Training for Feel of the Keyboard

The development of the feeling for the keyboard is important from the start. From the first lesson, the hand positions should be made a matter of feeling the keys rather than merely seeing them. This development of the muscular sense continues throughout the training of the pianist, and eventually becomes almost an automatic reflex action. The ability to feel scale and chord hand-positions coordinates with sensing the aural effects of the tones produced, an essential in fluent sight reading.

The first step in playing by imitation is to establish the hand-position. The five fingers of the right hand are placed over the first five key of the scale involved. From this hand position it is a simple step to playing, by combined ear, eye and directions, the five finger pieces at the elementary level. The notation is then shown to the student as a picture of what he has played.

The same procedure is then taken with the left hand.

Next there is an alternation of hands, the first phrase being played by one hand and the second phrase by the other.

From this first experience in playing by imitation the student progresses to the subsequent steps of learning piano, each new element being presented through imitation. It is important to demonstrate the correct hand position, fingering, phrasing, and expression. From the first lesson the student should be made to realize that good piano playing demands thoroughness and attention to detail. He should be encouraged to think of the piano as a means of self-expressing, and that by beautiful self-expression can he find pleasure in his music.

For more information about piano classes NJ, contact Barbara Ehrlich Piano Studio.

Suzuki and the Art of Piano

Suzuiki method assumes students will become a member of an orchestra and prepares them for orchestral playing.

The Suzuki Method is most often found in violin, viola, cello, flute, guitar, and bass lessons for students four and up. Piano, on the other hand, is primarily a solo instrument. A professional pianist often accompanies a vocalist, is a member of a small ensemble, or is a concert pianist.

Also called the "Mother Tongue" method, Suzuki instruction is modeled on the way children learn to speak their native tongue. The instruction, which encourages active parental involvement, aims to envelop the entire family unit.

Key program components that differ from traditional instruction usually includes significant parental involvement, daily listening, and regular group lessons in addition to weekly private lessons.

Suzuki tonalization, a word coined in violin training, is similar to vocalization in vocal training. The idea is to teach the student to produce good tone and to use musical expression. Students are given ear training and imitation of musical sound on the instrument.

Many people, with little knowledge of Suzuki, seek a piano teacher who will train in the Suzuki Method. What they don't realize, however, is that there is little difference between this Japanese approach and the typical training of a pianist under any other method. Ear training is a vital component of learning the piano as is involving the student in listening to music, listening to and imitating the teacher, and hearing the songs he learns to play on the keyboard, as well as reading notes.

The difference seems to lie in the assumption and preparation of the student for orchestra, and the distinctly Japanese idea of community and group learning, versus Western methodology that leans toward individualism.

For more information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.

Music Terminology

A beginner 7-year-old student recently asked what the difference was between the meaning of notes and keys.

It is important to be aware of careful use of terms with children. Adults easily understand meaning by use in a sentence or by experience. Children, however, have no such background of general experience, and in talking to them the teacher should employ specific terminology. The word "note," for instance, is used by adults in several ways. "We see a quarter note on the printed page." "We distinguish high and low notes (pitches) by hearing." "Strike a black note (key) on the piano." "One note (tone) sounds longer than another."

If the piano teacher differentiates carefully in the use of these and other terms, students will be spared endless confusion.

For more information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.