Video Recording Guide

This article is specifically intended for my studio’s online recitals due to the Covid-19 pandemic. I will be periodically updating this article throughout the spring 2020 as we see what works and what doesn’t.

Introduction

I dedicated my entire monthly practice corner article to technology for online lessons. I realized that a video and audio recording guide would be helpful, and to get it started now versus waiting until early May! Recordings are important for posting to the Internet and social media, as well as for self-study. You can learn a lot by listening back to yourself when you’re not engaged in playing.

However, we’ll all need to learn these skills as we seek to document a crazy semester on video since we’re unlikely to have an in-person recital in May. The basic idea is to have everyone video record themselves, submit their recordings to me, and I’ll create a couple of recitals out of them. Let’s first discuss how to do the recordings.

Video Software

iOS (Apple)

Since everyone has an iPhone or iPad, I’m going to start here. You want to use an iPad if you have a choice, but an iPhone will do. First, if you don’t have iMovie, download it from the App Store. It’s Apple software, which means it’s not only free, but fairly easy to use. 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. I will convert your file to MP4 format using the VLC Media Player.

Windows PC

You can also record using your laptop or a desktop using an external Webcam. Microsoft offers the built-in Camera program in Windows 10 to shoot video. I haven’t tried it, but it appears to be simple to be use. When you finish shooting your video, you can upload it to Dropbox directly from your PC. Please make sure it’s in MP4 format so that I don’t have to do any file conversion.

Device Placement

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. You probably don’t have to think about this if you’re using a tablet. However, if you’re using a phone, place it so it is wider than it is high.

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, and to make sure that your playing is as good when you’re practicing as when you’re recording. Although playing for a camera is different than for a live audience, you may face some of the same fears. 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.

  • If you are a younger student playing several short pieces, please record them all in the same file, in the order that we decide.
  • If you are playing a sonatina, please record all of the movements in the same file. If you are recording shorter pieces, you may put those in a separate file.
  • If you are involved in the Debussy Children’s Corner project, please record those pieces separately. If you are assigned two pieces, you can either record them consecutively, in performance order, as part of the same file. Or, you can record them as separate files and I can splice them together.

Dropbox

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

I am sending a SurveyMonkey request that adds video recording to the photo permissions I sought earlier in the program year. I didn’t anticipate making any videos, until Covid-19 shook up our world, so I want to make sure you are okay with my posting plans. I am planning to offer a private Zoom event for those who either don’t get the recordings to me in time or don’t want to have their videos uploaded for public viewing.

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!

Gustave Caillebotte painting
La Leçon de Piano by Gustave Caillebotte at Musée Marmatton Monet (Paris 16th). Courtesy Wikimedia.
Last Updated 2020-05-03 | Originally Posted 2020-04-13

Feel That Beat

Please Note: This page has Amazon Affiliate links. It’s a simple way to support my Website without costing you anything.

Introduction

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.

Hear the beat
of dancing feet,
It’s the song I love the melody of,
Forty-Second Street

Title song of film and Broadway musical 42nd Street, Lyrics by Al Dubin

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!

In Conclusion

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!

Image by Aleksandr Zherlitsyn. Courtesy Pixabay
Posted 2020-03-01

Music as a Focusing Tool

We live in a distracted age, where focus can be as fleeting as the obedient dog who loses it when he sees a squirrel in his peripheral vision. Music is a place where multitasking just doesn’t work, so it makes sense that it might be a good focusing tool for children. Music activates brain cells on both sides of the brain. Parents have to love that fact, but the child just wants to have fun. Is it possible to have fun while giving the brain a healthy workout? In my experience, the answer is a resound yes!

Let’s face it: Kids don’t always like doing structured activities, even if they are (hopefully) fun like the piano. Establishing good practice habits takes time, and parental involvement is going to be key especially for younger students. However, practice becomes self-sustaining for kids who really enjoy playing the piano. If you’re looking for some inspiration for getting your kids to practice, please visit the monthly practice corner posts I write each month for my Piano Parents.

This post was inspired by two online articles I came across in my reading. The article about practice from UC Berkeley is not specifically about music, although it applies well to it. I was most encouraged by the experiment that showed how kids as young as six and seven are able to grasp the concept of deliberate practice! The NY Times piece is a guide to parents to limiting their kids’ tech, by age. Limiting tech time is a good opportunity to insert the great focusing tool of music!

How to Motivate Kids to Practice Hard Things (UC Berkeley)
How and When to Limit Kids’ Tech Use (NY Times)

Distracted Boy Cartoon
Distracted Boy Cartoon by www.amenclinics.com. Courtesy Flickr.
Posted 2020-02-19

Make Sight Reading a Priority

Introduction

When I write my monthly practice corner article, I typically think about the struggles my students face in their learning.  In many cases, I struggled with the same issues when I was a piano student.  However, not in this case, since sight reading always came very easy to me.  I began piano at age 9, which probably helped. Students who begin later tend to grasp the concepts in note reading a lot more quickly than their younger counterparts. However, both younger and older students often find note reading to be quite vexing.  That’s why I make sight reading a priority in lessons!

Definition

What exactly is sight reading?  Simply put, it’s the ability to quickly grasp what’s important in a musical score, and translate that to the piano on the first try.  A great parallel would be to how well a student learns good reading comprehension. It’s important to be able to read a passage of text to summarize the main points while not getting bogged down by details.

Sight reading in music is just a first step. It’s great to quickly grasp what’s on the page, but it’s another to make a music from it.  Often, there are technical difficulties to be worked out, plus lots of nuances that can only be worked out by lots of practice.  Plus, in certain styles of playing, like jazz and pop, sometimes only the bare essentials are notated.  It’s up to the student to know the correct style of playing, manipulate the chords, and do a lot of listening to be successful.

How to Learn It

Now that we’ve identified what sight reading is and its role in playing piano, how do you best learn it?  Music educators have learned that using landmarks (memory notes) and intervals to be the best method, long term.  If you learned piano back in the dark ages, like when I did, your teacher would have typically used a middle-C based book. I bet you remember these books, where your thumbs were constantly fighting for middle C!  You would have been drilled on mnemonics like Every Good Boy Does Fine, for the lines on the treble clef, and the acronym FACE for the spaces.  It sounds great, right?  

However, going back to the analogy with book reading:  How effective would you be if you had to speak the alphabet every time you see a new word?   As a kindergartner, it might work fine, but it would hinder a second grader!  I’ve had an early intermediate student who cannot start a new piece without consulting that every good boy nonsense.  I never taught this method; it’s something he learned from a former teacher several years ago.

The primary method books I use, the Music Tree and Piano Safari, both have regular sight-reading as part of the curriculum.  I often use the Piano Safari sight reading cards even with students of different method books. They are helpful in developing good note-reading techniques.  As a student progresses, he learns new landmarks, which cover all of the Cs up and down the staff, in addition to the Gs on the treble/G-clef and the Fs on the bass/F-clef.  He then uses the small intervals like 2nds through 5ths to identify notes that are above or below those fixed landmarks.

Benefits

I also have a student transpose certain pieces when she gets into the late beginner level.  Once she plays a piece in one key, I ask her to play it in a different keys.  What I don’t tell her is that she is simultaneously learning how to read new clefs!  That’s really helpful, since we as pianists often have to play with other instruments. Some of these instruments transpose (like the trumpet or clarinet) or don’t transpose but read in different clefs (like the viola and cello).  You can’t work at your best with these musicians if you’re stuck trying to determine whether every good boy does fine!

Another benefit of being a good sight reader is to hear music without playing it.  When I open a score, the music pops off the page.  This has enormous implications when learning new music, shopping for new scores, and even for determining which pieces to program.  I can quickly find pieces that will work for a particular occasion by scanning them with my eyes, not needing to sit down at a piano.

In Conclusion

Now you know why I make sight reading a priority. It’s one of those skills that every teacher needs to nurture, and remediate when the level is not up to par. As a teacher, I can only do so much to instruct the best method for note reading. It’s up to the student to practice the skill on his own. If a student is young, it’s up to the parent to help the student establish the skill. Note reading isn’t everything, but it is a really big thing!

circular music score
Photo by Sebastien Paquet of George Crumb Music Score. Courtesy Flickr.
Last Updated 2020-02-05 | Originally Posted 2020-02-04

Your Playing Reflects Your Practice

Introduction

When I was thinking of a topic to discuss for January, I kept coming back to “your playing reflects your practice.” I witnessed lots of student performances in the past month, and had some of my own. Each of those performances was the product of weeks or even months of practice time. To a large degree, the level of success in each performance was determined at home, by practice. Sure, lessons help, as does a certain amount of innate ability. However, as one sage college professor recently said to me about semester-ending juries: The kids that practiced hard did well, and those that didn’t, didn’t! Let’s look a bit more into the relationship between playing and practice.

Time and Attention Are Important

The amount of practice per day is where I start the conversation with students and their parents. There is a certain natural and practical limit per person, adults included! By natural limit I’m referring to the amount of time that a person can focus. Past that limit, practice time is largely wasted. For a very young child, that may be just 10 minutes, whereas for a teen or adult, it might be measured in hours. Some practice days will be better than others, and that’s just, well, natural!

The practical limit refers to allocation of time. Even though a teen might easily focus for an hour, he may have to stop at 30 minutes, in order to get a host of other things done before the next day. When a child has lots of activities, it’s good to see if there is enough time available to practice. If there isn’t enough time in the schedule, the family has to take a serious look at what needs to be cut. Regrettably, sometimes piano is the activity to be cut.

Frequency Helps

It goes without saying that frequency is also important, but it really needs to be considered separately from time available. For a younger child, a small amount of time per day with daily frequency is the best solution. As students get older, and get more variability in their after-school schedule, practice frequency will need to fluctuate. That older student might be able to get her work done in just three to four days per week, as long as practice time is increased. My schedule is even more extreme than that, since I typically only practice two or three days per week, but can be efficient for hours each time.

Advanced Preparation

I make sure my students have plenty of time to learn a piece for a festival or recital, and I do the same for my own performing. If I have a recital coming up in a month or two, I try to get a jump on my practicing, because I cannot afford to get behind. For students, this generally doesn’t present much of a problem, unless a student gets into a multi-week practice rut. Sometimes there’s not much to be done when that happens, though regular checkpoints can help to identify the issue.

I can give a very good example of last-minute preparation, from my own experience. I performed a piece on the organ where most of the notes were played correctly, but there was a serious lack of musicianship. I was performing in a musical style rather foreign to me, and I didn’t understand the larger form of the piece as well as I should have. There were lots of nuances that went unexpressed, trills that weren’t well planned, and the registration was not varied enough. When you leave the note learning to the end, you don’t get the gift of time. Our brains often process our learning when we are doing other things, and gift us with new insights at the next practice session.

In Conclusion

Your playing reflects your practice. No shortcuts! I’m reminded about what Stephen Covey said about the Law of the Farm. If you don’t prepare the land, plant the seeds, water, and fertilize, you won’t have a crop to harvest. Our work really isn’t much different. Cramming doesn’t work well for musicians. Take my warning from the paragraph above. Music needs time to germinate in the brain between practice sessions, just like plants need time in the fields. An impartial observer at a recital or concert will never know how much time went into preparing for a music performance. However, I assure you that there is no magic involved!

Photo by Don Graham of Iowa corn fields. Courtesy Flickr.
Posted 2020-01-01

Memory Magic

Introduction

Gotcha! There is no such thing as memory magic. Yet, some students often treat memory as something that’s just going to happen, because it always has before. As a student progresses, pieces get longer, more difficult, and trickier to memorize. Thus, form study, key/chord analysis, and visualization are just three ways to provide a multi-layer approach to memorization that repetition alone cannot provide.

Form Study

Form study simply means looking at the big picture. This is often done better away from the keyboard, pencil on score. I’ve attached a score study from the first movement of Lynn Freeman Olson’s Sonatina No. 5 1, a piece that has become a right-of-passage for many of my late beginners. What makes this first movement tricky is that the A theme returns twice, each time in a different, abbreviated way. Analyzed using letters, it’s A-B-A-C-A-Coda, which is rondo form, not typical sonata form. I’ve heard students do all sorts of crazy things once they get lost! Knowing the order of the sections and how the A theme changes each time is key!

Sonatina Excerpt

Key/Chord Analysis

The key analysis goes hand in hand with the form, yet it makes sense to also separate it for study. In the movement I analyzed, the starting key is D Major. The B section is in D minor, then cadences back into D Major for the second iteration of A. The C theme is in G Major. It, too, cadences back into D Major for the final appearance of the A theme.

Chord analysis is a way to look at what’s happening inside each section. I’ll look at just the B section. It starts in D minor, with tonic and dominant chords in alternation. It briefly moves to E minor, with tonic and dominant chords in similar alternation, that then cadences on a dominant chord that leads back into the A section in D major. These details help firm up the finger and aural memory that naturally develop during repetition.

Visualization

By visualization, I mean playing the piece through in your mind. Even though I’ve never sat down to practice this movement, I could play it almost perfectly just because I’ve heard it enough, and done the analysis described above. As I just played this movement through in my mind, I realized a bit of blurriness in the coda. Even before looking at the score, I slowed down that passage, and now I’m confident that I do know those notes. I refer to this as musical meditation. You could sit in a chair, or even lay down on a bed to do this. You could even do it as sleepy-time practice – and don’t worry if you fall asleep before you get to the end. The true memory magic might happen without any effort from you!

In Conclusion

When memorizing music, it’s important to obviously know it well from the score. However, repetition alone makes for a risky performance, since the tactile and aural memory is easily thrown if you wander onto the wrong keys. By looking at the form, keys/chords, and by practicing the piece away from the keyboard, you increase the chances that you will have a memory secure performance, or at least can get back on track quickly. That’s where you find the real memory magic!

Footnote

1. Score excerpt from Beginning Sonatinas by Lynn Freeman Olson, © 1984 by Alfred Publishing, Co., Inc.
Fair use for educational purposes


Frederik Magle – www.magle.dk; Photo by Morten Skovgaard
Posted 2019-12-01

Halloween Piano Party 2019

It’s said that you can’t officially call something an annual event until you do it at least twice. With that, let me present a summary of our Second Annual Halloween Piano Party. We always seem to have some type of drama before starting. Last year, we couldn’t get into the building because the door code didn’t work. This year, the code worked perfectly! However, I left my footprints behind – literally – in the floor wax as a contractor was working off hours. I didn’t have another way to get in the building, but that didn’t make the contractor any happier with me. Oh well!

We had really good attendance this year! Most of the participants were playing their sonatinas under pressure for the first time. We held this event three weeks ahead of the November Sonatina Celebration. The composers represented included Lynn Freeman Olson, Muzio Clementi, and Anton Diabelli. The pianists could perform in costume, so it wasn’t all that serious. However, the ringmaster below took his costumer as serious as his playing!

This ringmaster means business, on and off the piano bench!

Everyone got a chance to play something fun after the sonatinas were presented. There were some favorite pieces from method books, a Bossa Nova that’s being worked up to audition for a jazz workshop, and a piece by contemporary composer Andrea Dow.

As a reward for the great playing, I distributed some candy bars, Belgian chocolates from Aldi, and Red Delicious apples. Surprisingly, the apples were really popular! And thus, the Halloween Piano Party 2019 came to a close. Sorry, I have no candy left to share, but I can share some pictures. Enjoy!

Posted 2019-11-01

Make Those Refinements

Introduction

Music is inherently difficult, because there is no such thing as a perfect performance. When learning a new piece, it’s routine to get to the point where everything sort of works, but it’s still not great. I’m not just talking about my students, but in my own playing, too. I call this place the 80% malaise. It often takes extra practice to take care of troublesome technical passages or to make sure that everything is in place musically. It just doesn’t happen on its own. You have to be purposeful to make those refinements.

A Teacher Helps

Students have that built-in helper: their teacher. She will point out all of the places that have potential to be better. It could be little stops and starts, unclear phrases, lack of dynamic contrasts, among other things. However, in order to take advantage of those tips, it’s crucial for the student to practice within a day or so after the lesson. If there isn’t an instrument available, notate the score or write down the places where you have to focus, when you do get back to a piano.

But You Still Must Do the Work

When this doesn’t happen, and the student comes back playing the same way, with the same issues, it puts the teacher in a bind. Does he take the time to explain all of these things again, as patiently as possible? Or, does he just move on, since there is always lots to do in a lesson? While I always give the student my best, I do realize at a point that not all students are striving to be excellent. Some are just satisfied with good enough.

When I train my athletes, it’s a dictatorship with three rules: show up, work hard, and listen. If you can do those three things, I can help you. If you can’t we have no use for each other. I will bust my a** for you every way possible, but I expect you to do the same for yourself. I’m not going to work harder than you do for your benefit. Show me you want it, and I’ll give it to you.

Tim Grover, trainer to elite NBA athletes, including Michael Jordan 1

Try A Digital Audio Recorder

A good digital recorder can be helpful to both students and professionals alike. You might say that you have one built into your phone. Unfortunately, it doesn’t serve much use due to its poor fidelity. The Zoom brand is widely used among serious musicians, and you can get the base model for $200 or less. A generation ago, the Sony Professional Walkman cost far more than this, and that’s before adjusting for inflation. Listening to yourself while not playing can give you an unbiased perspective that you can’t get any other way.

In Conclusion

Even though it’s true that we’ll never be perfect, striving to be better is always worth the effort. There’s lots of guidance on that score to get you closer to musical nirvana, and you might have a teacher to give you that extra boost. In the end, it’s up to us to decide whether we’re going to do the hard work that makes our listeners sit up in our seats, or just looking around waiting for the performance to end.


Footnote

1. Relentless by Tim Grover (h/t James Clear) – NOT an affiliate link

Courtesy Wikipedia/Project Gutenberg
Posted 2019-11-01

Playful Preschool Piano Teaching

Introduction

Nicola Cantan’s new book, Playful Preschool Piano Teaching 1, is about teaching piano to 3-5 year-olds with listening, learning, and laughter (her subtitle) is a revelation. I am currently a paid member of Nicola’s Vibrant Music Teaching, so some of the concepts introduced were not new. However, it’s a great pocket guide to the challenges and opportunities for young pianists. The reason I’m taking the time to give part review, and part explanation of the book is that I think it could be very helpful to piano parents. Although I don’t currently teach anyone in preschool, I find many useful applications of the material to the several 6-8 year-olds I teach. If you are hands on with your children, you may find this book a revelation to early childhood learning in piano and beyond.

Maria Montessori

The Italian physician and educator is given a lot of credit early on in the book, with good reason. “Play is the work of the child.” That’s the quote attributed to Montessori that Nicola uses to describe her own approach. If you’ve ever spent any time with a young child, you will find that a child at play is not like an adult at leisure. Adults often look to leisure to disconnect from reality; children look to play as a chance to connect with it. When a child uses building blocks, builds sand castles, or even draws with crayons it’s an attempt to bring order to their world.

I’ve seen this first-hand in a lesson I had recently with a 5-year-old. He took a detour from the topic I introduced, as he wanted to learn something related to what I mentioned. The parent softly chided him to pay attention, but in truth he was paying attention and was quite engaged. His focus quickly returned to my topic once I answered his related question.

Play is the work of the child

Maria Montessori, Italian physician and educator

Challenges to Learning

A child’s ability to learn piano in the traditional sense is greatly diminished below age 7 or 8. By the traditional sense, I mean the capability to sit fairly still, focus on note learning, and put together pieces with little to no help from a parent. However, there’s a world of learning that is ready to tap into with the very young. Developing the ear through singing is one of them. After all, singing came first in ancient cultures, followed by the use of musical instruments. Kids love to sing, and can quickly transfer that ability to picking out notes on the piano for a piece of music, with one finger in each hand. This occurs well before they develop the ability to read notation for that same piece.

Note reading is difficult for all kids, but much more so for young ones. That’s true even when introduced slowly and methodically. The child has to learn about different shaped notes, with different durations. Then, she sees them placed on these lines, spaces, and sometimes above or below this staff, as we would call it. Plus, we expect them to associate all of this to white and black notes on the keyboard. Nicola explains this utter confusion in nonsense nomenclature, and calls the piano itself a toofpranie. Using this imaginative language, she shows how a child becomes confused and anxious when asked to quickly put all of this together to play their first song, at their first lesson.

Improvisation and Imagination

Nicola’s approach is much more imaginative and improvisatory. Even learning the patterns of two and three black notes on the piano is difficult at first. She relates each set of black keys to an animal, and conjures up stories that they can use to experiment with the keys. They eventually learn all of the notes, white and black. Plus, they have a great time getting there since there are so many fun games and songs used to guide their way. Reading music is not an obstacle. It’s just one part of lessons that includes singing, improvisation, musical story telling, and of course, rhythmic exploration.

With just singing and rhythm, you can do a lot. Fortunately, the young are very able to learn note values well before they can identify them quickly on the page. Again, there is adaptation needed, since kids don’t clap well early on. Instead, using patsching, or slapping the thighs, works better. They can also walk around the room to experience quarter notes and half notes. Good luck trying to get a 9-year-old to walk around the room to fix a rhythm problem! Movement in general is something to be encouraged when teaching these little ones, since it helps them connect into and use their abundant energy.

Technical Limitations

One of the most apparent limitations a young child hasis the ability to use all five fingers. This can extend up to 6- and 7- year-olds as well. Most young pianists only have the ability to use one finger on each hand at a time. Good pre-reading method books start with the second (index) finger, and then offer the third (middle) finger as an alternate. However, at some point, these books will introduce a piece that requires both 2 and 3 to be used. Then, finger 4 gets added shortly thereafter.

What happens if the child isn’t ready? Simple – play the piece with just one finger, cycling through 2 through 4 to make sure each gets a chance to develop. Playing with 2 to 3 fingers will come when the child is ready with the teacher’s guidance. The thumb and pinky, fingers 1 and 5, are in some ways an adult pianist’s strongest tools. However, they are the last to be developed in a young pianist.

In Conclusion

There is a lot involved in teaching very young pianists. Playful Preschool Piano Teaching to addresses this adeptly. I readily admit that I am only partially down that road. I am in deep respect and awe of those who successfully teach 3-5 year-olds! However, I’ve become more and more convinced that students don’t need to wait until age 6 or older to begin, if the circumstances are right. The child has to be receptive. The parent has to be involved. The teacher has to pace learning in a way that works. The benefits could be immense. As Nicola says, a child’s innate musicianship can be developed from a very young age, and can lay a foundation that is hard to match when compared to a child that begins much later.


Footnote

1. The book is listed on my Piano Lessons – Books page, found under the top menu Teaching > Links for Current Students

Photo by Vlad Vasnetsov from Pixabay
Last Updated 2019-11-01 | Originally Posted 2019-10-31

Set a Practice Goal

Introduction

When I sit down to practice, I usually set a practice goal. The practice goal is pretty clear when it’s a piece that I have to learn or review to play the next day. Often, the practice goal may be less clear when my bunch of pieces are in different states of readiness. Plus, they may be scheduled to be performed at different times. As a church organist, there’s a weekly requirement to have new music ready. Don’t feel sorry for me – I have a lot of experience doing this, and it’s pretty automatic. My students, however, may be beginners at this, or at most just a few years of figuring out what to do at the piano. For that reason, I hope to help all my students set a practice goal each time they sit on the piano bench.

What Does Practice Look Like?

For the beginning pianist, practice is going to be pretty straight forward. Read through all of the pieces in the assignment, and then repeat, maybe several times. There may be the need to play slow at first, or to stop to figure out the notes. However, covering a bunch of pieces, each just 4 to 8 measure long, isn’t an issue. If the beginner happens to be a young child, help from the parents to ensure good, consistent practice sessions is important. I talk about how a parent can assist in practice in more depth in this post.

Even a later beginner or early intermediate student will face repertoire that can’t be fully practiced in one sitting. Sometimes, it’s good to just work on part of it, and come back the next day to review and add more measures. Certainly, the number of pieces assigned diminishes, but the length per piece increases. This adjustment happens as students transition out of method books and into real piano repertoire. If there is a need to learn a piece in sections, I recommend using little pencil marks in the music to indicate how far you got. It could just be an X, or it could be a date stamp like 10/1. I sometimes leave a few of these before erasing them, just to see how conscientious I’ve been in making progress. It can also help to use the assignment book to make practice notes and questions to ask your teacher. 

Practice Also Includes Activities (Theory)

Many of my students forget to budget time to do their activity pages. It’s more difficult since this practice occurs at a table or desk, and not at the piano. Doing a little bit each day is best, but might not be practical. However, doing it all at once, waiting until the last possible moment, is not good. I suggest that doing it two or three times spread throughout the week is a good compromise. These coordinated assignments are invaluable in learning new concepts that appear in sheet music. Theory helps the student to become a well-rounded musician, not just someone playing notes from the page. 

Have I captured this well?

It’s really easy for me to preach practice goals, since my time is not invested in making this happen at home. However, I hope that I can provide the support and guidance you need, no matter where you are in your piano journey. Certainly doing a little bit each day, moving forward bit by bit, is going to get you far when weeks become months become years. Let me know if you have any questions, or if I could state any of this better!

Scrabble rack with tiles GOAL
Goal by Nick Youngson CC BY-SA 3.0 Alpha Stock Images
Posted 2019-10-01