When I grew up, there were a certain number of pianists that I idolized. All but one of these were still alive and actively concertizing. That one, Arthur Rubinstein, is who I will first discuss in this series of profiles of my piano idols. Although he died in 1982, when I was still in high school, he stopped concertizing in 1976, so I never got to see him play live.
It wasn’t a difficult decision to choose him, since I am presenting five Chopin Waltzes as postludes in church this month, and getting ready to record all of the Scherzi for the Weekly Acorn starting next week as well.
On the Radio and in the Record Store
The reason I felt that I grew up with him was his legacy, and that his recent retirement and then departure meant he was still played often on the radio and available in record stores. Although he played a wide variety of repertoire far beyond Chopin, he was always mentioned as the go-to pianist for his countryman. Both were born in Poland and emigrated when they became adults.
Curating His Recordings
I think it’s healthy to listen to several different interpretations to get a rounded view of a composer’s music. However, if you don’t have that luxury, or are just looking for the one, I’d say Rubinstein works pretty well even today! Unfortunately, there isn’t a lot of video footage, since back in the day audio recordings were primary. Plus, when you search for Rubinstein on YouTube, you’re mostly going to just find audio recordings with pictures of record covers instead of accompanying video. They’re still worth hearing, though their audio quality can be pretty bad. That’s something I’m more willing to forgive when video is included.
Playing Dupré is quite difficult. He had the proverbial silver spoon in his mouth from birth, at least in a musical sense. His father Albert was an organist in Rouen and good friends with iconic organ builder Aristide Cavaillé-Coll. The latter built a house organ for the Dupré family when Marcel was 14. He certainly must have used it, since by the time he was 18 he was studying at the Conservatoire de Paris with three organists/composers of historical importance: Alexandre Guilmant, Louis Vierne, and Charles-Marie Widor. Any musician would be lucky to study with just one of these gods.
Comparisons to J.S. Bach
Of course, one’s education is never a guarantee of success, but Dupré certainly didn’t disappoint. Although few outside of the organist world would consider Dupré worthy of comparison to J.S. Bach, there are some parallels. Both organists are what would we would call extremely well-rounded. They took both composition and performance seriously. In Bach’s day, that meant learning the emerging pianoforte as well as the established harpsichord and clavichord. Dupré only had to contend with the piano since the other two instruments practically vanished a century earlier.
Also, both advanced the technique of the music they wrote to the extent that their contemporaries often couldn’t play their music. One of Bach’s contemporaries, Sorge, wrote that Bach’s chorale preludes were “so difficult and almost unusable by players.” By that, he was talking about most other church musicians of the time. Dupré’s own teacher, Widor, who preceded Dupré as titular organist at Saint-Sulpice, declared the first and last Preludes and Fugues from Op. 7 to be unplayable.
Although the music of both composers evolved over time, their music was always unmistakably theirs, in a style that evolved but never drastically changed. Bach never gave up composing in a contrapuntal style even though most other composers moved to the simplified Rococo style with simple tonic and dominant harmony. Dupré never signed on to neo-classicism or neo-romanticism after atonality became passé.
Listen to the Bach Prelude in C Major, BWV 846, followed by the Dupré Invention in C Major, Op. 50, No. 1. Do you hear the influence of the German master on the French one?
Bach wrote two cycles of 24 keyboard works, the Well-Tempered Clavier, which explores every major and minor key. Certainly, Dupré knew and played these works as well. It wasn’t until he was 70 that he published his own cycle of 24 pieces, called the Inventions, Op. 50. In structure, they could be more accurately comparable to Bach’s Inventions and Sinfonias. However, Dupré undersold these pieces a bit since his Inventions almost always have three independent voices, counting each of the hands and the feet together.
Playing Dupré takes hours of practice, even for these relatively simple Inventions. There is rarely a time where I spend so much time in study on the bench and feel like I’ve accomplished so little. Many people avoid this composer because playing Dupré isn’t easy.
More to Come
Having only learned the first four of these Op. 50 Inventions, and several of his Op. 18 Antiphons, I wonder if I’ll ever get to the point that I feel comfortable and in command of Dupré’s complex textures. Even if I do, will I be a good ambassador of his music towards others, especially given that his music doesn’t appeal widely. Although his music is not as atonal as Schönberg at the height of his career, there is something about the atonal style that makes liking the music difficult. One critic mentioned that the pieces become so involved in the exploration of compositional technique that the music sometimes suffers.
Frame of reverence is also important. This music evokes for me being in a large cathedral filled with all of the symbols and pageantry of high liturgy. If you can put yourself into that space, you may find a way to enjoy his works. If not, that’s okay too. There’s plenty of organ music that is a bit less high brow.
When I was in public school, you learned quickly whether the teacher required a pen or pencil for class. Once you got past early elementary school, pretty much every class except for math required a pen. It’s always been a surprise to find that kids typically don’t bring anything to write with to lessons. In case your kids missed the onboarding notice, here’s the announcement once again: Sharpen your pencil!
The most important thing we’ll often discuss at a lesson is fingering.
How can you possibly remember what we’ve discussed unless you write it in your score? Sometimes I’ll give two different fingerings to try, each with its advantages. A good fingering often simplifies the execution of a passage. Or, at the very least, it makes it possible to play a certain series of notes.
Other Score Markings
There are other things that you might want to write in your score. It might be the metronome marking of practice and goal tempos. It could be to circle a dynamic, or write a reminder on the page. Sometimes a student will take that to an extreme. However, this is much preferable to seeing a page with no markings, which to me means no extra effort.
Sign of Respect
I had a boss several jobs ago who would call me into his office to deliver very specific instructions. One day, I guess I just wasn’t thinking, and just plopped down in his guest chair empty handed. He asked me where my pen and paper were. The point he was making was that I wasn’t being invited for a social visit. He wanted something done, and I wasn’t prepared. Lesson learned. When I see a student with a pencil, I see a student who cares and is ready to learn. When I don’t, I often think back to that day in Fred’s office.
Sharpen Your Pencil
In choosing the wording of the title of this brief blog post, I was trying to be a bit clever. Bringing a pencil is one thing, but when you sharpen your pencil, that goes the extra mile. This points to other parts of preparedness, like being ready to play the scale that was assigned, knowing the pieces in your repertoire, and what our goals were from the last lesson. A sharp pencil won’t solve any of those problems, but it is a step in the right direction!
My professor of keyboard harmony at The Juilliard School, Baruch Arnon, suggested that Edvard Grieg was a first-rate composer for the piano. Mr. Arnon was an all-business type of instructor, so when he gave off-topic recommendations it was worth noting. Grieg is one of those composers that a pianist typically knows, but doesn’t know well. As a child, I had played Elfin Dance for a National Piano Guild of Piano Teachers exam. As a young adult, I heard the Holberg Suite played in the string orchestra arrangement played by the Orpheus Chamber Orchestra at Carnegie Hall. I knew that some day I had to play that on the piano. The story of Grieg Galore follows.
From Holberg’s Time
The connection between falling in love with that work and learning it took more than 30 years! The five pieces that make up this suite are dances written in a Baroque style to honor the eponymous Dano-Norwegian playwright. Though Grieg wrote the pieces in 1884, they celebrate Holberg’s 200th birthday. Thus the framework of the Baroque, with the unmistakable Norweigan romantic harmonies worked into the dances. Even though the Holberg Suite is much more well-known in its string orchestra arrangement, it was originally written for piano.
I programmed this work as part of my Piano Postludes, which take the place of organ postludes at First Methodist once per quarter. The Chopin Waltzes I played in May worked so well in the online church format that I sought to play more piano music. To listen to each one of the movements, you’d have to fast forward to the end of each church service between May 31st and June 28th. They are available on the Facebook page of First Methodist. While you are welcome to do that, I plan to reprise these pieces. They will appear either on a mini-recital or on my Weekly Acorn series.
Peer Gynt, Suite No. 1
Certainly more famous, but not originally written for the piano, are the orchestral pieces written as incidental music to Henrik Ibsen’s play Peer Gynt. From the smattering of incidental pieces, two suites were extracted, the first of which has best stood the test of time. When most classical aficionados think of Peer Gynt, they are likely thinking of the four individual pieces comprising this suite. Despite being originally written for orchestra, these pieces work really well on piano.
When I originally conceived doing the Holberg Suite as part of Piano Postludes, I thought programming the Peer Gynt on the Weekly Acorn would be the perfect complement for one June program. However, they are a bit trickier to learn than I first assessed, so I will instead debut them in July.
About Grieg’s Fame
Grieg never attained the fame of other contemporary first-rate composers. I think there are two obvious clues. One, he stuck close to his Norweigan roots, including melodies from traditional music in his compositions. Two, he didn’t like to travel, and only did it begrudgingly. One might say from today’s perspective that he was poor in marketing!
Although Dvorak was very much a composer in the same mold, championing his Bohemian routes, he took a more international approach. He left Prague for a three-year stay in the United States. He cemented fame in the United States that endures to this day by composing his New World Symphony. The piece is filled with American musical and literary references. While Grieg took a different route, his music is wonderful, and deserves to be celebrated! A concise history of Grieg’s life can be found on the Classic FM Website.
This article first appeared in my Curious Squirrel Newsletter in May 2020.
Although I could be confused about what day it is upon waking even in normal times, I’m pretty aware of what day of the week it is in general. Like everyone else, my driving schedule has little to do with work; it revolves more around grocery shopping and picking up my bread order for our local artisan boulangère. Perhaps I’m lucky that my workdays are similar to before: online instead of in-person piano lessons on Monday, Tuesday, and Thursday. Plus, working at the church on Wednesday; yes, complying with social distancing including a maximum of four people in our fairly large sanctuary!
What Week Is It?
That last part is the weird part. Wednesday afternoon would be our choir rehearsal, and I’d typically practice into the evening after eating a communal dinner. Now, my Wednesday work revolves around recording the next Sunday’s service: starting with our two or three hymns, accompanying a soloist for the offertory, concluded by playing a prelude and postlude. Sure, there’s still the practice, but practice for the next recording. I feel like I’m playing a part in a movie. While others have lost connection to the day of the week, I’ve lost connection to week of the year. I didn’t feel much during the second half of Lent or Holy Week, and I don’t feel much now during the Easter season.
Sure, I’m probably partly to blame, because in full confession I haven’t kept up my daily Bible reading and prayer. That inward discipleship, as much as it would be good for me, isn’t what my soul is craving. It’s external celebration. It’s shouting Hosannah on Palm Sunday, and The Lord Is Risen on Easter Sunday. It’s hearing my music director’s bad puns at choir rehearsal, and one of those occasional long reminiscences. It’s sitting at a communal dinner in Becker Hall and hearing a bit of gossip from church folks that I wouldn’t have expected!
“Inward discipleship…isn’t what my soul is craving. It’s external celebration.”
What Do You Miss?
Church has always been a big part of my life. Since age 15, it’s been about job and worship together, except during college and for a brief time when I first arrived in Arkansas. Perhaps the church isn’t big in your life, but you have some other place of celebration that you miss. It could be your workplace, choir rehearsal, or a particular eating spot where you meet your friends once a week. What is the one celebratory thing that you truly miss about your weekly routine? I’d be glad to publish them in the next newsletter, either credited or anonymously!
If you liked this article, perhaps you’d also like to subscribe to the monthly Curious Squirrel Newsletter? It’s published on or just after the first of the month, and there’s no spam on the side!
My title is rather open ended, but it was meant to be more specific. Unfortunately, there was no catchy subject line that fully captured my sentiment. Perhaps this is better: Do your best, despite these crazy times, in preparing for our video-recorded recital! Since we can’t have a recital in person, we will be presenting a recital as a compiled set of recordings. We’re used to seeing this now. People recording bits and pieces that are stitched together for worship services, interview shows, and even Saturday Night Live! It should be really interesting.
Each home has different types of pianos. Some have been recently tuned and repaired; others could still use a bit of TLC! Some recordings will be made on a cell phone, a tablet or laptop computer. What hasn’t changed is that this is a celebration of accomplishment. It’s about a dozen children, who along with their parents, have worked to keep learning going, despite an overnight change to social distancing and online education in mid-March.
The preparation I’m talking about is for recording, versus a live recital. If you think you are lucky not to perform live, then you have never recorded yourself before! Having the choice to re-record, if a particular take didn’t go well, means a potential for many other takes that also don’t go exactly as planned. Then, you have to figure out which one is the best of the worst. I do this all the time when I record myself! If you are looking for a post in getting pieces ready for performance, look at my November 2019 post Make Those Refinements.
Since you know you are going to be recording yourself, don’t wait until the last possible moment to practice making recordings. You’ll want to hear yourself back, and perhaps this will help you work through a problem area that you’ve been avoiding or let you know you need to adjust your device in some way.
Now that you’ve practiced all that you can, and have made some sample recordings during that final practice, you’re ready to make your final recording(s). Try to make just one or two takes of each piece, and choose the one you like the best, or perhaps hate the least. If you’re making lots of mistakes, either adjust the entire tempo to be a little bit slower, or do a little emergency practice on the area that needs help. Don’t worry that your performance is not perfect, but does it well represent the best you can do?
Submit Your File
If you have to choose between takes, don’t agonize too much between what likely will be pretty similar performances. Your fellow pianists and their parents will enjoy whatever you present, as long as you’ve made a good effort. Learning how to record is an acquired skill, and unfortunately you need to acquire that skill now! The good news is that you’ll know the process in case you’ll ever need to do it again, whether it be for a summer music festival, or a college application.
Enjoy hearing your playing as part of our piano studio. You’ll have a chance to hear the work of some kids you know, and some who you no doubt won’t know. Make sure to pay attention to the other students so you can mention something you enjoyed about each person’s playing. Be prepared to offer a compliment to every fellow pianist in your recital. Don’t worry about the constructive feedback – that’s my job!
Dr. Zehring reminisces about his doctoral research in London in the early 1980s.
After arriving in London, I spent eight hours a day for six straight days in a small windowless room in the bowels of the old British Library, in self-imposed isolation, sifting through 300-500-year-old books – church registers, music manuscripts, Royal warrants, anything – looking for mention of Richard Minshall, Robert Devereaux, any evidence at all that I could use to connect either one of them with the other.
After all that time, I felt I really needed a break from the writer’s cramp and eyestrain I was having, so one afternoon I thought it’d be a good idea to come out into the light and visit Westminster Abbey. Annette and I arrived just as they were about to begin their daily evensong service.
Understand that in addition to being a major tourist attraction, the Abbey continues its daily functions as a working church. When there’s a service, the vergers shoo away the tourists from the chancel and altar areas, rope it off and seat those who wish to worship in the choir stalls. Then they proceed with the service while the non-worshipers continue their tours throughout the Abbey staying outside the roped-off enclosure. So there we were, sitting as close to the director of the Westminster Abbey choir as we are to each other in our choir loft on a Sunday morning.
When the organ prelude began, there was a sudden hush in all the babble of voices and a cessation of the popping of photo flashes from the crowds that filled the outer aisles and the nave of the Abbey. This hush continued as the choir processed singing the first hymn. Once the spoken portion of the service began – the scriptures and the prayers – the hubbub resumed and continued until the choir sang the Psalms and the anthem. Then, as suddenly as it had begun, the extraneous noise of the crowds outside the chancel/altar area subsided until the anthem was over, then it ramped up again. It went on through the homily and only stopped when the recessional hymn was being sung and throughout the organ postlude. I remember saying to Annette, “That tells you something about the power of music in worship.”
The point I want to make is that whether we realize it or not, what we do as musicians in worship has a profound effect on people. Whether it’s in Westminster Abbey or the First United Methodist Church of Bella Vista, Arkansas, the music of worship has the capacity to transport people beyond the limits and confines of the ordinary and the routine and, while the music lasts, causes them to become focused on something greater than themselves, something richer and deeper than they can experience in any other circumstance.
“Music of worship has the capacity to transport people beyond the limits and confines of the ordinary and the routine.”
It also alters our perspectives as musicians. Idly humming a tuneless melody can subconsciously lighten the burden of an everyday chore, singing along with an earworm that gets stuck in our minds, working out a tricky passage in choir practice – going over it again and again – until it’s right or providing musical inspiration for our congregation as we sing our responses and anthems on a Sunday morning; it all works to lift our spirits, strengthen our faith and give glory to God. And if I might paraphrase the last word of a verse from a well-known hymn: “What a privilege to carry everything to God in song.”
I hope you’re all staying safe and happy; practicing social distancing, heeding the advice of the medical professionals and that you will, of course, keep on singing.
Dr. Lawrence (Larry) Zehring is the Music Director at First United Methodist Church of Bella Vista, Arkansas.
This article is specifically intended to help piano parents in my studio to make online recordings for recitals and festivals. As so much of music-making has been in 2020, these events have been online-only since March. We might as well get used to doing it well!
I dedicated my entire April 2020 Monthly Practice Corner article to cover technology for online lessons. The good news is that if you are correctly setting up your equipment for online lessons, you have mastered the important steps towards launching a video recording. Even if you have only done in-person lessons, you may have mastered many of these steps already. This guide is just to help those making their first recordings, since there are best practices to share. Once you do one, the next one will be so much easier!
Quick Start Guide
Choose your device and put it in landscape mode.
Make sure to capture full body and keys; look at the man playing piano below.
Use the easiest software available for your device.
Allow enough time to make at least several recordings across a couple of days.
Learn how the Dropbox link works; test it with a simple text file.
Apple Devices (iOS)
Since almost everyone in my studio has an iPhone or iPad, I’m going to start here. For recording, use whichever device has the larger storage to hold your files. That’s going to be much more important versus choosing which device has the newest camera hardware. Before I switched over to doing recordings on a laptop, I would have to erase about half of my iPad apps just to clear enough space to do several takes of short recital pieces. If you do have to delete apps, choose the largest ones that don’t purge old cached data unless you uninstall/reinstall. For me, this was Netflix, Amazon Prime Video, and Instagram. Even if you have to uninstall a program that is legitimately storing lots of data on your device, you will get it back as long as the main data store is in the cloud.
Most people can use the built-in Camera app. I liked using iMovie, which is a free download from the App Store. It allows you to do simple editing, including trimming dead space at either end of a performance, or two put several recordings together. I’ve made a short YouTube video that takes you through the entire process, from recording to exporting. The one snag will be that you may not have Dropbox on your device, which means you’ll have to do the transfer from your PC or Mac. This support post from Apple should do the trick to establish a connection between your device and your computer, if you don’t have one established. Please transfer the file(s) in MOV format to the Dropbox link I have provided.
Samsung, Google, Other Manufacturers (Android)
I have no experience or guidance to give on recording on an Android phone or tablet. I’d be glad to add a link or to mention helpful hints, if anyone wants to share them. The result of any recording will yield an MP4 file, which works just fine for sharing.
PC or Mac
I use an open source program called OBS Studio for video recording on a PC laptop running Windows 10. There is an equivalent program called Ecamm Live on the Mac. Although my experience is only with OBS Studio, I understand that there’s a similar learning curve to learning Ecamm Live. Both are powerful software packages for their respective operating systems, and you shouldn’t try to learn them at the last minute before recording. Each program will export file types that I can use: MP4 from OBS, and MOV from Ecamm.
If you don’t have a microphone stand, music stand, or something that your device can attach to or sit on, then use a small table built up with books and put it a foot or two to the side and behind the pianist. The angle used in my YouTube video above works well. Also, make sure your device is placed in landscape. This is super important, especially if you’re using a phone. Rotate it 90 degrees so that it is oriented wider versus taller!
Record Early and Often
Please don’t wait until the last moment to do your recording. It’s good to do some testing recording, to make sure that you have your camera set at a good place. It’s also instructive for the student. Your goal is to take just one or two takes, since subsequent takes will actually get worse as you get more picky about the output! Although playing for a camera is different than for a live audience, you may face some of the same performance anxiety. It’s better to get used to playing for, and ignoring, the technology!
Grouping Your Recordings
I will also let you know how to group together your recordings, but the general guideline is below. Also, super important: Between movements, or between pieces, please put your hands in your lap for two Mississippis (one-Mississippi, two-Mississippi). Then, put them back on the keyboard and continue when ready.
I prefer if you can record all of your pieces together, in one file per student, in the order that we determined at your lesson. If you can’t join the files together, I’ll be glad to do it in my editing software.
Hopefully, all of you already use Dropbox. If not, I’d strongly urge you to try it out, even if it’s just for our project. It’s really the gold standard for cloud-based file storage, and works incredibly well for exchanging files securely. If you would like an invitation to get started the software, I’d be glad to provide. It doesn’t benefit me at all, to my knowledge at least, since I’m on a paid plan with massive storage. However, with the free plan, you often can get more storage simply by inviting others to sign up for the software.
Permission to Post
Please make sure that you answer the SurveyMonkey request that grants me permission to post photos and videos of your child/children as specified. Most people give full access, but I want you to have a choice since your privacy is important to me.
Stay Tuned for Updates
This video and audio recording guide will remain a working document for us, as we find out what works and what doesn’t. I’ll update and send you a link or reminder once any major changes are made. Let’s see what kind of playing fun we can have, even if we have to do it within our own four walls!
Last Updated 2020-11-20 | Originally Posted 2020-04-13
At first, I was reluctant to post this article as the April 2020 addition to the Monthly Practice Corner. How does Technology for Online Lessons belong here? First, we couldn’t keep learning online without a minimum of technology know-how. Bravo to you for figuring this out so quickly! Second, there are lots of tweaks that can be made, regardless of whether you buy new equipment. That sounds like practice to me!
Many music teacher have written articles on this subject since confinement began. However, I wanted to put together what I’ve done, in hopes it might help you too. Whenever an option is available at no cost, I consider that first. I also take the long view – making recommendations that might help beyond our hopefully short time of social distancing. Let’s get started!
Device Setup Video
My mentor, Nicola Cantan, made this device setup video. I can’t do it better. Go back to the beginning if you want to hear the intro and her lighting suggestions.
There are several things you can do to make sure you have the best speed possible. One is to call your provider to ask what’s available. I did this just before the Covid-19 pandemic, and received a higher-speed connection for a lower price. I don’t say you will be as lucky, but the squeaky wheel gets the grease!
One further tip is to try to test your upload speed on whatever device you are using. Yes, I did say upload and not download. This is not Netflix, where all you care about is download speed. If you want me to guide you in your playing, I need to receive it well. That’s only possible with good upload speed.
Test your upload speed on your device using Google, or the old standard Speedtest by Ookla. Every time I find a problem with bandwidth, I go to the Speedtest app on my phone. I want to know if I’m the problem! If you have at least 10 Mbps, that’s good enough. If you don’t have that much, there are several things you can do:
Ask your other family members to stop streaming video or playing online games during your lesson. Web browsing and Social Media, without video, shouldn’t be a problem.
If you’re using a laptop or desktop, directly connect via a network cable to your modem. These cables come in lengths of 50 and 100 feet, and are worth the trouble to plug and unplug!
If you’re using a phone or tablet, you must rely on strong Wi-Fi. Thus, try to move your modem closer to your piano, or even your piano, if it’s electronic, closer to your modem. If neither is possible, perhaps upgrade your modem, if it’s more than several years old, or get a repeater to boost your signal.
Tablets are better than phones. Typically, larger devices have better cameras, audio, and battery life. Remember to charge your device before a lesson. If that’s not possible, plug it in to a charger during the lesson if your battery is low. Laptops have the advantage of a larger screen size, but they don’t necessarily work better than tablets. Plus, their size almost dictates having a music or specialty laptop stand for support.
Technical Tips to Optimize Your Device for Faster Wi-Fi
Turn off background app refresh
Free up storage space to enable optimal buffering
Reboot your device periodically
Clear the cache regularly (However, this means having to enter your passwords again)
Device Stand and Holder
Many of you are using a table or chair with books to prop up your device. If you have a standard Wenger or Manhasset music stand, that can work even better! The best placement is a couple of feet past the end of the keyboard, and high enough to show both the keys and the student’s face as well.
If you’re looking to spend money for a better solution, I suggest buying a microphone tripod floor stand. My model is a Samson MK-10, which gives me the added flexibility to use it as a boom stand with a Webcam over the keyboard. You can purchase a phone or tablet holder to mount to it. Besides the two uses mentioned, the stand could be used with a microphone, a camera, or a digital audio or video recorder. Just make sure that you are aware how the holder connects to the stand. Make sure to get a 1/4″ male to 5/8″ female adapter if necessary.
Software (FaceTime or Zoom)
I am currently using FaceTime on my iPad. The problem is that FaceTime only allows that simple one-camera approach. I am often scurrying home from in-person lessons, or need to leave home after a video lesson to teach in person. My plan is to eventually use Zoom more often, instead of FaceTime, so that I can set up my second camera with an overhead view of the keys. It provides a higher-caliber online lesson.
If you don’t use Apple products, I can also use Zoom on my tablet. I just need to know in advance since those calls have to be scheduled; they are harder to create on the fly.
Your built-in microphone is probably sufficient. This is a really tricky one, since most inexpensive microphones have become much more expensive due to current circumstances. The Fifine microphone I purchased a few weeks ago was $5 above pre-Covid-19 times, and is currently selling for $5 more than I paid. A lavalier or lapel microphone is also probably fine. There is a risk in overpaying for any microphone right now.
Also, pay attention to the connector. A lightning connector will only work on older Apple devices, since Apple abandoned that connector for USB C in 2019. The Fifine microphone comes with an old USB A connector, which is perfect for a PC. An inexpensive adapter can also make it useful on an old or new Apple device.
Yes, you already have most of the technology for online lessons! So now you have to consider if there are any facets of online lessons you’d like to improve? The best improvement to any online lesson is by maximizing bandwidth and have an optimized device. Those two tasks are most likely free.
Most of the other ideas suggested aren’t free. Purchasing a device holder and stand adds to the online lesson experience, and will be useful past social distancing. So would purchasing an add-on microphone. Both are important steps in making quality recording for posting recordings to the Internet or simply for critique yourself. I’d recommend thinking long and hard about the proper way to buy technology. As Nicola Cantan from Colourful Keys says, figure out what your problem is first. Then, find a shiny tech device to solve it, and not vice-versa!
Last Updated 2021-02-15 | Originally Posted 2020-04-12
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I was tempted to call this post Hear the Beat, not Feel That Beat. See the pullout quote below if you’re unfamiliar with the lyrics of the title song of the musical 42nd Street. However, there’s a big difference between hearing and feeling. When you hear good musicians, you can feel that beat because they do, too. However, if you’ve ever heard a group recital with lots of beginner piano students, I bet that’s not the case. On behalf of all piano teachers, I’ll take the blame, since we as a profession spend so much more time teaching note reading than the underlying rhythms that are attached to those notes. Yet, a listener will more easily forgive a few note errors than when the sense of rhythm is lost several times.
Before proceeding, I readily confess to conflating beat and rhythm, for good reason. When a quarter note is held too long (rhythm), the beat is lost. When a student doesn’t hold to a steady beat, the rhythms become skewed. So what’s the solution? Read on…
Use Your Own Percussion
There are lots of way to establish a beat. Clap. Walk around the room. Patsch – it’s a German/British English word that indicates smacking of the legs by the hands. Tap – on a closed keyboard cover or a table. Count using either metric (numbered) beats or use Kodaly syllables (tah, tee-tee, ti-ka-ti-ka).
It’s difficult to get students to break down the music in such a way. However, once a student breaks the rhythm down, it’s naturally easier for him to play it correctly when combined back with the notes. In order to keep reinforcing the primacy of rhythm, I use either method book activity pages or Piano Safari sight reading cards. It’s important to keep adding more complex rhythms as the student encounters them in his music.
The Dreaded Metronome
There is not much that is dreaded by the music student as much as having to use a metronome. To the student who doesn’t understand the device, it’s just an obnoxious ticking device that makes playing more difficult. Yet every mid- to late-beginner has to at some point be introduced to one. For the beginner student, it’s typically used to make sure that notes with the same rhythmic value are played evenly. Sometimes the last beat of a measure or phrase gets extended as the student sees a bar line and thinks that’s a good pausing place. Or, it’s a way to regulate the rhythm of contrasting note values, like the quarter and eighth notes.
After a student gets a good sense of rhythmic values, she tends to use the metronome for tempo regulation. Every piece has a final tempo and good practice tempos. As a rough rule of thumb, once a student works out the notes and rhythms well enough to play more or less in time, we are aiming to get the piece to 80% of the final tempo, or 80 beats per minute (BPM). Once the piece is clean at that tempo, we can move the tempo progressively to and beyond the final tempo. Practicing a little faster than the final tempo is good in order to see what difficulties remain. Plus, it helps the performer know he is okay even if it starts too quickly or accelerates midway.
What Kind of Metronome
I used to be against metronome apps on principle. It just seems strange to turn a $400 device into a $25 one. Then, I found myself routinely grabbing for my iPad with its two tempo apps during piano lessons. When on the road, sometimes it is easier having one less physical object to carry! If you always have a phone or tablet with you, and prefer it to a separate device, look no further than Tempo – Metronome with Setlist. It was $2.99 when I last checked, and has iOS and Android versions. Everyone likes free stuff, but with music apps, don’t hesitate to purchase, especially at a negligible price like this. I included metronomes in a comprehensive app review for beginner students in mid-2019.
Although I love old-fashioned pendulum metronomes, they are a poor choice for most music students because they are fragile. Drop it, overwind it, or simply leave it properly wound without using it, and your device will soon cease functioning. If, after that warning, you still want a pendulum metronome, the German-made Wittner brand is the gold standard.
The Seiko SQ50-V Quartz Metronome is one that has been in production in a similar form for decades, and is still the best-selling metronome according to Amazon.com. Its analog dial allows you to choose any tempo within a second. For people who hate analog, or want to save a few bucks, I’ve included the Seiko DM51B Metronome. I don’t understand why anyone would want to use the long-press up and down buttons instead of an analog dial, but at least you have a choice!
To feel that beat is important in music. It’s not something that’s achieved just by older, more advanced, musicians. It can be done from the very beginning, as long as the instructor is willing to insist on playing correct rhythmic values. Playing rote pieces, and figuring out songs by ear also help in establishing the beat. It doesn’t have to be drugery, requiring the metronome to be frequently used as a crutch. In the best case, it should be seen as a friend who checks up on you during your time of need!