Bach Would Be Proud: I Teach Modern Basso Continuo (Chords)

As I talk to prospective students and their parents, I think more about explaining why I teach playing by chords and ear, not just by note reading like most teachers, and how remarkably effective this
teaching method is.  I'm passionate on this and want to spread this method!   Learning chords is a very old and somewhat forgotten essential keyboard skill.  Really, essential.  Like scales.  But it's been lost for the most part.  Why?  Especially since learning to play by ear and aural training is still common in Eastern Europe, Russia (Eur-russia is where a LOT of the greatest pianists and composers come from) and Asia (think Suzuki method for toddlers).

Familiar with Bach? In Bach's day, it was taken for granted that a keyboard player could be given the basso continuo (their equivalent to chord symbols) and realize the appropriate harmony in order to accompany other musicians or simply a melody.  Bach would be proud: I teach that.  Why don't others?

There are many reasons many pianist don't know, much less teach, chord playing today. Since I'm a history buff and music history was my major's concentration, this development was fascinating to me.  One reason for chord playing's neglect is that this skill was not the rage of the mid to late 1800's, when learning piano became a favorite American hobby especially for the young.  The rage was to be able to play like Chopin - or at least play Chopin.  And every other virtuoso that was the rockstar of Victorian audiences.  Seriously, Franz Liszt was the Beetles/BG's/Ricky Martin/One Direction/Backstreet Boys of his day.   (I had to think hard for the names of these girl-gaggle-gathering boy stars.)

  Though the piano rage started to wane as Elvis and the Beatles came on the scene, it seemed like by the 50's, hardly a house lacked a piano, and everybody's aunt taught lessons. For the purpose of playing classical and sacred music by note.

And still today piano teachers are trying to get every student to be Rachmaninoff.  And yes, I totally completely 100% want every pianist to play classical music!!!  But, Bach would say they need to play chord symbols too.  And Rachmaninoff would scoff (I had to) if he heard musicians didn't have aural training.  So, let's all get together, take over modern America, and LEARN TO PLAY THE THREE WAYS!  **cue in 1812 Overture Canons**

The liberating, terrifying realities of deliberate practice (and the 6 best deliberate practice books)

I highly recommend that older music students read one of these books.  But for starters, just read the  article:



The liberating, terrifying realities of deliberate practice (and the 6 best deliberate practice books)

 Of course honing practice skills would benefit anyone in any field (it's just practical ;)  ! 

Method Books I Use

Method books vary according to age, music styles, and teaching strategies... oh, and price.   The two main categories are adult and children.  Between children's methods there are some variations, and I enjoyed surveying many methods in my pedagogy studies.  I bring in elements of these other methods to my students to supplement the method books I use.  I also use whatever method books students may have on hand.

Students under about 6 can start with this:

Step by Step Piano Course - Book 1 (Step by Step (Hal Leonard))   (like this:http://www.amazon.com/Step-Piano-Course-Book-Leonard/dp/0877180369 )

 These are the first two books for older beginners:

Schaum Notespeller  - a workbook.   (like this: http://www.amazon.com/Schaum-Note-Spellers-Method-Supplement/dp/0769234534 )

M. Aaron Lessons Book One - method book (http://www.amazon.com/Michael-Aaron-Piano-Course-Lessons/dp/0898988551/ref=sr_1_1?ie=UTF8&qid=1380216794&sr=8-1&keywords=aaron+piano+lessons+1)
 
Belwin Piano Method Book One  - method book   (http://www.amazon.com/Belwin-Piano-Method-Book-Grade/dp/B003FQQ96K/ref=sr_1_2?ie=UTF8&qid=1380216784&sr=8-2&keywords=belwin+piano+method+1)

 Add note flashcards.

After completing Book 2 of either method book, introduce:

Dozen a Day Book 1 - Technique / Finger agility (http://www.amazon.com/A-Dozen-Day-Book-1/dp/0877180318)

I generally introduce chord symbol and playing by ear around intermediate level note reading, since the reading takes the most discipline and sets a student solidly in a mindset of hard work.   I demarcate intermediate level as my teacher did, with Bach's Minuet in G.

Article: Music Teaching Philosophy

 A parent shared found this interesting article on Music Teaching interesting from the The Parents' Review,  A Monthly Magazine of Home-Training and Culture, edited by Charlotte Mason.   A philosophy of music teaching that is worth reading! 
And teaching in general, as seen from the  motto of the magazine, 

"Education is an atmosphere, a discipline, a life."

______________________________________

Fun Piano Duets

Duets are fun and a great way to learn to play with others, a skill that can often be lost to pianists.   Of course, any piece can be made into a duet - divide here, add a little there.    I would love to do a recital with Whitewater Chopsticks made into a duet.  Here is one arrangement.  Although I would probably arrange it for four hands instead of two pianos.

Two years of "Piano Ensemble" in college consisted almost entirely of playing with the other pianists in duets and trios.  Here are a few  of the pieces I learned and watched in class.

Brahm's Hungarian Dance no. 5

Buy at: http://www.virtualsheetmusic.com/score/Hungarian1H.html

Free copy - The first ever published version - more difficult:
http://conquest.imslp.info/files/imglnks/usimg/9/92/IMSLP205870-PMLP16016-Brahms_-_Hungarian_Dances__14___2P_ed.Simrock_.pdf

The Bercuese from Faure's Dolly Suite is a charming beginning duet for intermediate players, and is also available on Virtual Sheet Music.  IMSLP or other printable classical score providers might have it for free. 
Here is the Bercuese:

Also, listen to the world's most famous duet playing pianists, the Lebeque Sisters:

And for some real inspiration, listen to the Five Browns.

The Three Ways to Play Piano

My learning of piano was revolutionized by the tri-fold learning method of Dave Clark in Brandon, Florida.  For 30 years, he has been using the method of teaching by Notes, Chord Symbols, and Ear with great success.  I have continued in his foot steps teaching this approach.  So, what makes it work?

First, the three ways bring a great variety of music to the musician’s fingertips.  Some music is only available completely notated or in lead sheet form.  Some music is not written down!  No matter which camp it’s in, you can play it with one (or maybe all?)of  the three ways. 

Second, the three ways give to the musician incredible versatility.  The above reason is one, the ability to add to the music according to taste is another.  The list goes on.

Third, the three ways reinforce and enhance each other.  Simple as that!  You can see this in a myriad of ways.  To name one, when you know chords well, you will quickly spot them in notated music, seeing recurring patterns, and read much, MUCH faster.

Fourth, when you have three ways to play, each tapping into different neurological, motor, and aural functions, each having their access to certain genres, one  of the ways is bound to stick with you!  Mr. Clark has noticed this from keeping in touch with his students over the years.

By the way, the musician who plays tuba is just as likely to prophet by learning all three ways.  Granted, the tuba, like most instruments, does not in obvious ways give the ability for playing harmony which is needed for the chord symbol approach. Yet if a tuba player learned a bit of the chord symbol style on the piano, it would enhance his reading and by ear skills. 

Mr. Clark wrote Piano Companion, a book which guides the student to advanced playing in all three ways.  I use it with intermediate to advanced and older students.

Because this is so basic and special to my teaching method, and kind of revolutionary in the piano pedagogy community, I’m sure I will write on it more in the future.

Thoughts in Harmony - Benefits of Music study

There are many long-term values to learning music, apart from its role in our worship to God, including confidence, perseverance, precision and motor control, identification of talents, overcoming fears of public speaking and service, intellectual and social development, commitment to excel, creativity, self-expression, and following directions.  Ultimately, I hope that each student will have a deeper understanding and appreciation for the gift of music.

♫*¤*.¸¸.·´¨`

Piano Teacher Websites

Here are some great sites for piano students, and students who happen to also be teachers, from the syllabus of Piano Pedagogy I, a class at University of South Florida.    They are among the most esteemed and useful online resources in their fields.

Music Teachers National Association

The Frances Clark Center for Keyboard Pedagogy

PIANO PEDAGOGY FORUM  

 

♫*¤*.¸¸.·´¨`