an independent teacher. Youhave personal control over work hours, rates, student selection,program development, and artistic direction. A hardworking, mus-ical, and well-educated pianist can enjoy a lifetime of personalgrowth and achievement. Success, however, does not rest onartistic and pedagogical abilities alone. A well-organized and busi-nesslike studio is essential if you are to reach the many musical andpersonal rewards of running an independent studio. ❙❙❙

Beth Gigante Klingenstein is nationally known for her work on businesspolicies for the independent music teacher. The author of A BusinessGuide for the Music Teacher, she taught as an independent music teacherfor 28 years. Klingenstein is presently on the music faculty of Valley CityState University (North Dakota) and is the Founding Director of theVCSU Community School of the Arts.

Smiles from the StudioEvery piano teacher can “tell tales.” Here are two from the editors’ albums.

Knowing the value of orienting a student to the lesson topic, Ibegan Mollie’s piano lesson by saying, “Today we’re going to talkabout eighth notes.” To which Mollie replied, “Okay. You start the conversation.”

Nate ran excitedly into the studio. “We set a new record! My soc-cer team just set a new school record!” I acknowledged with an enthu-siastic, “Wow, that’s great!” To which Nate replied, “Well, it’s not actu-ally great. We just set the record for the most games lost in a season.”

You, too, have experienced some studio “smiles.” Why notshare them with us?

Send them to [email protected]


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15

FAMILY TREE

When “Methods” Meant “Rules”BY MARIENNE USZLER

Most of the time, we don’t think in terms of history. Wetend to assume that what we experience and know isboth universal and ageless. We find it hard, for exam-

ple, to imagine a world without cars, planes, refrigeration, TV,phones, and computers. Yes, we’ve heard about horse-and-buggytransportation, home-growing all the food that goes on the table,and waiting weeks for news to travel between cities and coun-tries, but we seldom, if ever, put ourselves into a picture inwhich these things are true for us.

So it is with piano methods. You may be surprised to learnthat the beginners’ books used to teach you may now be consid-ered out of date, surpassed by materials with different approaches to teaching reading and technique and completewith supplementary CDs and MIDI disks. If so much change hasoccurred within your own lifetime, can you imagine what it waslike to begin piano lessons 200 years ago, in a book with a coverlike this?

The English composer, James Hook, was also an excellentteacher who made a substantial income in that capacity. Thecover shows that his book could be used to teach either harpsi-chord or pianoforte—a “modern” touch since the publicationdate was 1785. The instrument pictured, however, is clearly aharpsichord.

Forty-one years later, in Benjamin Carr’s 1826 “AnalyticalInstructor,” the female student sits at what appears to be a four-octave square piano. In his Philadelphia store, Carr sold—inaddition to sheet music—pianos, stationery, umbrellas, blankets,looking-glasses, and “black beaver hats.”

The first pages of Carr’s book provide information and rules(not music), a practice typical of method books during a goodpart of the 19th century. The music—which appears later in thebook—has carry-overs from European, especially English mod-els. Carr uses English fingering (“x” for the thumb and 1-2-3-4

for the long fingers),English names (min-ims and crotchets)for note values, andplaces notes withoutregard to rhythmicsynchronicity (halfnotes, for example,sit in the middle ofthe measure).

Nathan Richard-son was one of thefirst Americans (theothers were Euro-pean immigrants) towrite a piano methodused in the UnitedStates. His “NewMethod for the Piano-Forte” appeared in1859. The first 22pages contain theusual rules, includ-ing some ghastly, tension-producinghand positions!

Exercises withno rhythmic or mus-

ical interest were interspersed with “Amusements,” pieces thatwere the rewards for doing the hard work that came first. Thesepieces included arrangements of well-known tunes and truncat-ed versions of pieces by composers such as Mozart, Clementi,and Mendelssohn.The “Amusements”made Richardson’sthe most popularAmerican method ofits day.

In columns tocome, we’ll continueto trace the pianomethod from itsearly days and toprofile those whomade importantcontributions to itsdevelopment. Thesemusicians and edu-cators are all part ofyour piano teacher“family tree.” ❙❙❙


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