Tag: technique

Technique

Teaching Tip: Leaping Across on the Keyboard

Joy Morin

blog Teaching Tip - Leaping Across the KeyboardEven from the beginning, the pieces in most modern piano method books require the student to move around the keyboard quite a bit.  Older piano methods (at least, the ones that utilize the Middle C reading approach) require the student to stay around the middle of the piano during the entire first level, or even further in some cases.  I’m glad modern methods require the student to move around the keyboard, because this because it helps student become familiar and comfortable with the whole keyboard from day one instead of inadvertently teaching the student that anything away from the middle of the piano is “hard.”

I’ve had parents notice and comment on this difference between older and newer methods.  They are surprised when their student needs to use the whole keyboard at their first lesson, because when they took lessons as a child, they remember playing around Middle C and never venturing to the extreme ends of the keyboard.

As an example:  The first four pieces in the Primer Level of the Faber Lesson Book require the student to play a simple pattern on the black key group of 2 or 3, and then to repeat the pattern twice, moving up an octave each time.  Other pieces throughout the series require students to play notes up or down an octave, especially at the end of the piece.  Other method books take a similar approach.

Often, to the student, making those leaps across the piano is the most challenging aspect of a piece.  They sometimes need to stop to think about where their hand needs to go.  Even if they know where their hand needs to go, they still might take some extra time searching the keyboard with their fingers to put the correct finger on the correct key.  This, of course, disrupts the rhythm of the piece.

How can we help students solve this problem? Continue reading “Teaching Tip: Leaping Across on the Keyboard” →

Technique

Teaching 5-Finger Patterns (with a Free Worksheet)

Joy Morin

5FP imageEvery teacher approaches technique exercises a little bit differently.  I usually start teaching students 5-finger patterns (aka pentascales) during the first month or two of study.  I start by assigning the C Major 5-finger pattern (5FP) and sometimes G Major along with it.  Every week or every-other-week, I add a new 5FP to their list, following the Circle of 5ths.

Personally, I don’t teach the theory behind the major 5FP’s until a little bit later (i.e., the pattern of whole and half steps: WWHW).  To introduce each 5FP, I let the student figure out what black keys are needed — using their ear.  I say: “Today we are going to add the D 5-finger pattern.  There is a black key in this 5FP.  Do you think you can figure out where the black key needs to be?”  The student first plays the 5FP with all white keys, and we discuss that it doesn’t sound right — it doesn’t match the sound of the C and G 5FPs.  The student then uses his/her ear and trial-and-error to discover that the 3rd note should be a black key.  Now it matches!  Leading the student through this kind of discovery makes the learning moment memorable.

The beauty of this approach also is that the student inherently learns the concept of transposition through this moment!  The concept of being “in a key” and the concept of transposition between keys is such an integral part of the way music works, but is so often it is neglected until students begin playing scales and learning key signatures.  However, after learning just two or three 5FPs, the teacher can easily ask the student to play a few familiar folk tunes by ear in different keys.  (See my printable from a couple years back, “Melodies to Play by Ear and Harmonize.”)  The student will understand that depending on what note the tune begins, they will need certain black keys in order for the tune to sound “right.”   Continue reading “Teaching 5-Finger Patterns (with a Free Worksheet)” →

Conferences, Technique

OhioMTA 2012 Conference (5): A Strong & Versatile Technique Within Your Student’s Grasp, by Carol Leone

Joy Morin

The next session I attended was Dr. Pete Jutras’ presentation, “The Future of Pedagogy.”  I heard him give this presentation about a year ago at the NCKP – click here to read my notes.

After that, Dr. Carol Leone talked about “A Strong and Versatile Technique Within Your Student’s Grasp.”  I loved the way she broke down different aspects of technique into such simple, understandable terms!

She began her presentation by reminding us that technique should always be approached in the context of discussing sound and expression.  Rather than asking, “Given the movements I make, which sounds would result?” instead we should ask, “Given a desired sound concept, how should I move?”  The sound is our goal, and the ear is our guide.  The opposite (over-analyzation of our movements) often results in discomfort and non-musical playing.

Next, Dr. Leone discussed the various movements made by each part of the body, and in some cases gave us some simple exercises we could use with our students. Here are just a few of the things she talked about:

Fingers

  • Building the bridge – This is a coordination thing, not a strenghth thing.  Have students make a bird beak with their hand.
  • Avoiding finger “dents” — have students look for the “three bumps” of their knuckles.

Continue reading “OhioMTA 2012 Conference (5): A Strong & Versatile Technique Within Your Student’s Grasp, by Carol Leone” →

Conferences, Technique

OhioMTA 2012 Conference (4): Reduced Sized Keyboards, by Carol Leone & David Steinbuhler

Joy Morin

The next session of the OhioMTA conference that I attended was an absolutely fascinating session given by Dr. Carol Leone and David Steinbuhler, entitled: “Increasing Performance Potential: The Reduced Sized Piano Keyboard.”  I had heard of reduced sized keyboards before, but never really understood the reasoning behind it or the advantages.  I was so intrigued by what I learned!  Read on.

Dr. Leone began by discussed hand sizes.  When you think about it, the piano is an instrument designed for those with large hands.  100% of children across the globe are playing pianos that don’t fit their hands.  (For violin, there are 1/2 and 3/4-sized instruments for children.  For piano, we are one-size-fits-all.)

The piano did not always have the same key size that is standard today.  The harpsichord has much smaller keys, as do many fortepianos.  They also had a much lighter action.

Injuries at the piano are at an all-time high, largely because of the demands of Romantic/Modern/Contemporary repertoire (large chords, octaves, etc.).  Pianists with small hands are limited in the repertoire they can play, and are injured much more frequently than those with medium or large hands.  Most of the pianists with small hands are probably women — their hand size is on average 15% smaller then male hands.  It is not an exaggeration to say that only about 10% of hands actually fit to the conventional keyboard.   Continue reading “OhioMTA 2012 Conference (4): Reduced Sized Keyboards, by Carol Leone & David Steinbuhler” →

Conferences, Technique, Technology

OhioMTA 2012 Conference (2): Music Performance and Biofeedback, by Kathleen Riley

Joy Morin

The next session was called: Understanding the Physiology of Music Performance Through Biofeedback, by Kathleen Riley.

Kathleen Riley is a pioneer in using technology she refers to as “biofeedback” to monitor movement and muscles in order to help musicians eliminate pain, tension, or discomfort in their shoulders, arms, backs, etc.  She began her session with a quote:

“Technique is the knowledge o the most economical way to produce adequately what the mind conceives artistically.”  – E. Robert Schmitz, from the 1935 book The Capture of Inspiration.

Dr. Riley discussed relaxation and the music — and the fact that although no muscle is ever completely relaxed, there is a resting point.  She discussed that we need to examine how much tension we really need when we play.  How can we release unneeded tension and follow-through on our movements?   Continue reading “OhioMTA 2012 Conference (2): Music Performance and Biofeedback, by Kathleen Riley” →

Conferences, Technique

OhioMTA 2012 Conference (1): Experiential Anatomy by Lynn Singleton

Joy Morin

Over the weekend, I attended the 2012 OhioMTA Conference in Columbus, Ohio.  It was a great conference, far exceeding my (already high) expectations!  We heard some top-notch presenters and performers and I learned so much.  I plan to briefly summarize some of the sessions for you over the next few days!

The theme of the conference was “The Healthy Musician: Teaching, Performing, Living.”  Here is some info about the first session I attended.

Experiential Anatomy: Using Mind-Body Methods To Increase Awareness for Injury Prevention, Rehabilitation, and Overall Wellness in Musicians, by Lynn Singleton, NCTM.

Lynn began by sharing her own experience with feeling discomfort at the piano, and how she was able to solve her problems away from the piano.  Injury prevention and overall wellness requires a willingness to take self-responsibility.  Our body at the instrument can only be as good as our body away from our instrument!

Lynn discussed the advantages of “experiential anatomy,” which is basically about increasing body awareness so that we can more correctly use our bodies.  Tension arises from many sources: emotional/mental (like stress, fear, lack of self-esteem), physical (habitual movements, injury, compensation for pain), and social/environmental sources (posture in the work environment while using things like computers, cell phones, etc.).  Mind-Body Methods can help us get past obstacles and improve kinesthetic sense.  Continue reading “OhioMTA 2012 Conference (1): Experiential Anatomy by Lynn Singleton” →

Announcements, Games, Group Classes, Music Theory, Resources, Teaching Piano, Technique

Recent Purchases: Scale Blocks & A Technique Monkey

Joy Morin

I don’t know about you, but I’m always on the lookout for creative and inexpensive items for my teaching.  The dollar store is one of my favorite places to go!

In the craft aisle at Dollar Tree right now, there are packages of foam cubes, as shown in the picture.  I’ve always wanted to make scale blocks like Natalie Wickham’s, but have never got around to buying the wood blocks and paint.  These foam cubes seem like a pretty good alternative, although they may not last as long I suppose.  On the upside, it doesn’t take long to write the alphabet letters on these little cubes with a marker!  I am going to go back to buy a couple more packages, so I can make a nice set of scale blocks using the orange colored cubes.   Continue reading “Recent Purchases: Scale Blocks & A Technique Monkey” →

Music Theory, Practicing, Printables, Teaching Piano, Technique

Just Updated: Scale & Arpeggio Fingering (2 Octaves) Reference Sheet

Joy Morin

Some of you may remember the Scale & Arpeggio Fingering reference sheet I posted in December of 2010. About a month ago, a friendly reader made some very helpful suggestions for improvement, and so I spent quite a bit of time revising the printable. It’s called “Scale and Arpeggio Fingering for Piano (2 Octaves)” and you can find it on the Printables > Other Resources page.

I originally created this printable with my intermediate/advanced students in mind who are working on 2- and 4- octave scales/arpeggios and have trouble keeping all their fingerings straight in their head once they start getting them under their fingers. It’s nice to have a guide tucked inside the front cover of a book to refer to now and then!

The document contains three pages:

Page 1: Rules and tricks for remembering scale and arpeggio fingerings (as shown on the right).

Page 2: A listing of the fingerings for each Major and Harmonic Minor scale/arpeggio (2-octave) for piano.

Page 3: A continuation of page 2.

Of course, there are a few different ways to finger scales and arpeggios, so I’m sorry if the fingerings listed in this printable do not correspond with the ones you prefer to teach your students. These are the ones I like to use, and I thought I’d share it with anyone who might happen to find it useful.

If anyone else finds typos or inconsistencies, please let me know! I did my best to proof-read the fingerings, but it is certainly possible that I still may have missed something!

  Scale and Arpeggio Fingerings (2 Octaves) Reference Sheet (86.0 KiB, 144,336 hits)

Practicing, Printables, Technique

Just Added: Scale and Arpeggio Fingering (2 Octaves) Reference Sheet

Joy Morin

It’s been a few weeks since I’ve added a new printable to the Printables page….so here’s one I created a couple of months ago.  You can find it on the Printables > Other Resources page.

Scale and Arpeggio Fingering (2 Octaves) Reference Sheet (3 pages long)

I created this printable with my intermediate/advanced students in mind who are working on 2- and 4- octave scales/arpeggios and have trouble keeping all their fingerings straight in their head once they start getting them under their fingers.  It’s nice to have a guide tucked inside the front cover of a book to refer to now and then!

The document contains three pages:

Page 1: Rules and tricks for remembering scale and arpeggio fingerings (as shown on the right).

Page 2: A listing of the fingerings for each Major and Harmonic Minor scale/arpeggio (2-octave) for piano.

Page 3: A continuation of page 2.

Of course, there are a few different ways to finger scales and arpeggios, so I’m sorry if the fingerings listed in this printable do not correspond with the ones you prefer to teach your students.  These are the ones I like to use, and I thought I’d share it with anyone who might happen to find it useful.

I did my best to proof-read the fingerings, but it is certainly possible that I may have missed something….so if you encounter something that seems sketchy, please let me know!

Practicing, Technique

Practice Tips: Bringing out the Melody

Joy Morin

About a week ago, I received an email from a reader who states that he is learning the Bach-Petri transcription of “Sheep May Safely Graze.”  (You may recall me posting a YouTube video of it here.)  He writes:

I am by no means a concert pianist, but I did take piano lessons for 14 years (1 year into college), but I have never encountered such a challenging melody as is presented by this piece.

Obviously, this piece will take a lot of time to master, but I am determined to learn it.  However, I was wondering if you could please  offer some practice tips such as how to bring out the melody, for instance, in measures 10 & 11?  I just don’t know the best method to train my 2nd and possibly 3rd fingers to bring out the melody while the other fingers play the counter melody.

Learning to bring out the melody properly is not easy!  However, the good news is that once you’ve developed this skill, you will likely be using it again for situations in other pieces.

Here are a few general practice tips for bringing out the melody:   Continue reading “Practice Tips: Bringing out the Melody” →

Questions, Technique

The November Forum: Analogies for Finger/Hand Shape

Joy Morin

This month’s discussion topic:

Analogies for Finger/Hand Shape at the Piano

How do you teach students how their fingers/hands should look when they play?  Do you use any analogies, such as: “pretend you are holding a bubble”?  What do you find works, and what doesn’t?  Please share your tips!

Leave your thoughts in the comments below!

Have an idea for a topic you’d love to see discussed for a monthly forum?  Please email it off for consideration to admin[at]colorinmypiano.com!

Photo credit: emilianohorcada | CC 2.0