Varieties in tone color at the piano are produced by different kinds of touch, unequal distribution of power both in tones struck simultaneously and successively, differences in the moment of attack and release of tones, differences in the degrees of legato and staccato in sustaining tones, different uses of the pedals, and in other ways too subtle to discuss at this point. Still, in coloring the tone quality of piano playing comes largely through repeated experimentation at the keyboard, listening intently to the results of different ways of laying the same passage and contrasting passages. Careful observation of the playing of others and of the effects which they produce is a most helpful practice.
Above all, tone coloring is the result of aesthetic imagination, which conceives an effect and strives to realize it. The teacher should strive to stimulate his pupils to expressive playing through coloring the tone quality of their performance in accordance with the spirit of the music. The use of songs in the early study of piano playing is a great help in this work. The songs express mood. The children may first sing them so that the mood is reflected in the vocal tone quality. Then they can strive to color the playing with the same tone quality. Such imaginative coloring of the tone serves as the best background for the later more technical approach to the subject through varieties of touch, dynamics, phrasing, and pedaling.
For more information about piano classes NJ, contact Barbara Ehrlich Piano Studio.
Thursday, December 31, 2009
Tuesday, December 29, 2009
Phrasing
Phrasing is to music what punctuation is to language. Just as punctuation indicates the divisions of sentences and parts of sentences within paragraphs, so does phrasing show the groupings of tones of the composition into such divisions as will make the tonal flow most comprehensible. And as in speech there are longer or shorter periods of silence separating the word groups, so in music the phrasing is effected by brief periods of silence between the tone groups. In singing a breath is usually taken between the phrases; and in playing the hands should likewise seem to breathe between the phrases. The phrases usually end softly, with a gentle release of the tone. Phrasing gives clarity to the expressive interpretation of the music. Definite phrasing is as essential to the interpretation of music as are the rhetorical pauses in expressive speech. The best and most natural way to teach phrasing is to sing the phrase.
For more information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.
For more information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.
Saturday, December 26, 2009
Dynamics
Crescendos, diminuendos, stresses and accents constitute vital piano dynamics in expressive playing. Like the inflections of the voice in speech, they point the meaning of the composition. Two successive tones should seldom be sounded with equal intensity. As in speech, there should be constant variation in the tone, volume, stress and accentuation. The possible variations in dynamic contrasts are almost limitless, but there should always be reason and purpose in the way they are employed. Ascending passages usually increase and descending passages decrease in volume, but sometimes the opposite procedure is all the more effective because it is unexpected. Of course the printed dynamic indications must be observed, but the student must be led to delve deeper into the reasons for contrasts in tone volume and must not mechanically follow marks and directions nor imitate blindly the playing of the piano teacher.
It is not uncommon for teachers to over-stress the importance of measure accents and in so doing to lose sight of the larger rhythmic units. Such constant pounding on the first beat of each measure is like the metrical sing-song way of reciting dull poetry.
Every phrase has its climax, and every composition has its principal climax. In longer works there is a series of climaxes which cumulatively lead to the principal climax. A great composer builds his climaxes with the same careful planning that is given by an architect to the designing of a building. The performer must realize the design in a musical composition, and must plan his dynamic scheme with care, so that each climax, subordinate and principal, may receive its due proportion of emphasis. This principle may be illustrated in the very simplest of little pieces, provided they are based on the principles of artistic design.
Children should be directed in their study of every composition to the consideration of the general dynamic effects of the piece as a whole, contrasts within the piece, and the relationship of primary and secondary climaxes.
For more information about how to learn piano NJ, contact Barbara Ehrlich Piano Studio.
It is not uncommon for teachers to over-stress the importance of measure accents and in so doing to lose sight of the larger rhythmic units. Such constant pounding on the first beat of each measure is like the metrical sing-song way of reciting dull poetry.
Every phrase has its climax, and every composition has its principal climax. In longer works there is a series of climaxes which cumulatively lead to the principal climax. A great composer builds his climaxes with the same careful planning that is given by an architect to the designing of a building. The performer must realize the design in a musical composition, and must plan his dynamic scheme with care, so that each climax, subordinate and principal, may receive its due proportion of emphasis. This principle may be illustrated in the very simplest of little pieces, provided they are based on the principles of artistic design.
Children should be directed in their study of every composition to the consideration of the general dynamic effects of the piece as a whole, contrasts within the piece, and the relationship of primary and secondary climaxes.
For more information about how to learn piano NJ, contact Barbara Ehrlich Piano Studio.
Tuesday, December 22, 2009
Tempo
Tempo is one of the elements of interpretation through which the nature of an artist expresses itself. The piano teacher needs to make sure that tempo is observed and evaluated in the study of each composition. The student's ability to control and express his interpretation in piano classes will thereby grow in his capacity to be clear and expressive.
The general time gradations in the performance of a piece of music, sometimes called agogics,are important in determining the character of an interpretation. First of all, the rate of speed (tempo) of the piece as a whole should be determined. The composer usually indicates the tempo by such terms as andante, allegro, etc., though these terms are subject to various interpretations depending on the character of the music itself. Sometimes the tempo is indicated by a metronome mark, though even this is subject to variation under different conditions, as, for example, in recital halls of various sizes. Many compositions are printed without tempo indications, and then the general character of the music must determine the rate of speed of the performance.
After the general tempo has been decided comes the consideration of variations of speed during the performance, accelerandos, ritardandos, etc. The more important of these changes in the rate of speed are usually indicated by the composer, though there are infinite subtleties too delicate to be recorded in notation. For instance, an ascending passage sometimes pushes forward, and the close of a composition is liable to slow down somewhat. Few pieces should be played with metronomic precision in classical music tempo - ebb and flow is very desirable. These variations should not be overdone, though, since the effect of exaggeration is as inartistic as is clock-like metronomic regularity. On the other hand, it is important to develop the ability to maintain a given tempo, without hurrying or slowing down.
To inquire about a piano teacher NJ, contact Barbara Ehrlich Piano Studio.
The general time gradations in the performance of a piece of music, sometimes called agogics,are important in determining the character of an interpretation. First of all, the rate of speed (tempo) of the piece as a whole should be determined. The composer usually indicates the tempo by such terms as andante, allegro, etc., though these terms are subject to various interpretations depending on the character of the music itself. Sometimes the tempo is indicated by a metronome mark, though even this is subject to variation under different conditions, as, for example, in recital halls of various sizes. Many compositions are printed without tempo indications, and then the general character of the music must determine the rate of speed of the performance.
After the general tempo has been decided comes the consideration of variations of speed during the performance, accelerandos, ritardandos, etc. The more important of these changes in the rate of speed are usually indicated by the composer, though there are infinite subtleties too delicate to be recorded in notation. For instance, an ascending passage sometimes pushes forward, and the close of a composition is liable to slow down somewhat. Few pieces should be played with metronomic precision in classical music tempo - ebb and flow is very desirable. These variations should not be overdone, though, since the effect of exaggeration is as inartistic as is clock-like metronomic regularity. On the other hand, it is important to develop the ability to maintain a given tempo, without hurrying or slowing down.
To inquire about a piano teacher NJ, contact Barbara Ehrlich Piano Studio.
Friday, December 18, 2009
Plan of Technical Development
- The piano is a medium for the musical self expression of the student. Technique is really a means to this end.
- The approach to piano playing should be through the music to be played. The music should be interesting while stimulating the desire to play, grows out of the student's past experience and is directly linked to it. Hence the importance of the "song approach."
- In learning to play even their earliest and simplest pieces, students recognize certain technical demands and requirements. These should be immediately reinforced by the teacher as material for drill.
- Each technical drill grows out of an immediate musical experience and should be applied to additional new and interesting musical material. Drill may at times be given per se, but it should grow out of actual music and lead to more actual music.
- These are especially applicable to the earliest years of study. They easily lead to the formation of musical habits and a keen interest out of which attention to matters of technique become more or less automatic. The older students then find real pleasure in overcoming the problems of more advanced technique.
- During the first year technical drills grow out of the experience of playing the musical numbers in the course books. To these are added games designed to develop control of fundamental movements of arms and fingers. Gradually this is developed into organized, independent drill in the several essential elements of technique, such as chords, scales, arpeggios, etc.
Wednesday, December 9, 2009
Early Movement
It is helpful for a piano teacher to have books of games and fingerplays in her library that develop muscular control in playing piano without stiffness. This means having ample material handy for progressive selection to suite the age and ability of students.
The earliest pieces establish free, rhythmic arm movement. This could include material for developing alternation in muscular tension involved in lifting the arms, and the immediate relaxation in the natural drop of the arms. It helps the student learn an activity that shows the tensions used in actual playing, and shows that between the tensions there is relaxation in the brief intervals resulting from rests or other breaks in the music.
Following pieces learned for rhythmic arm control, the teacher can offer a combination of arm and finger activity. In these pieces children use both rhythmic arm movements and the use of finger support, in that the relaxed weight of the arm is brought to rest on the various finger tips in turn. These are designed to lay the foundation for correct hand position, and after these would follow pieces for more particular development of finger movements.
In the first months of study it is good for students to learn arm and finger control with the least possible conscious attention to the muscular movements involved. Calling attention to hand position, or the specific manner in which fingers should be raised or knuckles arched, etc., is likely to induce the stiffness and inhibitions we try to avoid. The value of finger plays lies in having students so absorbed that they acquire the desired movements and positions without feeling self-consciousness or constrained.
We all know that technique progresses from unformed beginnings gradually to more and more finely controlled movements. To begin with, children are naturally relaxed because their nerves and muscle movements have not yet been disciplined. To avoid strain and stiffness, training for keyboard mastery should be gradual and careful. Good piano teachers want to lay a solid and steady foundation for a permanent skill. So, advancements are progressive to get the results, but slow enough to avoid strain - and frustration on the student's part.
The early pieces serve as an introduction to the formal technical drill of later years, such as in finger exercises developed by Czerny.
For more information to learn piano NJ, contact Barbara Ehrlich Piano Studio.
The earliest pieces establish free, rhythmic arm movement. This could include material for developing alternation in muscular tension involved in lifting the arms, and the immediate relaxation in the natural drop of the arms. It helps the student learn an activity that shows the tensions used in actual playing, and shows that between the tensions there is relaxation in the brief intervals resulting from rests or other breaks in the music.
Following pieces learned for rhythmic arm control, the teacher can offer a combination of arm and finger activity. In these pieces children use both rhythmic arm movements and the use of finger support, in that the relaxed weight of the arm is brought to rest on the various finger tips in turn. These are designed to lay the foundation for correct hand position, and after these would follow pieces for more particular development of finger movements.
In the first months of study it is good for students to learn arm and finger control with the least possible conscious attention to the muscular movements involved. Calling attention to hand position, or the specific manner in which fingers should be raised or knuckles arched, etc., is likely to induce the stiffness and inhibitions we try to avoid. The value of finger plays lies in having students so absorbed that they acquire the desired movements and positions without feeling self-consciousness or constrained.
We all know that technique progresses from unformed beginnings gradually to more and more finely controlled movements. To begin with, children are naturally relaxed because their nerves and muscle movements have not yet been disciplined. To avoid strain and stiffness, training for keyboard mastery should be gradual and careful. Good piano teachers want to lay a solid and steady foundation for a permanent skill. So, advancements are progressive to get the results, but slow enough to avoid strain - and frustration on the student's part.
The early pieces serve as an introduction to the formal technical drill of later years, such as in finger exercises developed by Czerny.
For more information to learn piano NJ, contact Barbara Ehrlich Piano Studio.
Tuesday, December 8, 2009
Keyboard Posture
The correct use of the arms can be achieved sooner than a perfect hand position, fineness in finger action and control. Almost all children tend to play with free arm movement and unconscious use of the weight of the arm. In the beginning of piano instruction, emphasis should be on freedom and ease of arm movement rather than over-precision in hand position and finger movements.
On the other hand, the teacher should illustrate the principles of correct technique in easy, graceful arm movement, good hand position and well controlled finger movements. The basis of the child's early technical development is imitation. So, he should have an opportunity to observe and imitate good models to form his ideal of good piano playing. The following will help establish good technique.
Height of chair at piano. This should be arranged so that when the hand is held in position on the keyboard (keys depressed), the wrist and forearm are horizontal. In testing for correct height of seat by means of quiet hand position on keyboard, use the below guidelines.
How to sit. The player should sit somewhat forward on the chair, the body upright from the hips, poised very slightly forward, never bending over the keys. He should never rest on the back of the chair while playing, and should not rigid in the hips.
Distance of player from keyboard. The player should sit at a distance from the keyboard so that the upper arm hangs vertically from the shoulder, never with the elbow further back than the position.
Use of arm. The arm should be used freely from the shoulder. All movements should be as natural as possible and free from affectation. Between successive chords, the hand must be lifted, by the arm, slightly above the keys. In melodies the same release is to be used at the ends of phrases. When coming away from the keys let the hand hang, relaxed, at the wrist; never swing the hand back at the wrist.
Hand position. The standard position of rounded, arched hand with curved fingers and curved-in tip of thumb is recommended. Hold the hand quiet when testing for height of seat and make sure the thumb is held absolutely horizontal. The child's first approach to correct hand position should come through observation and imitation of the teacher's use of hand and fingers.
Use of fingers. As no formal finger exercises are usually given in the first year with younger children, control of finger movements should be first approached through striving for legato in melody playing. If the melody is played legato, then the finger attack and release are correct as to timing. Here again, gradual improvement is the aim, guided by the teacher's example.
Good tone. This means a quality of tone that expresses the message of the music to be played, such as singing tone in a melody, a firm tone in a march, etc.
Fingering. Fingerings are indicated with definite plan and care in first year music books. In five finger position, unless indicated otherwise, the next finger plays the next note in all diatonic passages. A repeated phrase is always played with the fingering indicated upon its first appearance.
Accuracy. Accurate, clean playing should be strived for at all times. The student should aim for the middle of each key and develop thereby an accurate sense of finger spacing.
Dynamics. "Louder and softer" can be attained through imitation, and through singing the songs and then playing them in the same spirit. Every composition has a climax, and every phrase has its own secondary climax. It is through dynamics and phrasing that, in expressing his message, technique serves the performing pianist.
For more information about piano classes NJ, contact Barbara Ehrlich Piano Studio.
On the other hand, the teacher should illustrate the principles of correct technique in easy, graceful arm movement, good hand position and well controlled finger movements. The basis of the child's early technical development is imitation. So, he should have an opportunity to observe and imitate good models to form his ideal of good piano playing. The following will help establish good technique.
Height of chair at piano. This should be arranged so that when the hand is held in position on the keyboard (keys depressed), the wrist and forearm are horizontal. In testing for correct height of seat by means of quiet hand position on keyboard, use the below guidelines.
How to sit. The player should sit somewhat forward on the chair, the body upright from the hips, poised very slightly forward, never bending over the keys. He should never rest on the back of the chair while playing, and should not rigid in the hips.
Distance of player from keyboard. The player should sit at a distance from the keyboard so that the upper arm hangs vertically from the shoulder, never with the elbow further back than the position.
Use of arm. The arm should be used freely from the shoulder. All movements should be as natural as possible and free from affectation. Between successive chords, the hand must be lifted, by the arm, slightly above the keys. In melodies the same release is to be used at the ends of phrases. When coming away from the keys let the hand hang, relaxed, at the wrist; never swing the hand back at the wrist.
Hand position. The standard position of rounded, arched hand with curved fingers and curved-in tip of thumb is recommended. Hold the hand quiet when testing for height of seat and make sure the thumb is held absolutely horizontal. The child's first approach to correct hand position should come through observation and imitation of the teacher's use of hand and fingers.
Use of fingers. As no formal finger exercises are usually given in the first year with younger children, control of finger movements should be first approached through striving for legato in melody playing. If the melody is played legato, then the finger attack and release are correct as to timing. Here again, gradual improvement is the aim, guided by the teacher's example.
Good tone. This means a quality of tone that expresses the message of the music to be played, such as singing tone in a melody, a firm tone in a march, etc.
Fingering. Fingerings are indicated with definite plan and care in first year music books. In five finger position, unless indicated otherwise, the next finger plays the next note in all diatonic passages. A repeated phrase is always played with the fingering indicated upon its first appearance.
Accuracy. Accurate, clean playing should be strived for at all times. The student should aim for the middle of each key and develop thereby an accurate sense of finger spacing.
Dynamics. "Louder and softer" can be attained through imitation, and through singing the songs and then playing them in the same spirit. Every composition has a climax, and every phrase has its own secondary climax. It is through dynamics and phrasing that, in expressing his message, technique serves the performing pianist.
For more information about piano classes NJ, contact Barbara Ehrlich Piano Studio.
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