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PIANO AdventuresTEACHER

T H E

Memorize In Black and White

Articulation and the Wrist

Teach by Asking Questions

Your Dream Studio

Those Teachable Moments

The Masons and Music

FJH PEDAGOGY NEWSLETTER August 2003 No. 2

®

AUGUST 2003 NO. 2 THE PIANO ADVENTURES® TEACHER2

O ur thanks for the enthusiasticresponse to the first issue. Your com-

ments tell us that we are filling a need.

“From content to layout, I thought theentire newsletter was terrific.”

“The Piano Adventures Teacher is a treasurethat I will take the time to dig into because itwill enhance the effectiveness of my teachingby increasing my confidence and remindingme of our mission, attitude, and process.”

“I expect this publication to fill a particularniche for me.”

“As a piano teacher who has been devotingtime to another career and is now startingagain to give piano lessons, the informationwas SO helpful. I read every word!”

“I think the coining of “Piano AdventuresTeacher” is brilliant! Now when someoneasks if I’m a Suzuki teacher, I can say, “No,I’m a Piano Adventures Teacher!”

The start of each new teaching yearbrings mixed emotions springing from themulti-layered activities that are part of thisseason. A renewed sense of dedication is com-bined with the sheer busy-ness of interview-ing and scheduling. Questions about whichstudents will return fuse with questions aboutthose who will be new to the studio. Sortingthrough materials and fitting music and meth-ods to individual students is buoyed by thehope that the choices will mesh better thanever. There may be a trace of anxiety-plus-excitement if you’re adding a new feature—group lessons, preschool instruction, computertime, or working with digital pianos.

But then, the first lessons get underway,and you feel “in the groove” again.

On the other hand, this may be yourfirst year in a pedagogy class. You may cometo it with an unfocused interest (after all,making a living in music is still in the hazyfuture), or you may be eager to soak upsome practical knowledge that will supportyour own first professional steps as ateacher. What will student teaching be like?An experiment? A scary responsibility? Will you find the right words? Will you have answers and solutions? What’s it like tobe on the other side—teaching instead oflearning? Mixed emotions here, too.

But then, you’ll discover that teachingis a “people” skill. You’ll find your ownhumanity enriched and deepened (as well aschallenged).

As we said in the first issue, we’re inthis together. The articles here offer supportas you explore or refine the skills you needto run a professional studio: why memorizingshould include a black and white “picture,”how technique develops at the early stages, how you can teach a piece by askingquestions, how to know when a student is“ready” to learn, how and when to equipyour studio, how to position a videocamerafor best results, and even how teachers acentury ago asked questions and solvedproblems.

To all of us … Happy “New Year”!

Marienne Uszler(muszler@pianoteaching�com)Randall and Nancy Faber(faber@pianoteaching�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.

AUGUST 2003 NO. 2THE PIANO ADVENTURES® TEACHER

www.fjhmusic.com

3

Memory—As Simple As Black and White?BY SCOTT PRICE

Memorizing piano music is tough business. It is diffi-cult, complex, and time-consuming for students,amateurs, and professionals. Occasional memory

lapses are part of the human condition. Others may be symp-toms of a larger problem. While some pianists sail past memorylapses with little thought, others can become paralyzed. Are memory problems just a natural occurrence, or are consistent memory lapses the result of a missing piece of thelearning process?

Most students and teachers spend a great deal of lessontime learning the names of notes and how to find them on thestaff. After all, we must learn to decipher the sound of what wesee on the printed page. It’s also important for students to havesome knowledge of music theory, counterpoint, form, andanalysis to interpret the score in order to make good music.While absolutely crucial for informed music making, learningand identifying note names and understanding abstract musicalsubjects is an intellectual process that can, and probably should,be done away from the piano. The business end of the piano isblack and white keys, not note names on a staff. I believe thatthis is an area where many students encounter their first prob-lems with memorization.

Students normally begin to learn the names of the pianokeys and to find the letter names of the lines and spaces on thestaff. In observing student teachers, I often see much intellectualguidance without a direct application to the actual instrumentthat makes the sounds. At some point, a correlation must bemade between the notes on the staff and the keys on the key-board. Unfortunately, the correlation between the staff andthe piano keyboard is often left to chance. The best methodbook cannot teach this correlation, and even the best teachercan overlook initiating and maintaining students’ understand-ing of this concept. The problem lies in not understanding thatthere is a difference between note reading and music reading.

Although it is important, note reading (deciphering thenames of the notes on the staff, hearing the sounds, and deci-phering the intellectual organization of the music) is only oneside of the process. A student who relies only on internal auraland intellectual processes is doomed to memory failure. Why?Because the business end of the keyboardis full of black and white keys, and thatis the prime reality in memorized performance.

The score is a blueprint that everystudent may aurally and intellectuallyunderstand. But, for a student to actual-ize and memorize music at the piano, aprocess of transliteration must occur toenable the student to fully realize theprinted music in keyboard-producedsound. This transliteration process,

music reading, is very different from notereading.

To read music, the notes on thepage are no longer names of pitches;they represent individual keys on thepiano. The notes on the printed pagemust be seen as individual black orwhite keys, small combinations ofblack and white keys, and larger group-ings of piano keys. Once students graspthis concept, the music is literally

From the studio of Dr. Mark Sullivan, Garden Grove, California

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before their eyes on the keyboard as a black-and-white snap-shot of the music that has been studied away from the piano.Students can see the key combinations needed, immediatelyshape the hand to the key grouping, know which fingers needto play the individual keys, and gauge how the fingers mustmake contact with the key to produce the desired sound.Immediately, the process of memorization becomes organizedand demystified.

Many great artists have related how they can hear a piecementally and know the fingerings, dynamics, and other mark-ings needed to create the sound at the piano. They can do thisbecause they read music and know the correlation betweenthe sounds they hear and the piano keys needed to realizethat sound. If the mind knows the piano keys needed to playthe piece, then it is just another organizational step toremember which finger is needed to play the individual key,which hand/wrist/arm gestures are needed to shape thephrase, and which markings are attached to the key or thegroups of keys.

With my young students, college per-formance majors, and even myself, I havefound the following formula to work verywell as a teaching and memorizing learningtool. It has changed my learning/memoriza-tion/performance habits, and my studentstell me that they feel comfortable in perfor-mance situations because they can rememberand see exactly which keys they need to playto make music at the piano.

� Choose a Small BitSelect a small bit of the music—a phrase ges-ture or smaller note group. With youngerstudents, I use groups as small as two orthree notes, depending on the meter and thepattern grouping. I always sing the small bitwhile we clap the micro and macro beatsand, after a couple of tries, the student will often join in thesinging. Fostering aural comprehension is the goal. Students areinvolved in an environment where they hear the sounds theyneed and develop a sound vocabulary that will eventually beapplicable to any piece.

� Notes and Keys FirstWe then find a beginning note name and move directly to determining which piano keys—not which note names—makeup the small bit. We figure out which fingers need to go over thekeys and observe the black and white pattern. Fingering prob-lems are solved and the hand is set to actualize the technical fingermovements and hand/wrist/arm gestures necessary to make thecorrect sounds.

� Are You Ready?Students are often so motivated and excited to play the notesthat they can’t wait. They play before they have really double-checked their information. I always ask if they are ready, and Iam surprised that so many students will ask me to wait aminute before they say, “Okay, I’m ready to play”. I think that’ssuch a wonderful thing to hear from a student. The student is

the one making the decisions in his or her own playing andlearning and is fully invested in the process. The teacher andstudent are working together to achieve the goal.

� Play the Small BitIf my student and I have done a good job of following thisprocess, then the small bit plays itself with a few errors and nec-essary repetitions. Most importantly, the student is repeatedlyreminded of the learning and practice process and takes theseconcepts home.

When this process is followed, students understand themusic aurally and intellectually, know which keys to play tomake the musical sounds, and know the fingerings and pat-terns needed for the whole piece. They can remember theblack- and white-key combinations that make the sounds andcan actually see them on the keyboard underneath theirhands. Seeing really is believing! They know that they canremember the music and make it happen without fear in theperformance setting.

The learning process is the practiceprocess, which in turn is the memorizationprocess. Best of all, everything has beenaccomplished with the student and teacherworking together toward a common goal,and young minds are set up for 100% suc-cess with each trial. Teacher and studentboth grow together and learn to respect andlove each other through music making. Itsounds trite, but students leave lessonswith learning tools that will serve themthroughout their lives—and with fullymemorized music! Confidence is built intothe system, and personal pride comes froma job well done.

Memory is often seen as a task that fol-lows after the music has been fully learned.Instead, it really should be part of the

learning process. The key lies in realizing the differencebetween note reading and music reading and recognizing theimportance of translating the notes on the page into black- andwhite-key patterns under the fingers. Once done, the music ismemorized. It is literally under the fingers and before the eyesin black and white keys. With a little bit of rethinking in thelearning/practicing/performing process, the fear can be takenout of memorizing and students can go into the performancesituation ready to do their teachers, their parents, and—mostimportantly—themselves proud. ❙❙❙

Dr. Scott Price is Associate Professor of Piano, Piano Pedagogy,and Coordinator of Group Piano at the University of SouthCarolina School of Music. He is creator and co-editor of “PianoPedagogy Forum” (www.music.sc.edu/ea/Keyboard/PPF). He haspresented and performed at numerous national conventions,and his work with autistic and disabled children was a fea-tured session at the 2002 MTNA National Convention. He hasrecorded nine compact discs and published educational pianomusic with Alfred Publishing Company.

The learning process

is the practice

process, which in

turn is the

memorization

process.


www.fjhmusic.com

5

The Pedagogy of Piano Adventures

Level One: Articulation and the Wrist BY RANDALL FABER

Level One of Piano Adventures® might be summarized bytwo primary objectives: 1) introducing beginning articula-tion, and 2) teaching the remaining notes of the grand

staff. In this article we focus on articulation and the implicationsfor wrist gesture.

After completing the Primer Level (see “Synergy at the PrimerLevel,” The Piano Adventures® Teacher, February, 2003), the stu-dent is introduced to legato and staccato touches in the first unitof Level One. The terms legato and staccato are so familiar to us asmusic teachers that we might easily overlook the importance ofthese touches in building technique and in developing expression.Let’s examine the technical building blocks for these touches andconsider how to sequence them at the elementary level.

Perhaps you have noticed that there are no articulationmarks at the Primer Level—no slurs and no staccato marks. Wedelay teaching legato (for young to average-age students) toensure that a modicum of finger independence develops beforeinsisting on connected touch. When a student’s finger and smallmuscle coordination is undeveloped (common, and not a causefor concern), an insistence on legato playing can cause tensionin the hand. This happens when pressure is maintained againstthe keybed. In most cases, the playing of a key should be followed by immediate relaxation, maintaining only sufficientbalance of the hand and arm to keep the key depressed.

We commonly hear young primer-level students play allnotes detached, poking at each key with a pump of the wrist ora stab with the elbow. While we want to minimize (but not nec-essarily eliminate) the wrist pumping, this non-legato touchinserts a relaxation between each note, which can be beneficial.The student is naturally building coordination by practicing arelaxation response after each finger plays. Granted, it doesn’tsound good to a musician’s ear, but it does seem to improve coor-dination (and rhythm as well).

Because of this, we choose to delay the teaching of legatountil Level One, and we wait to eliminate the “pumping” man-nerism. (Some students naturally play legato at the Primer Level.This is good, and usually indicates sufficiently developed coordination to explore the touch.)

Wrist Gesture Presented in SequenceWhat does it mean to play legato? Yes, it is a connected touch, but—more importantly—it is the playing of several notes in a single gesture.It is initiating a phrase with a drop of arm weight and passing (trans-ferring or “rippling”) that weight from finger to finger.

We have all attempted to teach two-note slurs to elementarystudents in a single lesson, complete with this new wrist gestureand the softening of the slur ending. Experience reveals this to befrustrating for both student and teacher—and the student is notinterested in the sound or the motion. In Piano Adventures®, thecomponent parts of the slur gesture are isolated and sequencedover several levels, so that each element can become an automatic

skill. This spiral approach offers both review of a previouslylearned skill and expansion of the technical concept, polishingthe gesture and practicing its applications over advancing levels.

� Height of the wrist This is established at the Primer Level withthe Technique & Artistry secret called “Thumb Perch.” Playing onthe side tip of the thumb (instead of a horizontal thumb) eliminatesa sagging wrist, which is so common at this level.

� Range of wrist motion “Relaxed Wrist,” the Level OneTechnique & Artistry Secret No. 2, establishes the range ofmotion for the wrist in the exercise “Wrist Float-Off.” Withhands on the closed keyboard lid, an imaginary balloon pulls thewrist upward until only the tip of finger 3 is in contact. This pre-cludes a locked wrist and models the gesture for a phrase ending.

� The wrist gesture At Level 2A (Technique & Artistry SecretNo. 5), the exercise “Moon Walk” applies the Wrist Float-Off toplaying keys across the keyboard.

� The slur gesture The drop and release of arm weight throughseveral notes is specifically practiced at Level 2B with theTechnique & Artistry exercise called “Painter’s Brush Stroke.” Herethe student perfects the “down-and-up” motion of the slur gesture.

Moon Walk (with damper pedal down)

Pretend you are walking on the moon.

Play a Middle C on the piano with R.H. finger 3.Let your wrist rise in s-l-o-w m-o-t-i-o-n (float-off)and land gently on each HIGHER C.

Repeat with L.H. finger 3 moving down the keyboard playing C’s.

Copyright © 1995 The FJH Music Company Inc.




� The tapered ending At Level 3A, the focus is on “roundingoff” the phrase ending. The wrist gesture carries the weight offthe key to soften the last note of the slur.

Legato and the WristSo what do we expect of the student at Level One? We want aflexible, relaxed wrist that freely moves up within an establishedrange of motion. We don’t focus on down motions of the wristhere, as these tend to collapse the fingertip and lock the wristlow. We do focus on the up motion. It is the flip side of the arm-weight drop. The student drops into the phrase with arm weightand releases the weight with the Wrist Float-Off. This needn’t becomplex. We simply encourage the student to apply the wristfloat-off at certain points in the music.

In Legato Skips, for example, the Wrist Float-Off is used at theend of each slur. In addition to tapering the phrase, the wrist lift pre-pares the hand for the subsequent phrase which is sequenced a stephigher. (Notice how the sequential fingering promotes the wristlift.) The use of the Wrist Float-Off is tremendously valuable forpreparation. This is explicitly practiced in Smooth Take-off(Technique & Artistry pp. 6, 7) where the Wrist Float-Off carries thehand up an octave for the repeat. It applies in such pieces as Kite inthe Sky (Lesson Book, p. 21) to prepare the LH crossover and inRain Forest (Lesson Book, p. 24) for the concluding RH fifths.

There are countless applications of the Wrist Float-Offwhich both student and teacher can find. Look beyond justphrase endings. The rising wrist can add grace to ending chords

or intervals. In Legato Skips, for example, a Wrist Float-Off addsfinish to the RH third that concludes the piece. Long-held notescome alive by replacing a static hand with a wrist that slowlyrises through the duration of the note. (See Floating Balloon,Technique & Artistry, p. 13) This conveys a continuing tone,reinforces rhythmic direction, ensures appropriate relaxation,and presents visual and kinesthetic elegance.

Much of the music of Level One is written to encourage theWrist Float-Off. The phrases in Merlin the Wizard (Lesson Book,p. 32) and The Super Secret Agent (Lesson Book, p. 34) each endon a black key. The Wrist Float-Off aids in playing the black keyand, conversely, the topography of the black key invites theWrist Float-Off. For a more refined gesture, the knuckles shouldroll forward, toward the fallboard, as an integral part of the WristFloat-Off. This forward roll ultimately becomes the key elementof the wrist gesture.

Staccato and the WristThere is no single way to play staccato. Staccato playing isalways contextual—that is, the execution of the staccatodepends on the musical context: How short a duration? Howmuch of the touch is initiated by the finger? How much by thehand hinging at the wrist? How much by a thrust of the elbowand arm? It is important to note that the wrist staccato taught inthe Level One Technique & Artistry Book (Secret No. 3, “LightHand Bounce”) is only one type of staccato. Other contexts callfor a quite different handling.

The second secret is a SLUR GESTURE.

Painter’s Brush Stroke

A pianist can play several notes with a single motion.This smooth wrist motion is called a slur gesture.

As you play, imagine the smooth brush stroke of a painter.

Your wrist will rise slightly through the slur.

2.

& 4

41

F

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ŒR.H.Play this R.H. slur gesturein HIGHER octaves.

Play the L.H. slur gesturein LOWER octaves.

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wrist: down and up

D I S C O V E R Y






www.fjhmusic.com

7

For this early level we choose the wrist staccato, a techniquethat essentially dribbles the hand from a slightly elevated wrist.Notice how well this ties in with the Level 1 theme of relaxingthe wrist and finding its appropriate range of motion. Introducedas a “Light Hand Bounce” with the exercise Woodpecker Taps,this staccato technique applies fittingly to the repeated notes andrepeated intervals that characterize much of the repertoire at thislevel: for example, Haunted Mouse (p. 11), Young Hunter (p. 13),and Russian Sailor Dance (p. 33) from the Lesson Book andMouse on a Trampoline (p. 16), Legend of the Buffalo (p. 20),and Sidewalk Game (p. 35) from the Technique & Artistry Book.

This gentle hand bounce not only relaxes the wrist, but italso provides a technique for playing soft, accompanying chords.This has big payoff at Unit 8 where chords are first introduced.Instead of loud, clunky chords that overwhelm the melody, theleft hand effectively plays soft staccato chords in the first pieceswith block chord accompaniment (Song for a Scarecrow and MyPony, Lesson Book, pp. 41, 42). This is possible because of thetechnique acquired early in the level (and the compositionalplacement of the accompanying chords on beats where themelody is sustained, not played).

Expanded Note ReadingThe Level One expansion of note reading to the entire grand staffis paced to parallel the technical sequence. After reinforcing thenote recognition taught at the Primer Level, an orientation to thespace note names F-A-C-E leads the student to the notes ofTreble C Position. This allows the mimicking of a melodicphrase in a higher octave. As implied earlier, the movement ofthe hand from one octave to another can be executed using theWrist Float-off. So this new range of notes allows a repertoirethat invites use of the wrist gesture and, consequently, prepara-tion and arm weight.

Importantly, the simultaneous introduction of all five notesof Treble C Position requires the student to read by interval (bystep/skip). This is intentional, and offers a powerful opportunityto ensure that note-name recognition is paired with intervallicreading. This intervallic review of step/skip conveniently leads tointroduction of the fourth and fifth in the next unit. This peda-gogy is reiterated in the final unit, which introduces Bass G. Thethree G positions invite intervallic reading, carry the hand to dif-ferent octaves, and present a repertoire with increasingly sophis-ticated articulation.

In summary, the Wrist Float-Off and the Light HandBounce constitute essential wrist gestures that derive from theircounterparts—legato and staccato. These gestures provide atechnical foundation on which more refined technique can bedeveloped. And, importantly, whether through shaping a phrase,softening an accompaniment, or adding elegance to an ending,these gestures add a great degree of musical artistry … which isespecially appreciated at this early level. ❙❙❙

Popular Repertoire FF1257

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 FF1138

“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 FF1097

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 FF1080

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

Theory Book FF1079

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

Lesson Book FF1078

The Primer Level strategy of note recognition plus step/skip recognition is expanded at Level One to include4ths, 5ths and the remaining notes of the grand staff.

Level One 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 Performance Book Level 1, p. 11

D I S C O V E R Y Copyright © 1993 The FJH Music Company Inc.


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9

How To

Teach “Painting with Pastels” By Asking QuestionsBY MARIENNE USZLER

� Prepare to Read the Piece

Left hand

Where will you put your thumb?What is the lowest note that you’ll play?Will you play any other notes?

Right handWhere will you put your thumb?What is the highest note that you’ll play?Will you play any other notes?

� Prepare to Play the Piece

Put both thumbs in position.Think about which note you’ll hold longer. How long?Tap or count two measures in a rather slow 3.In the third measure, begin to play—but keep counting.Play measures 1-4.

Look through measures 9-12.What did you discover? Why is it very easy to play these

measures?

Look at measures 5 and 6.Where will you put your thumbs?How far down is the first note from your LH thumb?Which finger will you use?Where will you put your RH thumb?How far up is the last note from your RH thumb?Which finger will you use?Which note will you hold the longest? How long?Tap or count two measures in a rather slow 3.In the third measure, begin to play—but keep counting.

Look through measures 7 and 8.What did you discover? Why is it very easy to play these

measures?

Measure 13 is the same as measure ___?Prepare to play measures 13, 14, and 15.Think about which notes you’ll hold longer. How long?When you play to the end, how long will you hold the last

LH note?Tap or count two measures in a rather slow 3.In the third measure, begin to play—but keep counting.

In the last two measures the RH plays two notes together.Which notes are these? Which fingers will you use?Tap or count two measures in a rather slow 3.

Play from measure 13 to the end.

� Picture the Shape

You now know many things about this piece.

Which measures are exactly the same as measures 1-4?Label these with the letter A.Play the A sections with your eyes closed—but keep

counting.You have half the piece memorized!

Which measures are exactly the same as measures 5 and 6?

Label these with the letter B.Play the B sections with your eyes closed—but keep

counting.You have three lines of the piece memorized!

Think about which letter to use to describe Measures 13-17.

You already know that it begins like measure ___.Does that relate the last line to the A section or the

B section?You could label the last line as a variation of

letter B.You can show this by using the label B' (“B prime”)

Play each of the A sections as one long phrase.Play the B sections as a short phrase with an echo.Play the B' section as a long section that whispers at

the end.

� “Color” the Sound

Pastels are soft colors, light and delicate.

How loud will the loudest parts be?Where will you play (paint) with even softer colors?At the very end, you might even wish to play so softly that the color seems to fade away.

Pastels blend easily with one another and with brightershades.

Keep the pedal down throughout the entire piece.Listen to the sound “colors” as they blend and shift.

When you play with the CD accompaniment or the MIDIdisk, listen to how all the sounds mix together in one gentle,lovely “picture.” ❙❙❙


From Adult Piano Adventures, All-in-One Lesson Book 2, pp. 146, 147

How To BY MARIENNE USZLER

Teach the Tenuto TouchFirst play the LH notes marked tenuto with pedal.Stress playing from the shoulder, with a flat finger that “strokes”the keys.Play to the first note of m. 13.

Add the RH chords, blocked, on beat 2. The chords should be softer than the left-hand tenuto notes.

Then play as written—somewhat slowly, but very evenly.Be sure that the LH tenuto notes continue to sing.

Sample SeventhsBlock the 7th chords in mm. 17, 19, and 23. Add an E Minor chord at the end.

tenuto mark (stress mark) This mark means to hold the note its full value. Hint: Press deeply into the key.

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In measures 17–20 the R.H. plays both the melody and harmony (two voices).

Play the upper voice F with a rich tone. Play the thumb lightly for the inner voice.

Musical Form Check:

Label the sections of this piece.

Name the form: _____

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www.fjhmusic.com

11

Using the pedal, play this series of chords

• Blocked, in different ranges of the keyboard• Blocked, at different speeds • Blocked, using different dynamics

(like a hymn or fanfare, for example)• Broken, at different speeds• Broken, using different dynamics

(like a harp or flashy ending, for example)

Using the pedal, play this series of chords with an originalrhythm pattern.

Perhaps something like

or

Teach the Right-HandVoicingPlay just the top (melody) pitches inmm. 17-24. (In m. 21 add the LHnotes.) Use the pedal as marked. Besure the long notes are played withtone rich enough to sing throughtheir entire value. Think of this asone very long phrase.

Play as above, this time adding thelower RH voice in mm. 17-20 and m. 23. The lower voice must whis-per. Continue to listen for the longmelody line.

Add the LH chords. Make sure theywhisper together with the RH “innervoice.” ❙❙❙

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WE’RE PSYCH-ED

“Ready” to LearnBY PAUL A. JOHNSON, PH.D.

Let’s assume that every learner sees himself or herself ascapable of “self-direction.” Every learner would also wantothers to see him or her in the same way. Self-direction is

one possible definition of maturity.What this implies is that, as teachers, we need to create a

climate of openness and mutual respect if we are to success-fully identify and truly understand what students want andneed to learn. Many children, as well as adults, really enjoyplanning and carrying out their own learning exercises. Theteacher’s role, therefore, is best described as a learning reference or mentor, rather than as the traditional instructor.Telling students “how I do it” rather than “this is how it’s done” becomes a mechanism by which teachers can establish a collaborative alliance with students. Instead of“talking down,” the teacher encourages the student to regardhimself or herself as a self-starter and a decision-maker, ratherthan as a mere “sponge” who mindlessly absorbs what the“expert” knows.

Readiness to learn is a key concept because it relates to thelearning materials and your expectations. “Learning readi-ness” is a vast and complex area of study, and a simple websearch can yield scores of readings and research on this topic.For our immediate purposes, let’s think of readiness as the“ability to do” and the “need to know” that resonates witheach student’s personal and social development. These conceptshave a strong correlation with readiness-to-learn and “teachable moments” that make your job, as teacher, so potentially rewarding.

Suppose one of your students has, thus far, resisted beingtaught anything about thirds, fifths, or reading music. That stu-dent also has a favorite grandparent who absolutely loves“Taps” because of the memories or recollections it brings. Allof a sudden, you and your student have a wonderful readinessand “ teachability” moment on which to capitalize. Rememberthat no questions are stupid, and that the student’s “need toknow” can be a tremendously powerful force in helping thatstudent (and you) overcome previous resistance to any type oflearning that might benefit the student.

Children and adolescents, as well as adults, bring a lifetimeof experience to the learning situation. Each student defineshimself or herself in terms of what has been learned and whathas happened in his or her own lifetime. That is how they know“who they are.”

We must try to understand how our students perceivethese life lessons since there are a myriad of interpretations andmeanings that people assign to what has happened to them. Toreject or fail to utilize the life experience of your student isequivalent (subtly or subconsciously) to rejecting that studentas a person. Unfortunately, many students have not yet learnedthat mistakes are key opportunities for learning, rather thanindications of inadequacy or worse. Assisting them to under-

stand and constructively interpret what has happened is a richlearning opportunity.

It is critical for you, as the teacher, to try to assume aproblem-oriented perspective. The most important focus mustbe on what students learn, not what teachers teach. Most learn-ers are gripped by the urgent need to understand how toresolve a problem, whether it is fingering, technique, or masteryof the bass clef in a particular piece. Helping the student learnhow to solve the problem is a sure way to build rapport, support the student, relieve anxiety, and eventually pave theway for going back (once the heat of performance has less-ened) to review the theoretical or pedagogical basis for whatyou want the student to learn.

Keep certain points in mind—

� We are always learning. Most of the time that comes fromimitating role models.

� Learning must take place naturally. Coercion, confusion,boredom, or too much perceived difficulty in early stagesare all significant inhibitors of learning.

� Learning must be meaningful to the student in his or herliving context. It must be something the student feels thathe or she “needs.”

� When we learn things that “make sense,” much additionallearning about the world and our environment takes place.

� Learning is most often a partnership or collaborationbetween a teacher and a student. Programmed learning and instruction plays only a very small part in “living education.”

� The relevant outcome of learning is “what we show we cando,” not how we score on tests.

� Learning always involves feeling, which can be positive ornegative. We are not machines—we have “hearts.” Learningmust be something we feel we own and cherish.

� Try to make the learning environment as risk free as possi-ble. Encourage students not to feel threatened by learningbut to think of it as a natural part of living. That is one ofthe most critical aspects of our role as teachers. ❙❙❙

Dr. Paul Johnson is a clinical and consulting psychologist whois also a pianist, fisherman, and gardener. His career has beendedicated to the development of people in educational, clinical,and corporate settings, whether with top CEOs or with peopleat all levels. He has been significantly involved with Randall and Nancy Faber in their ongoing professional activities and inpromoting their methods and practices in the field of musiceducation.


www.fjhmusic.com

13

TALKING TECH

Videotaping—Location, Location, LocationBY RICHARD WEISE

Location, we are told, is the primary consideration when pur-chasing real estate. The same holds true for videotapingpiano lessons—not the location of the piano lesson,

though that can be a factor, but the location or position of thecamera. Camera placement is the most important decision youmake when videotaping a lesson.

How often have you watched videotapes of lessons in whichyou could neither clearly hear nor see interactions betweenteacher and student nor clearly see the student play? All of theseproblems go away, however, by carefully choosing the location ofthe camera:

• Distance from the piano

• Horizontal position relative to the keyboard axis

• Height above (or below) the keyboard

• Placement of the subject(s) in the viewfinder.

Though the rules don’t change if there is someone operatingthe camera, I’m assuming here that you will attach the camera toa tripod and leave it unattended while taping.

Location—Distance from the PianoDistance of the camera from the teacher, the student, and thepiano is the primary limitation to the quality of sound that thevideo camera records—the closer the camera microphone, thebetter the sound. The quality of the camera’s microphone palesin importance to its proximity to the sound source. Even themost expensive microphone will poorly capture the desiredsound if it is too far from the source.

Location—Horizontal PositionThere are two activities we want viewers to see, the interactionsbetween teacher and student, and the student performance. Ifyou place the head of the tripod on the invisible line that extendsout from the key cover (as viewed from above), you will be ableto see the faces of both student and teacher and the hands of thestudent on the keys.

Place the camera on the student’s, rather than the teacher’s,side of the pair, because this allows you to see the teacher’s facewhen talking to the student and to see the student’s hands clear-ly if they play a duet.

Location—Height Above the KeyboardCamera height should be low enough to see the position of thestudent’s hands and high enough to see the first and last keys ofthe keyboard. Adjust the camera height by extending the tripodlegs, which increases stability, not by extending the tripod cen-ter post, which decreases stability.

Location—Subjects in the ViewfinderNow, put it all together. Setting up the camera can be time con-

suming, especially the first time, even for an expert, so set upwell in advance of the student’s arrival. Changing one element(e.g., distance of the camera from the piano) can mean changinganother (e.g., the height of the camera). Your goal is to get asclose as possible while still being able to see the tops of the sub-jects’ heads and both ends of the keyboard.

Focus your attention on the edges of the viewfinder to seethat you include everything that is necessary and as little visualdetritus as possible. A wide-angle lens attachment for the camerais very useful in getting the camera close to the piano while stillseeing the whole keyboard and the subjects’ heads. You havenow completed the first and most important step to capturinghigh-quality images and sound. ❙❙❙

Richard Weise is Vice President for Educational Research andMedia Development at Dovetree Productions, Inc.

Smiles from the StudioIt’s always fun to uncover new student definitions. Here are afew taken from recent theory certification tests given by theMusic Teachers Association of California.

Toccata … light and machine-likeCon brio … with beatTranquillo … tranquilizedDiminuendo … disappear slowlyThree sections of a sonata … theme, chorus, refrain

Don’t forget to send your own special “smiles” [email protected]

Student

Key Cover Axis

Teacher

Camera Setup


TAKIN’ CARE OF BUSINESS

Planning Your (Dream) StudioBY BETH GIGANTE KLINGENSTEIN

Gone are the years when the independent studio consisted ofa piano and two chairs. The possibilities for a 21st-centurystudio are much more exciting and all encompassing.

Whether you’re just starting out or already on your way, youmight find these suggestions for creating a home studio useful.

Studio spaceIn most cases, independent teachers work in their homes. Youneed to consider certain items before renting or purchasing ahome, condo, or apartment.

� Be sure you are in compliance with all zoning laws andhomeowner association rules.

� As soon as you can afford it, have your studio space separatefrom all other living areas.

� An entrance that leads directly to the studio helps keep yourfamily life separate from your professional life. The best entranceis one where parents can watch their children enter your homeand one that does not have dangerous steps or icy slopes.

� A long driveway allows for adequate parking, drop-off, and pick-up without distressing the neighbors or violating zoning laws.

Studio equipmentCreating the ideal studio can take years of planning and a greatdeal of money. A teacher just starting out can establish a func-tional studio with bare essentials, yet develop a long-range planto build toward the ideal.

Prior to any technology purchase, it’s important to decidewhat you wish to do with it. For instance, how will you use avideo camera? Do you want to create digital movies of yourrecitals for the Internet or just videotape recitals to show withinthe studio? Which software should you purchase first? Whichshould follow and in what order?

If you hesitate to use technology, know that it’s not as daunt-ing as it may seem. If you choose not to enter the world of computers and MIDI keyboards, workstations can still be usedwith tape recorders, CD players, workbooks, and videos. Suchworkstations are a wonderful way to supplement teaching time.

Technology—Some Basic Guidelines

� Plan for the future as you purchase technology related items.� Be sure your computer(s) can run the software you purchase.� Develop a software library that covers a well-balanced cur-

riculum. Include software on world music, music history,composers, aural and rhythm skills, and music theory at alllevels. Use a balance of tutorial and drill programs, andinclude programs for composition, notation, and sequencing.

� Be sure that all computers, MIDI keyboards, and speakersfunction well together, and that you have the proper cablesand jacks to operate all technology as a single unit.

� If you set up multiple workstations, be sure you have planned asystem for listening to one or all of the stations simultaneously.

Year 1

� Acoustic piano� Telephone answering machine� Ledger for records� Metronome� Tape recorder� CD player� Small library of music, educational tapes, and CDs (You may

find bargains at local music teacher organization sales.)� Student workstation area with tapes, CDs, and theory

workbooks

Years 2-5

� Student workstation area with computer, MIDI keyboard,and speakers

� Headset for workstation� Starting library of theory, history, notation, sequencing, and

aural skills software� Bookkeeping software� Video recorder� Television to show educational videos� Expand library of music, CDs, and educational videos� Small library of books on music-related topics

Years 6-10

� Digital/MIDI keyboard(s) and speakers� Additional computers for student workstations� Expand library of music software � Expand library of music and CDs� Expand library of music-related books

Years 11-20

� Second acoustic piano� Collection of ethnic and rhythm instruments� Continued expansion of all libraries and workstations� Organized storage space for expanding libraries

Years 21 +

� Expand and remodel studio space, if needed� Add a waiting room� Add a separate workstation room� Upgrade acoustic pianos, if necessary ❙❙❙

Beth Gigante Klingenstein is nationally known for her work onbusiness policies for the independent music teacher. The author of ABusiness Guide for the Music Teacher, she taught as an independentmusic teacher for 28 years. Klingenstein is presently on the musicfaculty of Valley City State University (North Dakota) and is theFounding Director of the VCSU Community School of the Arts.

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Second slow form. Rhythm II


www.fjhmusic.com

15

FAMILY TREE

The “Masonic” TouchBY MARIENNE USZLER

Being a member of the Lowell Mason family in 19th-centuryAmerica was like being one of the Bach boys. Mason was acompiler and composer of hymn tunes, a conductor, and

president of the Boston Handel and Haydn Society. He was alsothe prime mover in getting music introduced (in Boston, in1838) into public school education.

Two of his sons, Daniel Gregory and Lowell, became musicpublishers. The youngest son, Henry, joined Emmons Hamlin inmaking reed organs in Boston. In 1883 Mason & Hamlin beganto manufacture pianos. Another Daniel Gregory (Henry’s son)made his fame as a composer, a writer on music, and the head ofthe music department at Columbia University.

William, the patriarch’s third son (1829-1908), was apianist. At 20, he followed the path of most American musi-cians—he went to Europe for “serious” study. He moved aroundduring his five-year stay. In Leipzig he studied with IgnazMoscheles, in Prague with Alexander Dreyschock, and inWeimar with Liszt.

It was while working with Liszt that Mason came to appre-ciate the importance of accentuated, elastic movement. He notedin his autobiography that Liszt’s demonstrations “let in a flood oflight upon me.… When he wrote to me later about my ownpiano method, he expressed the strongest approval of the exercises on accentuation.” He also credited Liszt with devisingthe “two-finger drill,” a technique that later became associatedwith Mason’s own name.

It was as a teacher and author of books on technical train-ing that Mason carved his particular niche in keyboard history.Working in his New York Steinway Hall studio, he produced sev-eral influential publications, the most notable being Touch andTechnic, op. 44, the four volumes of which were published in1891-92.

When I first came upon this work, it struck me as a methodso basic and naturally musical that I wondered why no one hadever shown me these techniques, and why Mason was hardlyever included in the lineup of the technical “giants”—Deppe,Leschetizky, Breithaupt, Matthay, et al.

Mason’s idea is simple. All pairs of adjacent fingers, in eachhand, are exercised in rhythms that are then doubled. There aretwo “rhythms.” In one, the accent is on the first note.

In the other “rhythm,” the second note is accented.

Mason’s ideas about “elementary forms of scale treatment”are further evidence of his belief in the importance of rhythmic(accentuated) technical practice.

Particularly ingenious are the scale forms he developed tokeep the mind occupied and the ear engaged. These exercisesmay look obvious, but when you try them yourself, you’ll findthat your mind and ear must remain “on task.”

Although William Mason is not often listed in the peda-gogy “pioneer” category, his contributions to piano playingand teaching mark him as a late 19th-century leader in thesefields, and the value and breadth of his theories should bemore widely acknowledged. As Reginald Gerig notes inFamous Pianists and Their Technique, Mason “seems to havebeen the first original thinker in America in the area of pianotechnique.” ❙ ❙ ❙

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First moderato form. Rhythm I


LESSON BOOK THEORY BOOK PERFORMANCE BOOK

TECHNIQUE & ARTISTRYBOOK to be released

The FJH Music Company joins you in SETTING THE STANDARD FOR THE 21st CENTURY

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by Nancy and Randall Faber

or the youngster, teenager or adult, PianoAdventures® offers a specially tailored courseof instruction.The repertoire selection isalways appealing, the arrangements areintrinsically pianistic, and the instruction ispaced for success. Whether you teach in a piano pedagogy program or an independentstudio, Piano Adventures® is at your service.

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The FJH Music Company Inc. 2525 Davie Road, Suite 360, Fort Lauderdale, Florida 33317PHONE 954-382-6061 FAX 954-382-3073 TOLL FREE: 1-800-262-8744

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