Presentation Introduction The Teacher I believe that - the teacher should inspire her students - create an all round musician - teach in a manner that appeals to students - be firm yet sympathetic with the student - adjust to student’s needs What I expect to achieve from the Student - should respect the teacher have good practice method good posture play with confidence give the best style and interpretation compose and improvise have good aural awareness and sight reading skills The Lesson - my method leads to examinations 1 hour lesson covering: scales, exam pieces, aural test, sight reading and theory Young beginners only half an hour due to concentration Supplemented by technique books, studies and other coursework plus fun pieces Suggest leisure play Or same as above supplemented with musicianship exercises + also include them to supplement academic work Hand position and avoidance of tension - cupped hands … explain seated straight with legs slightly bent and arms at obtuse angle balanced position - avoid tension in arms and wrists and shoulders - if students complain of pain, we analyze the situation and suggest for example a break, physical exersices and adequate warm up young children need stool to avoid dangling feet Technique and course work - - - Technique is the basis of all good playing Strengthen fingers, gives agility and helps students master technical difficulties in a concentrated manner Technique starts as early as possible: Alfred’s prep course series integrate technique, aural etc in one series of books, interconnecting Dozen a day for older beginner Beyer for adult beginner Hanon – continuation Czerny school of velocity + Piscna Clementi Gradus ad Parnassum By grade 5 the student should reach Hanon book 3 at this stage + knows all the scales set by the board for the grade 5 Some difficulties of scales: Introduction of melodic minor scales – tend to get confused till they learn their sound. IMP to learn separate hands first Another hurdle is the rhythm since grouping is in 3’s. Ta Te Tee method is helpful – one two three, student might get mixed up with fingering. Course work Depending on student’s age and how they will progress, I chose the book that best suits them Alfred’s for young beginners or teaching little fingers to play for 7yrs or Thompson Go on with Edna Mae Burnam Step by Step piano course Tuneful Graded studies grade 1 From grade 2 onwards include The New Czerny From Grade 3: The New Czerny 2, Bertini, Clementi, Burgmuller, Anna Magdalena Bach book and collections of music per period Grade 5 students should have reached Tuneful Graded Studies book 4, The New Czerny end of book 2, reached the end of one of the collection books or Beethoven’s Sonatinas, Bach’s 2 and 3 Part inventions and the more difficult pieces from Schumann’s Album for the Young Op 68. Also modern pieces either of students choice or Jazz, Rags and Blues by Martha Mier. Teaching Exam Pieces - - Important process since student will be playing for long time and presenting at exam in the best possible way Make sure that student likes the pieces, leave choice in their hands. Change only if struggling of if not suited to their temperament Playing to pupil before or listen to recording Give student info about the period, composer and style, analysis of structure, articulation, pedaling and dynamics, identify difficult passages which may require study out of context Start separated hands, later BH together in small sections Some general difficulties I could see from the Grade 5 pieces in General: New ornaments such as the turn in the Minuetto by Clementi More complex articulation such as the Capriccio by Scarlatti and La Pupee de Marcella by Linnn Irregular timing such as the Rumba by Ingoldsby Three and four part harmony in the Capriccio and Am Abend The 3 exam pieces Ballata by Burgmuller Grade 4: Some of the difficulties in learning this piece are – the change of key signature since it is in ternery form and the B section has no key signature. The students usually keep on playing with the key signature of the first phrase in mind. – There is a tendency to go faster in the repetition of the A section since it is familiar – There is a tricky section third line from the end where the student must be careful and count well as she will be playing two quavers and pausing for a quaver rest, against the three solid quavers in the previous bars – The melody is in the left hand and thus the chords in the right hand must not be overpowering – The melody in left hand is legato as opposed to the right hand staccato chords – Allegro con brio – the student must understand this well otherwise they will not manage to convey the character of the piece La Poupee de Marcella by Jennifer Linn Grade 5: the student must express the mimicking effect of the Cake-Walk style the articulation in this piece is vital for the character to emerge there are a few bars where the syncopation occurs in the left hand; this might be a bit more difficult to achieve than the right hand and needs more separate hand practice. There is a difficulty in combining the right hand and left hand together; thus this piece requires good separate hands practice and slow study when learning both hands together to make sure that the correct notes are played together. The dynamics and performance directions are very important Venetian Gondola Song by F. Mendelssohn Grade 7 the student would encounter difficulty in reading notes since the piece is in three part harmony. Careful attention must be given to the legato notes in the right hand in order to let the melody come out effectively There are also tied and long notes as well as accidentals which may confuse the student. There is a lot of articulation in the left hand as well as large skips which persevere throughout the piece. The student must master this while the piece is being studied separate hands so as not to encounter major problems when playing both hands together. The pedaling must not be blurred The melody is in the right hand and thus must be played cantabile Sight Reading and Aural Training - include in every lesson not merely for a minute or two interesting books by Paul Harris exercises are fun can be worked during lesson and consolidate by giving homework - easy activities which improve aural and sight-reading awareness, good supplementary work to the exercises set by board. Young beginners use percussion instruments (small/toys) and Alfred’s Prep course Recently discovered Joining The Dots by Alan Bullard which is very interesting as it also includes improvisation activities etc. Theory - Combine practical and theory topics as much as possible Demonstrate examples on the piano and refer to them during practical lessons Use Theory Made Easy as supplementary exercises + pictures help Alfred’s series very interesting for children Grade 5 theory is a very important milestone Activities - - encourage and organize group lessons with rhythmic games, singing in rounds, performances and improvisation this promotes performance skills, team work, social skills and confidence. Pupils meet other pupils and work together piano not a solitary instrument Teach the students Jaques Dalcroze’s method of Eurythmics xmas concert, state concerts, student get togethers, school concerts etc. Eurhythmics • • • • • • Dalcroze Eurhythmics is a way of understanding and expressing the elements of music in a physical way through movement of the whole body. Eurhythmics means good rhythm and the method consists of: Rhythmics – music through movement Solfa – aural training based on Kodaly Improvisation Some examples of exercises for groups: Canon – singing exercises Interrupted canon – echo clapping Follow – story telling with music Quick reaction exercises – ideal for young students for example musical prompts where students are given an signal to change the action Stopping and starting on a signal Locomotor rhythms Playing a sound and student draws what they imagine the sound to be When playing acciaccatura = jump Trill = turn etc Running the Studio - organized info about students quarterly assessments keep in touch with parents and inform them of progess well lit and ventilated room students ushered to/from door decorate studio so that students enter a world of music.