Color In My Piano

Fri 2013 July 26 @ 3:15 – Teaching Demonstration: Masterclass with Peter Mack.

The three students who played in this masterclass were winners of MTNA competitions. The first student, Katrina Jia, performed the Schumann Arabeske, Op. 18.

Dr. Mack first discussed how gesture is important for establishing the intended mood, even before playing a note. He demonstrated two different gestures for pieces he had in mind and asked the student to guess at the time period, composer, type of piece, and exact title of the piece. It was entertaining to hear the student guess each aspect nearly accurately, based on only the movement observed! The first was a Chopin Nocturne (the Eb major one) and the second was a movement from a Prokofiev sonata.

Then, he suggested that the student consider how to plan to play the theme each time it appears throughout the piece: it could perhaps have different voicing each time. In a piece where a theme is repeated, a teacher should be able to ask, “Play the theme the first time” or “Play the theme the third time” and hear each version. Variety is a wonderful thing. Your favorite food (ice cream) isn’t quite as good anymore after having it five days in a row!  Continue reading “NCKP 2013 (14) – Teaching Demonstration: Masterclass with Peter Mack” →

Fri 2013 July 26 @ 2:15pm – Teaching Piano Using the Dalcroze Method, by Seung-Ji Ryu.

Seung-Ji Ryu is the director of the Hansei Dalcroze Center and is Professor of piano pedagogy at Hansi University in Korea.

Dalcroze believed in connecting movement and music. He was influenced by Laban’s ideas about movement.

Ms. Ryu asked us to clap the rhythm of a melody. She encouraged us to clap musically, thinking about the relationship between time-space-energy.

Dalcroze worked with Clareid, a psychologist, to realize that students focus better with games.

Example of a game used in eurhythmics classes: As the teacher improvises using a simple tune such as “Are You Sleeping?” students listen carefully and respond. When students hear high sounds, they must clap along and when they hear low sounds, they must stamp their feet. Continue reading “NCKP 2013 (13) – Teaching Piano Using the Dalcroze Method, by Seung-Ji Ryu.” →

Fri 2013 July 26 – PEDx3 Sessions

Session #1 – Opening Recital; then “Pirates and the Importance of ‘Lisztening,'” by Jarrod Radnich.

Mr. Radnich began by performing a few of his arrangements and compositions, including the Harry Potter “Hedwig’s Theme,” a beautiful new Christmas arrangement of “God Rest Ye Merry Gentlemen,” his signature arrangement of the “Pirates at the Caribbean” theme (of course!), and “Don’t Stop Believin'”. Mr Radnich is obviously a very talented composer/arranger – his music is so pianistic, yet orchestral.

Then, Mr. Radnich began his presentation. Mr. Radnich’s philosophy is that students can play difficult repertoire if they are inspired. He showed a video example from a young boy on YouTube who hated piano practice and then became greatly inspired by Mr. Radnich’s YouTube video of “Pirates.” Next, he showed a series of similar videos by other students who became similarly inspired and motivated. Continue reading “NCKP 2013 (12) – PEDx3 Sessions” →

Th 2013 July 25 – Teaching Demonstration: Magic Not Required! How Planning and Persistence Produce Young Pianists, by Catharine Lysinger and featuring 6th grade student Natalie Grimes and mother Rhonda.

Broad Teaching Goals:
– To become nearly dispensable.
– Empower students to learn effectively.
– Build confidence for preparation and performance. Frequent performance allows this.

Long term goals include technique and theory through the Texas MTA programs. Repertoire is learned from various periods and performed.  Events: Monthly performance classes (by memory), recitals twice a year, theory exam, festivals.

Continue reading “NCKP 2013 (11) – Teaching Demonstration: Magic Not Required! By Catharine Lysinger” →

Th 2013 July 25 @ 2:15
Beyond Mozart, Schubert, and Brahms: Forgotten Gems for Piano 4-Hands, by Steven Harlos with Laura Melton, Carolyn True, and Bradley Beckman

After Mozart and his contemporaries, composers began producing a tidal wave of piano duet compositions. It was a fantastic pastime of amateur pianists.

The program of lesser known piano duets included:

Mvt 1 from Sonata in G, Op. 23, by Woldemar Bargiel
Scherzo in E minor, Op. 91 No. 1, by Philipp Scharwenka
Mvt 3 and 4 from “Silhouetten,” Op. 62, by Adolf Jensen
Sonata in D major, by Gaetano Donizetti
Mvt 1 from “Traumbilden,” Op. 48 Heft I, by Robert Fuchs
Mvt 3 and 4 from “Neue Ungarische Tanze,” Heft II, by Heinrich Hofmann

Th 2013 July 25 @ 11:15
A Teacher’s Companion for All Methods, by Craig Sale and Judith Jain

This session was all about the essential role of preparation. Most method books do a great job with presentation, but not necessarily with preparation. Often, we as teachers end up being “turn the page and see what is next” teachers.” This session will discuss how we can easily prepare students for new concepts.

If we teach how children learn best, we will not encounter missing knowledge in students later. How students learn best through concrete experiences through the senses. We begin with the sound, proceed to the feel, then the sign, an lastly the name. Aural, kinesthetic, and then visual. Always proceed from the “known” to the “unknown.”

Mr. Sale demonstrated this with a student by playing two different kinds of sounds (legato and staccato) and asking the student to describe what they heard. Then, they experienced making those sounds, seeing the symbol, and then learning the name.
Continue reading “NCKP 2013 (9) – A Teacher’s Companion for All Methods, by Craig Sale and Judith Jain” →

Th 2013 July 25 @ 10am – Panel Discussion: A Conversion with Pedagogy Leaders from Around the World, moderated by Andrew Hisey.

Panel members included Elissa Milne, Gulimina Mahamuti, Ratko Delorko, Irina Voro, Seung-Ji Ryu, Janet Lopinski, Claudia Deltragia, and one other speaker from Argentina (who was not listed in the program).

What is the status of pedagogy around the world?

Australia is an exam culture – students and parents expect to take exams. When the exam board makes a change, teachers pay attention. The board recently made some changes to promote contemporary music, so teachers are using a lot of contemporary music. Australia is moving to a repertoire rich teaching approach rather than teaching only competition pieces all year. Australia is a country of innovators and they don’t respect authority very much.
Continue reading “NCKP 2013 (8) – Panel Discussion with Pedagogy Leaders from Around the World” →

Thursday, 2013 July 25 – Keynote Address: Franz Liszt as the Culteral Ambassador of the 19th Century, by Alan Walker

Franz Liszt was a pianist, composer, organizer of events, and also cultural ambassador for his country. As a pianist, he created the recital. As a conductor, he create a series of gestures and body movements still used today. As a teacher, he created the master class. As a composer, he created new forms. And he truly was an ambassador of his time.

Being an ambassador is not easy. An ambassador is someone who thinks twice before saying nothing!

If he had not been a musician, Liszt could have been the first diplomat of Europe. Continue reading “NCKP 2013 (7) – Keynote Address: Franz Liszt as the Culteral Ambassador of the 19th Century, by Alan Walker” →

Wednesday – Holistic Learning: Integrating the Mind, Body, and Spirit of the Music you are Teaching or Learning, by Immanuela Gruenberg

We all are efficient in practice when there is a deadline looming. How can we be that efficient all the time?

Holistic learning means treating the mind, body, and spirit as interdependent even from the beginning.

Most Common Mistakes:

#1. Students learn from the bottom up – from the details first instead of the big picture. That means you don’t know where you are going. You must need to know the clear goal in order to make a specific plan. Continue reading “NCKP 2013 (6) – Holistic Learning by Immanuela Gruenberg” →

Wednesday – The Technique Behind Intermediate Repertoire: Laying the Groundwork, Nancy Bachus

Nancy Bachus covered a variety of technique concepts and how to teach them in her session.

Physical Aspects of Technique:
Position of the body – shoulders down and relaxed; Forearms level with the keyboard, Feet flat and planted.

Hands and fingers – natural curve, strong nail joint (Schnabel quote). Lay arm flat, bring the fingers back. Hang fingers on edge of wood before keyboard.

Hand needs an arch. It connects the fingers with the thumb.
Continue reading “NCKP 2013 (5) – The Technique Behind Intermediate Repertoire, by Nancy Bachus” →

Wednesday – Developing a Curriculum for the Intermediate Transfer Student by Jane Magrath

There is so much to choose from – How do we choose curriculum?

“Curriculum” comes from the Latin for “a course for racing.”

Objectives:
Teach what you know. If you don’t do jazz, let the student get a jazz teacher!
We can’t do everything at once. Start with what you teach well.
The idea of leveling is so important. The levels are just a frame of reference – not a definite order.

Finding a student level:
Step 1: Ask the student to sight read only one or two lines of three pieces from a leveled literature series. Help the student find the tempo and counting at the beginning. Test the student by switching books to other levels and evaluate. Find the student’s sight reading level.
Step 2: Assign literature for study that is about 2 levels higher than their reading level.
Continue reading “NCKP 2013 (4) – Developing a Curriculum for the Intermediate Transfer Student, by Jane Magrath” →

Wednesday – Conducting the Transfer Student Interview
Panel discussion with Linda Fields, Immanuela Gruenberg, David Husser, Gail Lew, Elissa Milne, and Arlene Steffen

Could the interview be this simple as two questions: Whise idea was this, and will you practice every day?

Types of transfer students: Those who are moving geographically; becoming dissatisfied with the current teaching; the teacher retires or passes away; or student takes a break for a number of months/years and wishes to begin again.

An interview involves meeting the student and the parent, and for them to try things out with the teacher as well. The “interview” is an awfully formal term – an “exploration” is perhaps a better word. Observe the interaction between student and parent.

How do you use the time during the interview? Before the interview, try to collect the information you can. Try to talk to the student and parent. Have the student play and sight read. Evaluate in potential of younger students – such as their ears or senses of rhythm. With older students, you evaluate knowledge, motivation, and playing. Observe student’s body in interaction with the instrument. Teachers should also observe visual processing, aural processing, etc. Test reading skills and aural abilities.
Continue reading “NCKP 2013 (3) – Conducting the Transfer Student Interview” →