THE SECRET WEAPON GREAT PIANISTS SHARE (from Teach Piano Today)

Great pianists have a secret weapon. Now depending on their age, the secret weapon may no longer play an essential role, but rest assured, in the earliest years of their piano education the impressive development of most great pianists was aided by one especially important weapon…

Great Parents!

As with any generalization, there are exceptions to such a bold statement, but make no mistake… very few great pianists would be great without the support and guidance of great parents.

WHAT DOES IT TAKE TO BE A GREAT PIANO PARENT?
I was, and am, very fortunate to be blessed with not only great parents, but also great piano parents. Their actions as piano parents were integral to my success as a piano student. Below are 4 important elements that my made parents my secret weapon for success:

My Parents Called the Shots
My parents did not force me into taking piano lessons. However, once I had expressed interest and signed up, quitting piano lessons part-way through the year was not an option. And thank goodness it wasn’t! Because let’s be honest, kids are “right here, right now” kind of creatures and need the guidance of parents to keep them motivated… even if it means missing a play date, a trip to the beach, or a birthday party because of piano lessons.

At every year’s end, my parents always made the decision to re-register me in piano lessons based on their observations of my personal enjoyment. They did not ask me straight out “Do you want to take piano lessons again next year?” because depending on my mood, the weather, or whether or not I liked what we were having dinner, my answer could vary. So they made the decision, knowing that I was progressing as a pianist, I enjoyed playing piano most of the time, and I was reaping the academic and social benefits of piano lessons.

My Parents Made Piano Lessons a Priority
Knowing that we had made a commitment, piano lessons became as important as eating, sleeping, and brushing your teeth. Piano lessons and recitals were not to be missed. My parents knew that asking me to commit to piano lessons, meant that they had to make a commitment to making every lesson no matter how busy life would get… and trust me, it got busy!

My Parents Were Practice Partners
My piano was in the living room. And if my mom was not on the bench beside me she was certainly not far off. She knew exactly what piece I was supposed to be working on, she knew what measures were tripping me up, and most importantly, she knew that I loved playing for her. Rather than saying, “Did you practice for 15 minutes?”, my mom would say, “Your crescendo in the fourth measure was beautiful!” And it wasn’t just my mom who was involved. Even though my dad was not a piano player, he was always eager to witness a mini-concert from the couch and attended every single recital without fail.  I knew without a doubt that my involvement in the piano was something both of my parents valued.

My Parents Loved My Piano Teacher
My parents chose my piano teacher very carefully. And in doing so, they found a kind, caring, and respected educator. By making that wise initial choice, they knew from that point on, they could trust her guidance as I developed as a musician. They always spoke highly of her, listened to her musical advice, and made sure I knew how lucky I was to have such a fantastic teacher. In doing so, they modeled the respect that I knew I must show for my wonderful piano teacher who would go on to play a huge role in my life and my career.


There are 3 pieces to a piano student pie; the piano student, the piano teacher, and the piano parents. If any one of these three pieces is missing you’ll have a messy dessert that will never win first prize at the county fair.

A WONDERFUL HOBBY :-)

Most boys and girls have a hobby of some sort.

Those who have a hobby take it up because they love it. They regard it as a pastime and as a recreation, and not as a kind of lesson that has to be studied in any case.

One of the finest hobbies a boy or girl can have is Music. If you regard Music in the right way you are sure to be keen about it. You will want to study it and get to know all about if for its own sake, and not just because it is a school subject.

Once you become really keen about this wonderful subject of Music, you will try to find things out for yourself. You will hear as much of it as you can, learn to understand it thoroughly, and make it a part of yourself, so to speak.

You will feel like the hungry man who was given something to eat, and who said: “It has made a new man of me, and he’s hungry, too!”

Now, here is a little point you ought to consider. A boy who is keen on woodwork does not confine his energies to the work given him by his carpentry master. He makes things at home for himself. A girl who is keen on drawing isn’t content with what she does in school or as homework. She does other drawings, just because the subject appeals to her so much.

It is just the same with Music. If you are as “keen as mustard” you won’t be content with what your teacher gives you to practise, although of course you will do that first, and do it thoroughly.

You will now try new Music over for yourself, try to read at sight, and try to play accompaniments for your friends when they sing.

In this way you will learn to form you own opinions about Music, to judge for yourself, and to develop your Musical taste in the most natural way.

PIANO RECITAL/EXAM BOOTCAMP! :-)

It’s that time of year again! Some esteemed individuals are about to board a plane to the country to assess our students (including we teachers as well! albeit indirectly). A stressful time of year! But it doesn't have to be that way, thankfully :-) I came across this errmmmm. "exercise" and thought it an exciting and refreshing way of preparing the students. Would you try it? I even tried it on myself! i.e on the piece I'm working on currently and all I can say is.... the outcome is best left between God and I.. he!he!he! :-D

Still - give it a try! Enjoy!! :-D

PIANO RECITAL/EXAM TRAINING

(Student is sitting in a chair across the room, you call out each of the directions below)

Ready… begin!

1.       Race from your chair to the piano bench.  Announce your piece title and the composer.

2.       Race back to your chair. Sing the right hand melody to “la la la” for the first  3 bars.

3.       Race back to the piano bench. Play the final note or chord of your piece. Shout out the note your right hand is playing.

4.       Turn backwards on the piano bench. Clap the rhythm of the first bar of the right hand.

5.       Stand up and give me your most professional bow.

6.       Sit properly on the bench and play me the first 2 lines of your piece with as much dynamics and expression as you can muster.

7.       Return to your chair. Tell me the first 3 notes your left hand plays.

8.       Race to the piano bench. Start the bar I am pointing to and play to the end.

9.       Play the right hand only of the entire piece with your eyes closed. No peeking!

10.   Stand up and play the left hand lf the final 3 bars of the piece while standing.

11.   Give me your most professional bow.

12.   Play through your entire piece while I make rustling, coughing, crinkling and baby crying sounds behind you.

13.   Stand up and announce your piece title and the composer.

14.   Play the first line of your piece, but start one note higher than is written and transpose accordingly.

15.   Play the bar I am pointing to 4 times in a row.

16.   Sit back in your chair. Tell me the key signature of your piece.

17.   Race to the piano bench. Play through your piece until I yell STOP!

18.   Stand up, spin in a circle 3 times. Return to the bench and continue playing from the bar I just stopped you at.

19.   Give me your most professional bow.

20.   Stand up while playing the first two lines of your piece.

STOP!    Record your student’s time. Can they beat their time next week? Can they be more accurate? You can bet they won’t forget any of this come recital/exam day! J

TEACHING SCALES - Paul Harris & Richard Crozier

Scales and Technique

Scales are a fundamental part of technique - that area of musicianship embracing the control of all physical movement involved in playing an instrument or singing. Technique also controls tone, tone colour, intonation, dynamic level and rhythm. In performance, at any level, musicality will always be eclipsed if there is even a struggle with the technical content. However musically well-intentioned the performer is, without technical control that subtle dynamic shading or rhythmic manipulation will simply not be possible.

Teaching Strategies

The student needs to be convinced that scales are beneficial.

Methodical teaching is important - the 'just get on and learn them' approach works for very few pupils. It is essential that we never label scales as the least attractive part of an exam syllabus. Once said, it will be very difficult to change that perception - scales will forever be difficult both to teach and learn.

BY EAR OR NOT BY EAR

In exams scales have to be played from memory. This often encourages learning scales 'by ear' as the principal (and sometimes only) method. Ideally, all pupils should learn and play scales both from the music and by ear. Recognizing notated patterns is very helpful when learning pieces, and essential in building up a fluent sight-reading technique.Scales should never be learnt by simply feeling your way through; this will almost always result in mistakes and unrhythmic playing. Those players who get scales right the second or third time do not know them! Ultimately, a memorized scales is the result of many careful and thoughtful repetitions. 

SCALES LEARNING WITHOUT SCALES!

Here is a strategy for approaching the learning of a new scale. It is a series of steps that will gradually build up confidence and lead to fluent and reliable scale playing. 

First of all pupils should write down the notes names of the scale. (This is more important than you might think - to get the maximum benefit from scale practice, the mind must make a connection between the note name, the notational symbol and the physical action required to produce the note. You may find it a less than pleasant surprise to discover pupils do not actually know which notes they are playing.)

Once the note names are known they should be said out loud both ascending and descending.

Try some simple improvisation. Encourage pupils to improvise short tunes or pieces in the key of the scale being learnt. Keep reminding them to think in the key. These improvisations should include scale and arpeggio patterns as often as possible. 

(Many pupils don't think in keys. They tend simply to think in C major, adding the appropriate sharps of flats (if you're lucky!) It is important to encourage pupils to think in the key by continually reminding them to do just that. Each time they play a piece in a particular key, talk about that key, ask them to play the scale and arpeggio and remind them to have the key in mind during the course of performing the piece. This needs to be reinforced regularly until pupils begin to think  in keys as a matter of course.)

Another useful 'game' to play that further develops key-sense involves choosing a famous tune and playing it by ear, in the key being learnt. It does not matter if it takes a few attempts to get it right; this is good aural training because the pupil is really listening and making appropriate corrections if necessary.

MAKING FRIENDS WITH SCALES

Encourage pupils to familiarize themselves with their scales, as they would get to know characteristics of friends or relations. Ask them to make a list of three or four features of each scale. Here are two examples taken from actual lists made by young players:

Piano: F major hands together (Grade 2)

• Right-hand 4th finger on the B flat.
• Right-hand ends on 4.
• Thumbs together on F in the middle.

Clarinet: E major (Grade 5)

• It has four sharps - must remember the D sharp.
• Begins on right-hand E.
• The first three notes are all bell-note keys.
• Bell-note fingerings are the same in each register.
• It's my favourite scale (!)

Before asking a pupil to play a particular scale, always invite them to talk about it first; each scale will eventually acquire an identity of its own - pupils will really begin to know their scales.

Practice Strategies

• Practise using different rhythmic, dynamic and articulation patterns to develop technical fluency and rhythmic evenness. Scales need hardly ever be practised the same way more than once!
• Varying the tempo: slow practice for improving tone and intonation; fast practice for developing finger movement and fluency.
• Varying the accentuation (by playing in groups of 2, 3, 4, 6 or 8) will also develop evenness and control.
• Begin scales on any note, such as B major beginning and ending on E. This is a very positive way to help develop key-sense and will sort out those who really know their scales from those who 'feel' their way through them.
• Play them legato ascending and staccato descending, then the other way round.
• Pianists can play one hand legato, the other staccato,. Each hand can play a different dynamic level or shape.

With some imaginative and relevant teaching strategies, students may even begin to enjoy their scale practice! :-)))))

https://www.youtube.com/watch?v=khvaIwonxUk

A KEY TO THE KEYS: PART III - F# MAJOR AND D# MINOR, Harry Farjeon

These are, I am ready to admit, terrible keys. F# is not bad to play. But to read it is undeniably a bit of a corker. Every note sharp except B (even poor inoffensive E has to be sharp now).

Now it is true that the key of F# is seldom used, but it is used rather more frequently than you think. One does not often see that horrific signature of six sharps. But a piece beginning in B major or even E major, or, again, in C# minor or F# minor, might very easily modulate to F# major; and then you would have the key though not the signature.

A Scale with Cadences

Example 1. Our scale this time has a new feature – it is not all in even-length notes. This should suggest to you a whole new dictionary of possibilities; for remember, remember and continue to remember, that in all the work you do for me, or because of me, I want you to be perpetually alive – I want you to think and to make up things so that everything you follow the direction others have pointed out, you have some share in the journey yourself, apart from the mere plodding.

The scale is rather easy to play like this, with a wait on each Tonic. The accents come out the same in every octave and the fingers get used to a certain balance that is never shifted.

The Cadence Chords at the end also are slightly different.

Black Key Exercise

Example 2. Exercise on Black Keys, one note in each hand alternately. This sort of piece is very comforting, for it can be played with the middle fingers.

Five More Examples

Example 3.  This is planned to show the position of the white keys in regard to the blacks, as already explained. Whites leading up and down a semitone to Blacks.

Example 4. An old friend in a new dress. F# is certainly not the key to suit this tune. But nothing is better practice in an unfamiliar key than to read (or play by ear) melodies and chords already well known by sound.

Examples 5 and 5a are examples of when F# major would and would not be used. Example 5 would certainly be written in that key, modulating as it does to A, so far on the sharp side. But if after the first four bars the music went on like 5a, it would be better to write the whole thing in Gb, going to Bb minor instead of A# minor.

Example 6. Bright running passages, very suitable to the key.

If tackled religiously, a fortnight dedicated to each part, these few examples should help you overcome the Key Signatures nightmare. Enjoy!! :-D