Dynamic Shadings

First 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 dynamic shadings.  Repertoire and sight-reading materials studied will provide increasingly more sophisticated dynamic shadings.  Students should also be given a few exercises for crescendos and descrescendos within a phrase.

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.

Careful adherence to correct application of phrasing, legato, staccato, and balancing the hands with dynamic shadings will produce a musical sounding performance.

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

Sharps and Flats

Modern 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 keyboard sheet music. 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.

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.

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.

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

Intervals Training

It's important to include ear training 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.

Flash cards are great to use when teaching intervals. Students can work with flash cards at home and also in class.

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.

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.

For more information about piano classes in the Bedminster area, contact Barbara Ehrlich Piano Studio.