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.

Triads and Inversions Second Year Piano Students

Chord studies serve two purposes, technical and theoretical.  Chord drills aid in developing a good hand position to learn the keyboard, shaping the fingers, and developing a general facility for playing in more than one key at a time. 

In the first year students should have learned major and minor triads in root position, dominant seventh chords and subdominant chords.  Sometimes near the end of the second year of lessons students can be taught triads and inversions of majors and minors.  Correct fingering is important for inversions:  students usually want to play the same fingering for inversions as was learned for the root position.  Circle the fingering in each hand for the new inversions.  Teach the chords in both block and broken style.

Triads and inversions should be studied both ascending and descending.  Often students can play ascending but have trouble with descending.  The chords should not be discovered by trial and error using the hunt and peck method.  A strong mental picture of the correct fingering should be established to form an anticipated feeling for successive chords for the pattern.

Sufficient drilling should be assigned so that over time the correct fingering will become automatic.  Students can recite the fingering for the middle note of the chords, as this is the finger that changes in the inversions. 

Students should learn all twelve major and minor triads and inversions. Remind students that the word practice means repetition and spell out how many times you want each item repeated.

Keyboard Triads and Inversions

Chords are a vital part of all students' technical programs.  This is because chord playing helps in developing a good hand position, shapes the fingers, and promotes facility for playing in more than one key at a time.  In the first year, piano students learn major and minor triads in root position, dominant seventh chords and subdominant chords.  Sometime near he end of the second year of lessons students can be taught triads and inversions.  These will be major and minor triads.  The correct fingering is very important when teaching chord inversions on the keyboard.  A common problem is that students play the same fingers for the root position and the inversions.  To make students aware of changing fingers, it can be helpful to circle the written fingering in each hand that is different.  Students should also be taught the chords in both block and broken style.

Triads and inversions should be studied both ascending and descending.  While many students are able to play the chords ascending, many have lost the picture of the chord they are inverting and are not able to return back down.

The chords should not be "discovered" by trial and error using the trial by ear method.  A mental picture of correct fingering should be established to form an anticipated feeling for successive chords in the pattern.

Since fingering is important when learning triads and inversions, enough drill should be assigned so that in time the correct fingering will become automatic.  Sometimes it helps to have students say out loud the fingering for the middle note of the chords.

Students should learn all twelve major and minor triads and inversions.  Remind students that the word practice means repetition.  Advise students how many times you want each one repeated on a daily basis.

For more information about Basking Ridge piano instruction, 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.

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.

Phrasing Technique for Piano

Good phrasing technique does not come easily and naturally, even to gifted students. Piano teachers constantly must show students how to drop on the beginning of a phrase and lift the wrist at the conclusion of the phrase. The result is a musical sound that is something like taking a breath in singing.

To teach phrasing, begin with short slurred groupings. Piano instruction should include a "down-up" wrist movement. The down movement is on the first note (usually the strong beat) and the up movement is on the last note (often a weak beat). Second year students will find a variety of phrases which will include a combination of slurred and staccato groups.

Sometimes it helps for the student to verbalize or say out loud the phrasing: "down-up" for surs, and "up" for staccato notes. By saying the phrasing aloud the student will become aware of the correct hand motion for each technique.

Because of the complexity of hand motions and coordination problems in a piece that combines staccato with phrasing, the difficulty of such a combination is usually late second year or third year for students. Compositions of this type are excellent pre-literature studies for teaching various motions of piano technique. Piano teachers should assign a number of pieces like this before and even during the time standard piano literature is being assigned.

In combination studies, each hand should be studied independently (hands separate). By saying the phrasing in each hand, the student can begin to acquire the needed skills and feeling for the correct interpretation of these basics. Depending on the piece, it is possible to combine some counting with phrasing (down-up). Be sure the student phrases (lifts) both hands together when both treble and bass end on a phrase. The release of both hands should be simultaneous just like the individual voices in a choir.

The ability to play one hand staccato and the other legato simultaneously becomes increasingly more important for the correct performance of pre-literature pieces and some of the easier classical pieces. The main difficulty for students when first combining these two touches is coordination. Both hands "want" to do the same thing at the same time, and each hand must be trained to function independently.

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