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)
I am a new Suzuki Piano Teacher with many years of experience teaching classical piano at the beginners and intermediate levels to children of all ages. I am creating this blog to capture some of my rough notes from teacher training, pedagogy books, workshops and experiences from my own studio. The earlier entries are taken from the lesson notes for the pre-Twinkle level class I had taught outside the formal Suzuki method. Your comments and feedback are most helpful. Enjoy!
Monday, August 29, 2011
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".
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!
"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.
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
*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
- Use colored music.
- Practice Monday.
- Play in a well lit area.
- Practice Tuesday.
- Work on the parts of the pieces you don't know, first.
- Practice Wednesday.
- Play music you like.
- Practice Thursday.
- Write lyrics for your pieces.
- Practice Friday.
- Listen to your piece played by someone else.
- Practice Saturday.
- Record and listen to your piece played by yourself.
- 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)
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.
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.
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.
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