The practice incentive theme for this next year is in development and I’m so excited about how we’re planning to integrate music history with world geography and a dose of strategy as the students work diligently to reach new goals and practice consistently throughout the year! It’s always fun to start a new year with th excitement and adventure of a new theme. I would love to hear what other teachers are up to this fall. Are you thing anything new in your studios?
The more I learn about Classical education, the more I am inspired to help my students become effective learners in every area of their studies. After reading this insightful post by Katherine Fisher, one of the authors of my absolute favorite piano method (Piano Safari, in case you didn’t know :-)), I am contemplating ways of incorporating more rote teaching even with my older students as a way of helping them make better connections with what they are playing and the underlying structure of the music. The deeper their understanding of music and how it is structured, the better equipped they will be to learn on their own.
Katherine says this,
I do believe the beginning of the process [of becoming independent learners and musicians] for students is to develop the discipline to concentrate and store information in a logical way. In the realm of piano pedagogy, I believe this translates to teachers encouraging students to learn and memorize a large amount of music. This should not be done in a “blind” sort of way in which there is no understanding of how the music is constructed. On the contrary, students should understand from the beginning that music is composed of patterns and a logical form. For musicians, this is an essential element of the art of learning.
Years ago I first tried the idea of using pennies as a tactile way to teach the subdivision of 16th note rhythms. It’s been a while since I used it in my teaching, but now that all of my students are reaching a higher level of playing, it was time to break out the penny jar again!
At our final group class of the year I let each student select a rhythm instrument and pick 16 pennies from my penny jar. We started by stacking them in four groups of four and beating a steady quarter note beat. Then I had them separate them into eight stacks of two and beating the eighth note rhythms. Finally, we placed all of the pennies individually and played them as sixteenth notes with a slight emphasis on the first one of each beat to help maintain a sense of pulse.
We used these fabulous sixteenth note rhythm flashcards from D’Net Layton and I showed them what the rhythm patterns looked like, then we arranged the pennies to match the pattern, then practiced playing it on our instruments. The students really enjoyed this approach, and it seemed to help them understand both the mathematical subdivision of the beats and also how to play them fluidly within a beat structure.
Even though I believe that a good teacher can effectively utilize any method or curriculum to help a student achieve success, there is something invigorating about having well-designed resources that capture a teacher’s philosophy and vision for their teaching. That’s how I’ve felt about Piano Safari ever since it’s debut a couple of years ago. It has been the perfect complement to my desire to help students develop creative freedom, technical ability, and musical artistry at the piano while also building a solid foundation of reading and rhythm skills.
I don’t know who has been awaiting the release of Level 3 with more anticipation – me or my students – but it’s finally here! The pack includes a Technique Book, a Repertoire Book, and a set of Sight Reading Cards. I’ve had a blast looking through the materials and preparing to teach it. It’s also exciting to see some of the same Classical Education principles that I’m discovering are essential for true learning applied in this method. Namely, repetition, both of content and of processes, is necessary in order for students to attain mastery. I love how this is emphasized in the Technique Book through the use of cool images that the students are instructed to color one small section at a time for every accurate playing of a scale.
For this reason, I see the Technique Book being used not so much sequentially, but more in a spiral learning approach where a student continues to revisit the previously learned scales and exercises to develop increased speed, fluency, and familiarity. The Technique Book also references the animal techniques to instruct the students how to play each scale. The visuals are attractive and helpful while maintaining a clean, uncluttered page layout. I also appreciate the various practice strategies emphasized throughout the book. Another great feature is the way that each introduction of a new scale/key includes the same process as previously learned, while also incorporating a new accompaniment style, demonstrating to the student how the chords and chord progressions can be used in a musical way. All of this is then woven together into the Technique Extravaganza at the end of the book that gives the student an opportunity to showcase all that they have learned in a fun, energetic duet!
The Level 3 Repertoire Book is a fabulous compilation of original compositions, duets, and Classical pieces in their original form. The pieces are in major and minor keys (C,G,F, and a,e,d), and there are helpful bits of information and questions for the student to consider, along with brief biographical sketches about the various composers. This thoughtfully designed book will leave students well-prepared to continue their exploration of every musical style!
Last, but not least, perhaps the most versatile element of the Piano Safari method – the Sight Reading Cards. Whether or not you use the method in its entirety, these cards are a must-have for any piano teacher! We use them in a variety of ways in our studio, and they have done wonders to help my students improve their rhythm and sight reading skills in a sequential and manageable way. Each card includes a 4-measure musical excerpt for the student to play hands together that incorporates dynamics, articulations, and the rhythms they have learned. There is also a single line of rhythm only that can be tapped, played on single notes, or used for a musical improvisation.
Now, for the best part! If you’d like a chance to check out Piano Safari Level 3 for yourself, Julie and Katie have graciously offered to give away a free Level 3 pack to one Music Matters Blog reader (a $45.50 value!). Just leave a comment below to be entered. One winner will be chosen using a random number generator at noon (CST) on Friday, June 3, 2016. This could be just the thing to re-energize your teaching this summer or in preparation for next fall!
Last week Claire made it to the Game Hut for her final stop in Jungle Expedition (our practice incentive theme this year). She had such a fun time that on her Year-End Evaluation today she suggested that we include a game at the end of each lesson to review a concept learned. This prompted me to pull out the interval dice game that has been a favorite in my studio for years (but for some reason I neglected all year long!). It’s such a simple game, but everyone loves it, and it’s a great way to reinforce any kind of intervallic movement on the piano keys (half steps, whole steps, interval distances, interval qualities, etc.).
We each selected a marker and placed it on the same starting key on the piano, then used a game spinner to signify the finish line two octaves up on the keyboard. Each turn consisted of rolling two dice (one with either “up” or “down” on each side, the other with interval distances from 2nd-7th). We moved our marker accordingly and the first one to the finish line was the winner. Claire was thrilled that she won! It’s so rewarding to watch students have a good time at the piano (and often not even realize the learning that is taking place in the process!).
One of the things I’m planning to do this summer is get back into incorporating more of the games from the 5 For Fun! Games and Activities for the Private Piano Lesson in each lesson again as a way of introducing or reinforcing concepts and providing some light-hearted fun in the process!
Sometimes I feel a bit like the odd one out as a piano teacher who isn’t equal parts animal lover. But it’s true. I’d probably rather practice scales than pet your cute little kitten, no matter how soft it is, or how adorable it sounds when it purrs. That said, there’s something different about a wild animal. Maybe it’s that it’s okay to observe and appreciate it from a distance without getting fur or drool all over my clothing or having to clean out a litter box. Whatever the reason, the use of animals in Piano Safari has resonated with me, and I really enjoy the animals they have selected to represent various technique concepts.
When I was recently exploring their new website, I was excited to come across this video clip that gives a brief overview of each of the concepts and how to apply them:
I even watched it with a student who has just completed Level 2 as a way of quickly reviewing all of the techniques and then discussing which ones would apply in her new repertoire piece. Even if you’re not using the Piano Safari method, this is a great resource for helping students visualize and practice essential techniques at the piano!
This observation by Bruce Berr in the February/March 2016 issue of the American Music Teacher magazine resonated with me:
The work ethic that was typically championed by parents, “Whatever you do, do your best” has been replaced in more families with “just have a good time.” Since music study requires a steadfast focused commitment of time and energy, that’s clearly a problem. Learning an instrument is increasingly view on a par with other leisure activities, some of which require little or no skill development, perseverance, and other qualities that help people grow into more mature selves. More so than before, music teachers have to educate children and their parents about the need for a work ethic.
What a great opportunity we have as music teachers to help students and parents grow in their understanding of what it means to have a strong work ethic!
Several times this past year in both my teaching and my performing I have recalled a comment by Time for Three from their interview in the December/January issue of the American Music Teacher magazine. When discussing the variety of genre the group performs, Ranaan Meyer includes this in his response:
“Ultimately the reason an audience wants to hear music is that they want to feel. To connect with the music they want an artist who is real and who is human. It shouldn’t sound like the most complicated thing in the world. You can ask audiences about this: ‘Do you care if this is complicated?’ Most of them will say, ‘No, I don’t care about that at all, I just want to be moved.”
This is the perfect perspective to have when going into a performance, and it’s especially helpful for students to consider when they feel like they are playing a piece that is “too easy.” Instead of focusing on the difficulty level of a piece, students should ask, “How do I want the listener to feel when they hear this piece?” Then the performance is about creating an atmosphere and eliciting a feeling, not about playing something difficult or hitting every note right. This also helps get the focus off of myself, as the performer, and onto the audience, where it should be!
UPDATE: I was just alerted (Thanks, Amy!) that the comments were turned off on this post. Oops! Apparently a setting got changed so that in all new posts comments were not enabled. You should be able to leave comments now!
If you’ve been around Music Matters Blog for a while you know that I am a huge fan of rote teaching as a vehicle for teaching students technique and artistry. Piano Safari is my absolute favorite resource in this respect! But I was thrilled when I was recently contacted by Paula Dreyer, author and composer of a new collection of rote teaching pieces called, “Little Gems for Piano.” There are two volumes, the first one is for beginners and the second one is labeled Early Intermediate. Some of the early beginner ones didn’t appeal to me very much, but the further I got in the book the more I enjoyed the sound of the pieces.
Here’s a clip of one of my favorites in Volume 1: Carnival Celebration:
In addition to utilizing rote pieces for teaching artistry and technique in general, I’ve also found that rote pieces can be a great motivator for students who struggle with vision problems or the ability to read music fluently. Rote pieces can also be an effective tool to use with students who have trouble memorizing. Because they are so patterned, it helps the students learn to recognize melodic and rhythmic motives and commit them to memory very quickly. Don’t we all like to have cool sounding pieces that we can learn quickly and easily perform by memory at a moment’s notice?!
Now, for the exciting part…Paula has generously offered to giveaway a copy of each of her “Little Gems for Piano” books to Music Matters Blog readers! We’ll be giving away one copy of each volume, so just leave a comment below for your chance to win. Two winners will be chosen using a random number generator at noon (CST) on Friday, May 13!
We have had a wonderful year of learning and growth in our studio, perhaps none more so than myself! I am continually challenged and inspired to improve my understanding of what it means to be an excellent teacher, and how to implement new ideas into my teaching. As usual, each issue of the American Music Teacher has little nuggets of wisdom and encouragement that provide fuel for that inspiration.
In the December/January issue there was an interview with the world renowned pianist, Emanuel Ax. In it he gives credit to his teacher, Mieczyslaw Munz, “for teaching him to practice well by being incredibly meticulous in the lessons. Ax comments that Munz absolutely, relentlessly, liked for things to be correct.”
Now I realize that we’re not all teaching concert pianists, but Ax’s comment reminded me that the way I work with students at each lesson is the model that they will be most inclined to follow in their own practice. If I let inaccurate rhythms, ignored dynamics, or unmusical phrasing slip during the lesson, certainly the student won’t feel compelled to do differently in their personal practice regimen. Too often, I am wont to jot a quick note in their assignment book while neglecting to spend the necessary time at the lesson helping them pay attention and play correctly. But when I do prioritize truly teaching students to play correctly, the rewards are always well worth it!