Alberti Bass Second Year Piano Students

In the first year students have learned some block and broken chords.  In the second year, the Alberti bass pattern should be studied in preparation for sonatinas and teaching pieces that use this accompaniment style.  The coordination involved in playing the pattern can be developed more easily if the student has a mental picture of the figure.  Play the figure for the student and talk about the pattern; for example, "bottom, top, middle, top," etc.  Assign exercises using this pattern to be practiced in all keys.  Divide the presentation by groups of keys used for learning triads and inversions.

Teach the Alberti bass in all keys.  For instance, C major might be the tonic chord rotating back and forth C-G-E-G-C-G-E-G, saying 5-1-3-1-5-1-3-1.  The first inversion will be E-G-C rotating back and forth E-C-G-C and second inversion will be G-C-E rotating within G-E-C-E reciting the fingering out loud.

Simplified Hanon or Czerny finger exercises can be helpful at this stage.  Work on increasing tempo over time to instill muscle memory.

Beginning Piano Technique

Technique is the method or details of procedure essential to expertness of execution in any art.

Within the first year of piano lessons, the pianist should begin to learn matters of the singing touch of legato, the hammering snap of stacatto, two-note slur phrasing with a graceful, swan neck-like wrist, and finger coordination with combined mastery of black and white notes, whether in arpeggios, close finger dexterity, rolls, or accurate two-octave notes.

These are essential concepts for first year piano classes:

Posture and hand posture
Arm drops, large muscle motion
Legato touch
Staccato touch
Balance of melody and accompaniment
Down-up wrist motion for phrasing
Turning the thumb under or crossing over the thumb
Chromatic scale
Double notes

Posture and Hand Position

The student must sit toward the front of the bench (not all the way back nor in the middle) and lean (not slouch) slightly forward over the keys. The feet are planted squarely on the floor, not crossed nor tucked under the bench. The back, legs and feet support the body, never leaning on one hand or the other on the bench. The hands, wrists, and forearms should be held in a straight line; the fingers should be well-curved.

In the beginning, triads and five-finger positions are helpful for shaping the fingers and developing the correct hand position. Playing triads requires curved fingers. Additionally, the hand easily forms the correct position with the bridge of the hand held up with the knuckles protruding. In the beginning the student will need to concentrate on the arched position of the hand and will have to work at maintaining firm, curved fingers.

The tendency is to cave in at the first joint on the second, fourth and fifth fingers. The little finger is particularly weak, and in addition to caving in, it often plays on the side, falling over.

The beginner will not perfect these basics within the first year, maybe not even in the second year. But over a period of time matters of posture, hand position, curved fingers, and so forth can be repeatedly corrected by the teacher (and observant parent) until these become natural.

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