Category: Teaching Piano

Early Childhood Music, Group Classes, improving as a teacher, Music Camps, Rhythm, Teaching Piano

Teaching 2-Against-3 Using Movement

Joy Morin

In answer to a question a received last week, I thought I’d talk a little bit more about teaching 2 against 3, as I had mentioned in a post about teaching music through movement.

To tell you the truth, I have not needed to teach 2 against 3 very often so far, and when I have, it’s been in private piano lesson settings.  In the past, I’ve used a purely theoretical approach (similar to the method described in this article and this article) to teaching the concept, using tapping of the RH and LH, and have been only mildly successful.

However, I have experienced another method that works.  During my undergrad, I took a Dalcroze Eurhythmics course, and we went over a number of different meter and rhythm concepts, including the issue of 2 against 3.  Although I already understood the concept of 2 against 3 prior to that class, it was quite revealing to look at it from the perspective of movement.   Continue reading “Teaching 2-Against-3 Using Movement” →

Announcements, improving as a teacher, Printables, Teaching Piano, Technology

Celebrating One Year!

Joy Morin

After browsing through the colorinmypiano.com archives and — alas! — it seems that we’ve missed our own anniversary!

Here’s a rundown of the history of the colorinmypiano.com blog:

  • It was on February 28, 2009 that I first conceived of this blog and wrote my first post: a welcome and brief statement of purpose.  I found my inspiration largely from Natalie Wickham’s Music Matters Blog and Susan Paradis’ Piano Teacher Resources.  My blog was initially a free wordpress blog, titled “Piano Teaching Blog” (or something similar).  At this point, I was running a successful piano studio of about 20 students out of my parent’s home, and finishing up my Bachelor’s degree in piano performance.
  • In May of 2009, I graduated with my Bachelor’s degree.  Over the summer, my husband and I moved so we could attend graduate school the next year.  Unfortunately, this meant I had to “give away” all my piano students and find new ones.  =)
  • On July 9, 2009, I decided that I was enjoying blogging enough to go full swing: I came up with the title “Color In My Piano,” bought my own domain name and a year’s worth of web hosting, and gave the site a whole new look. Continue reading “Celebrating One Year!” →
Games, Group Classes, Music Camps, Music Theory, Printables, Teaching Piano

Just Added: Board Game “Adventures in Music”

Joy Morin

Just added to the Printables page: a free piano-bench-sized board game for music students, called “Adventures in Music”!

DSC_20130323_120222

I am so thrilled to be offering this game on my website.  This is my first attempt at creating a music game for students, and I’m quite excited about the results.

Continue reading “Just Added: Board Game “Adventures in Music”” →

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, 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, 17,380 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)
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)

Announcements, Motivation, Resources, Teaching Piano

Using Adjectives to Capture the Imagination

Joy Morin

One of the ideas I’ve been exploring extensively throughout the research I’m doing for my paper for college (the one about improvisation) is making music musical.  This seems so obvious, but really, what would music be without musicality?  Check out this video, of a robot playing the violin.

Speaking of which, have you ever had students who played like robots?  ***raises hand timidly***  Yep, I have too.  This is what music would be like without musicality.

What started me thinking of robots, and music, and robotic students, you may ask?  Well, I came across a lovely resource over at The Piano Pedagogy Page — a handy list of adjectives.

It may seem that a list of adjectives may be more fitting for use in an English class.  Maybe.  But it may also be helpful in the piano lesson, in helping those certain robotic-like students get “beyond the notes.”  Shoot, it might even be good reminder for me from time to time!  It’s easy to fall into the trap of being overly concerning with the technique, and fail to think about what I consider to be the ultimate goal of music: to communicate expression.  Music is meant to  reach out and speak to people, at one level or another.

It’s so important to be teaching students musicality at an early age.  It makes lessons so much more exciting, anyway.  We are not trying to create little robots who can push the right buttons (i.e., the keys on the piano) at the right time, but creating little music makers.

Announcements, Composition, Teaching Piano

Creativity in the Piano Lesson | Part 1 of the series

Joy Morin

I’ve been reading a lot about improvisation (non-jazz, particularly) and creativity in the piano lesson lately, as I’ve been working on a paper for my Into to Music Research class for college.  It’s interesting to me how today there seems to be a trend for exact, literal performances of composers’ works.  It was not always this way; in the Romantic Era, pianists would freely change composer’s works when they performed them in concert.  They would often be completely unrecognizable from the original!  But that was what the audience members came to hear: that pianist’s version of Beethoven, Bach, or whatever. Continue reading “Creativity in the Piano Lesson | Part 1 of the series” →

improving as a teacher, Practicing, Teaching Piano

Highlights from Michigan Music Teachers Conference 2009

Joy Morin

This past weekend was the Michigan Music Teachers Association 124th State Conference, taking place in Bay City, Michigan.  A couple of my fellow college piano pedagogy majors and I drove over to Bay City on Monday, to hear the conferences of the day.  Conferences are so great because they give you all sorts of new ideas and get you re-inspired!  Here are some highlights:

  • We had the privilege of hearing Jane Magrath present two sessions about piano teaching.  I can’t even express how fabulous her presentations were.  But here’s the biggest thing I took away from her presentations: when introducing a new piece to a student (say, intermediate level), guide the student through some steps towards analyzing the piece.  Example: “Let’s find some ways that will make learning this piece a little easier. Do you see any patterns in this piece?”  By identifying and labeling various rhythmic and melodic themes, the student can understand the piece at a greater depth and play with more understanding.  In addition, the piece suddenly becomes much less daunting.
  • Derek Polischuk gave a presentation about utilizing “Audio and Video Technology in the Studio to Provide Student Feedback.”  He uses the webcam on his MacBook computer to record during student lessons and post them onto YouTube in such a way that the student can login to this private area and view the movies.  Doing so is a great teaching tool and greatly motivates students.  After all, this is a day and age where kids understand technology so much better.  You can find his blog here, where he regularly posts various student videos, including projects by his college-level piano pedagogy students.
  • David Abbott spoke to us about “Beethoven through the Romantics: Pedaling and Issues of Interpretation,” highlighting some examples of places where the composer’s pedal markings are frequently not followed by pianists (qualified by the fact that our pianos today are so much different than back then). Abbott made the argument that we should be more true to the composer’s markings, for they might be indicating exactly the aural effect they were seeking to create.

What fun!  I am already looking forward to next year.  =)

Printables, Teaching Piano

Just Added! Flashcards: Naming Notes (Middle C Position)

Joy Morin

Just added to the Printables > Other Resources page:

Flashcards: Naming Notes (Middle C Position)

There are two pages in this file:

  • Page 1: Contains 10 flashcards for reinforcing the notes of the Middle C position (i.e., Bass F through Treble G).
  • Page 2: Contains the “answers” to the note name flashcards, to be printed onto the backside of Page 1.

This set of flashcards is designed for the absolute beginner piano student.  They are pretty self-explanatory.  You can either ask the student to name the note they see on the flashcard, or ask them to play it on the piano, or both.  Enjoy!

Printables, Teaching Piano

Just Added! Flashcards: Melodic Patterns 1 & 2

Joy Morin

Just added to the Printables > Other Resources page:

  • Flashcards: Melodic Patterns 1 & 2

These flashcards (pictured at right) are my absolute favorite.  They have a variety of uses, mainly for beginner piano students:

  1. For beginner students who understand quarter and half note rhythms: Ask the student to simply clap the rhythm they see.
  2. For beginner students who are learning to read pre-staff notation: Ask the student to play on the piano the pattern of notes they see on the flashcard.  You will need to show the beginner which note to start on, and which finger they should use.  (e.g., “Play this pattern, beginning on E with finger 3.” )  This activity helps beginners build the ability to read whether melodic steps are moving upwards or downwards.
  3. For students who are familiar with major 5-finger patterns: Ask the student to play on the piano the pattern of notes they see on the flashcard, but specify a particular key you’d like them to play in.  You may need to tell them what their first note will be.  (e.g., “Play this pattern in the key of A Major.  Your first note will be C#.” )   Then ask them to transpose the pattern to a number of other keys.  (e.g., “Now try playing the same pattern in the key of D minor.” )

Let us know if you find other creative ways to use the Melodic Patterns flashcards!   =]