Category: improving as a teacher

Announcements, improving as a teacher

Things I Learned from a Yeol Eum Son Masterclass

Joy Morin

Last week, my university held a master class by Yeol Eum Son, the silver winner of the 2009 Van Cliburn competition.  I played a Chopin Etude, op.10 no.6.  She gave me a number of specific suggestions which were very helpful, but there were two general concepts I took from the experience:

1. Posture: keep your chest open. I’ve been told to sit up straight of course, and I’ve even been told not to sit too straight (a common problem among slender pianists, especially female).  I’ve also been told to keep my shoulders down and relaxed, which is something I struggle with.  Tension in the shoulders, can affect the arms and wrists negatively.

I’ve also accompanied enough vocalists to know that keeping the chest open is extremely important to help with breath support and avoid causing the throat to do the work.  But I never realized that pianists should be doing this too.  Watching her play, I realized how free and open her chest seemed, and as a result, how relaxed her shoulders and arms were.  I can’t quite explain it in words — see it for yourself it the video here:

(Her playing is so beautiful in this video, I could listen to it over and over and never tire of it!) Continue reading “Things I Learned from a Yeol Eum Son Masterclass” →

improving as a teacher, Teaching Piano

Incorporating Improvisation | Part 5d in the series

Joy Morin

This is a continuation of the series on the topic: incorporating improvisation into private piano teaching.  I had originally planned to post all 4 steps into one post, but the post would be too lengthy.  So the topic “Incorporating Improvisation” is being divided into 4 separate posts:

  1. Develop Related Skills
  2. Create an atmosphere conducive to improvisation
  3. Use improvisation as a way to introduce new concepts
  4. Improvise using a combination of learned concepts

Today, we are discussing step 4: Improvise using a combination of learned concepts.

4. Improvise using a combination of learned concepts

As the student progresses in their piano study, the teacher can make the improvisational sessions more complex by encouraging the student to use a combination of previously-learned concepts.  The focus can then turn from simply utilizing something like dynamics and certain intervals to creating something more complex.  For example, an improvisation session goal might be:

  • Tell a story: climbing a mountain, going to school, riding a pony, etc.
  • Describe a thing or place: a thunderstorm, a clown, a desert, a detective
  • Communicate an emotion: anger, happiness, fear, curiosity

Once the goal has been set, the teacher and the student can discuss ways to create the sound they want.  For example, for an improvisation to sound like a thunderstorm, the student might suggest using staccato notes in the upper register of the piano to represent rain, and thick, loud chords in the lower register to represent thunder.

These improvisational activities may be especially helpful for a student who struggles to play expressively in their repertoire playing.  Always use descriptive language when describing the session’s goal to the student, so that it evokes imagery for the student and gets their creative juices flowing.

Coming up next, the conclustion of the series: The Benefits of Incorporating Improvisation into the piano lesson.

Be sure to check out the rest of the posts in the series:

Series: Incorporating Improvisation into the Piano Lesson

  1. Creativity in the Piano Lesson – Introductory musings.
  2. Top 3 Obstacles when Teaching Improvisation
  3. A Brief History of Improvisation
  4. The Value of Improvisation
  5. Incorporating Improvisation:
    1. part a
    2. part b
    3. part c
    4. part d (now viewing)
  6. NEXT: 3 Benefits of Incorporating Improvisation
improving as a teacher, Motivation, Music Camps, Performances

30 Theme Ideas for Music Studio Events

Joy Morin

Here’s a list of 30 theme ideas for music studio events!  Themes can be used as the studio theme for the school year, or for summer music camps, or for studio recitals. If used for the studio theme for the whole year, there are a number of ways the theme can be incorporated: the incentive program, group lesson activities, worksheets, games, food, decorations, dress, recital repertoire, etc., can all be coordinated to fit the theme.

  1. Medieval Times | castles, knights, princesses
  2. Fantasy | same as above, plus dragons, wizards, etc.
  3. Mystery |detective, private eye, clues, magnifying glass, footprints, fingerprints, evidence
  4. International / Around the World | choose a specific country, or give a survey of a few different countries  (Egypt, Africa, etc.) world music, cultures. For example……
  5. Fiesta | sombrero, maracas, dances
  6. Tropical | surfing, luau, grass skirts, steel drums, Caribbean/Hawaiian music, palm trees
  7. Winter | snow, icicles, skiing, snowboarding, snowmobiling, cold, mittens, scarves, snowmen
  8. Carnival / Circus | ringmaster, tightrope walker, elephant, tickets
  9. Art | colors, brushes, make connections between art and music. Activity: compose songs named after colors.
  10. Roller coster park | use this theme to study musical forms (e.g., ABA), or musical styles.
  11. Animal Planet | animals galore!  Activity: try matching animal characteristics to how different music sounds.
  12. The Great Outdoors / camping | campfire, singing, woods, lantern
  13. Under the Sea | ocean, waves, fish, jellyfish, dolphins, sharks, seaweed, treasure, sunken ship, scuba diver
  14. Barnyard | farm, farmer, animals, fields, crops, harvest, tractors, seeds
  15. Construction | bulldozers, dump trucks, CAUTION tape, hard hats, orange cones, STOP, GO, workers
  16. Jungle Safari | lions, giraffes, jeep, binoculars
  17. Wild West | cowboys, saloon, ghost town, cowboy hats/boots, bandanas, sheriff, horses, saddles, lasso
  18. Pirates | pirate ship, pirates, buried treasure, treasure maps, scavenger hunt
  19. Desert Oasis | cockroaches, oasis, palm trees, sand
  20. Olympic Games | fitness, games, exercise, practice
  21. Going Green | recycle, be efficient (with practice time)
  22. Splish Splash | water bottles, droplets, river, brook, ocean, puddle, rain, hydration, summer, squirt guns, pool
  23. Outer Space | stars, moon, sun, rocket ships, astronauts, aliens, ufo’s.  Natalie is doing a space theme in her studio this year and it looks fabulous!
  24. Futuristic / Time Travel | contemporary music, technology in music
  25. Race cars | finish line, car, tires, gasoline, checkered flag, trophy.  Activity: do timed worksheets for naming note on the staff.
  26. USA / Patriotic / Stars & Stripes | USA history, fireworks, wear red, white, and blue, or wear stars/stripes! Activity: learn about American composers.
  27. The magic of music | magician, magic tricks, deck of cards, top hat, magic wand, rabbit, gloves. Activity: discuss how music has the power to affect your emotions, change your mood, influence you to do something, etc.
  28. Blast from the Past | choose an era of music history: Classical, Romantic, Baroque, etc.  Dress old-fashioned, eat popular treats from back then, etc.
  29. The Great Composers | choose a specific set of composers, and focus on one each day/week/month.
  30. Musical Instruments | learn about the parts of the piano, or the instruments of the orchestra.  Discuss timbre, register, range, tuning, etc.

Please share any additional ideas you have, or any resources you’ve found to be helpful for planning a themed event for your music studio!

Photo credit: http://www.flickr.com/photos/peasap/ / CC BY 2.0
improving as a teacher, Printables, Teaching Piano

Incorporating Improvisation | Part 5c in the series

Joy Morin

This is a continuation of the series on the topic: incorporating improvisation into private piano teaching.  I had originally planned to post all 4 steps into one post, but the post would be too lengthy.  So the topic “Incorporating Improvisation” is being divided into 4 separate posts:

  1. Develop Related Skills
  2. Create an atmosphere conducive to improvisation
  3. Use improvisation as a way to introduce new concepts
  4. Improvise using a combination of learned concepts

Today, we are discussing step 3: Use improvisation as a way to introduce new concepts.

3. Use improvisation as a creative way to introduce new concepts.

The point is, improvisation is not a separate identify from repertoire learning, theory, ear training, or technique.   Connections should be made between what is being learned in the method books to what they are improvising.  Improvisation then becomes a useful tool in the lesson for learning and reinforcing concepts being taught, and thus building the connection between theory and practice.

For example, let’s say that I have a student in the Alfred method book, and we just finished learning about the difference between 2nds and 3rds.  We taught about the difference between the two, and even sight-read through a few pieces that utilize 2nds and 3rds.  Now it is time to improvise using 2nds and 3rds!  We could create two short improvisations based on only 2nds and only 3rds (this would be the goal of the session), and then we could try making an improvisation that uses both.  If the student is able to improvise using 2nds and 3rds as instructed, then I know that the student truly understands what 2nds and 3rds are and what the difference between them is.

With a more advanced student, we could improvise ABA form or even sonata-allegro form, if they are working on repertoire in those forms.  Other concepts for more advanced students could include ostinato, motive, sequence, sixteenth notes, etc.  For a listing of more ideas, see the Concepts to Introduce Using Improvisation pdf available on the Printables > Other Resources page.

  Concepts to Introduce Using Improvisation (53.5 KiB, 17,473 hits)

Coming up next: part 5d of Incorporating Improvisation into the piano lesson.

Be sure to check out the rest of the posts in the series:

Series: Incorporating Improvisation into the Piano Lesson

  1. Creativity in the Piano Lesson – Introductory musings.
  2. Top 3 Obstacles when Teaching Improvisation
  3. A Brief History of Improvisation
  4. The Value of Improvisation
  5. Incorporating Improvisation:
    1. part a
    2. part b
    3. part c (now viewing)
    4. NEXT: part d
  6. 3 Benefits of Incorporating Improvisation (coming soon)
improving as a teacher, Teaching Piano

Incorporating Improvisation | Part 5b in the series

Joy Morin

This is a continuation of the series on the topic: incorporating improvisation into private piano teaching.  I had originally planned to post all 4 steps into one post, but the post would be too lengthy.  So the topic “Incorporating Improvisation” is being divided into 4 separate posts:

  1. Develop Related Skills
  2. Create an atmosphere conducive to improvisation
  3. Use improvisation as a way to introduce new concepts
  4. Improvise using a combination of learned concepts

Today, we are discussing step 2: Create an atmosphere conducive to improvisation.

2. Create an atmosphere conducive to improvisation.

For some students, improvisation will be easy and fun.  For others, it may seem intimidating.   Creating an atmosphere conducive to improvisation will help reassure students and encourage them to be creative, especially if they are only accustomed to reproducing what is on the page.

  • No such thing as “wrong notes” — Be sure that the student understands that because they are the improviser,anything they play is correct!  Getting over the fear of playing wrong notes will allow them to more easily focus on expressing themselves through their music.
  • Share musical authority — The student should be encouraged to express themselves and create whatever sounds that are pleasing to his/her ears, instead of trying to figure out what they think the teacher might want to hear.  The teacher should praise whatever efforts they hear and never be critical of the student’s improvisation.  Even when improvisation is done together with the teacher or in group of students, musical authority should be shared.
  • Set goals — It is helpful for the teacher to give the student some specific goals to focus on during an improvisation session.  Some examples might be to utilize some new concepts introduced earlier in the lesson, or to tell a story with the music (to be discussed further in steps 3 and 4 below).  Example: “Let’s try using the new articulations of stacatto and legato that we learned about today,” or “Let’s tell a story about a hiker climbing up and down a mountain.”
  • Set parameters — Improvisation, no matter what kind, always has some parameters.  Example parameters include: key, mode (major or minor), meter, tempo, black keys only or all keys, one or both hands, or a time limit.  A teacher may give a number of parameters, for example: “Let’s improvise a slow piece together on the black keys.  Let’s use only quarter notes and half notes.  You can play in the upper register with just your RH, and I’ll play along with you in the lower register.”  Parameters serve as guidelines to give the student direction as to how to improvise for that session.

Creating a conducive atmosphere is essential to successful improvisation.

Coming up next: Part 5c of Incorporating Improvisation into the piano lesson.

Be sure to check out the rest of the posts in the series:

Series: Incorporating Improvisation into the Piano Lesson

  1. Creativity in the Piano Lesson – Introductory musings.
  2. Top 3 Obstacles when Teaching Improvisation
  3. A Brief History of Improvisation
  4. The Value of Improvisation
  5. Incorporating Improvisation:
    1. part a
    2. part b (now viewing)
    3. NEXT: part c
    4. part d (coming soon)
  6. 3 Benefits of Incorporating Improvisation (coming soon)
Announcements, improving as a teacher, Technique, Technology

Keyboards vs. Acoustic Pianos

Joy Morin

Check out these pictures at dvice.com, featuring modern keyboard designs by Yamaha!  I particularly like the one shown in the screenshot at right.

Would I ever buy a keyboard such as this?  No, probably not.  If I had the money to spend, I’d buy an acoustic piano, not a keyboard.  Acoustic pianos are still far superior to keyboards, even considering the great improvements that have been made to keyboards over the years.  They just don’t compare, in my book.

However, the popularity of keyboards seems to be increasing.  I’ve experienced an increasing number of experiences with parents who wish to buy keyboards for their beginner students instead of pianos.  And I can understand why: they are often cheaper than buying both new and used pianos, are far easier to move, and do not have it tuned every six months.  The advantages of buying a keyboard are obvious, but there are some major not-so-obvious disadvantages. Continue reading “Keyboards vs. Acoustic Pianos” →

improving as a teacher, Printables, Teaching Piano

Incorporating Improvisation | Part 5a of the series

Joy Morin

Now to the heart of the discussion!  We’ve already covered some common obstacles encountered when trying to incorporate improvisation, and we’ve briefly discussed the history and the value of improvisation.  Now let’s discuss a practical way to incorporate improvisation (non-jazz improvisation, in particular) into the piano lesson.

There are 4 steps in the method I am proposing for incorporating improvisation.  I had originally planned to post all 4 steps into one post, but the post would be too lengthy.

So the topic “Incorporating Improvisation” will be divided into 4 separate posts:

  1. Develop Related Skills
  2. Create an atmosphere conducive to improvisation
  3. Use improvisation as a way to introduce new concepts
  4. Improvise using a combination of learned concepts

Today, we are discussing step 1: Developing Related Skills.

1. Develop Related Skills

In order for incorporation of non-jazz improvisation to be successful, it is extremely helpful for the student to have developed (or be developing) the following skills:

  • Playing by ear — will help the student learn how to play what they hear in their mind’s ear, which is essential to improvisation.  For a list of melodies to assign students to practice playing by ear, see the Melodies to Play By Ear and Harmonize pdf, available on the Printables > Other Resources page (scroll down to the M’s).
  • Harmonization — will help  increase the student’s understanding and awareness of harmonic progressions.  Even young beginners can harmonize, using just a single-note bass line of the tonic and dominant pitches.  For a list of melodies to assign students to practice harmonizing, see the Melodies to Play By Ear and Harmonize pdf, as mentioned above.
  • Transposition — will help students understand how keys and key signatures work, so they can improvise within a particular key, and in a number of different keys.  Also helps them understand the difference between major and minor, which they can utilize to create different moods in their improvisations.
  • 5-finger patterns, scales, arpeggios, cadence patterns, chords in all inversions, etc. (in all major and minor key signatures) — These are exercises that teachers should already be assigning their students, but I think it’s important to bring them up here in connection with improvisation.  If the student still struggles with getting around the piano, improvisation will likely be difficult.  The more comfortable the student is with playing various configurations of notes on the piano, the easier it will be for the student to “get beyond the notes” and focus on things like expression, mood, and telling a story with their music.

Each of the skills mentioned above can be taught gradually to the student, in accordance with their level of playing.  For example, beginner students should be assigned simple tunes to play by ear that can be played entirely on the black keys, and gradually work up to tunes that can be played on the white keys.

Coming up next: part 5b of Incorporating Improvisation into the piano lesson.

Be sure to check out the rest of the posts in the series:

Series: Incorporating Improvisation into the Piano Lesson

  1. Creativity in the Piano Lesson – Introductory musings.
  2. Top 3 Obstacles when Teaching Improvisation
  3. A Brief History of Improvisation
  4. The Value of Improvisation
  5. Incorporating Improvisation:
    1. part a (now viewing)
    2. NEXT: part b
    3. part c (coming soon)
    4. part d (coming soon)
  6. 3 Benefits of Incorporating Improvisation (coming soon)

improving as a teacher

The Value of Improvisation | Part 4 of the series

Joy Morin

As we saw in Part 3, improvisation has a rich history in Western classical music, but has virtually disappeared from modern piano pedagogy.  Today, we are going to discuss the value of improvisation:

  1. Improvisation fosters creativity and individuality.
  2. Improvisation appeals to both the performer and the audience.
  3. Strengthens the connection between theory and practice in the developing musician.

We will consider each of these aspects individually below. Continue reading “The Value of Improvisation | Part 4 of the series” →

Announcements, improving as a teacher

Upcoming Poster Session @ Mich. Music Conference

Joy Morin

Remember that improvisation paper for school that I’m been mentioning here and there?  Well, I’ve been accepted to present my research findings at the poster session on January 22 as part of the 2009 Michigan Music Conference in Grand Rapids, Michigan!  I don’t know if any of you Michiganders out there are planning on attending the conference, but if you are, please drop by during the meet-the-author session at 10:30 and say hello!

What follows is my abstract, which gives you a sneak peak into what the upcoming series about improvisation will discuss (starting tomorrow!): Continue reading “Upcoming Poster Session @ Mich. Music Conference” →

Announcements, improving as a teacher, Practicing

Practicing Efficiently

Joy Morin

Hello all!  After a enjoyable and much-needed Christmas break, I’m officially back to blogging.  I hope you all had a wonderful Christmas and are enjoying the new year.

Over break, I had limited access to a piano (I don’t currently own one – I both teach and practice using the pianos on campus).  It felt good to be back at it over the last few days.  Today while I was practicing (Liszt’s Waldesrauschen, among other things), I was thinking about concentration and its role in learning new music.  Why is it that on some days, I accomplish a great deal during practice sessions, and on other days, I feel as if I just wasted the last hour as I practiced?   Continue reading “Practicing Efficiently” →

Announcements, improving as a teacher, repertoire / methods

Organizing your Music Books

Joy Morin

DSC_20090831_6801How do your organize your library of music books?  About a month ago, I purchased a new bookshelf (see photo) for my music, because most of my books were still in boxes with no place to go since our move to our new apartment.  In just a few hours, I managed to re-organize all my music books, and I’m proud to say I can actually find stuff I’m looking for when I need it!

Here’s how I organize my books:

I divide my music into two major categories:

  1. Student-level repertoire
  2. Advanced repertoire

Within the above categories, I divide my books further into the following categories:

  • Sheet music — organized by level (e.g., early elementary, late intermediate, etc.).
  • Classical music — alphabetized by composer last name.
  • Classical Anthologies — books that contain pieces by a number of different composers.  When possible, I organize these books chronologically (i.e., by music period).
  • Sacred music — books of hymn arrangements.

I also have a few other categories:

  • Method Books — such as Alfred, Faber, etc., organized by method series and then by level.
  • Technique — such as Finger Power, Dozen A Day, Hanon exercises, etc.
  • Theory — such as Notespellers, books of theory worksheets, etc.

How do you organize your music library?

Announcements, improving as a teacher

Top 3 Obstacles when Teaching Improvisation | Part 2 of the series

Joy Morin

Okay, so I’ve been promising to talk about the findings from my research paper about improvisation.  While I don’t plan to post the entire 20+ pages as is, I do plan to post the information over a few posts, bit by bit, so it’s easier to read.  The first bit here (below) establishes the problem (i.e., the reason for writing a paper about improvisation).

Teaching improvisation is challenging for many teachers.  As I was reading books and journal articles about improvisation for my research paper, 3 common obstacles surfaced.  These are obstacles that music educators (not just piano teachers) encounter when trying to incorporate improvisation into their curriculum: Continue reading “Top 3 Obstacles when Teaching Improvisation | Part 2 of the series” →