Category: Teaching Piano

Group Classes, Music Theory, Printables, Teaching Piano, Worksheets

Just Added: Introduction To The Staff Worksheet

Joy Morin

A new worksheet has just been added to the Printables > Worksheets page called:

Introduction To The Staff Worksheet

This worksheet is appropriate for beginners who are ready to be introduced to staff notation.  It is appropriate for use in both private and group settings.

Terms used in this worksheet:

  • line notes
  • space notes
  • treble clef
  • bass clef
  • middle C

Students are instructed to draw the items from the list above onto the staff provided.  This worksheet is great for use especially with visual and tactile learners, who benefit from drawing and seeing each symbol on paper.

To download the worksheet, click the link above and scroll down to the I’s.

  Introduction To The Staff Worksheet (28.6 KiB, 37,022 hits)

Enjoy!

Questions, repertoire / methods, Rhythm, Teaching Piano

Q&A Forum | Rhythmic “Simplification” in Arrangements of Familiar Tunes

Joy Morin

For last week’s Forum Q&A, I broached a few questions about memorization and many of you left comments regarding whether or not to require memorization for performances within your studio — but not many of you addressed my initial question about whether you consider the skill of memorization is essential to piano playing (i.e., do you think it is necessary/required for concert pianists to play by memory?  Why or why not?).  I discussed this topic further in yesterday’s post, which you can view here.  As always, it’s never too late to add your thoughts to this ongoing discussion.  =)

Today, however, marks the introduction of a new topic for discussion:

Many popular piano methods today include (as they should) arrangements of familiar tunes for students to learn.  This is great, because many students LOVE learning how to play tunes they are familiar with!  (Side note: click here to view a post regarding some thoughts on what makes a great piano method.)  However, these arrangements sometimes present a problem:

Oftentimes in arrangements, the rhythm of the tune is altered and “simplified” in order to accomodate the rhythmic values that the student has/hasn’t learned yet.  This is all fine and dandy, but as a teacher, what do you do when a student comes back the next week playing the rhythm “wrong”?

To give one example that frequently occurs with beginner students, I’ve heard many students return playing the rhythm of “Ode to Joy” with dotted-quarter-eighth rhythms instead of playing all quarter notes (despite the fact that we sightread it together with the rhythm as written).  How do you handle this situation: do you “fix” the student’s rhythm to match what is on the page even though it goes against their intuition, or do you “let it go?”

I’m sure many of us piano teachers have been in this situation before!  Share your experiences in the comments below.

Photo Credit: Rick Harris | CC 2.0

Memorization, Practicing, Teaching Piano

Thoughts on Memorization: A Skill Integral to Piano Playing?

Joy Morin

Last week was Spring Break from college for me!  My husband and I had a wonderful time visiting our families and spending time with them.  Our days were full doing all kinds of family activities — however, I did manage to keep an eye on my blog, especially the Forum Q&A about memorization that was posted last Tuesday.  Many of you left comments regarding whether or not you require memorized performances within your studio — but not many of you addressed my initial question about whether you consider the skill of memorization is essential to piano playing.  At first look, it appears to be essentially the same question…perhaps I could have phrased this a bit better?  In any case, today I’d like to delve in a little bit deeper into this question about the necessary or not so necessary skill of memorization.

To further clarify exactly what I’ve getting after here, a distinction must be made: There is a difference between memorizing and playing/performing by memory.  I will use these two terms distinctly in this blog post: memorizing refers to the process of memorizing a piece of music during practice with the intent of later playing by memory, while playing/performing by memory refers to actually playing the piece of music from beginning to end without consultation of the score.  This distinction is important because a teacher might, for example, consider memorization to be a necessary skill to develop in his/her students, but might be flexible in actually requiring students to play by memory during performances.

Let’s begin by listing some reasons why pianist might choose to perform by memory or choose not to perform by memory. Continue reading “Thoughts on Memorization: A Skill Integral to Piano Playing?” →

Questions, Teaching Piano

Forum Q&A | Teaching Adults Versus Children/Teens

Joy Morin

These week’s Forum Q&A was prompted by a comment by Kaylee on the facebook page.  Kaylee asked for advice about teaching an adult student who is older than she is.  If you have advice to offer, please visit the facebook page and leave a comment!

But for this Forum Q&A, we will focus on the general question about the differences between teaching adults versus children/teens:

What differences are there between teaching adult students and children/teens? What adjustments to your approach must be made when teaching adults?  What method books or repertoire do you like to use with adults students?

Contribute your thoughts in the comments below!

Photo Credit: klipsch_soundman | CC 2.0

Games, Group Classes, Music Camps, Printables, Teaching Piano

Printable Musical Dice

Joy Morin

Just added to the Printables > Other Resources page: Musical Dice!

This is one of the projects I was working on over Christmas break!  I’m happy to now have it finished and posted.  =)

Here’s what the PDF contains:

  1. Basic Accidentals (6-sided dice) | This die allows for three possible rolls: sharp, flat, and natural.
  2. Basic Intervals Unison-3rd (6-sided dice) | This die allows for three possible rolls: unison, second, and third.
  3. Intervals Unison-8va (8-sided dice) | This die allows for eight possible rolls: unison, 2nd, 3rd, 4th, 5th, 6th, 7th, and 8va. Continue reading “Printable Musical Dice” →
Reading Notation, Teaching Piano

Teaching Phrase: Look & Think Ahead

Joy Morin

A few months ago, I read an research article about sight-reading that stated that professional pianists read something like eight notes ahead at any given time while sight-reading (I wish I could cite the article, but I don’t remember where I found it – if anyone knows of it please tell me!).  The article, however, wasn’t very clear about what the “eight notes” referred to (harmonically? melodically?), especially since it seems that this would change depending on the texture, meter, and tempo.  Regardless, I found it interesting to consider how far ahead one can be looking and thinking ahead while reading in order to be better prepared for what is coming up.  (How many notes can YOU think ahead?)

Personally, I think reading is mostly about “chunking” – recognizing groups of notes as chords, patterns, and other groupings.  I do find, however, that students benefit greatly from being taught to “look ahead” or “think ahead.”

A young student of mine this week was playing a two-lined piece where the RH and LH move up an octave to echo what was stated in the previous two measures.  The first time she played the piece, she had to briefly pause to think and move her hands to the right place before going on.  She had been practicing this piece all week and I could tell she knew where her hands needed to go.  Nevertheless, the spot was catching her unaware.  Mentally, she wasn’t prepared for the octave move and therefore her hands weren’t ready on time either.  We talked about this, and we reasoned together that she needed to be thinking ahead in order to be ready on time.  After this, of course, she was able to play the piece fluidly.

Now the question may be, is it more effective to instruct students to “look ahead” or “think ahead?”  Any opinions?

Photo Credit: pfly | CC 2.0

improving as a teacher, Motivation, Teaching Piano

Teaching Tip: Engaging the Emotions

Joy Morin

I read something this week that mentioned in passing the benefit of engaging the emotions for learning.  This idea really stuck with me, and I haven’t stopped thinking about it since.  It makes perfect sense, but I just never thought about it much before.  I think this idea is worth some consideration.

Neurologically, humans learn best when their emotions are engaged.  Various research has been done that suggests the benefit of learning when the emotions are engaged (see “For Further Reading” below).  An effective speaker will appeal to the listeners’ emotions in order to affect and influence them to agree with the points made, support the viewpoint, and maybe even motivate them to do something about it.  Similarly, an effective teacher will connect with the students’ emotions to make the student interested in the topic and motivated to learn.  When the emotions are engaged, the learning moment becomes both meaningful and memorable.

The art of music is very close to the heart and the emotions.  We music teachers are very fortunate!  And yet, how often do we encounter students who seldom practice?  How about unmotivated students who quit after just a few years?  And how often do we hear completely unemotional performances?  These things do happen, unfortunately.  We can help prevent this from happening.  Perhaps through engaging the emotions we can help students connect with the music and be interested/motivated. Continue reading “Teaching Tip: Engaging the Emotions” →

Conferences, Group Classes, Music Camps, Reading Notation, Rhythm, Teaching Piano

2010 MMTA Conference (4): Functional Skills are Important by Martha Hilley

Joy Morin

What follows are the notes I took from a session with Martha Hilley at the 2010 Michigan Music Teachers Association conference.

FUNCTIONAL SKILLS ARE IMPORTANT TO EVERYONE ~ by Martha Hilley

“Functional skills” include skills such as harmonization, improvisation, transposition, rhythm, and theory.  There are many fun ways to incorporate functional skills into group/private settings.  Today we are going to try out some examples:

Rhythm Activities

Activity #1. Make up a series of patterns such as:

Tap   Clap    Tap    Clap
Tap   Clap  |___|  Clap
Tap  |___|   Tap   Clap
Tap  |___| |___| Clap

Put them on a transparency or write them on a whiteboard.  (The box is the quarter rest.)  Most students don’t have time for rests!  They want to keep going.  So give them something to do during the rests (e.g., saying “rest” aloud; or making some kind of movement during the rest).  This is a great activity for class piano or monthly group lessons. Continue reading “2010 MMTA Conference (4): Functional Skills are Important by Martha Hilley” →

Conferences, Group Classes, Music Camps, Teaching Piano

2010 MMTA Conference (2): Theory & Improv as the PB&J of Music, Part 2

Joy Morin

A continuation of the previous post……see Part 1 here.

THEORY & IMPROVISATION: THE PB&J OF MUSIC ~ by Martha Hilley

Activities Continued…..

5. Progression Based Improvisation

1) Show the student a progression such as:

A  |  D  |  A  | Bmin |  E  |  A  |  E  |  A  ||

2) Be sure the students thinks about the relationship between the chords.  Spell each chord together before playing.  Check how many chord tones are in common between each chord, and play the best inversion of the triads accordingly for good voice leading.

Side note: this activity is great to do with groups of students, away from the piano.  Try “playing” this progression moving to the closet inversions on your invisible lap piano.  =) Continue reading “2010 MMTA Conference (2): Theory & Improv as the PB&J of Music, Part 2” →

Conferences, Games, Group Classes, Music Camps, Rhythm, Teaching Piano

2010 MMTA Conference (1): Theory & Improv as the PB&J of Music, Part 1

Joy Morin

What follows are the notes I took from a session with Martha Hilley at the 2010 Michigan Music Teachers Association conference.  She shared with us a number of activities that can be incorporated in a variety of settings, whether it be the private lesson, class piano, or monthly group lessons (my summary is posted here with permission).

THEORY & IMPROVISATION: THE PB&J OF MUSIC ~ by Martha Hilley

Introduction

Do you have your students improvise?  Do you improvise?  The biggest reason teachers don’t improvise during the lesson with their students is the giant time factor: we often don’t want to take the time out of the lesson.  However, improvisation can be very effective even with beginners.

Activities:

1. Black Key Improvisation

Use improvisation even with young beginner students.  They often can play rhythms that they can’t yet read, so use improvisation as a way to teach rhythm and technique.  It frees them from the score.  Black key improvisation is especially great because there are no wrong notes!

1) Ask student to put 5 fingers on 5 black keys (any 5).

2) Teacher sets up an ostinato.  Student is instructed first to listen to the ostinato, and then play (immediately after, joining the teacher). Continue reading “2010 MMTA Conference (1): Theory & Improv as the PB&J of Music, Part 1” →

Announcements, Studio Business, Teaching Piano

A Peek into My Lesson Binder

Joy Morin

Today, I thought I’d share some pictures of my “lesson binder” that I use for keeping my teaching records/materials organized.  My current system is designed to be uber portable because I currently teach all my lessons on campus in a practice room.  When it’s time to teach, I grab my lesson binder from my office before greeting my student!

(click each picture to enlarge) Continue reading “A Peek into My Lesson Binder” →

Ear Training, Practicing, Reading Notation, repertoire / methods, Teaching Piano

Introducing Students to New Pieces

Joy Morin

The first look at a new piece is crucial.  As accomplished pianists/teachers, we automatically know to scan the piece to check the time signature, key signature, texture, composer, title, etc. before playing through a piece.  Of course, we were trained to go through those steps before sightreading through a piece.

Before having students sightread, what do you say/do with them to introduce a new piece?  I’d love to hear your ideas.

Here’s some things I’ve tried: Continue reading “Introducing Students to New Pieces” →