tag:blogger.com,1999:blog-60618849494639342602024-02-20T00:45:55.837-05:00Piano Lessons Basking Ridge Area - A Teacher's ResourceBarbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.comBlogger70125tag:blogger.com,1999:blog-6061884949463934260.post-88284684184159816132014-01-05T14:08:00.001-05:002014-01-05T14:08:07.922-05:00Second Year Piano Sight Reading InstructionA <a href="http://piano-nj.com/sight-reading.html" target="_blank">sight reading</a> program should be designed for students based on a level of reading that is slightly below the current repertoire level. Second year students shouldn't be assigned music at the second grade level because these pieces are too difficult for that purpose; they aren't meant for casual study.<br />
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Most piano courses are designed around a progressive reading program, but often the rate of progression accelerates too fast for good reading. So, it helps to add books or assignments on sight reading that give supplementary easier works to read. Additionally, sight-reading flash cards are great in individual lessons.<br />
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As the card is held, the student should quickly acknowledge the cleff signs, key signature, time signature, and ascertain the correct position on the keyboard for both hands. The note values can be tapped before beginning to play to get the correct rhythm. Any changes in the hand position that might happen should be noticed. While playing the student can recite the counts out loud and look far enough ahead to keep going in tempo. He needs to play straight through without stopping.<br />
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For more information about piano lessons in Basking Ridge, please contact <a href="http://piano-nj.com/" target="_blank">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-31060173670273637942013-12-26T21:04:00.000-05:002014-01-05T14:08:47.230-05:00Second Year Piano Student TheoryIncluding theory as an integral part of <a href="http://www.piano-nj.com/piano-instruction.html" target="_blank">piano instruction</a> is vital. The second year theory program might include:<br />
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<li>Subdominant minor chords (inverted position)</li>
<li>Augmented chords</li>
<li>Diminished chords</li>
<li>Writing major scales</li>
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<b>Subdominant Minor Chords</b><br />
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In the first year melodies are harmonized with major I, IV and V7 chords. Minor melodies may also be harmonized with i, iv, and V7 chords. Students should already have learned minor tonic chords and dominant seventh chords (the same for major and minor), so the only new chord in the progression is the iv chord in minor. The purpose for learning this new chord is for functional usage in minor tonalities. It is more practical for students to learn to play this chord in all minor keys than it is for them to learn to write the chord. Students may first learn the progression i, iv, i in all minor keys. Following this they can learn i, iv, i, V7, i.<br />
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<b>Augmented Chords</b><br />
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An augmented triad is made of a major third and an augmented fifth. The word augment means to make larger. Raise the top note (5th) of a major triad 1/2 step to form an augmented chord.<br />
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<b>Diminished Chords</b><br />
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A diminished triad is made of a minor third and a diminished fifth. The word diminished means to make smaller. Lower the top note (5th) of a minor triad 1/2 step to form a diminished chord.<br />
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<b>Writing Major Scales</b><br />
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Sometime during the second year students may be taught the pattern of whole and half steps that make up the major scales. They should memorize the pattern whole-whole-half, whole-whole-whole-half or WWH WWWH. They aught to be shown how to assign degree numbers to the eight notes of the major scale and how to formulate the major scale numeric pattern of a half-step between degrees 3-4 and 7-8. <br />
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For more information about piano lessons in Basking Ridge, please contact <a href="http://www.piano-nj.com/" target="_blank">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-42339143487795355182013-08-04T10:11:00.001-04:002014-01-05T14:09:29.302-05:00Alberti Bass Second Year Piano StudentsIn the first year students have learned some block and broken chords. In the second year, the Alberti bass pattern should be studied in preparation for sonatinas and teaching pieces that use this accompaniment style. The coordination involved in playing the pattern can be developed more easily if the student has a mental picture of the figure. Play the figure for the student and talk about the pattern; for example, "bottom, top, middle, top," etc. Assign exercises using this pattern to be practiced in all keys. Divide the presentation by groups of keys used for learning triads and inversions.<br />
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Teach the Alberti bass in all keys. For instance, C major might be the tonic chord rotating back and forth C-G-E-G-C-G-E-G, saying 5-1-3-1-5-1-3-1. The first inversion will be E-G-C rotating back and forth E-C-G-C and second inversion will be G-C-E rotating within G-E-C-E reciting the fingering out loud.<br />
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Simplified Hanon or <a href="http://www.piano-nj.com/article-czerny.html" target="_blank">Czerny</a> finger exercises can be helpful at this stage. Work on increasing <a href="http://www.piano-nj.com/keyboard-tempo.html" target="_blank">tempo</a> over time to instill muscle memory.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-15639458117443171072013-06-07T09:19:00.000-04:002013-06-07T09:19:07.675-04:00Triads and Inversions Second Year Piano StudentsChord studies serve two purposes, technical and theoretical. Chord drills aid in developing a good hand position to <a href="http://www.piano-nj.com/learn-keyboard.html" target="_blank">learn the keyboard</a>, shaping the fingers, and developing a general facility for playing in more than one key at a time. <br />
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In the first year students should have learned major and minor triads in root position, dominant seventh chords and subdominant chords. Sometimes near the end of the second year of lessons students can be taught triads and inversions of majors and minors. Correct <a href="http://www.piano-nj.com/article-fingering.html" target="_blank">fingering</a> is important for inversions: students usually want to play the same fingering for inversions as was learned for the root position. Circle the fingering in each hand for the new inversions. Teach the chords in both block and broken style.<br />
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Triads and inversions should be studied both ascending and descending. Often students can play ascending but have trouble with descending. The chords should not be discovered by trial and error using the hunt and peck method. A strong mental picture of the correct fingering should be established to form an anticipated feeling for successive chords for the pattern.<br />
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Sufficient drilling should be assigned so that over time the correct fingering will become automatic. Students can recite the fingering for the middle note of the chords, as this is the finger that changes in the inversions. <br />
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Students should learn all twelve major and minor triads and inversions. Remind students that the word practice means repetition and spell out how many times you want each item repeated.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-73127794263887774142013-04-13T22:27:00.001-04:002013-04-13T22:27:26.173-04:00Keyboard Triads and Inversions<a href="http://piano-nj.com/learn-keyboard.html" target="_blank">Chords</a> are a vital part of all students' technical programs. This is because chord playing helps in developing a good hand position, shapes the fingers, and promotes facility for playing in more than one key at a time. In the first year, piano students learn major and minor triads in root position, dominant seventh chords and subdominant chords. Sometime near he end of the second year of lessons students can be taught triads and inversions. These will be major and minor triads. The correct fingering is very important when teaching chord inversions on the <a href="http://piano-nj.com/piano-keyboards.html" target="_blank">keyboard</a>. A common problem is that students play the same fingers for the root position and the inversions. To make students aware of changing fingers, it can be helpful to circle the written fingering in each hand that is different. Students should also be taught the chords in both block and broken style.<br />
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Triads and inversions should be studied both ascending and descending. While many students are able to play the chords ascending, many have lost the picture of the chord they are inverting and are not able to return back down.<br />
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The chords should not be "discovered" by trial and error using the trial by ear method. A mental picture of correct fingering should be established to form an anticipated feeling for successive chords in the pattern.<br />
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Since fingering is important when learning triads and inversions, enough drill should be assigned so that in time the correct fingering will become automatic. Sometimes it helps to have students say out loud the fingering for the middle note of the chords.<br />
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Students should learn all twelve major and minor triads and inversions. Remind students that the word practice means repetition. Advise students how many times you want each one repeated on a daily basis.<br />
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For more information about <a href="http://piano-nj.com/piano-instruction.html" target="_blank">Basking Ridge piano instruction</a>, contact <a href="http://piano-nj.com/" target="_blank">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-68922793369057066512013-04-12T02:29:00.000-04:002013-04-12T02:32:50.194-04:00Scales for Beginning PianistsIn the first year of lessons scale playing is minimal for most, but not all, students. Certainly there are those who are capable of grasping the feel and location of the keys very quickly. Others may need to wait to <a href="http://piano-nj.com/piano-instruction.html" target="_blank">play scales</a> until the hand/eye coordination is more mature. However, few, if any, scale passages are used in first year literature. Most teachers would probably agree that learning some scale patterns will benefit first year students. One or two octave scales can be taught. Overall the problem of scales as a technique is more easily learned in the second year. This is especially true of parallel scale playing that requires control and coordination. Having said this, again there are students who naturally acclimate to the piano keyboard.<br />
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By second or third year students need to understand how to form major and minor <a href="http://piano-nj.com/learn-keyboard.html" target="_blank">scale patterns</a> with whole and half-steps.<br />
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While scale study is great for evenness of fingers and finger control, it is only one aspect of technic. Technical training should include practice for pianissimo, fortissimo, crescendo and diminuendo, variety of tone quality, and phrasing lifts.<br />
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The two problems to solve in scale playing are turning the thumb under or crossing over the thumb, and memorizing the fingering patterns used in parallel motion. The correct scale fingering for reach scale should be learned from the beginning. While some teaching methods introduce only partial scales up to five fingers at first, there is no reason not to teach the full one-octave scales immediately.<br />
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Scale fingering should be memorized. A complete book of scales at the beginner level of one or two octaves should be provided to the student for reference. Many teachers write scale fingering in the weekly assignment book. However, it is good practice to compel the student to learn to refer to fingering in their book. If the student is very young, then showing their parent how to help them to use the book is important until they are old enough to work independently.<br />
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For more information about <a href="http://piano-nj.com/piano-instruction.html" target="_blank">Basking Ridge piano instruction</a>, contact <a href="http://www.piano-nj.com/index.html" target="_blank">Barbara Ehrlich Piano Studio.</a><br />
Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-78127290852410389142012-05-26T11:08:00.001-04:002013-04-12T02:33:36.213-04:00Part PlayingThe ability to hold one finger down while playing others in the same hand is challenging for students at first, but with some preparatory drills, the difficulties can be overcome. Second year literature frequently contains passages requiring application of this technique.<br />
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Proper <a href="http://www.piano-nj.com/keyboard-phrasing.html" target="_blank">phrasing</a> (down-up wrist motion) should be employed, and both parts should be released at the same time on the count with an upward wrist motion.<br />
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Numerous second and third year pieces require the mechanics of holding one finger while playing others in the same hand. For example, one note in the right hand must be sustained while playing from the second part to an entirely new note using another finger. One instance of this might be an interval of a 4th played by a 2-5 in the right hand, sustaining the 2 and dropping into a 4, then dropping smoothly into a 1-3 without lifting. These two problems can be solved with concentration and practice.<br />
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For more information about <a href="http://www.piano-nj.com/learn-piano.html" target="_blank">piano lessons in Bernardsville</a>, contact <a href="http://www.piano-nj.com/index.html" target="_blank">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-53500756058984101922012-04-30T11:45:00.001-04:002013-04-12T02:34:02.239-04:00Dynamic ShadingsFirst year piano students really don't have adequate control over their fingers to spend much time shaping melodies using more sophisticated dynamic colorings. But, within the second year some work should be done to create a more singing line and include <a href="http://www.piano-nj.com/keyboard-dynamics.html" target="_blank">dynamic</a> shadings. Repertoire and <a href="http://www.piano-nj.com/article-listz.html" target="_blank">sight-reading</a> materials studied will provide increasingly more sophisticated dynamic shadings. Students should also be given a few exercises for crescendos and descrescendos within a phrase.<br />
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Phrasing, legato and staccato, balance between hands and dynamic shadings should be included in the repertoire at this juncture. Melody should "sing" over the accompaniment. When a melody is a sequence (repeated melodic motive) it should become slightly louder as it ascends (dynamic shading). It is important to point out these features to students before they begin to practice the pieces, as it will help to avoid one week of incorrect practice.<br />
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Careful adherence to correct application of phrasing, legato, staccato, and balancing the hands with dynamic shadings will produce a musical sounding performance.<br />
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For more information about <a href="http://www.piano-nj.com/piano-classes.html" target="_blank">piano classes Bedminster</a>, contact <a href="http://www.piano-nj.com/" target="_blank">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-37310657895316339712012-04-19T08:48:00.002-04:002012-04-19T09:22:30.748-04:00Phrasing Technique for PianoGood <a href="http://www.piano-nj.com/keyboard-phrasing.html">phrasing</a> technique does not come easily and naturally, even to gifted students. Piano teachers constantly must show students how to drop on the beginning of a phrase and lift the wrist at the conclusion of the phrase. The result is a musical sound that is something like taking a breath in singing. <br /><br />To teach phrasing, begin with short slurred groupings. <a href="http://www.piano-nj.com/piano-instruction.html">Piano instruction</a> should include a "down-up" wrist movement. The down movement is on the first note (usually the strong beat) and the up movement is on the last note (often a weak beat). Second year students will find a variety of phrases which will include a combination of slurred and staccato groups.<br /><br />Sometimes it helps for the student to verbalize or say out loud the phrasing: "down-up" for surs, and "up" for staccato notes. By saying the phrasing aloud the student will become aware of the correct hand motion for each technique.<br /><br />Because of the complexity of hand motions and coordination problems in a piece that combines staccato with phrasing, the difficulty of such a combination is usually late second year or third year for students. Compositions of this type are excellent pre-literature studies for teaching various motions of piano technique. Piano teachers should assign a number of pieces like this before and even during the time standard piano literature is being assigned.<br /><br />In combination studies, each hand should be studied independently (hands separate). By saying the phrasing in each hand, the student can begin to acquire the needed skills and feeling for the correct interpretation of these basics. Depending on the piece, it is possible to combine some counting with phrasing (down-up). Be sure the student phrases (lifts) <span style="font-style: italic;">both</span> hands <span style="font-style: italic;">together</span> when both treble and bass end on a phrase. The release of both hands should be simultaneous just like the individual voices in a choir. <br /><br />The ability to play one hand staccato and the other legato simultaneously becomes increasingly more important for the correct performance of pre-literature pieces and some of the easier classical pieces. The main difficulty for students when first combining these two touches is coordination. Both hands "want" to do the same thing at the same time, and each hand must be trained to function independently.<br /><br />For more information about <a href="http://www.piano-nj.com/piano-lesson.html">piano lessons Millington</a>, please contact <a href="http://www.piano-nj.com/index.html">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-14716550473441227732012-04-15T20:09:00.004-04:002012-04-15T20:29:43.344-04:00Second Year Piano LessonsMost second year piano students are over the hurdles of absolute basics and are ready for more challenging repertoire and expanded technique and theory. Most average or better second year students will be ready for easy classical repertoire near the end of the second year of <a href="http://piano-nj.com/piano-classes.html">piano classes</a>. But younger students, or those with less ability, may not be ready for serious literature until the third year of lessons.<br /><br />There's no need to rush into music by master composers just for the sake of getting there. Students would be much better prepared to begin easy sonatinas, Bach minuets, etc. Some teachers assign difficult music too soon. Students should be allowed to develop naturally and gradually from level to level with sufficient material at each level for reinforcement. The result of assigning difficult music too soon is a general breakdown in the natural development process. <br /><br />A student introduced to difficult compositions too soon will spend months on the piece trying to perfect the complexities with which he is not ready to cope at this time. Difficult music can be learned at an early time, but at the sacrifice of learning a great deal of progressive, graded material which would insure a solid background in reading and general learning comprehension, rather than a kind of rote learning. Rote teaching at this level is not advisable, and teachers should not push the student's fingers down and spoon feed them pieces note by note. If a student is ready for pieces by master composers he should be able to figure them out mostly on his own, and not be led on, coached all the way by the teacher.<br /><br />It usually takes about two full years of lessons to build a solid background to the point where a student would be able to play most of the pieces contained in easy classical collections. Repertoire such as elementary sonatinas, easy repertoire collections, etc., are best for third year students.<br /><br />The performance of easy classical music by children sounds most convincing when the student has developed basic techniques sufficiently to present these works as the composers intended them to sound. The mechanics of hand coordination, <a href="http://piano-nj.com/keyboard-phrasing.html">phrasing</a>, delineation of linear line, gradation of dynamics, etc. must be at a sufficient level to play these pieces musically. Only with correct and careful practice will students begin to develop the equipment that is necessary for projecting the style and mood when performing miniature master works. Suggestions include:<br /><br />1. Hands separate practice<br />2. Slow practice<br />3. Paying careful attention to the correct <a href="http://piano-nj.com/article-fingering.html">fingering</a><br />4. Using the correct hand motions needed for phrasing<br />5. Tapping one hand or foot like a metronome while playing the other hand<br />6. Using a metronome while practicing<br /><br />For more information about how to learn piano in the Bernardsville area, please contact <a href="http://piano-nj.com/learn-piano.html">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-39405422998546961982012-01-13T04:38:00.003-05:002012-01-13T04:50:15.461-05:00Minor Chords and Five Finger PositionsMinor finger positions and minor chords can be related to the major keys that the student has already learned. To create the five finger position for the minor or minor chord, begin with the major position and move the middle finger (degree 3) down the nearest key (one semi-tone/half-step). The nearest key can be either black or white.<br /><br />Have the piano student practice parallel major and minor chords in various rhythms. When changing chords he should not look down at the keyboard. He should form a mental picture of the chord shape and arrange his fingers this way.<br /><br />Optimally, each new class in theory should be accompanied by <a href="http://piano-nj.com/play-ear.html">ear training</a> drills. Use ear training games to distinguish between major and minor tonality. At first the student can sing the tones while the piano teacher plays minor positions or chords. Emphasize the minor third. Next have the student listen to a chord and tell if it is a major or minor. Lastly, play several chords in a row (major, minor, minor, major) all in the same key, and have the student ascertain what was played. Later, play the same pattern, but change the first tone of each chord (CM Am Gm EM).<br /><br />The student can then create little tunes based on major and minor scale fragments and their chords.<br /><br />For more information about <a href="http://piano-nj.com/piano-instruction.html">piano instruction in Basking Ridge</a>, contact <a href="http://piano-nj.com/">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-91809610268619431412011-12-28T09:48:00.002-05:002013-04-12T02:34:22.788-04:00Major Key SignaturesFirst year piano students will most likely be playing in only three keys, the C major, G major and F major. One approach is to teach the order of sharps first and then teach the sharp key signatures. Next teach the order of flats, then teach flat key signatures.<br />
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A second approach is to teach the key signatures as they come up in the music literature for the level of playing that the student is currently studying. It is also a good idea to teach the associated scale to be played for one octave the first year. The student will already have been introduced to playing simple sharps and flats in the literature and learning the associated scales should be possible for most students.<br />
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Theory workbooks to learn to identify key signatures are usually presented beyond the first year.<br />
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Key signature flash cards are useful for drills both at home and at the lesson.<br />
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For more information about <a href="http://www.piano-nj.com/piano-lesson.html">piano lessons in the Millington area</a>, contact <a href="http://www.piano-nj.com/">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-37336788992672215272011-12-13T10:55:00.002-05:002011-12-13T11:06:48.771-05:00Sharps and FlatsModern literature often recommends that the order of sharps and flats be taught so the student is prepared for naming key signatures. Traditional literature introduces sharps and flats in the key signature starting with C major, G major and F major. I see no reason for introducing the 14 accidentals to beginning students first without relating it to the <a href="http://www.piano-nj.com/keyboard-sheet-music.html">keyboard sheet music</a>. I prefer the traditional method that first teaches the student to read the time signature, read accidentals in the music, and then read accidentals in the key signature and applying the sharp or flat to the corresponding notes in the music. Then introduce the idea of a major happy sounds and a minor sad sound as we progress through the literature. Much later, I will introduce the concept of a key as applied to the entire composition. <br /><br />To learn all key signatures, I teach the poem for sharps Father Charles Goes Down And Ends Battle. Flats are the reverse order of the same poem. Then, by repeating verbally the order of the sharps and flats the student will begin to learn their sequence somewhat by ear.<br /><br />I also have no problem teaching the Circle of Fifths and Fourths by demonstrating the order of sharps and flats on the piano. Piano students of any age find this a logical approach to understanding the relationships of accidentals and their keys.<br /><br />For more information about <a href="http://www.piano-nj.com/piano-classes.html">piano classes Bedminster area</a>, contact <a href="http://www.piano-nj.com/">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-76887135297854815282011-12-08T20:59:00.002-05:002011-12-08T21:10:32.251-05:00Intervals TrainingIt's important to include <a href="http://www.piano-nj.com/play-ear.html">ear training</a> drills when students learn intervals. First have the student play and sing intervals at the piano. For example, sing 1-3, 1-5, and so forth. Then have him try to recognize intervals played by the piano teacher. Use familiar songs to recognize intervals. The first two notes of "I've Been Working on the Railroad" for a fourth, the first two notes of "My Bonnie Lies Over the Ocean" for a sixth, and so forth.<br /><br />Flash cards are great to use when teaching intervals. Students can work with flash cards at home and also in class.<br /><br />Intervals can be explained easily as the difference in tone (pitch) between two keys (notes). Melodic intervals are individual notes (relate to the "melody" of a song). Harmonic intervals are two notes played at the same time.<br /><br />A second moves from a line to the next space or a space to the next line on the staff. A third moves from a line to the next line or from a space to the next space on the staff and it skips one musical letter. A fourth move from a line to a space or a space to a line on the staff. It looks like a second but it skips two musical letters. A fifth moves from a line to a line or a space to a space on the staff. It looks like a third but it skips three musical letters.<br /><br />For more information about <a href="http://www.piano-nj.com/piano-classes.html">piano classes in the Bedminster area</a>, contact <a href="http://www.piano-nj.com/index.html">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-24562131588111177532011-12-05T12:36:00.002-05:002011-12-05T12:43:23.970-05:00Five-Finger Positions and ChordsThe Major keys can be thought of as four groups of similar finger positions based on the tonic triad. If the student learns the pattern of black and white keys for each group they will be a step ahead. The student can create a picture in his mind of the groups and learn the chords by the shape of the white and black key patterns. Then he can practice finding them on the piano with his eyes closed.<br /><br />Group 1 - These keys have all the white keys in their tonic chords:<br /><br />C Major<br />G Major<br />F Major<br /><br />Group 2 - These keys have a black key under the middle finger and white keys on either side:<br /><br />D Major<br />A Major<br />E Major<br /><br />Group 3 - These keys have a white key under the middle finger and black keys on either side:<br /><br />Db Major<br />Ab Major<br />Eb Major<br /><br />Group 4 - All of these fingerings must be learned individually.<br /><br />Gb Major<br />Bb Major<br />B Major<br /><br />For more information about Bernardsville area piano lessons, contact <a href="http://www.piano-nj.com/">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-44798435220692718332011-12-04T10:41:00.003-05:002011-12-04T10:52:35.287-05:00Beginning Music TheoryA first year theory program should include the following:<br /><br /><ul><li>Major 5-finger positions and major tonic chords</li><li>Dominant seventh chords (inverted positions)</li><li>Intervals</li><li>The order of sharps and flats</li><li>Major key signatures</li><li>Minor 5-finger positions and minor tonic chords</li><li>Subdominant chords (inverted position)</li></ul><br />Ultimately, the piano student should know how to identify the key of the piece, understand the harmonic changes, and have some understanding of the structure of the composition. To get there, <a href="http://piano-nj.com/piano-instruction.html">piano instruction</a> should include theory from the beginning as an integral part of the <a href="http://piano-nj.com/piano-lesson.html">piano lessons</a>. <br /><br />I make it a point to each one hour piano classes rather than half hours because performance, technic, theory, and aural training cannot be managed in only thirty minutes. Families with two students cannot always swing this, so I offer half-hour classes to these candidates. Written theory assignments can then be given and the piano teacher can check these in a few minutes during the lesson.<br /><br />For more information about piano lessons in the Millington area, please contact <a href="http://piano-nj.com/">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-58755566633767702412011-11-24T20:11:00.002-05:002011-11-24T20:19:36.876-05:00Chromatic ScalesPlaying the chromatic scale facilitates the use of a contracted hand position and therefore is useful in developing broad technical ability. Additionally it helps in learning to read sharps and flats. By reading the chromatic scale and practicing it ahead of time, students will be helped when they come across songs in the first year literature containing little chromatic passages.<br /><br />Chromatic exercises can be created by the piano teacher starting with just a few notes. Each time it is repeated, a higher note is added. In this way the student learns to play up and down with equal ability.<br /><br />A helpful book in learning chromatic scales is A Dozen A Day, Preparatory Book and Book One.<br /><br />For more information about <a href="http://www.piano-nj.com/learn-piano.html">piano lessons</a>, contact <a href="http://www.piano-nj.com/">Barbara Ehrlich Piano Studio</a> in Basking Ridge, NJ.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-42051824500555618952011-11-15T11:16:00.002-05:002011-11-15T11:25:53.317-05:00Double Notes Legato TechniqueAlthough first year students won't need much drill on double notes, a few passages containing legato thirds are found in some of the music studied at early grades.<br /><br />Similar problems happen between playing single legato notes and playing double legato notes; that is, connecting the fingers without blurring. It takes time and patience to apply the legato touch correctly to two notes. The student's tendency is to disconnect the tones. Double note exercises should be devised by the teacher to give the student experience playing them prior to use in first year and second year pieces.<br /><br />Second and third-year piano students may find that simplified <a href="http://www.piano-nj.com/article-chopin.html">Chopin etudes and piano technique</a> are good pieces to practice legato <a href="http://www.piano-nj.com/keyboard-phrasing.html">phrasing</a> and legato thirds.<br /><br />A good resource for short exercises is the Dozen A Day book series.<br /><br />For more information about <a href="http://www.piano-nj.com/piano-lesson.html">piano lessons Millington area</a>, please contact <a href="http://www.piano-nj.com/index.html">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-86070825397595794282011-11-12T08:05:00.002-05:002011-11-12T08:35:15.088-05:00Turning Thumb Over or Crossing Over Thumb<span style="font-style: italic;">Fingering Technic</span><br /><br />In early <a href="http://www.piano-nj.com/article-fingering.html">piano fingering</a> systems the thumb was rarely used as a pivot over which the fingers could pass either up or down the scale. The basic principles of modern fingering first became known through C.P.E. Bach. Carl Czerny created an original method of <a href="http://www.piano-nj.com/article-czerny.html">finger exercises</a> in <span style="font-style: italic;">The Art of Finger Dexterity</span>. One of the principal aims of good fingering is to avoid unnecessary hand movement.<br /><br />Scale playing requires agility in turning the thumb under or crossing another finger over the thumb. There are a lot of opinions regarding the best time to begin teaching scales. Gat states "If the pupil has already mastered small pentachord pieces to the point of sight-reading them he may begin to practice scales."<br /><br />As for myself, I begin teaching the one octave C major scale with hands separate well before the student learns pentachords. Although the beginner student may not yet be ready to read scales and arpeggios, once he shows some control over playing white and black keys, he can be shown how to turn the thumb under properly.<br /><br />Although the actual study of scales may be delayed, a beginner can be exposed to scale preparation within the first 6 months to a year of lessons. The thumb should be turned under smoothly without twisting the hand and arm out of shape. When the student first begins to turn the thumb under, hey may start by turning under the second finger. The next step is to turn the thumb under 3, and finally turn under 4. Turning the thumb under 3 and 4 is especially helpful, because this will prepare the student for scale playing.<br /><br />Crossing a finger over the thumb is just as important as turning the thumb under. The crossing should be made as smoothly as possible, without poking the elbow far out to compensate. The hand should remain quiet at all times when crossing under or over the thumb.<br /><br />For more information about piano instruction Basking Ridge area, please contact <a href="http://www.piano-nj.com/index.html">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-90911499433036262622011-11-11T19:59:00.002-05:002011-11-11T20:21:02.054-05:00Down-Up Wrist Motion for PhrasingSlurs and phrases produced on the piano are dependent on the correct motions of the hand, wrist and arm. The mechanics of producing slurred groups can be taught to first year students when they have sufficient control to produce the proper motions. Constant practice in correct phrasing technique will dramatically impact their ability later to perform classical works from such great composers as <a href="http://www.piano-nj.com/article-mozart.html">Mozart</a>.<br /><br /><a href="http://www.piano-nj.com/piano-instruction.html">Piano instruction</a> can demonstrate the motions used in playing a two-note slur to the student. Show him what it looks like to drop on the key with a slightly lower wrist motion and release the key with a higher wrist motion. Several terms may be used to describe this process:<br /><ol><li>down-up wrist</li><li>drop-release</li><li>drop-roll (rolling inwards toward the piano and lifting at the same time)</li></ol>The lifting of the wrist is the same at the end of a two-note slur or any phrase. When a longer phrase mark is used, it is helpful to relate the group of notes under the phrase sign to a vocal line. If sung, a breath would be taken on the last note of the phrase. At the piano, the hand lifts, the legato line is broken, and the "breath" is accomplished.<br /><br />Numerous exercises for slurring can be created by the teacher. The first note of the slur should be slightly louder and the last note should be slightly softer. The student may be told to "float off" on the last sound from the slur ending to the first note of the next slur.<br /><br />Many first year solos have multiple touches--staccato, legato, and slurred groups. Have the student say aloud the hand motions used. Say "up" for staccato, "down" for long notes or phrases, and "off" for phrase endings.<br /><br />Great photos of <a href="http://www.piano-nj.com/keyboard-phrasing.html">phrasing</a> motion can be found in John Thompson's <span style="font-style: italic;">Modern Course for the Piano</span> First Grade book and John Thompson's <span style="font-style: italic;">Junior Hannon</span> book.<br /><br />For more information about piano lessons in the Basking Ridge area, please contact <a href="http://www.piano-nj.com/">Barbara Ehrlich Piano Studio</a>.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-89674229321062182422011-08-29T10:48:00.006-04:002011-11-11T20:22:54.030-05:00Arm Drops<span style="font-style: italic;">Teaching Arm Drops<br /><br /></span>Consider having the piano student use the large muscles first, then concentrate on the smaller motions used in coordinating finger action.<br /><br />Supporting a finger and dropping with arm weight will give the student a feeling of security at impact, and it will give him the correct concept for holding his fingers in a curved position later when the support is not used.<br /><br />Later, when learning chords, tell the student to prepare the chord in the air and drop on the keys, keeping the fingers well-curved. Fifths, sixths, (octaves later) may also be played like this.<br /><br /><span style="font-style: italic;">Legato Touch</span><br /><br />The legato and staccato touches in are taught in the first year of learning <a href="http://piano-nj.com/learn-keyboard.html">keyboard technique</a>. Legato touch requires the student to play a key, hold it, and release it when the next key is played. It requires some finger coordination and can take time to develop. This is the most basic task of teaching technique to the beginner.<br /><br />Legato can be explained as a person walks, one foot comes down, the other comes up, and the process is repeated over and over. This is like walking on the keys when one key is played and held until the next key is played, then the first key is released.<br /><br /><span style="font-style: italic;">Staccato Touch</span><br /><br />Have the piano student separate the tones so that they sound short. Another explanation is having the student bounce his finger on the key when a dot appears over or under a note. Some students will need to differentiate between a staccato dot and a dotted note dot. A bounce is not unlike that of a bouncing ball when the upward bounce is the result of the downward movement. To produce this on the piano, the student must imitate the upward bounce consciously.<br /><br />For more information about <a href="http://piano-nj.com/piano-instruction.html">piano instruction Basking Ridge</a>, contact Barbara Ehrlich Piano Studio.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-898935397817775922011-08-24T09:49:00.006-04:002011-11-11T20:23:14.009-05:00Beginning Piano TechniqueTechnique is the method or details of procedure essential to expertness of execution in any art.<br /><br />Within the first year of <a href="http://piano-nj.com/learn-piano.html">piano lessons</a>, the pianist should begin to learn matters of the singing touch of legato, the hammering snap of stacatto, two-note slur <a href="http://piano-nj.com/keyboard-phrasing.html">phrasing</a> with a graceful, swan neck-like wrist, and finger coordination with combined mastery of black and white notes, whether in arpeggios, close finger dexterity, rolls, or accurate two-octave notes.<br /><br />These are essential concepts for first year piano classes:<br /><br />Posture and hand posture<br />Arm drops, large muscle motion<br />Legato touch<br />Staccato touch<br />Balance of melody and accompaniment<br />Down-up wrist motion for phrasing<br />Turning the thumb under or crossing over the thumb<br />Chromatic scale<br />Double notes<br /><br />Posture and Hand Position<br /><br />The student must sit toward the front of the bench (not all the way back nor in the middle) and lean (not slouch) slightly forward over the keys. The feet are planted squarely on the floor, not crossed nor tucked under the bench. The back, legs and feet support the body, never leaning on one hand or the other on the bench. The hands, wrists, and forearms should be held in a straight line; the fingers should be well-curved.<br /><br />In the beginning, triads and five-finger positions are helpful for shaping the fingers and developing the correct hand position. Playing triads requires curved fingers. Additionally, the hand easily forms the correct position with the bridge of the hand held up with the knuckles protruding. In the beginning the student will need to concentrate on the arched position of the hand and will have to work at maintaining firm, curved fingers.<br /><br />The tendency is to cave in at the first joint on the second, fourth and fifth fingers. The little finger is particularly weak, and in addition to caving in, it often plays on the side, falling over.<br /><br />The beginner will not perfect these basics within the first year, maybe not even in the second year. But over a period of time matters of posture, hand position, curved fingers, and so forth can be repeatedly corrected by the teacher (and observant parent) until these become natural.<br /><br />For more information about the area of <a href="http://piano-nj.com/piano-instruction.html">Basking Ridge piano instruction</a>, contact Barbara Ehrlich Piano Studio.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-24642277153084400952011-08-21T06:47:00.003-04:002011-08-21T07:00:37.712-04:00First Year Piano Lessons - Learning NotesWhen teaching the names of lines and spaces, it is helpful for the student to see how notes relate to each other on the entire staff, not just part of it. Note names can be learned by relating all the lines or all the spaces on the staff. The student learns one landmark for each clef and relates the other notes from this point.
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<br />For example, G is on the bottom line of the bass clef. A skip up from G on the next line is B (skipping A in the space). Each line note is named by going up a skip. The student will be able to name any line note on the staff by thinking skips up from these notes. Jingles such as "Good Boys Deserve Fudge Always" are not lasting tools. They do not teach students to think and reason. If the jingles are forgotten, so are the notes along with them.
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<br />For thorough drill, direct the student to write the line notes four times a day. After the student has worked with line notes for a week or two, he may be given the space notes to write. Teach the space notes in the same way as the line notes.
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<br />A lot of drill must be done in the first year of lessons on learning the notes. Aids to learning individual note names include:
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<br /><ul><li>Flash cards</li><li>Singing note names</li><li>Writing note names</li><li>Numbering the lines and spaces of both clefs</li></ul>The student should name the note on the flash card and play it in the correct location on the keyboard. For first year students a few minutes of each lesson should be devoted to flash card drill. Singing note names establishes good <a href="http://www.piano-nj.com/sight-reading.html">sight reading</a>. The student should name each note aloud thinking directionally up or down, skip or step. Most theory books contain note drills. Note spellers provide additional work on individual note recognition.
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<br />For more information about NJ piano lessons, contact <a href="http://www.piano-nj.com/">Barbara Ehrlich Piano Studio</a>.
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<br />Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0tag:blogger.com,1999:blog-6061884949463934260.post-12208642184938773712011-08-09T05:45:00.004-04:002011-08-21T07:02:11.057-04:00College Coursework for the Piano Major<a href="http://piano-nj.com/piano-classes.html">Piano classes</a> for the keyboard major include:
<br /><ul><li>applied keyboard study</li><li>history of music literature</li><li>accompany and ensemble performance</li><li>chorus</li><li>functional piano</li></ul>The student will be exposed to a broad range of piano literature. Insight into various styles, an understanding of performance traditions, interpretative depth and sensitivity toward music are areas that are developed. The piano student should have at least a listening aquaintance of these composers, be able to identify the periods based on the style heard, and to be able to play increasingly difficult selections from each:
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<br /><ol><li>Representative seventeenth and eighteenth century works by D. Scarlatti, Couperin, Handel</li><li>A cross section of J.S. Bach's keyboard works</li><li>Familiarity with important sonatas, concertos, and other solo works of Haydn and Mozart</li><li>A representative sampling from each of the three periods of the <a href="http://piano-nj.com/article-beethoven.html">Beethoven</a> sonatas, as well as acquaintance with the concertos and variations</li><li>A cross section of such nineteenth century composers' works as <a href="http://piano-nj.com/article-mendelssohn.html">Mendelssohn</a>, Chopin, Schubert, Liszt, Brahms</li><li>Familiarity with representative impressionistic works of Debussy and Ravel</li><li>An examination of representative pieces of twentieth century figures as <a href="http://piano-nj.com/article-scriabin.html">Scriabin</a>, Stravinsky, Bartok, Prokofiev, Copland, Schoenberg</li></ol>The piano teacher should be able to analyze technical problems, and over an extended period systematically guide the student toward ever greater physical ability at the piano. Exercises alone, introduced with the usual arsenal of scales, arpeggios, etc. will not be adequate preparation for virtuoso playing. The teacher must also be able to explain <span style="font-style: italic;">how</span> to use the playing mechanism, <span style="font-style: italic;">what</span> to do with the arm, wrist, and fingers as in <a href="http://piano-nj.com/keyboard-phrasing.html">keyboard phrasing</a>, <span style="font-style: italic;">how</span> to produce certain effects, <span style="font-style: italic;">how</span> to go about unraveling a technically difficult passage, etc. Without correct technical training, the result can be lost time, sore muscles, and tight, poor playing.
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<br />The piano student learns to make his own interpretative decisions - especially in regards to <a href="http://piano-nj.com/keyboard-dynamics.html">keyboard dynamics</a> - to gain even greater technical security, and able to produce finished results without the teacher's prompting. In short, he becomes an artistic entity in his own right.
<br />Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com1tag:blogger.com,1999:blog-6061884949463934260.post-10410101147949455992011-06-12T18:31:00.003-04:002011-08-21T07:02:58.012-04:00Teaching First Year Piano StudentsTo begin thinking directionally, have the student play skips and steps on the keyboard. Explain to the student that a skip skips a finger and skips a letter in the musical alphabet. A step plays the next finger and is the next letter in the musical alphabet.
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<br />Directional Reading
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<br />Reading by shapes and contours is a helpful mechanic in reading notes. Relationships such as up, down, same, repetition, equal distribution in the tonic chord, or unequal distribution in the dominate seventh chord should be seen. Explain to the student the three movements possible on the staff: up, down or the same. Also, there are three types of distances possible on the staff: steps (seconds), skips (thirds or larger intervals), or repeats.
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<br />Use interval terminology from the beginning. The goal is to teach the student to think and reason directionally from a given note.
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<br />Drills can be taught easily without <a href="http://www.piano-nj.com/keyboard-sheet-music.html">keyboard sheet music</a>. The student can close his eyes while hearing the directions. Experiences such as playing 5-finger positions and chords prepares students for reading notation. It is helpful to create written drills which work with the concept of direction only, writing pairs of notes in any given direction, up, down or repeat.
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<br />For more information about <a href="http://www.piano-nj.com/piano-instruction.html">piano instruction NJ</a>, contact <a href="http://www.piano-nj.com/index.html"></a>Barbara Ehrlich Piano Studio.Barbara Ehrlichhttp://www.blogger.com/profile/04255030855027263106noreply@blogger.com0