Friday, November 25, 2011

Piano Teacher in the home studio or a Music School?

Most piano students will do private piano lessons in the home studio of an established piano teacher or at a music school, for example a school, academy or conservatory (this term is more widely used in Quebec, more restrictive in Ontario).  Just to point out, in North America most students will do piano lessons in the piano teacher's home studio or a music school setting, whereas in Hong Kong, it is more common to go to music institute or music school operated as business establishment.  In New York, because parents are too busy working on Wall Street to take their kids to lessons, I have a friend who is a piano teacher on wheels (actually she travels by subway) who teaches at the students' home, with the nanny!


Here is a list of music schools in the area I wanted to mention about. Some of them are recommended by my colleagues at work, others from graduates or transfer students. In your search for the best piano teacher, I urge you to consider all options and be very selective with your search. Choosing the best piano teacher is the most important decision you will make for your child's musical eduation and future advancement.


HOME STUDIO
Some piano teachers are very selective. If they have a very full and active studio, there may be only a specific age or playing level they are looking for in a prospective student to fill a spot, if any.  You may be invited to an interview. As a parent, take this as an opportunity to interview the teacher! Visit the teacher and even observe a lesson if possible. Discuss your musical goals and ambitions for your child. The teacher should also have a series of interview-like questions for you and your child and do not be surprised if your child is required to play something on the spot. You may be lucky to receive a free impromptu lesson the spot.  Look for the musical qualifications such as minimum Grade 8 RCM piano; a Music Degree in Pedagogy or Performance and/or  ARCT Teachers Certification would be even better. Look for years of experience, manner of approaching technical diffulties, patience, how she deals with her own children, command of language, studio setup and just an overall gut feeling. If and when you get to the discussion on payment, expect to pay the tuition up front for the year, in post dated on the first of every month or quarterly.


CONSERVATORY
Conservatoire de Alymer/ Conservatoire de Hull/ Quebec belong to the same government program, offering free piano lessons to residents of Quebec, if the children meet the audition and admission requirements.  It is a very competitive admission process to this prestigious school.  I have a friend named Ruth (age 25) who did her piano lessons at the Conservatoire de Alymer from age 5 until she recently graduated and now she's doing her Masters in Piano Performance in New York City. She just came back to Ottawa on the weekend to play at the NAC to sub for a piano solo for the Mamma Mia pianist, her first professional gig at the NAC!

Macey Conservatory of Music 819-682-8888 http://www.conservatoire.ca/ Offering lessons in piano, violin, singing, guitar,drums etc. They offer instrument rentals and a free six week music discovery program before a child chooses an instrument. The rates seem to be $25 per half hour.

As previously mentioned, the word Conservatory may appear to be widely and broadly used in Quebec. In the USA, the Conservatory level is equated to the post-secondary institution level. In the rest of Canada, you'll hear about the Royal Conservatory of Music (RCM) which is a national school of national-wide standarized exams and repertoire; or the Canada National Conservatory of Music (CNCM). You'll have to be your own judge what is a true "Conservatory".


MUSIC SCHOOLS
Sonart Musique in Alymer, www.sonartmusique.com 819-557-0776 All the instructors have music degrees, owner Vincent Boudreault is a frequent judge at CEGEP en Spectacle and they have good ties with the Conservatoire in Hull.



The Ottawa Music Academy on Conroy Rd. My friend used to be a part-time piano teacher there; she's a professional financial analysts in the federal goverment (not a music major) but she was still very qualified to teach private piano lessons. She felt that the tuition rates were reasonable but the payment for the teacher was not.  I also have two transfer students who played beginners piano there for two years. Although their mother felt that the piano teachers were young high-school/ university age students and junior quality, I have to point out that they did a fairly good job teaching the kids. A strong foundation in listening, rhythm, tone and touch.

The Long and McQuade music store on Alta Vista @ Bank has music school. I have an older former piano student in high school who moved her lessons there because it was closer to her high school and she could work the schedule better with her part time job and sports etc.  I buy my music materials for my studio from this music store because they have a wide selection, the staff is friendly and they offer me a piano teacher discount on books!


The Yamaha Music School on Bank street offers private and group lessons too. About 10 years ago I took piano lessons there too because I was preparing for piano teacher exams and I needed a teacher too.

RATES
The going rate for piano lessons truly varies for the wide spectrum of teachers qualifications and the demographics for the city. I would say that the starting rate for a high school student just starting to teach piano is probably about $15 for half hour lessons.  Advertised in an expensive newspaper ad for a music teacher in Ottawa offering private lessons at the studio or student's home, $25 for half hour or $40 for an hour.  My own teacher with over 30 years of experience and teaching at the advanced levels but claiming to no rate hikes for years, charging $45 for one hour lessons.  My friend teaching piano in New York, the one traveling to the suburbs by subway, charges $90 per hour.

PIANO LESSONS AT SCHOOL

At my daughter's school and many others in the public school board, they have a program offering group, semi-private or private piano lessons after school hours to the children ages 6 and up - 30 minutes/ week for 32 weeks.  The fees are $365 for group class, semi-private cls is $499 and the individual instruction is $799. The contact information http://www.ocdsb.ca/Continuweb or http://www.artsforkidsatocdsb.com/ 613-239-2747

The Children's Hospital of Eastern Ontario (CHEO) also has a program called "Music Therapy" sponsored in part by Long and MacQuade. I don't know the details about how the course is run or which patients qualify for the lessons and how it is funded, but it sounded like something that might be on a volunteer basis perhaps.

Tuesday, November 22, 2011

Ways to Sparkle or Fizzle at Piano Exams

I am currently preparing a small handful students for piano exams in the upcoming Winter 2012 Session for the Royal Conservatory of Music.  I also attended a teacher training workshop and one of the topics focused on piano exam preparation. I decided to transform my notes into a list and added a few of my own ideas into two categories I'm referring to as Sparklers and Fizzlers. This is a collection of ideas on how to sparkle or not sparkle at your next piano exam.


How to Sparkle
1) Teachers believe in your student; student believe in yourself. Temper this with realistic expectations.
2) Provide a good edition. Urtext is not always the best fit for all pieces; be sure to find an edition that has useful fingering and not too much editing.
3) Focus on the concepts, context, musical relationships and technic. When teaching, make comparisons with other works, use contrast, comment on the style of the period and character.  The student workbooks provide good insight.
4) Teachers demonstrate colourful sound, describe the tone production. These could include arm weight, round out the wrist.
5) Develop the Music Skills early in the year (Technique, Sight Reading, Interval Naming, Melody Playback, Rhythm Clapback combined, accounts for more marks than Repertoire).
6) Build a performance in gradual steps. Learn the individual sections but join them, don't practise the mistakes!

Ways to Fizzle or Lose Marks!
1) Student has weak basic skills (intervals, melody playback, rhythm counting etc)
2) The performance pieces are still in the learning stage with unncessary skips and disturbances to the flow; imprecise rhythm, lack of right-left hand balance, unsteady tempo.
3) The music piece is at the wrong level based on the student's ability and maturity
4) Student did not adequately prepare the requirements. For example the Sonata performance requires Movement 1 and 2 but the student only prepared the first; otherwise, the last pages missing from a rondo.
5) Inappropriate repertoire choice. Stick to the list, or go through the proper procedure for the substitution approval.
6) Lack of stylistic variation
7) Lack of structual awareness and dynamic range
8) Insufficient control of touch, unstantial tone, misplaced accents and bumps in the melodic line. The effect is a beat by beat playing.
9) The tempo is too slow and breathless, ignoring rests and accelerating.
10) Shy or insecure student succumb to nerves.


* The list was compiled from my notes at the RCM Teacher Professional Development Seminar presented by Dr. Hahn

Friday, November 18, 2011

Music Listening 101

My Pre-Twinkle Level Suzuki students have a daily listening assignmeng, to listen to their Suzuki Book 1 CD everyday.  I even gave out a colouring sheet with 100 stars so they could colour in a star for every day of music listening to achieve the "100 Days of Twinkle Little Star Listening" Award.  Dr. Kataoka also recommends that piano teachers listen to quality piano music as well, lest they start sounding like their own students. I read somewhere that she recommends Rubenstein; I like his playing for the rich, buttery tone so smooth.

I`d like to write about active listening to other great piano performers from throughout the ages. I attended a Royal Conservatory of Music Teacher Professional Development Seminar today and one of the excercises we did as a group as part of the Pedagogy Session presented by Dr Christopher Hahn was the Ìnspiration Through Recorded Performance listening excercise. He played recordings of selections from RCM repertoire (Grade 9 to ARCT Levels) and we had to identify the name of the composer, the name of the work (with opus, K, Hob, BWV number etc), the name of the pianist and describe some outstanding features. Here is a synopsis.

1. Bach Invention No 1 in C Major, played by Angela Hewitt
Outstanding features: Clear voicing, precise tempo, sparkling clarity. Hear the imitation in the voices, driving rhythm, nuance in the structure.

2. Bach Prelude in D BWV 850, played by Wilhelm Kempf
Outstanding features: He is best known for playing Beethoven and Schubert. Precise bass line like a sewing machine, yet fast feathery light and continuity in the right hand. The left hand pulse is secure, dance-like and lyrical.

3. Haydn, Sonata in C Major hob 1560 3rd Movement, played by Lang Lang
Oustanding features:  Animated, dynamic contrast, untamed, exciting and dramatic. It reminded me of background music to an animated cartoon, a deer darting about in and out of the forest.

4. Beethoven, Sonata in G minor opus 49 no 1, played by Glenn Gould age 20
Outstanding features: clear melody, LH supportive, discreet, long phrasing, lyrical and very melancholy. Makes your heart ache a little bit.

5. Schumann, Scenes from Childhood, Countries and Far Away Places, played by Benhold Mosievich
Outstanding features; slow and controlled, hesitation, robato like. The classic way of performing with the LH slightly preceding the right hand. A singing melody and rolling accompaniment.

6. Shumann, Scenes from Childhood, Countries and Far Away Places, played by Fanny Davis, 1861 - 1934. She was a student of Clara Schumann, often described as a wild woman yet when she played many would describe her as the spectre of Clara Schumann, playing with discipline and assertiveness.
Outstanding features: a bit confused texture,  triplet rhythms are odd and inconsistent, non-sentimental and robotic. Perhaps we were too enamoured with the previous performance and interpretation.

7. Clementi, Sonatina in G op xx no 2, played by a 6 year old prodigy
It was very cheerful, but we had to be forgiving of the slowing down for the trill and the hammering three repeated quarter note motif when we discovered his age.

I really like this format of active listening and the group discussion. My notes are taken from the collective collaboration. Perhaps I could engage this type of excercise at the next masterclass; we could listen to a recorded performance or discuss the performance live by the students present.

Tuesday, October 18, 2011

Teaching Note Reading

I have a couple of transfer students who play with such joy and ease; they love the songs in the beginner books they've been working on with the previous teacher since last school year; they seem to feel sad about finishing the book and moving on. However, I quickly identified the underlying reason; the note reading skills needed to be ramped up a bit to keep up with the playing level. While teaching my student Teapot Invention in RCM Grade 1, I discovered that she was actually playing the song by copying the melody, phrasing and staccato from hearing and watching me play it. This is confirmed, because she was not looking at the book at all, it is a brand new song and yet she complained, "Sorry I can't remember how to play it". (Of course not, it's still new :)

Of course this whole scenario reinforces the whole idea that some young children learn to play alot better from hearing the song and learning by heart without note-reading. However to reach the next level we want to achieve, some serious intervention is required.

YELLOWCAT

The student is a model student for the Yellowcat method to teach the note reading, hand placement and maintain playing skills at the highest level. Find out more about Yellowcat at http://www.yellowcatpublishing.com/ and http://www.ycmused.com/ Here is the plan for the next four lessons.

Lesson 1
  • Musicland Story Chapter 1
  • Identify the Caves and Castles, Worksheet
  • Introduce Yellow Cat, Purple Dragon, Green Elf
  • Play: Cat Dragon Elf, Elf Dragon Cat

Lesson 2
  • Musicland Story Chapter 2
  • Introduce the Blue Fairy, Red Giant, Orange Albert and Brown Beethoven.
  • If they're ready, go to Bass Clef Notes and Treble Clef Notes
  • Halloween Hairy Scary Spider
  • If we're ready for sharps and flats, Halloween Lullaby

* Remember that the student already has a background in note reading, but appears to have trouble reading "fast enough" to play a song.

Lesson 3
  • Talk about Blue Fairy Flight Rules: Note Key Finger
  • Use Dragon Paw starter pages
  • Selections from Notebook for Mozart

Lesson 4
  • Review Blue Fairy Flight Rules: Note Key Finger
  • Use Dragon Paw starter pages
  • Identify songs printed from Yellowcat music sheets; music notes will still be printed in colour except for C's because "Cat turns black" in the Grand Piano Book.
I have an older beginner, he was 14 when he started beginners piano.  He plays very well and reads quickly now in traditional printed music, but we first started with Yellowcat.  One time we used standard black and white flash cards for note reading; he wanted to say "Blue Fairy" for F or whatever notes we were quizzing on.  Very cute. I told him, "That's ok you can say Blue Fairy if that helps you remember it better." The more important thing is to play "Blue Fairy" on the piano and have the brain make that connection with the finger placement.

Monday, October 17, 2011

Happy Birthday Dr Suzuki!

Today is Dr. Suzuki’s birthday! Born on October 17, 1898, he spent the better part of his nearly century-long life helping the world to realize the amazing potential that is poised waiting to be unleashed in every human being.

Suzuki training courses (supported by the Suzuki Association of the Americas) not only grounded me in a positive core philosophy but it also gave me a “toolbox” of communication and teaching strategies that I draw upon every day. If you have a moment, please watch this video and show your support!


http://suzukiassociation.org/giving/community/

Wednesday, September 28, 2011

Solfege Singing

Everyone is quite familiar with the song Do-Re-Mi from The Sound of Music, classic movie with Julie Andrews. The use of these syllables to correspond to fixed pitches on the piano beginning on the C is called Solfege.  In English, the key signature of a piece is given in a letter name of the scale or mode; in French the Solfege is used.

Many music students from around the world who have teachers familiar with the music theory teaching strategies found in Music Mind Games may be learning another catchy tune called "Daily Do".

Here is an amazing video of children singing "Daily Do" in Syndey, Australia with Michiko Yurko creator of MMG
http://www.youtube.com/watch?v=6N7U9xqHmvk

I was wondering myself why it was part of the program to sing "Daily Do" in the lesson, and studying the structure of the piece makes it obvious.

"Daily Do" trains the ability to sing:
1. a Major triad
2. a minor triad
3. the intervals in a Major scale
4. a minor scale
5. a minor triad
and naturally relates the major scale to the relative minor scale.

Solfege singing is great for ear training, especially to learn music aurally by hearing pitches, intervals, melodies, chords and rhythms.  More advanced music skills built from knowledge of Solfege include music transcription (or copying), harmonizing and improvization, and even composition.

There are many other songs, even simple nursery songs for children that are sung to solfege and curwen hand signs. In my daughter's music class, her teacher likes to sing a song called Blue Bird, begins on Sol.

"Here comes the blue bird, in through my window.
Hey diddle dumb day day day."

Another favorite that my son likes to sing too, also beginning on Sol.

"Fuzzy wuzzy was a bear. Fuzzy wuzzy had no hair.
Fuzzy wuzzy wasn't very, fuzzy wuzzy"


NEVER TOO EARLY TO LEARN

Even as a young toddler, barely 16 months my daughter would love to sing Do Re Mi. I would start with singing Do, and she'd just immediately follow with RAY (and a smile). Then I'd say Mi, and she'd repeat MEE, and I say Fa, VA. And of course I'd finish with Sol (she doesn't say SO, 'k that's it mom, I'm bored). But it just gets me everytime, it's so cool! Unfortunately I don't have perfect pitch myself so I'm always checking on the piano that I'm actually singing a "C". So wicked!  -My baby journal dated Aug 22 2008



Tuesday, September 27, 2011

What are the benefits of Piano Exams

When you have something to work for, you work a lot harder. You make a commitment to yourself. You practise because you have set an objective.
I found a Royal Conservatory of Music handout at a piano store that described the benefits of piano exams for the "triangle" of Student, Teacher and Parent.

To Students
  • motivation
  • commitment to practise
  • performance experience
  • pride of accomplishment
  • high school credits
  • certificates and awards
  • personal growth

To the Teacher
  • an excellent curriculum
  • high pedagogical standards
  • wide choice of repertoire and study pieces at level
  • standardized assessment of student's achievements

To parents
  • a balanced course of study
  • a high standard of evaluation
  • internationally recognized certificates
  • valuable experience for the children
  • development of self discipline
  • objective assessment of child's accomplishment 

ARCT Repertoire Selection

Here is a list of sample repertoire for the ARCT Teacher's Exam and the ARCT Advanced Pedagogy

ARCT Piano Exam (Pre 2008 Syllabus)
Bach Prelude and Fugue in d minor (Book II)
Beethoven Sonata (Tempest Op 31 No. 2 or Pathetique)
Liszt Liebestraum 3
Debussy Golliwogg's Cakewalk from Children's Corner
Manual de Falla, Ritual Fire Dance (own choice substitution)

ARCT Piano Exam (New Syllabus 2008)
For the Teachers Part 1

One Bach Prelude and Fugue - Number 13 in F Sharp Major
One Grade 9 Piece - Mozart Fantasie in D Minor
One Grade 10 Piece - Copland Cat and Mouse
And two ARCT selections, the overall program to be contrasting


ARCT Advanced Pedagogy
Grade 7 – 10 RCM Repertoire 2008 Syllabus
* memorization of one selection

Grade 7
A - Suite No.8 in G Major, George Frederic Handel, pg 8
D - Rondo-March/ Dance/Song op 60 (choose one), Dmitri Kabalevsky
Study No. x Toccatina Op 8 No 1, S Maykapar

Grade 8
B - Sonata in G Major, op 49 no 2 (one movement), Ludwig van Beethoven, pg 28
C - Chanson triste, Vasili Sergeievich Kalinnikov, pg 54
Study No.x

Grade 9
B - Fantasie in D minor K397, WA Mozart, pg 28
D – La Saraband,Gabriel Grovlez, pg 92
Study No. x Study in A minor, op 61 no 13, Hermann Berens

Grade 10
A - Prelude and Fugue in F-sharp Major no 13 BWV 858
D - Claire de Lune no 3 Suite Bergamasque, Claude Debussy
E - The Cat and the Mouse (Scherzo-humoristique), Aaron Copland
Study No. x  Six Etudes Tableaux op 33 no 8 in G minor, Rachmaninoff

Sample Questions of ARCT Advanced level Pedagogy Viva Voce Exam

Here are a list of questions that were asked at a ARCT Advanced Pedagogy Certificate Exam for the Viva Voce portion in Spring 2011.  My friend who had recently completed the exam was kind enough to send them to me from memory, from her actual exam. Of course you'll have to remember that the flow of the questions also depends on the candidate's responses. Don't be afraid to elaborate and demonstrate what you really know.

1) What is satisfying in teaching students in the high level?


2) How do you fit everything in 1 hour lesson?

3) Is there anything that absolutely must be in a lesson?

4) Name a difficult rhythm that you would see in the higher level, how would you teach it?

5) How do you teach rubato?

6) What types of studies (etudes) do you use, other than the ones by RCM?

7) Play grade 9 romantic 19th century (chopin prelude in Db):

8) How do you teach cantabile?

9) How do you teach balance?

10) How many preludes did chopin write?

11) What book would you use to teach cantabile line?

12) Play grade 7 baroque (Telemann bouree):

13) What is a bouree?

14) What’s the form of the piece? What’s the benefit of telling students the form of the piece?

15) How do you teach evenness?

16) Play grade 8 twenty-first century (mysterious summer night):

17) Why would students like this piece?

18) What’s the composer? What other piece did she compose?

19) How would you teach bar 15? How would you ask the student to practice this bar?

20) Would you write in pedal markings for the students?

21) Play grade 10 baroque (Bach fugue):

22) How to you teach balance in a fugue?

23) How do you show the different lines?

24) How do you teach a student who plays everything correct but not musically?

25) What book do you use to help analyze fugues?

26) Play grade 9 twentieth century (golliwogg’s cakewalk):

27) What period is this piece written?

28) Who’s the composer?

29) What’s a cake-walk?

30) How do you introduce impressionistic music?

31) Is it important to learn multiple pieces from the same style/composer? (ie. play more than one impressionistic pieces from Debussy?)

Monday, September 26, 2011

What happens in a Piano Exam?

The Royal Conservatory of Music in Canada has 10 grade levels for piano examinations. There are pre-grade 1 levels called Preparatory A and B (formerly Introductory) as well.  At the higher grades, Grade 4 and beyond, there are corequisites in theory, music history, harmony, counterpoint and composition.  High school students are able to include Grade 8 to 10 piano with their high school transcripts for credits.  After Grade 10, the students may work on a ARCT Performance diploma or an ARCT Teacher's diploma (former). Presently, the ARCT Teacher's Certificate Program is split into three levels (beginners, intermediate and advance) which has Grade 9, 10 and ARCT level as co-requisites respectively.

EXAM SCORE
  • A total of 100 marks may be achieved by the student.
  • First Class Honours with Distinction - 90 marks and above
  • First Class Honours - 80 marks and above
  • Honours - 70 marks and above
  • Pass - 60 marks I believe.
MARK BREAKDOWN
For the Beginner - Intermediate Level Exams, 50 marks total are assigned to repertoire (playing pieces) and the other 50 marks are broken down for technical and music training skills.  The mark breakdown changes for the higher grades and I can explain those in another article.

REPERTOIRE 50 MARKS
List A - Baroque dances. These could be Minuets, Gigues, Bouree in Major and minor keys; composers such as Bach, Gurlitt etc. In higher grades, List A is Inventions, Sinfornias, Fugues, Partitas etc.
List B - Classical. These are usually Sonatinas, Variations in Major and minor keys; composers like Mozart, Beethoven, Haydn, Scarlatti etc.
List C - Romantic/ Modern ear. These are ballads, lyrical pieces with names that sound like a painting or a fall sunset. Keys tend to move around, exploring modes and atonality.
List D - In Grade 9 and up, this is modern twentienth century compositions (List C remains Romantic/ Impressionist)

The Repertoire categories are a little bit different in Grade 1; List A is Baroque/ Classical, List B is Twentienth Century pieces with descriptive titles, List C are Inventions (two or three part rounds).

THE OTHER 50 MARKS
Parents may wonder why we spend the first part of the lesson away from the piano doing singing, clapping and note reading exercises. They may be surprised to learn that only 50% of the marks go to repertoire (playing songs).  The other 50% is accounted for like this.

  • 6 marks for memory
  • 24 for technique (study pieces, and scales/ triads)
  • 10 for ear tests (naming intervals, melody playback)
  • 10 for sight reading (playing a song he's never seen before, clapping a rhythm correctly the first time!)


Therefore, in the first part of the lesson, I am training them to acheive 100% marks in this partof the exam, and the skills directly apply to memory training and even playing the pieces well because they understand how to read music better and more quickly; they will learn to play their songs and reach the performance level faster.
STUDIES
The Technical Study pieces are found in the Study book which features pieces that typically work on a specific technique such as chords, thumb crossing over, hand over hand, fast fingers, arpeggios etc.
Scales and Triads are learned in order of the circle of fifths by key signatures.
EAR TESTS
This includes naming intervales of a second (stepwise), third (major minor), perfect fourth, perfect fifth, sixth (major minor), seventh (major minor) and an octave. It's more useful to learn these from the experience of playing games and building them with magic notes. Another test is naming a solid triad as Major, minor or Dominant or diminished seventh.  Melody playback seems to be a very stressful one for some. However if we play enough Melodic Bingo or solfege singing or music dictation (by numbers or notes) this is easy to train.

In my early days of music teaching without much experience, I would just spend last two minutes of the lesson on playing these by rote, and say, "This is a perfect fifth. This is  perfect fourth." Then I would play an example and he would have to name it. BORING!  I believe that my new way of teaching it is more effective.

SIGHT READING
This can be very frightful if a student is required to read and play a new piece, never seen before. If he is already comfortable with note reading and rhythm reading, and the hand eye coordination is already in place, this is a piece of cake, an easy 10 marks. Rhythm clapping is easy too when you get to say, "Blue jello jello huckleberry, blue purple purple rest, pineapple pineapple pineapple rest." Students will also learn the Solfege hand signs (do re mi).  By teaching the solfege singing, a student can play this tune correctly in his mind, which makes it very easy to play live, even perfectly on the very first try.
FORMAT
There are three sessions of piano exams in most Canadian cities.
Winter sessions exams in January (register by Nov 1)
Spring session exams in June (register by March 1)
Summer sessions in August (register by June 1).
Registration is done online; the piano teacher should provide her Teacher Registration number or home phone number.
There are usually one or two piano examiners who are top level performers or pedagogues (a fancy word for a piano teacher with years of experience) from the US or Canada who will oversee the piano exam and ask the child to play the selected repertoire, studies, technique and carry out the music tests.  In the Royal Conservatory of Music, the child enters the piano exam room alone, to play on the Yamaha U1 or a Yamaha Grand Piano.  (In other piano associations such as the Conservatory of Canada, the exam session is more like a performance recital where the student invites her family and guests and prepares a printed program).
Other related articles to follow:
What are the benefits of Piano Exams?
Piano Exam Tips for the Night Before.


Saturday, September 24, 2011

Blue Jello Surprise

I am proud to say that my three year old son can read the simplified score of Haydn's Surprise transcribed for piano, rhythmic reading while singing in tune, treble and bass clef! This is a bit amazing to me because he seems young to read music, considering he doesn't read in English yet.  He knows most of the letters in the alphabet but reading music rhythms, that is good training for future reading skills too.

 
The other thing to point out is that, the most popular lesson time with him is the "after bath, after story, after all the siblings have drifted off to sleep, why are you still walking around" time of evening.  We used to waste a lot of time counting sheep telling a favorite bedtime story with superhero variations until I was falling asleep. However we recently decided we could use that time to teach him his handwriting and even piano music; how about math?  What a funny guy. I can also say that AJ has applied knowledge because I let him sit quietly through other kid's lessons. Today, he started singing along Jello-blue rhythms with the new pieces.  I count him as my student #13. He always starts his lesson with a bow, and finishes with a bow. Thank you for my lesson! he shouts when he feels the lesson is long enough.

 
MATERIALS
  • MMG Blue Jello music rhythm cards (order from http://www.musicmindgames.com/)
  • A rhythm bag, which contains a bag of supplies from the kitchen that could be used to represent music notes.
Blue Jello Cards from http://www.musicmindgames.com/

 
NOTE VALUES
  • Whole note - formula can cover, 4 beats
  • Half note - two baby food jar caps, 2 beats x2
  • Quarter note - popsicle sticks, 1 beat x4; say Blue
  • Eighth note pairs - pipe cleaners x4 or 8 green bottle caps; say Jello
  • Sixteenth note group of 4 - blue bottle caps x 4 x4; say Huckleberry
  • Rest - whisper "rest" for short or long rests accordingly.

 
Here is a photo of the setup, at the end there is an excerpt from the score; maybe next time I will try to film it. It was just so much fun and I felt that he was so clever when he could understand it.

 

 

 
I started with the whole note; to introduce each new item I just asked for a trade, beat per beat. Say the rhythm pattern with the blue jello words after each trade.  This is good for explaining what is a sixteenth note and why it is called a sixteenth note.

 
MUSIC READING
Sight sing or play the "Purple Dragon Surprise" from the Musicland books (order from http://www.yellowcatpublishing.com/) but have the children point and read, sight sing alot.  This is a useful way to introduce a new piece.

Melodic and rhythmic singing of the Treble Clef line.  Afterwards AJ also wanted to point and sing the Bass Clef notes.

Sing-along the upper line for Treble Clef notes:
Jello jello, jello blue, jello jello, jello blue.
Jello jello, jello blue. Jello jello, blue jel -rest.
... in the second page there is a "huckleberry" four note sequence (sixteenth notes).

 
REPERTOIRE
Purple Dragon Surprise is also a good piece for demonstrating chords, note reading on lines and spaces, note repeat, note stepwise motion, question answer phrases, binary form, dynamics and the 5 C's (four are found).  Most of my students know this piece from analytical study, one will play it for the upcoming recital.

Friday, September 16, 2011

Halloween Dressup Fall Recital

It's about that time of year to start planning for the first recital; something informal and fun for the kids to gather and make their first performance of a recently completed piece.  An ideal date would be sooner than the weekend or week before Halloween to avoid conflicts with other parties.

The students could dress up in their costumes obviously, and a light reception of sweet treats prepared by the parents etc.  Possible costume ideas - Super hero theme, Musicland Characters: Yellow Cat, Purple Dragon, Green Elf, Blue Fairy, Red Giant, Orange Albert Alarm Clock or Brown Beethoven perhaps; a favorite composer, or even a personality representing the song to be performed.

Performance Pieces
  • The students may be ready to perform one or all of the Twinkle Variations. It would be a good time to give out the Certificate for Completion of Twinkle Variations or the trophy for 100 Twinkle Variations.
  • Perhaps siblings could present a Duet or Four-Hand Two Piano piece.
  • The most advanced student would present his piece last on the program.

A Souvenir Edition Program could be delivered after the recital with the photos from the party.

Sample Program
Anna - Ecossaise, by Beethoven
Mary - Bridge to Avignon
Nicolas - Lavender's Blue
Bella - Twinkle Variation A - "Pepperoni Pizza"
Phillip - Haydn's Surprise, arranged by Sarah Lyngra
Axelle - Twinkle Variation A - "Huckleberry Jello"
Vanessa - Twinkle Variation A - "Pepperoni Pizza" and Twinkle Theme
Tim - Monkeys In A Tree, Boris Berlin
Rachel - Minuet in G, Bach; Play, Bela Bartok
Matthew - A Ball
Max - Shooting the Rapids, Alfred's
Martin - Twinkle Variation A - "Pepperoni Pizza" or Twinkle Variation B - "Ice Cream Cone"


I would probably run this Recital on the third Wednesday of the month of October, which would've been the regular Masterclass. Time permitting, might be a good time to play a round of Melody Bingo using candies!

After this first recital, it will be time to start planning for the Christmas recital.

Wednesday, September 14, 2011

Can I buy a used piano?

The short answer, yes. Am I going to save money, probably not.

A very high end piano is a good investment because of the high resale value.  Pianos always appreciate in value. The new grand piano you woul like to buy today will cost much much more 5 years from now.   People privately selling their piano know this, so their asking price will still seem high in most cases.  Therefore this is bad news for someone hoping to buy a good used piano to save a bit of money. 

THE BARGAIN FIND

Beware of the FREE piano or the refurbished piano, new laquer, rebuilt, new replaced keys or whatever word people use to describe a piece of junk they want to sell you for $100 or $200.  I`d also stay away from those 100 year old pianos that people call antiques, even if they are refinished or restored and they`re selling it for $800. You're better off keeping that money in your wallet. You will spend twice that amount in tuning and retuning, parts and repairs.

THE USED MARKET

If you are looking for a used piano, do the research and know what you are looking for.  Go the big piano stores, if they`re accepting trade in`s they must be selling used ones too. You could also look for private sales on kijiji or usedottawa but you should bring a friend for a second opinion, someone who knows what a good piano sounds like and what to look for. If you are the piano specialist, well just consider how you like the tone. Is it mellow? Is it bright? How is the touch, is it hard or easy?

THE HIGHROLLER FIND

I had a rare opportunity last summer to purchase a used Steinway Grand L from a moving sale; like I mentioned before it was my dream and it seemed like it would be a possibility for my husband and I, notwithstanding the fact that it would be taking up the whole dining room and we would not have a dining room! I can't believe my husband actually said yes when I first asked him about it, but he only wanted me to get a good professional opinion about it.  I had done a lot of research on Steinway including visiting the Lauzon Steinway Pianos in Ottawa Westboro and watching the tear-jerking DVD on "The Making of a Steinway" from the wood selection to the concert hall! I also viewed many Steinway grand pianos for private sale in Ottawa; some were refurbished models in their own basement workshops as a family business, another was a garage sale find and the new owner just had too many grand pianos in the house.  The one I had my heart set on was a 6 foot Model L, immaculate condition, shiny black and it belonged to a travelling businessman who was moving his family out of town but all of his furniture and this beautiful piano was in storage at his father's big house just in the foyer entrance. A grand location nonetheless but he was hoping to sell this piano fast because he was soon to purchase his own mid-life dream car, a Dodge Viper in Florida! (I mention in my other post that this is also my dream car, how interesting).

He is the second owner of the Model L, purchased about 30 years ago in Toronto when he was a new musician grad and he bought it from an older lady piano teacher who's family was the original owner. However a search on the Steinway website with the serial number indicates that it was built in 1911 and delivered to a piano store in New York.

I have visited this house and seen the piano nearly four times because I am a very serious buyer. The first visit, I bring nothing and I just play from memory. The tone is lovely I am in heaven, though I do notice a short buzzing sound when I play.  The next visit, I bring my friend who is a concert pianist in-training doing her Masters at a prestigious school in New York actually, and she has a buttery touch and feel on the keys, it's amazing to hear her play piano and this is a great instrument. The third visit it is time to bring in my Piano Tuner because I want to get a good professional opinion. He writes up a report that does not quite meet my expectations and lacks an explanation for that buzzing sound.  I ask my friend who I should ask and she recommends her piano tuner who is also a very hard to reach kind of fellow because he tunes all the Steinways at the NAC (National Arts Center in Ottawa). With her reference I am fortunate to schedule an inspection of the piano for a very reasonable professionl fee of $65. I am unable to be present at the inspection (so I guess that means I only saw the piano three times) but he meets with the seller and the father; and a few days later I receive a very comprehensive report on the piano. I have attached it for reference because there are alot of technical details and useful terminology. I did decide in the end not to go with the purchase for a number of reasons. 

The report is attached as text, at the end of this entry.
They were asking $32,000 which is a very good deal for any grand piano used. (This one brand new today would probably be close to $98,000) But the main break point for me was the hairline fracture in the soundboard! That was in the first line of the report. Nothing can fix that, that is like a broken heart that can never be mended, and the buzzy sound was attributed to that. I would probably have difficulty reselling this.  Additionally, I did not feel there was anything Steinway or factory original about the piano, other than the casing body of the piano. The strings and parts were not Steinway and I just felt that I was after the name of being a Steinway owner but it wasn't quite what I wanted.

In my heart I felt the right thing to do was to let go and keep waiting for the ONE (sound familiar?) I communicated my intention not to buy with the seller after all. He seemed somewhat relieved because he had also mentioned his son was disappointed that the piano would be leaving the family. The piano was no longer on the market too long after that, perhaps it remains in the family's musical legacy, this 100 year old piano.

THE SENTIMENTAL FIND

I did not mention earlier that I was actually looking for a newer grand piano to replace the one that I was getting rid of.

Five years ago, I bought a grand piano that actually took up my entire living room: a KIMBALL baby grand about 5 and half feet. The most astonishing fact is that I kept this piano for many years but I had to let it go when my second kid came along and we just couldn't keep him from playing underneath the piano and hiding his toys there. The other reason for selling was that this piano was indeed a BARGAIN FIND and the outside of the piano was never refurbished. You can tell it's been pushed against a wall, scraped up with music stand or someone's ring, it is actually quite an eyesore thinking back, and nothing glamourous or shiny or black. I was later told that 80% of people who buy grand pianos don't even play piano, they just want one for the looks.  (That's why estate sales are apparently so great because people are selling a really good piano for nearly nothing) Probably these are the reasons that when it came time to sell this piano two years ago, many buyers came to see it for the very low asking price of $2,000 and even $1,500 but no one wanted to buy it.

The story begins when my church in Chinatown Ottawa had really spent too much money tuning and repairing this 50 year old piano that had been in use in the main sactuary and later the upstairs chapel.  It was the topic of a lengthy debate at a memorable AGM about how much money we should budget to fixing this piano or buying a new one. Folks wouldn't budge from the $6,000 mark. As a young person, with some piano experience, I did speak up and say let's not talk about how much it would cost to fix this old piano because no one here is an expert on piano repairs. Let's pray and ask God for a new one. Anyway I'm in no way responsible for someone actually buying and donating a piano to the church, and I did not expect at that moment to be the next owner of this old grand piano.  It was very sentimental to me because my praise team did use this for years in the upstairs chapel. Anyway when I heard that they were about to post this on kijiji for $3,000 but wanted to offer it to the congregation first, I spoke up right away. For whatever reason they only wanted $1500 for it and the way I had to write the checks to the General Fund I believe I actually ended up getting a receipt for it as a part of my church offering. Whatever, I thought this was a really awesome piano and I loved it. Found an amazing repairman to do repairs on it and it sounded better than it ever did. I probably spent close to $1200 on repairs and parts.  My daughter played on it like it was her first real toy. My baby son too. But of course like I said it was kind of ugly and banged up, my husband always wanted me to get rid of it.

So finally two years ago I posted it on usedottawa.com for $3,000 and there was a serious buyer for it, a teenager and her mother. (YES I priced it higher than what I paid for because I knew people would deal, plus I could include whatever I spent on repairs. There was no real profit) I must've seemed hesitant to sell because they actually offered me $4,000 for it. However at that moment, I just could not part with it and I had to decline the offer to everyone's chagrin (especially my husband).


Anywayz months later, I ended up selling it to a family friend, the lady who sells me my insurance and RRSP's actually. She didn't even see the piano but offered $1500 for it (because she knows the history of it) and I thought, fine! (This time I'd better take the money and run). Those were the exact words of the piano movers who were moving it to her house. I even offered free shipping! Unfortunately, the piano movers also asked her a wierd question like, Why are you buying this piece of junk?  I don't know if this event has any correlation with the next, but I did notice that she hasn't spoken to me much since this transaction. Is she mad at me maybe.

The moral of the story is, if you buy a piece of junk you will end up with a piece of junk and no one will want to buy that piece of junk when you are done with it.

Eventually I did find the digital Suzuki Grand Piano I had described in another FAQ.  It has a much smaller footprint being a three foot long very mini grand! Like I said Suzuki builds motorcycles and Kimball was apparently a furniture manufacturer that closed shop in the eighties. Not necesarily known for building excellent pianos.

INSPECTION REPORT
Steinway L 146427 (1911)

Case -excellent shape
Structure -small soundboard crack low end of tenor bridge
Piano has been restrung with oversize pins, original pinblock
Adequete but not impressive tuning pin torque
Hairline bridge cracks at the pins in lower treble

Rim great
Pedals and Trapwork -minor séricine required
Damper system -old style levers -okay
Felts okay
Some lever leads loose causing noise
Action -Keys -bushings okay medium wear
Lead weights loose causing noise

Capstans, frame and keypins need cleaning and polishing
Whippets -original -old design ( no jack alignment screws)
Whippen clothes and leathers hard -creating noise
Backchecks -heavy wear -need replaced
Hammers/shanks & flanges -not original -tephlon brushings -noisy
Clicking, hammer heads quite worn and small -not much to work with but the tone could be improved

Sostenuto system -okay -needs adjustment

Comments -This piano is a vintage Steinway from a good production period. I am impressed with the tone in the instrument, the belly is healthy except for a small crack at the lower end of the tenor bridge which is not a concern to me. The piano had an overhaul sometime in the recent past (1970’s ? ). The case was refinished, the piano restrung with larger tuning pins, the hammer assemblies were replaced, and a few damper felts replaced. The “new” hammer assemblies have tephlon brushings -a feature that was done away in the early 80’s because they were problematic and “clicked” over time.

There are damper lever leads and key leads that are loose and rattling. Along with the tephlon bushing clicks and whippen cloth noise I find the action very noisy to a point of distraction.

I like the potential I hear in the piano but the action needs extensive work if the piano is to be brought up to a high playing standard. Lesser repairs and reconditioning can improve the action but the best results would come with the replacement of major components -hammer assemblies, whippens, back checks . This is costly work -the parts alone cost around $3500.00 US dollars .

It is possible to improve the piano using the existing parts and this could be discussed.

Tuesday, September 13, 2011

Which piano should I buy?

BUYING A REAL PIANO

The most important decision you would make for your child's music education, other than finding the right teacher, is to buy a real piano. My daughter's MYC teacher teaches with a portable keyboard; actually she's got six of them set up in the classroom. She lets the students have a keyboard at home if they don't have a piano. I personally would not allow my students to play on a keyboard cuz it's really wrong and you don't development finger strength, there is no resistance no wood no strings, so it's just plastic!


I have a friend who asked me to teach her daughter just under age 3. They don't have a piano yet and I can't just ask her to fork out $8000 plus for a piano for a three year old, so I told her to listen to the Suzuki Book 1 CD as the first assignment for the next year! 2 hours a day minimum... remember just like a child learns to talk by listening.


JAPANESE - KAWAI

I don't know a whole lot about Kawai's except that alot of asian families in Hong Kong have them because it's a good value, not too expensive and still reliable, especially the upright sizes. Great for a beginner especially if you like the sound and touch. I really like the Kawai grand pianos because of the sound engineering (pun) that goes into the design, manufacturing and the materials are modern (composite fibres not wood) I think. They are just starting to get into the market with the big schools and university music programs to compete with Yamaha. In Ottawa, the folks at Campbell Douglas on Merivale Road will offer many choices of Kawai and give a very informative overview of pianos. I've recommended many students to look at Kawai there.


JAPANESE - YAMAHA

I own a Yamaha upright CP113 model for my teaching studio and personal use. The serial number indicates that it was assembled in Japan and no longer available, which is interesting becase most Yamaha pianos purchased in Canada are manufactured in North America. Yamaha is always highly recommended and well recognized around the world. I bought my piano at the Yamaha piano store, Ottawa Pianos on Bank Street. I like their trade in option where I have 10 years to trade in my upright for any newer piano including a Grand Piano dollar for dollar what I paid! However alot of students whom I have refered to the store, were always offered to see the U1 model (only). They call this an Institution-level instrument, meaning that most university and college programs will have the U1 model in the teaching studio, practise rooms, and for the piano exams.

Therefore I'd say that U1 is actually the best upright piano a family could buy! How about in simple terms it's really really really good! That is one or two models up from what I have which is a CP113. The idea is the taller the piano the bigger and better the sound. DON'T go for a lower end base model Yamaha to save money, but you don't neccessarily have to go with the best one ever. My next door neighbor bought a U1 piano because they always buy the #1 thing (infant formula, shoes, car, private school) for their #1 son, but seriously not everyone can fit that in their house or budget.

As for grand pianos, only buy one bigger than 6 feet otherwise a U1 would be much better than any smaller grand piano or baby grand, simply because the soundboard would be smaller and shorter.

STEINWAY
 
Lauzon in Westboro sells Steinways (top in American made). Everyone dreams of owning a Steinway and I could safely say that alot of people who don't even play piano own  Steinway in their mansion just for the look and status. If you go to any concert hall or big name school, the performers or students always play on a Steinway.  I priced it out before and a Steinway grand piano costs as much as my dream car, a Dodge Viper... both of these are beyond my reach at this moment in my life.
 
 
PEARL RIVER
 
Steinway also has a partnership with Pearl River (made in China).  Alot of students in Eastern Canada have Pearl River because they have a sponsorship with the Conservatory of Canada and their local events and workshops. In my mind it's like a Kia or a Hyundi whereas Steinway is like a Cadillac? Maybe there are some good technology partnerships there and that is my understanding of a basic price or lifestyle comparison. Just try it out and see if you like it. Pearl River will not appreciate in price like a Steinway or
Yamaha, but I strongly believe it would be muhch much better than a digital.

DIGITAL PIANO

Roland is the best player in the big market for a digital piano. They are the best in the world in that market and the Conservatory or Canada (I call them a competitor of the Royal Conservatory of Music) actually allows that top model of digital Roland to be used in the exam room. At Campbell Douglas, the folks probably showed you a letter from the president. I guess I'm just old fashioned so I find that hard to believe that a digital piano could be "just as good" as a real piano.

Think about this, when you really play piano, your fingertips should be hitting a key that activates a wooden hammer that strikes a group of metallic strings that vibrate together in harmonic frequencies with all the right overtones. When it is a digital piano all of this is simulated electronically.

I have a digital grand piano upstairs in my living room that allows me to play at night with headphones; not Roland but Suzuki (the manufacturer of motorcycles!) I have found that my wrists hurt if I try to play too hard and loud becaus I am expecting a sound I get from a real piano, and I can't get it so I push harder and it's probably bad for my fingers or wrists in some way.

A bit of history, I bought the Suzuki grand piano used from a family who was upgrading to a real grand piano because their daughter was 14 and having played piano up to the Grade 9 RCM level, the piano teacher  indicated that her performance level had exceeded the capabilities of the digital piano.  I am surprised she didn't say so sooner.

YAMAHA DIGITAL CLAVINOVA
I had previously owned a Yamaha Digital Clavinova base model and I found that one was much better, still it's probably not going to have the same energy response as real strings. You could probably be ok with that one for the first two years. I visited a family in the States, their kids are Suzuki piano students and they owned a Yamaha Digital Clavinova Grand Piano.  At the Suzuki Institute I studied at, the children used 12 Yamaha Digital Clavinova for the group classes and the ensemble performance (though the visiting head teacher did not like it at all).

I usually recommend someone to buy a Yamaha Digital Clavinova if they only have $2,000 because this is the best thing that you could get for that budget.  I used my Clavinova for a full two years playing at my Grade 10 and ARCT level before I got married, and eventually upgraded to the Yamaha upright piano I own now.

Hope this information is helpful to you. I am going to add a disclaimer that these are expressly my own personal opinion as a teacher and mother of three.

Which Piano Teaching Method is best for my child?

CLASSICAL PIANO
I used to feel that kids weren't ready for formal private piano lessons with me until age 7. Because I teach classical and music reading, it can be very hard for kids younger than 6-7 to focus and sit still and manage all the data they have to process to just play piano, the traditional way.  I believe I was strongly influenced by own piano learning experience and my own piano teacher who is a very traditional teacher and established performer herself, from a certain European east block country, who gave me sage advice not to start piano too early for my daughter.




SUZUKI METHOD
However since I learned more about the Suzuki method and how natural it is for a child to play the violin, cello or even piano, they could be ready to learn by age 3-4. The suzuki method is very natural, alot like how a child learns to speak his native mother tongue (or English) by imitation, repetition, exploration and praise. I saw little kids performing in a violin ensemble, age 4-5 playing really beautiful music, like twinkle twinkle little star (and something else too). The kids I saw in Las Vegas in the piano program, needed alittle bit more discipline but maybe piano is harder or something, but the potential is there. I feel that my son AJ (age 3) is ready because he is willing to listen to the music CD, he respects me as a teacher and he listens well to directions how to play a few simple rhythms on the piano. I wanted him to play with purpose, instead of hitting random notes on the piano with a bad hand form. They are not reading the music at this stage, just focusing on perfect tone and all the aspects that create perfect tone in the most natural way.

I also run a Pre-Twinkle Level class called "Musicland Adventure Camp" which is a series of 10 classes for ages 3-5; storytelling, magical characters from Yellowcat's Musicland, games, song and dance. Topics include keyboard geography, right and left hand independent playing, note reading, music listening and writing skills, music performance and beyond. I also use materials from Yellowcat Publishing which uses colours and characters to teach kids the letter names of the keys and pre-reading skills.  Upon completion, students are ready to play Twinkle Twinkle Little Star by heart or for beginner’s piano, though it is not a prerequisite.


MUSIC FOR YOUNG CHILDREN
Maggie on the other hand has a different learning style. She's in the Music For Young Children class, Sunshine 2 in the fall with her teacher. I will bring her to class and participate as all the other parents too. There is homework, they have a very structured way of learning music reading from the get go. She likes it alot, but I would still categorize this as the "traditional" learning method. She knows the names of all the notes on the piano; she can play a C scale and A minor scale, she can read the pre-music reading with little characters. Each note on the piano is associated with a character, for example Critter C, Dino D, Edith the Elk, Fireman Fred, Grumpy Grouch, Amy the Anteater, Becky (copyrighted).  Staff reading is much too hard for her right now but there is a kid in her class the same age who is good at it. So it must depend on the child.

Maggie started in the Sunrise class for ages 2.5 with fun music activities, music patterns, listening skills and alot of singing, moving, crafts and homework. There was a long break and we started Sunshine 1 when she was 3.5 in the Fall 2010. The homework assigned with the lesson for the week was the basis of our learning activities at home, for example learning the alphabet, cutting out pictures of things that start with "C"; forte and piano, so that's cutting out pictures of loud sounds and quiet sounds; allegro and adagio, so cutting out pictures of things that move fast fast fast or slow slow slow.

Some folks ask me why I'm not teaching my own daughter. Well, as a matter of fact I am. She is part of the Musicland group class I run in my home studio. However my course runs for 10 lessons probably about once a year because my studio focus is still on private lessons.  Her weekly group lesson runs all school year with the MYC teacher and lasts one hour, however at home I practise with her everyday (more like 5 days out of the week) for a good 20 minutes if you include the extra games, homework, charades, and chatting. She listens in on my teaching sometimes, and we also play piano together just for fun. We play duets where she simply plays a bass note to support the harmonic structure below the melody that I'm playing, or vice versa. I have to mention, by listening she's learned when to "switch notes to make it sound nice". Remember, alot of kids go to public school or private school, but the mom (and dad) at home are models and teachers too.


YAMAHA MUSIC WONDERLAND
Yamaha on Bank Street also runs a music school, and they have the world famous Yamaha Music Program. These are group classes at various levels starting from Tunes for Twos, something for age 3 and Music Wonderland for ages 4 up, and then a series of graduated level for older kids to continue on.  I called the school though, and they only have keyboard time at the age 4 level.  Although my parents enrolled me in this at age 4 in Calgary, and I still have the tin box with the grand staff and the magnetic music notes for the staff and keyboard and some of the workbooks, I don't remember too much about it.  I  found out about the Yamaha school (again) by  coincidence.  There was an air force colonel (a soccer/ piano mom) who was selling the entire collection of Yamaha music books and workbooks and CDs volumes one to eight for $50 on usedottawa; books that her children used and were done with and she was moving for the next posting.  When she came to deliver the items, we also had a good chat about the music program and about raising a military family etc. I looked through the books, and figured out some of the major components was possibly music appreciation, ensemble playing (playing the chords and notes, following along with the group and the CD accompaniment) plus alot of crafts and fun worksheets.  I would've enrolled my kids but the timing on Saturday morning didn't fit my schedule well. Highly recommended and not to expensive. Fall and Winter start dates.

KODALY METHOD
Kodaly is an excellent music program designed to teach basic musicianship through singing and body movement. It is based on an approach to music education developed by Hungarian Zolton Kodaly in the early 20th century. Kodaly methods are adapted by many music teachers in the school system when teaching music reading and musical language to students from kindergarten to high school.

http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0001864

Monday, September 12, 2011

Music Mind Games Plan

This is a proposed plan for the Note Reading portion of the class, and the materials to be used from the Puppy Packet. Every two weeks we could focus on one learning from one set of materials and cover the topics based on the cards. I got this idea from the teacher blogger Emily on http://www.musicmindgames.com/


For example a game on alphabet cards could be Fine, Snake, Scrabble based on C scale, A minor scale or thirds, circle of fifths etc.

* Alphabet Cards
* Blue Jello Cards
* Staff Slates & Grand Staff Cards
* Tempo Cards
* Music Symbol Cards
* Notes & Rests Cards
* Rhythm Playing Cards
* Staff Slates & Do-Re-Mi Cards
* Real Rhythm Cards


If there were siblings who had their lessons back to back, I would start everyone off with a "game" for about 10 to 20 minutes. While one brother is doing his lesson, the sister/brother could continue with the game quietly. This keeps the other student occupied while still learning music theory in a fun way.

Games and variations we've played in class:
* Fine alphabet cards, do re mi, even temp and dynamics
* Name the Five C's (progress to D's and B's etc)
* Find the Five C's (from the stack of note reading cards)
* Huckleberry Jello rhythm reading, note value trading and music reading
* Snake sequential, thirds, fifths (alphabet cards)
* Fat Snake and sing ABCDEFG to tune of Twinkle theme
* Snake in thirds while placing the note reading cards (shows the notes on lines and spaces!)
* Melody Bingo
* Musicland and characters Bingo




Friday, September 9, 2011

Teaching the G's and F's

Another Music Reading Lesson

Use the Treble Clef belly as a landmark for G. Find the other G one octave up, mark these with Magic Notes.  Use the Bass Clef dots as a landmark for F, find the other F one octave down.

Game: Googly Eyes
From http://www.musicmindgames.com/node/688
Materials:  Melodic Bingo cards, Magic Notes
Have the students take turns grabbing a Magic Note to mark all the G's one round, F's or C's the next.

Use RED for C; BLUE for G; GREEN for F.

Structure of a 30 minute Lesson

This is proposed breakdown of a 30 minute piano lesson

BOW (I'm ready)

Note Reading (5 minutes)
This could include a Music Mind Game activity, pop quiz, writing exercise, or even solfege singing and signing.

Technic (10 minutes)
Working on the basics, the Twinkle variations, the Twinkle theme; five note scales, triads or arppeggios. The time here could be shorter or longer and blended in with the repertoire.

Repertoire (10 minutes)
If the entire piece is not played end to end, the teacher may be choosing select measures of phrases. There could be a practise game board and dice to aid with memory or working out trouble spots.

Review (5 minutes)
Playing a review piece allows the child to play something he knows well and enjoys playing. This also ensures that pieces are always performance ready.

BOW (Thank you).

The Parent's Notebook

The supervising parent needs to take good notes during the child's lesson; especially to write down
1) The practise assignment
2) Specific details in remembering how to play and listen for the perfect natural tone
3) The fingering

Hint: For advanced notetaking, listen very carefully to identify the main Teaching Point of the lesson. (It could be something like a Stengthening the pinky tone, Light wrist staccato, High bounce staccato, Listening for tone geration and attenuation) The teacher is supposed to work on delivering a one point lesson (though sometimes it is hard to focus on that ONE thing).

Just a reminder that at the piano lesson, the teacher is teaching HOW to play piano, the skills and technique to play piano.  That is more important than the repertoire or how many songs someone could learn in the shortest time. Repertoire is learned at home by listening to the CD, by practising with the correct fingering. It is never a race.

Future topic: Practising vs Just Playing Piano

Teaching the C's

First Music Reading Lesson
Main point: Notes on the staff tell us which keys to play on the piano!


1) Describe the Grand Staff with the treble clef, bass clef.
2) Count the lines 1-5 from the bottom.
4) Count the spaces 1-4 from the bottom.
5) Point out the belly of the treble clef aka Trebellina or Mrs Treble Clef; point out the two dots of Rock Bassy or Mr Bass Clef.
6) Place a red Magic Note on middle C (draw a short line for middle C)
Place an orange Magic Note on treble C or Twinkle C (3rd space)
Place an orange Magic Note on bass C (2nd space)
Place a yellow Maggic Note on the high treble C (draw two leger lines about the staff)
Place a yellow Magic Note on the low bass C (draw two legel lines below the staff)
7) Talk about the symmetry
8) Listen for high sounds and low sounds, play these on the piano and have the child identify which is being played.

Bonus: Use the word Octave to describe the jump between one C  to the next.


Second Music Reading Lesson
Main Point: Use the ABC cards to talk about the musical alphabet.

1) Ask the student to recite the alphabet A to G.
2) Now explain that the musical alphabet begins from C. Lay these out on the table in sequence.
Hint: Use the Do-Re-Mi rainbow colours or alternatively, the Musicland colours (yellow Cat, purple Dragon, green Elf, etc) or all uniform colours.

3) Talk about direction, going up (play the scale up, C major or C chromatic) and notes going down (play the scale down, C major or chromatic)

4) Ask the child to say the musical alphabet forwards and backwards. If there is some difficulty refer to the cards; indicate that the child should practise this at home, as a an assignment.

Next week: Music Mind Games for alphabet learning.

Monday, August 29, 2011

The First Lesson

There are important points to remember on the first lesson. Begin with a formal bow.


1) POSTURE
Sit tall with the correct posture. Use adjustable benches or seat pads; have foot stools to support the feet. Children seem to be distracted with dangling feet, especially when their body begins to slide.
Arms should be parallel to the floor

2) HANDS
Keep the hands above the keys; on a young child, for maximum relaxation, the wrist may seem higher than the rest of the hand while the fingers dangle. Imagine the hands like a table.

How to prepare the hand?
a) "Take it" use this illustration of a hand grabbing a kleenex to explain the hand's natural shape and natural motion. Don't poke, push or lean!

b) Explain how to strengthn the first joint. Use interlocking fingers

c) Think Tissue tone, play a tone pickup a tissue.

For a young child, don't use too many words. Just demonstrate.

3) NOTES
For all the other fingers use the fattest part of the fingertips play and roll forward
Place the thumb on C and call it "Do"; see the side thumb make contact at a 45degree angle.
Hold while counting to "n" for "n" seconds to develop concentration.

Clap: Mississippi Hot-dog, Pepperoni Pizza, Bunny Bunny Hop Hop
Then Play this Variation 1 with the thumb.

4) FINGER NUMBERS
Count them 1 to 5
Sing a song like "Finger one is dancing" or "Where is thumper..."
Trace the hands and write down the finger numbers for the right and left hand.

Hint for pinky: Keep the palms open free to move pinky

5) NOTE NAMES/ KEYBOARD GEOGRAPHY
Save this for later. More ideas to follow.

6) READY-PLAY
Wait for the teacher to say "play"

Releases the tension before moving on to the next phrase or musical idea. Tension is the enemy of tone. This also teaches patience, how to listen for instruction and listen for a rest.

At the NEXT lesson, teach the fourth finger to play G.
Ready, Stop (or Ready, Play)

Sunday, August 28, 2011

Four Pre- Lessons

FOUR PRE-LESSONS
1) Stand
2) Bow
3) Sit
4) Ready, Play

It would be beneficial for new parents to go through a Suzuki orientation or information sesson. Some teachers even ask prospective students and parents to observe lessons for up to six months before beginning. I feel that the most important assignment to assign before formal lessons begin is to listen to the Suzuki Book 1 CD for 2 hours daily at a minimum.

The BOW and what it means; a sign of respect for the teacher, a humble teachable heart for the student. The eyes should make contact first, the teacher and student both bend from the waist and come up again. The student should come up only after sensing the teacher has risen first.  The attitude is "I am ready for my lesson, I am ready to learn." It might be helpful for the student to verbalize this, and the teacher would answer. "I am ready to teach."  At the end of the lesson, the student and teacher will bow and the attitude verbalized is, "Thank you for the lesson."

I have a funny story about my son age 3. I am taking the small step to teach him Suzuki piano because he has shown me he is ready. He is willing to listen to the CD; he remembers what I say about the relaxed hand and strong fingers, and most of all he respects me as the teacher. One time just as we were nearing the end of the lesson, he must've felt that he reached the limit of concentration and he was done. He leapt off the piano bench, took a bow and announced clearly, "Thank you for my lesson".

Friday, August 26, 2011

Musicnotes: Repitition

A quote for clearly defining assignments:


"Repeat it, do it enough times

until it's easy to do it well.

This could 100, 10 or 3 times."


Repition also involves active listening. Self evaluation is an advanced quality. Ask yourself, what is right, what is not right.  How many times were you not right?   Good practise makes permanent good!

Why the Twinkle Variations?

All the Suzuki students begin with learning the Twinkle Variatins.  I decided to teach the Twinkle Variations to my new transfer students, even classical piano students, as a means of learning natural tone and good tecnic. It's something fun to do especially with the chordal accompaniment. Then we can all speak the same language when it comes to rhythm patterns, clap back etc and they be part of the "100 Twinkle Variations" club along with the other kids.


I've noticed that the Twinkle Variations have a very complicated written rhythm that would require advanced reading skills. However, if I child simply listens to the music on CD or played live, he can easily replicate the rhythm by clapping or playing on the piano (or violin as originally intended). This fact truly fascinates me! But what I would really like to know is, why there is no direct link with the other melodies or rhythm similarities with the repertoire in BOOK 1 or any book actually.  Perhaps this is related to the violin bowing technique as the Suzuki Method was originally intendted. Regardless the master teacher did mention two underlying reasons for the Twinkle Variations:

1) To practise moving fingers
2) To develop a beautiful tone

There are many factors that may affect how to produce a beautiful tone.
Physical body and posture - begin with the feet resting comfortably on a solid surface, back strong.
Think Ready, Play.

VARIATION 1
Clap: Mississippi Hot-dog, Pepperoni Pizza, Bunny Bunny Hop Hop
Then Play this Variation 1 with the thumb.

Move on to the other fingers one at a time. The student may actually play this rhythm all over the piano, from the highest C down to the lowest tone and back up again. I am at this stage with my young son right now; as long as he plays the rhythm correctly with the nice hand formation I am happy. Soon though, I hope that he would understand to apply this in the five finger C position and then the Twinkle 1 Variation.

VARIATION 2
Say the words "I love you" or "I hug you" to really hug that warm tone. It is a wonderful rhythm though probably the most difficult of the three.
1) At the introduction, you could talk about long notes; play and hold on, tell me when the tone is gone -game.
2) Play short-long. There is roll involved with the long tone.
If there is a correction to be made, exagerate the correction
3) Tempo, keep it fast and quick (further reading on the journal article about the dangers of playing too slow)

VARIATION 3
Say Hamburger, Cheese burger, Grand papa, Grand mama.
I noticed that the accompaniment that goes with Variation 3 is chordal; each grouping is repeated twice for a total of two beats of time.

Practise Tips

Children are often motivated to practise with repitition, given small tokens of encouragement for their efforts or creating ways to count the number of times to play. Offering rewards such as:

*100 Days of Listening Award
*100 times playing Twinkle Theme Award


Practise Games
1) Roll a dice to see how many to play a certain measure, say 5 times perfect.
2) Bead counter
3) Practise sheet such as the ones found here to indicate what to play next: Pepperoni Pizza Twinkle, Ice Cream Cone Twinkle and so on.

http://www.thepracticeshoppe.com/charts-for-suzuki-pieces-1

Keeping track of the practise at home, for example colouring in the 100 stars and getting a prize for that.

This is taken from Sarah Lyngra of Yellowcat Publishing, her Valentines Day 2011 message.

14 ways to play better by Valentine's Day  

  1. Use colored music.
  2. Practice Monday.
  3. Play in a well lit area.
  4. Practice Tuesday.
  5. Work on the parts of the pieces you don't know, first.
  6. Practice Wednesday.
  7. Play music you like.
  8. Practice Thursday.
  9. Write lyrics for your pieces.
  10. Practice Friday.
  11. Listen to your piece played by someone else.
  12. Practice Saturday.
  13. Record and listen to your piece played by yourself.
  14. Practice Sunday.

Words for Suzuki Book 1

LONG LONG AGO (taken from Suzuki Discussion Board member entry)

Long long ago on a bright sunny day

I saw a frog on top a log.

Long long ago on a bright sunny day

I saw a frog on a log.

He jumped so high that I thought he could fly

He jumped so high that I thought he could fly

Long long ago on a bright sunny day

I saw a frog on a log.

 
GO TELL AUNT RHODY
 
Strawberry bowing, smoothly on the string,


Strawberry bowing makes my cello sing,

Up to the A string then we turn around,

softly again with silky sound.

Strawberry bowing, smoothly on the string,

Strawberry bowing makes my cello sing. (Mark Eeles)
 
 
Go tell Aunt Rhody, Go tell Aunt Rhody, Go tell Aunt Rhody the party is today.


We have the presents and the birthday cake; we hope that she can come today.

Go tell Aunt Rhody, Go tell Aunt Rhody, Go tell Aunt Rhody the party is today. (Gwen Montgomery)


Go tell aunt rhody, John is very sick, go tell Aunt rhody john is sick in bed.

He ate some popcorn, and some jelly beans; He ate some candy, and some gum.

Go tell aunt rhody John is very sick, Go tell aunt rhody, John is sick in bed. (Alison Sargent)




Friday, August 19, 2011

Musicnotes: Tonalization and Visualization

Remember this, we're here to teach piano not just how to teach the pieces.

There are 6 basics of a beautiful tone:
1) natural use of the body
2) Tempo (meter)
3) Beat (rhthym and pluse)
4) Sing while shaping the phrase
5) Legato and staccato articulation
6) Dynamics forte and piano

Sitting strong with a good back means that your shoulders won't make your arms push  on your hands too much, the resulting tone will be less tense.  Grab with the whole hand even if only the pinky is playing.

Yoga Scales - legato, think pad to palm; think grab a tissue, take the keys!

UP Tonalization
On the srong beat, soar extend all the way up with a relaxed wrist.

DOWN Tonalization
The hard should fall down with no hesitation, drop straight down and think about grabbing; falling like a rock to the bottom.  Thing about diving deeper, grab on to the bottom, move the finger pad to palm and stay down.

Musicnotes: Teaching Tools


A few quotes for positive corrections:
* Can you remembe that?  If you forget can I remind you?
* This is right, this is not right. This is how to fix it.
* How far can you play in this position (fingering, poster and position)
* Demonstrate then ask, can you do it like that?

Here a few ideas she calls, a Teacher's Bag of Tricks

  • Demonstration: Be the best possible model. Play with the child, maintain tempo, mold the hand.
  • Play on the arm, back and shoulders to demonstrate the feeling of the depth of keys, weight. Have then play on your arm.
  • Ready-Play: For example to use with changes in dynamics, for example forte (freeze) piano in La Turka, Mozart in Book 7; prepare for the chord.
  •  Repetition: take small manageable steps, small sections
  •  Muscle Memory: Child plays with eyes closed. She gives the example of Michael Phelps swimming; the race when he couldn't see but he remembered how many strokes to get to the end of the lane.
  • Ghost playing: trains silent playing and auralizing/ audiate in the brain.
  •  
  • Solfege singing: solfege everytune in book 1
  •  Simplify Terminology: When introducing octaves play Twinkle C high and low; say octopus, octagon an octave!
  •  
  • Music Mind Games: make music theory interactive at http://www.young-musicians.com/

Musicnotes from Teacher Training: Responsibilities

Just taking some time to write down a few notes from the Teacher Training.


How does the child learn the notes in Piano Book 1?
Listening.

Responsibilities of the Student:
* Listen every day
* Play piano every day
* Play above the keys
* Ideas: how about an Award for 100 Consecutive Days of Listening

Responsibilities of the Parent
* Posture and fingering
* Let the child discover, play and practise
* Let the child listen and practise everyday

Responsibilities of the Teacher
* Teach tone and timing (play with the beat)
Quote: How to produce the most beautiful tone with no tension; the most natural way to play the best sound
* Positive correction in manageable steps
* Continue with own personal growth
* Idea: work on how to deliver a one-point lesson

This topic reminds of a Student pledge I found a Suzuki discussion forum posted by a member on the topic of studio policies:

In lieu of a policy document, she created a Tuition Pledge, Attendance Pledge and a Student Pledge; all are signed and returned

Policy language--tuition is due at the first lesson of the month
Pledge language--I agree to pay tuition at the first lesson of the month

Policy language--100% attendance is expected
Pledge language--I will attend all scheduled lessons. In case of
illness I will contact Diane.

The Student Pledge outlines that the student understands what
practicing, listening and attitudes they need to follow. There is
space for them to add their own pledge which oftentimes is quite
endearing to read.