Second Year Piano Sight Reading Instruction

A sight reading 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.

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.

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.

For more information about piano lessons in Basking Ridge, please contact Barbara Ehrlich Piano Studio.

Scales for Beginning Pianists

In 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 play scales 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.

By second or third year students need to understand how to form major and minor scale patterns with whole and half-steps.

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.

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.

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.


For more information about Basking Ridge piano instruction, contact Barbara Ehrlich Piano Studio.

Part Playing

The 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.

Proper phrasing (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.

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.

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

Second Year Piano Lessons

Most 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 piano classes. But younger students, or those with less ability, may not be ready for serious literature until the third year of lessons.

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.

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.

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.

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, phrasing, 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:

1. Hands separate practice
2. Slow practice
3. Paying careful attention to the correct fingering
4. Using the correct hand motions needed for phrasing
5. Tapping one hand or foot like a metronome while playing the other hand
6. Using a metronome while practicing

For more information about how to learn piano in the Bernardsville area, please contact Barbara Ehrlich Piano Studio.

Young Beginners Piano Posture

The student should be seated at the piano at the correct height, so that his arm from elbow to wrist slopes neither up nor down. His arm should be slightly poised. It should support his hand, and not drag it downwards. The hand itself forms a slight uphill slope to the knuckles, curving away to the finger-tips. It is very important not to sit too close, and if the student's feet do not reach the floor, using a footstool is advantageous to stability. Those who can reach the floor should sit slightly forward on the stool, so that a little of the weight of the legs rests upon the feet. Anyone too low for the keyboard can sit on a pillow or raise the bench.

The distance from the piano is tested by the student reaching towards a very high note with the left hand and then toward a low note with the left. We want to encourage free movement over the keyboard from the start and not restrict the beginner to a five note range. With those who can reach the floor make sure they sit well forward on the stool. By using less stool, they are able to swing from side to side and cover the keyboard with ease. Many Intermediate to Advanced students come to me having problems with four-octave arpeggios because they have always sat solidly, as on a chair. A simple change of position works wonders.

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