Zentz 1
A Guide to Teaching Class Piano
Resources compiled by Heidi Zentz
Instrumental Methods – Dr. Wolf
April 5, 2012
Zentz 2
Two Approaches to Teaching Class Piano
1. Class Piano Lab (mini individual lessons)
2. Group Lessons
1. Class Piano Lab
In a traditional class piano lab (sometimes called a "group piano lab"), students are at individual
electronic pianos with headphones while their teacher can monitor and interact with them
individually or in groups.
The teacher monitors and interacts with the students through a kind of audio mixer (a "teacher
controller unit" or "conferencing system") in which are patched the audio of the individual
student pianos. Consequently, the teacher can hear an individual student play and can play for
and with an individual student without any other students in the class hearing.
There are really two philosophies for teaching class piano:
1. teach everyone together as a group or class
2. give individual "mini-private lessons"
Philosophy #2 is generally considered to be a poor pedagogical strategy. Teaching the class as a
group does not mean that the teacher never interacts with individual students. Of course, the
teacher gets up, walks around and observes students practice assignments, and makes appropriate
individual adjustments to posture, fingering, etc. However, the best scenario is for the class to all
be working along together in a group.
Although this may be the luxury of college and university piano classes, this is not always
possible in elementary and secondary schools because often a class piano class will have students
with MANY different skills levels in the same class. Consequently, it is not always possible for
the class to progress together as a group.
The new class piano lab teacher controllers (conferencing systems) allows for the class to be
divided into various groups according to ability. Consequently, the teacher can address and teach
one group while other groups continue undisturbed with their practicing.
For example, say there is a class piano class with 16 students:
- 4 are beginners who do not read music and have trouble finding notes on the keyboard.
Zentz 3
- 4 have had some music instruction in band or choir and consequently can read music and know
some notes on the keyboard but have never had "formal" piano lessons before.
- 4 have had private piano lessons several years ago and can still read music and play simple
pieces.
- 4 are advanced players who can play difficult repertory.
The teacher will be challenged to keep the students working together within their groups
according to their abilities. However, with the assistance of a modern class piano lab controller it
is very easy to assign individuals to groups and then address or listen to them as a group while
others are undisturbed.
This is reminiscent of the old ONE-ROOM-SCHOOL-HOUSE where teachers had similar
situations. Often the difficulties were overcome by encouraging advanced students to work with
beginning students and in so doing, reinforce concepts and practice techniques.
Additional possibilities are afforded through the use of computers and interactive music
software. It is probably naive to believe that if a class is divided into 4 diverse groups that all
students will "remain on task" in their own personal practice while the teacher works with other
groups. A computer can be the answer to keep students involved and engrossed in the often
tedious task of learning notes and reading music. For example, some students could be working
with interactive software on their computers learning the notes on the staff and combining
written notes with keys on their keyboards. Others could be listening to sequences of their
repertory pieces and practicing (playing) along. Still others could be intently practicing their
advanced repertory while the teacher works with an individual group on a specific technical or
musical problem.
The Cost Explained…
16 student workstations and 1 teacher workstation -- (Typical Elementary Schools and High
Schools)
17 Casio PX-310 digital pianos (12 students; 1 teacher) @ $748.00
1 Roland RCS-848 Teacher Controller Conferencing System
1 Roland RCS-8EXP Expansion Kit
... or the Yamaha LC2 Music Lab -- they are identical units and sell for the same price.
17 Benches
4-6 Surge Protector Power Strips
17 Student Headphone Boxes
17 sets of headphones
17 sets of wiring
Zentz 4
We ship directly to you and then come to your location and set up the Lab for you. We give 2
hours of on-site training to instructors.
Estimated cost of equipment: $18,146.50
Estimated cost of shipping: $1375.00
Estimated cost of us traveling to your site for setup and training: $3000.00
Total: $22,521.50
Or, you could choose the Yamaha YDP140 digital piano @ $999.00 and this would bring the
total cost to approx. $25,777.00
In this scenario, all equipment would be shipped directly to you. We would travel to your
location, set up the lab for you, and give approx. 4 hours of individual training.
The same 16-station Lab as above using the Roland MP-70 keyboards, the traditional lab would
cost an approx. total of: $34,209.00
The same 16-station Lab using the M-Audio KeyStudio 49i keyboards (49 non-weighted keys)
and the Kurzweil KCL Conferencing System where you set the lab up yourself, would cost an
approx. total of: $9,620.00
Zentz 5
2. Group Lessons
Piano Class Teaching Tips
By Mayron Ellis Cole
1. Remember to always teach to the group! You are not teaching several little individual
"private" lessons each piano class! You are teaching one, successful, highly motivated
group piano lesson. There are reports of teachers (who consider themselves to be "group
piano teachers") running frantically from student to student as they attempt to teach
several mini-private lessons to each child during piano class. Whew! That's not group
piano teaching! That's really badly done private lesson teaching! (Most teachers have
been trained in private lessons and really know no other way to teach. If you don't know
how to teach group piano, come to a Mayron Cole seminar and learn.) Real group piano
teaching--when done properly--produces fantastic results! Click on Seminar Schedule.
2. Rarely, if ever do you need to use headphones. If you notice or hear one student making
mistakes, stop the group and have everyone play slowly the "difficult" section several
times as a group. (You can do this without singling out the student who is in error.
Always avoid embarrassing a student!) That way, everyone benefits from your teaching
for the entire class period--and that is what your customers have purchased--an entire
class period of your time. Remember, headphones encourage you to resume teaching
those private mini-lessons as you run from keyboard to keyboard. (See above.)
3. If a student has memorized music and wants to play it for you, have the student close her
music book and play the piece from memory while the other students play the same
music with their books open. Put a "different" sound on the keyboard of the student
playing from memory so that you can easily hear him/her. Avoid allowing one student to
monopolize your teaching time. You want to keep the entire class involved all the time
with every activity.
4. Have class recitals the last lesson before the Christmas holidays and the last lesson
before the summer holidays. Invite the parents to attend the class and hear the music that
was learned that semester. These types of recitals are very casual. The students play in
ensemble and use their music. If a child would like to play a "solo" she/he may do so.
(You play the accompaniment quietly with the soloist if it will help put the student at
ease.) At the end of the recital, the entire class stands, with you, and takes a group bow!
Now--how can a recital such as this be "scary"? For more recital ideas, click on How Can
I Liven Up My Students' Recitals? found under Mayron’s Articles.
Zentz 6
5. Try to avoid using a "reward" system with your students. This can easily get out-of-hand
and become expensive! Students should learn to do what is expected without always
experiencing a "reward". Instead, use gold stars or notary seals on their graduation
certificates for memorization, lesson preparation, good learning attitude, good piano
class manners, etc. Use your imagination.
6. Always review, review, review! You will be glad that you do when your students have
mastered the knowledge in each The Mayron Cole Piano Method book and are ready to
move to the next level.
7. In order to "hear" each student play by herself/himself from time to time, assign each
student a different "line" of music to play aloud for the class as you quietly play the
accompaniment with each "soloist". This type of "by yourself" playing can also be
done on recital day for the parents.
8. Divide your piano class time into four periods that can be arranged in any order:
(1)"old music" time (hear last week's music assignment); (2) new music time (teach this
week's music assignment); (3) theory game time (teach new concepts and review
previously learned concepts); (4) theory worksheet time.
Review of The Mayron Cole Piano Method
By Patty Morell Bilhartz, M.A.
Director, Music & Arts Center of Huntsville, TX
The Mayron Cole Piano Method is a unique, innovative and enjoyable way for students of all
ages to learn to play the piano. The author, Mayron Cole, developed and piloted this program in
her own Houston studio. Hallmarks of the program include teaching the student to think for
him/herself and developing musicality in each student. To achieve these goals, the author
emphasizes note reading, consistent counting, and creative thought in each lesson. The Method
currently contains nine levels, from Pre-Primer to Early Advanced, plus three Older Beginner
levels. Additional materials include a 5-lesson "Blast Off With Piano" sampler, several operettas
on varying levels, primer and intermediate level multi-piano ensembles, sequenced disks to
Zentz 7
accompany all levels and supplementary music, four games designed by the author, and inclusive
teacher support manuals and teaching aids. The method may be used for teachers who offer
private and/or group lesson formats.
The Pre-Piano level targets rhythm development in the young child. Students learn to count
while discovering keyboard geography. Staff reading is reserved for Level 1. The Pre-Piano or
"Menehune" (Hawaiian for "little person") Level develops all fingers, and encourages the student
to play at various locations on the keyboard.
Levels 1 and 2 continue the emphasis on counting and reading as notes are introduced one-byone on the grand staff. Cole uses a modified middle C approach to note reading. Students are
encouraged to play with different fingers and at different octaves using both black and white
keys on the keyboard. No finger numbers are given in the first lessons to that students will rely
on reading the staff. Students' hand positions are allowed to develop naturally and correctly as
students learn note-by-note reading. Level 2 concentrates on reading the bass staff, Level III
works with the upper treble notes.
Enjoyable foci of each level are the "Fun Sheets." Theory sheets in masquerade, the Fun Sheets
make theory meaningful to the students by coordinating concepts directly with the pieces that
they are playing. Before playing most pieces, the student completes a Fun Sheet about the piece.
The Fun Sheet can cover anything from counts to notes to musical aspects such as language,
dynamics, patterns, and form. Not only does the Fun Sheet teach the needed theory concepts to
the developing student, it helps the student to discover "how" to practice the new piece by
breaking the piece into small, more easily learned parts. At the end of each level, the student
takes a quiz over the concepts learned. These "Finish Lines" are coordinated with each level of
state theory tests.
The Method Books, while more expensive than traditional single method books, are all-in-one
entities. Their loose-leaf page format allows the students to receive new music each week. Pages
include pieces, theory, sigh reading, some ear training, and technique. Levels II and up include
sheets of major and minor scales and cadences. The pieces in the upper levels offer edited
classics coupled with the author's own delightful compositions. "Midnight on Boggy Creek" and
"Forever River" are favorites of teenagers in Level 6.
The Mayron Cole Method offers a wonderful change from the "traditional piano method" diet.
Students who progress through each level will emerge as independent musicians who can read,
write, and create music. And for those teachers who already are convinced of the power of group
piano lessons, or for teachers who may wish to offer group piano lessons but aren't sure how to
get started, Cole's method provides surefire teaching aids and pedagogical advice which are sure
to be a success with both students and teachers.
Zentz 8
Assessment of Piano Method Books
Alfred Method For Children
The Alfred method uses a lot of colored pictures and graphics to help with the teaching process.
The newest updates in the Alfred Method for children include use of software, compact discs, and /or
cassettes. This method utilizes the concept of position playing, which has a disadvantage that students
sometimes do not learn to read the notes, but rather rely totally on position playing. Thus, if they
approach a piece of music not written in a Five Finger Position, they are at a loss. An advantage of this
method is that students learn to read intervals and to see the intervalic relationship between notes.
They are also exposed to chords and progressions. While the lyrics to the songs are not really
necessary, the pictures and graphics are wonderful. Students who have been raised on this method
exclusively sometimes seem to have limited competence in note reading and undeveloped technique.
Another disadvantage is that the major classical composers should be presented to the students at a
much earlier stage than is typical in this method. The Alfred method is great for beginning teachers who
need a pre-programmed lesson format to follow. It would be our hope that once the beginning teacher
becomes more comfortable and knowledgeable with different methods that they would expand beyond
sole use of this method.
Pace Method for Older Beginners
The Pace books are a pedagogically sound aid for teaching the older beginner. They eschew the cute
graphics that intrigue children, but put off older beginners. Instead, the material is presented in a concise
and to-the-point manner. Thankfully, there is neither reference to nor dependence upon position playing
in this book. Students who did a test drive of this material, soon realized that they really had to think and
apply themselves well to be able to understand and successfully use it. Although the method is
challenging, the only complaints that from students are that the music was a bit "old fashioned" and the
method could use more sight reading exercises and material. As with the Pace Method for children, the
older beginners method requires a lot of effort on the part of the student and teacher, though it is effective
and reasonably priced.
The Piano Adventures Series
Smith Creek Music Class Piano Resource Materials - Designed specifically for the study of Secondary
Piano at the College level, these Class Piano Resource Materials cover a broad range
Keyboard Musicianship, Book One, by Stipes Publishing Co., 8th edition
*Use a lesson book and a theory book!
Zentz 9
Teach Children Piano: Tips and Techniques
1. Individual Differences
First, to effectively teach children piano, remember that every child
is different.
Students have different strengths, and focusing on those creates a good lesson. When you build
on children’s strengths, they come to believe that they can do it – piano is not so difficult.
Then, when introducing those things that they struggle with, they already have a feeling of
accomplishment and success.
Here’s a practical way to do this. Start and end the lesson with something they like or
something not too difficult. If you know that they like scales and like to play them, end with
playing some scales. They’ll leave feeling like they learned and can play something.
2. Attitude
It’s important for the teacher to have a sense of fun.
If you enjoy teaching, that comes across to the student. If you’re having fun, they’re much
more likely to have fun. We need to get away from that image of the piano teacher with the
ruler in her hands rapping the knuckles! Piano is fun!
3. Behavior
There are times for fun but unfortunately, there are some times when you need to be strict. Try to
do this with a smile and the attitude of helping (rather than punishing). I usually find that if
a student is not behaving well, he is bored. If this happens, I try to mix things up. For example,
if we are sitting at the piano, I try to come up with an activity that is more active. Then after that
is finished, we try to go back to what we were doing.
4. Whiteboard and Rhythm Sticks
To teach children piano, what I have found most helpful is a whiteboard. With a whiteboard,
you can create lots of different activities. You can practice naming notes, rhythm, and other
things.
Zentz 10
Along with a white board, I also used rhythm sticks and other rhythm instruments to practice
rhythm. It’s good for kids to move around and I’ve found it especially helpful for the students
playing.
5. Organization
Plan your lessons effectively and efficiently to challenge each student.
6. Class Size (advice from the studio perspective, not a school classroom)
If you are teaching children, you need to keep the class size small. I would recommend less than
5 students in a class. If parents come to the class, there can be more. Keep in mind the noise
level and potential rowdiness of students.
In teaching group piano lessons to adults, I would also recommend a small group. This is more
because adults may want more individual attention and probably they’ll want to hear their
keyboard above all others.
**7. Things You Can Do in Groups**
In teaching group piano lessons, you can do some things that you can’t do in individual lessons.
You can have duets. You can also do fun rhythm activities. You can learn some things more in
a classroom style.
If you have an even number of students, they can drill each other on things like notes.
Flashcards would work well in this area. Take advantage of the number and play some fun
games you can’t play with only one student.
8. Preparation
In teaching group piano lessons, you need to be more structured than in private lessons. It’s a
good idea to prepare ahead of time what you will be teaching in that lesson. This way, things
will go smoothly and you can have any supplies you need ready.
When I taught group lessons, I prepared an outline for each lesson with what songs or pieces I
would be teaching or reviewing, new concepts to teach, concepts to review and what activities
I would use.
I would recommend teaching group piano lessons only for beginners. Once students start
playing more classical pieces, group lessons won’t really work well for them. Instead, at this
stage, you can have master classes. This is where students come and play for each other. In the
master class, students are encouraged to offer input to help the other students.
Zentz 11
Piano Lab Common Problems and Maintenance
1. Size of the room. The most important thing for you to do UPFRONT in considering a Class
Piano Lab is to MEASURE the size of the room in which you intend to put the system. The
consultant should REQUIRE an exact measurement from you before the purchase is finalized.
Otherwise, you may discover when the equipment arrives that it will not fit into the space you
intend (BIG problem).
2. Headphone replacement. All the standard Class Piano Lab systems come with headphones
with microphones attached. With constant use, you cannot expect headphones to last more than
about 6 months before they develop problems such as only one side working. Replacing
headphones is expensive, usually about $80.00 per set. It is possible to purchase cheaper
headphones like the ones that are used now with comptuers. However, you have to make sure
that the OHM rating of the headhones match the sepcifications of the manufacturer or they may
not work, particularly the microphone. A general rule of thumb is to order an extra set of
headphones for EACH workstation so that you will have extra sets on hand while you replace
the ones that are broken.
3. Headphone box replacement. All the standard Class Piano Lab systems also come with a
conferencing system which requires individual student headphone boxes. These boxes are
generally very sturdy and should last the lifetime of the lab. However, occasionally one will go
bad and have to be replaced. Consequently, it is a good idea to order a couple extra boxes so that
you will have them on hand in the event that one needs to be replaced.
4. Warranty work on the conferencing system or the keyboards. In the unlikely event that a
keyboard or the conferencing system needs to be serviced, it should be done by a qualified
(authorized) repair center. Both Roland and Yamaha have authorized repair centers in every
large metropolitan area and they are REQUIRED by the companies to do warranty work,
whether or not you purchased the equipment there. There are also some independent authorized
repair personal who work independently of local music stores.
Standard warranties are usually one year from the date of purchase. Although, some restrictions
may apply regarding a "limed warranty."
Here is a link to Roland's authorized repair centers.
Here is a link to Yamaha's authorized repair centers. Also check out the Yamaha Service and
Support page.
For Kurzweil products, you should simply search for a local dealer.
If there is not an authorized repair center within a reasonable distance from your school or
organization, you may have to ship the product to the repair center for service. Consequently, it
is generally good advice to keep at least ONE BOX or container in which the keyboard or
conferencing system was shipped to you in the unlikely event that you have to ship the product
either to an authorized repair center or directly back to the company.
Zentz 12
* If your class uses pianos instead of keyboards, make sure they are tuned at least twice a year.
Proper Technique and Posture
Body positioning and structure
Bench
Position on the bench
You should sit in the middle of the bench rather than all the way back. Sitting all the way back
on the bench causes your lower back to slouch. The underside of your legs (your hamstrings)
should not be on the bench but rather they should be forward of the bench and should have
nothing under them. This allows your back to naturally straighten itself. This also allows your
entire vertebral column to stay balanced and "float". Your head should float on your neck. Your
neck should float on your shoulders and on down to the base of your spine.
Bench height
The bench should be high enough so that your hips are level with or slightly above your knees.
This puts your weight on your legs and feet instead of your lower back.
Bench distance from piano
You should be able to place your hands comfortably on the keys without having to reach too far
forward. You should not have to move your elbows more than a few inches forward in order to
reach the keys.
Feet
Your feet should be directly below or slightly in front of knees, never behind your knees. This
will ensure you are optimizing the structure and support your feet and legs provide to keep your
body from falling forward. Without that structure, your body will naturally compensate by
tensing up other muscles including your abs and lower back. This tension not only restricts your
mobility but your breathing as well. If you can't breathe properly, you can't relax properly.
Zentz 13
Knees
Keep your knees in line with your pelvis, not outside of (wider than) the pelvis. Breaking this
structure has the same effect as placing your feet behind your knees.
Shoulders
Pretend you are holding a brick in each hand and let your arms drop. Then, bending only at the
elbow, raise your arms up. This will set the stage for proper shoulder position. The shoulders
should always be relaxed and down. If they are raised in any way, this means that you flexing
your trapezius muscles and the result will be tension in the shoulders and neck pain.
Movement, relaxation, and power
Power comes from behind the fingers not from the fingers. The job of your fingers is to be strong
enough to maintain their structure. When executing a punch, for example, power comes from the
whole body - from behind the fist, not from the fist itself. The fist is just the point of contact. The
same can be said of the relationship of the fingers to the piano keys.
Consider your arm from the elbow to your fingertips to be the major playing unit. Your fingers
should never be doing the majority of the work or movement on their own. Instead, the entire
arm-hand-fingers playing unit should be moving as one entity. From behind that, you can engage
all of the muscles in the rest of your arm and in your torso. In addition to the force of these
muscles, there is also the mass of all of those body parts. Finally, there is the force that keeps us
from floating out into space: gravity.
If your muscles are tense, you are fighting against not only your own movement (like driving
while pressing on the accelerator and brake pedals at the same time) but you are also fighting
against gravity. This will lead to fatigue and strain. Keep your body relaxed and let gravity assist
you in projecting the mass of your own body parts into your arm and, ultimately, into the keys.
This whole concept can be compared to the inside of a grandfather clock. No one movement is
doing a major amount of work on its own. Rather, each small movement combines to make a
larger motion.
Zentz 14
Proper hand position
Fingers too flat
Wrist too high
Zentz 15
Wrist too low
Proper position on bench
Zentz 16
Sitting too far back on beach
Zentz 17
Zentz 18
Heidi Zentz
Instrumental Methods – Dr. Wolf
5 April 2012
Beginning Class Piano Lesson
I. Instructional Objective:
TSWBAT identify the correct finger numberings.
TSWBAT correctly play “Concert Chorale”.
TSWBAT play the exercises with proper posture and technique.
II. Procedure
A. Number the fingers 1-5 (1 = thumb; 5 = pinky).
B. Clap the rhythms on page 58, exercise 116.
C. Identify F on the keyboard.
D. Demonstrate proper hand position.
E. Play exercise with finger 1, then finger 2, and so on.
F. Assign one measure to each student. Play exercise and listen for accuracy.*
G. Play Concert Bb Scale Warm-Up (p.85), one hand at a time, then with both hands.
H. Sightread p.54, “Norwegian Mountain Dance”.*
I. Split class for half to play r.h and half to play l.h.
J. Play together as a class. Listen for rhythmic accuracy and counting.*
K. Each student play both hands with the class.
L. Sightread p. 43, “Concert Chorale.”
M. Play again (make fewer mistakes, and keep the steady beat).*
N. Play piece with two students per piano if necessary.*
III. Evaluation
*Assess throughout lesson for ability to sit at piano correctly, maintain proper hand
position, play the correct notes, play with rhythmic accuracy.
*Resource – Band Expressions: Piano Book One; Warner Bros. Publications, 2004.
Zentz 19
Resources
http://www.learn-piano.org/giving-piano-lessons.html - General Tips on Teaching Piano
http://www.pianolessons.com – Dozens of helpful videos!
http://www.mcpiano.com/newpages/articles/10teaching.php - Mayron Cole Piano Method
http://sweetkeys.com/Piano_Teaching_Methods.php - Analysis of Method Books
http://www.piano-lessons-info.com/teach-children-piano.html - Compilation of Piano Info
http://www.smithcreekmusic.com/Class.piano/classpiano.whatsalab.html - Piano Lab Info
http://www.smithcreekmusic.com/Class.piano/estimate.html - Piano Lab Cost
http://www.smithcreekmusic.com/Class.piano/classpiano.problems.html - Maintenance
http://www.pianofundamentals.com/book/en/chapter_1 - Fundamentals of Piano Technique
http://www.youtube.com/watch?v=BoMy8XVWnUU&feature=related – YouTube Clip of
Mayron Cole Piano Method
http://raincomputers.com/pro/music-lessons/basic-piano-technique/ - Proper Technique &
Posture
http://www.baylor.edu/content/services/document.php?id=22669 – Collegiate Class Piano
Syllabus
http://www.pianoworld.com/fun/vpc/piano_chords.htm - Piano Chords
Zentz 20
http://piano.about.com/library/Piano-Lesson-Book/bl_Free-Piano-Lesson-Book.htm - Free Piano
Scales and Lesson Sheets
http://grovesite.com/page.asp?o=vchs&s=clpia&p=511376 – Lesson Plans
http://www.thepianolessonseries.com/thepianolessonseries/classpianolabbooks.html - Piano
Curriculum Series
http://bobvollmer.com/lesson_plan.php - Beginner Lesson Plans
http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=34&ved=0CFgQFjADO
B4&url=http%3A%2F%2Fthinktech.lib.ttu.edu%2Fttuir%2Fbitstream%2Fhandle%2F2346%2F17585%2F31295016634460.pdf%3Fsequence%3D1&e
i=iZh8T8O6CaXY0QHnrsT4Cw&usg=AFQjCNGvwXtPi5bv1ySVhAFljvmHUyZU3Q - p. 1721 – Doctoral Thesis on Teaching Class Piano with Suzuki Influence
Zentz 21