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.
Showing posts with label Bridgewater piano class. Show all posts
Showing posts with label Bridgewater piano class. Show all posts
Friday, March 19, 2010
Saturday, November 28, 2009
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.
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.
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