Tag: piano

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” →

Practicing, Technique

Teaching Phrase: “Pretend It’s Easy”

Joy Morin

Lately, I’ve trying out this phrase with my students, in situations when a student is struggling with the technique of playing a particular passage:

“Pretend this is really easy for you to play.”

This phrase works best in a situation where the teacher observes that the student is holding far too much tension in his/her arms, wrists, and/or fingers to be able to properly execute a passage.  Rather then hearing a command to release some of the excess tension, however, sometimes hearing a phrase such as “Pretend it’s really easy for you,” has a better effect on the student.

What’s supposed to happen when you pretend it’s easy?

  1. A mental release occurs. Suddenly, the student gives him/her-self the permission to play the passage correctly. When we know (or think) it is a difficult passage, sometimes we don’t allow ourselves even the chance to play it correctly because we don’t think we can.
  2. A physical release occurs.  As the student imagines what it would feel like to play the daunting passage if it were easy for him/her, unnecessary tension in the student’s arms, wrists, and fingers melts away.  This release of tension often makes the passage suddenly much easier to play.

Try it, and let me know what you think!

Photo Credit: alexanderward12 | CC 2.0

Memorization, Music Theory, Practicing, Technique

Top 5 Reasons to Learn Scales

Joy Morin
an excerpt from Kuhlau Sonatina Op.20 No.1

Why do we learn and practice scales?  Have you (or your students) ever asked this question?  Is it just for tradition’s sake that piano teachers assign scales to work on?  I think it’s important not only for we teachers to know the WHY behind scales, but also for our students to know!   Continue reading “Top 5 Reasons to Learn Scales” →

Resources, Studio Business

Studio Business: Making a Memorable Impression

Joy Morin

Last week, I came across a very interesting article about how your business cards are a representation of your business.  The article features a number of examples of memorable and creative business cards, including the “piano repair” business cards pictured on the right.

Click here to read the article for yourself: 15+ Business Cards Visualizing the Business.

This article got me thinking:

  • How can I make my business cards (and other studio handouts/materials) more memorable?
  • What other ways could I be using my studio “brand name?”
  • How do my studio business cards and other materials represent my business?  What image are they giving to my parents and students?
Stepping up your business

Stepping up unlocks significant opportunities to scale your business, but it can also mean stepping into areas that you are not used to, and this means that you may need to get professional help. From looking to hire your first team members to preparing your business to export for the first time, there can be plenty of new experiences that lay ahead for founders that are stepping up.

Food for thought!  =)

Music Theory, Printables, Worksheets

Just Added: Five-Finger Pattern (b’s) Review

Joy Morin

Just added to the page of free Printables:

Five-Finger Pattern Review (b’s) worksheet

This worksheet is intended as a review of all the major five-finger patterns (5FPs) with flats; however, using the “WWHW” pattern template, students can easily figure out any 5FPs that they might not already be familiar with.  This worksheet will help students become more familiar with the accidentals needed for each FFP and what each FFP looks like when played on the keyboard.

A worksheet such as this works well in group lessons, or as an extra theory assignment for the private lesson.

To download, visit the Printables > Worksheets page and scroll down the F’s for the “Five-Finger Pattern Review worksheet.”

This worksheet corresponds to previously posted Five-Finger Pattern Review worksheet for FFPs with #’s.

Uncategorized

Advice for Teachers Seeking to Professionalize their Studios

Joy Morin

This week, I received an friendly email from a piano teacher in Texas who is looking for ways to professionalize her studio.  I already sent her a reply via email but I was thinking that you readers may have some suggestions and advice for her too — so here are some of her questions!

  • Do I need a business license?
  • Should I maintain a webpage and how do I do that?
  • Is what I have (20 students) enough to call it a studio?
  • How do I know if I am charging enough?
  • How do I find a place for a recital that doesn’t cost much?

So please – share!  What advice do you have for this teacher?

Photo credit: th0mi | CC 2.0

Music Theory, Printables, Worksheets

Just Added: Five-Finger Pattern Review (#’s)

Joy Morin

Just added to the page of free Printables:

Five-Finger Pattern Review (#’s) worksheet

This worksheet is intended as a review of all the major five-finger patterns (5FPs) with sharps; however, using the “WWHW” pattern template, students can easily figure out any 5FPs that they might not already be familiar with.  This worksheet will help students become more familiar with the accidentals needed for each FFP and what each FFP looks like when played on the keyboard.

A worksheet such as this works well in group lessons, or as an extra theory assignment for the private lesson.

Look for corresponding the Five-Finger Pattern Review worksheet for FFPs with b’s coming soon!

Performances

Leave It Behind and Just Play

Joy Morin

What happens when you have to give a performance but your mind is preoccupied with all sorts of crazy stuff going on in your life?

In working with a vocalist whom I accompany for this week, we had a conversation about the necessity of leaving life’s problems outside the performance hall.  Of course, it’s easier said than done!

Preoccupation and the Piano Lesson

The same kind of issue can arise in the piano lesson too.  Students sometimes come distracted to the lesson and have difficulty focusing on playing their pieces and learning what is being taught.

I’m not talking about when the student won’t sit still or is distracting by other objects in the room; I’m talking about when the student’s mind seems to be deeply preoccupied with other things.  It’s tough as piano teacher: we often don’t know what is going on in the student’s life at school or at home.   Continue reading “Leave It Behind and Just Play” →

Announcements, Music Theory

Rallentando & Ritardando: What’s the Difference?

Joy Morin

Ever wonder about the difference between rallentando and ritardando?  Well, I did….so I decided to look into it and add my two cents to the debate.  =)

According to the Music Dictionaries…

Many musical dictionaries simply state, “slowing down” as the definition for both rallentando and ritardando.  Some state that the two words are synonyms.  However, I would still like to think there is some slight difference in meaning or emphasis between the two words.  After all, they are two different words in the Italian language.   And composers have been making use of both words in their compositions for centuries.  So I decided to do a little more digging. Continue reading “Rallentando & Ritardando: What’s the Difference?” →

Performances

Interpretation & Staying True to the Score

Joy Morin

What difference does it make how closely you follow the markings in the score?

Listen to these two recordings and see what you think!

This is a concert etude by Franz Liszt entitled, Waldesrauschen (meaning, Voices in the Woods).

httpv://www.youtube.com/watch?v=pENsficQ81k

httpv://www.youtube.com/watch?v=teFMIzxET3w

The first version is played by Josef Hofmann and the second is by Claudio Arrau.

While both versions are obviously incredibly virtuosic and impressive performances, I personally prefer the second version over the first.  And not just because it’s a slower speed.  But it strikes me as more expressive.  There’s more rubato and Romanticism.  I think I can actually hear the “voices in the woods.”

I would also like to point out however, how you can truly hear the markings in the score in the second interpretation.  For example, the LH melody in the opening 15 seconds of the piece contains a couple of phrases that each contain a note with a tenuto.  Can you guess which note of each phrase has the tenuto, without consulting the score?

Another example, during one of the tumultuous middle sections, there are two crescendos marked in two consecutive measures (2:35 in the first YouTube video; 2:30 in the second).  Arrau truly takes the time to make these come out.

Occasionally, I will have a student who thinks they are doing the dynamics, but in actuality it all kind of sounds the same.  I mean, you can sort of tell they are doing them, but not really enough to notice.  And so I ask my students: “Do you think an audience member who has never seen the score would be able to tell you what the dynamic markings are, just based on what they are hearing? You have to really exaggerate the differences in order to make them noticeable.”

Anyway, I think it’s really fascinating to listen to various interpretations of the same piece – to get inspired to create my own personal interpretation!

Announcements, Technique

Tension and Piano Playing

Joy Morin

Just recently, I’ve realized that when I play piano, I hold a “knot” of tension in my back, in the space between my shoulder blades.  Upon this realization, I have begun making a conscious effort to release this tension while I am practicing – which I have to do constantly.  It’s obviously a bad habit that I’ve been unaware for a long time!

Interestingly enough, it seems to be related to another issue which I’ve been aware of since my freshman year of college: I tend to raise my right shoulder when I play, especially in anticipation of difficult passages in a piece.  Raising my shoulder, however, actually hinders my arms/fingers in those difficult passages rather than helping.  I have to remind myself not to “freak out” in anticipation of those upcoming passages so that I keep my shoulder comfortably in place.

Now that I am focusing on releasing the newly-discovered tension in my back, however, I have found that the shoulder problem is occurring less.  It seems that I may have found the root of the issue!  My back feels better, which means my shoulders are feeling better, which in turn means my arms and wrists are feeling better.  And difficult passages are going much better than ever before, which is amazing to me!

Do you deal with tension when you play?  Have you been able to identify the root of the problem?  I am very interested in hearing more about how to prevent/deal with tension!

Photo Credit: Phineas H | CC 2.0