As a sight reading exercise, a teacher can take a new piece of music and sight read with the student. The teacher and student can alternate reading several measures.
It may easier and more encouraging for the student to sight read chunks of the piece for the first time. Also, sight reading with another person can push the student to look ahead and to keep a steady pulse.
1. What do you find to be positive aspects of the partner lesson format?
· They get the opportunity to listen and to play for each other.
· One may motivate the other.
· One can watch and learn while the teacher is working with the other.
· More variety of in-class activities when there is more than one student.
2. What are the aspects of teaching in this format which challenge you?
· Making sure both are paying attention even when the teacher is working with one.
· If one student starts to talk or loose focus, the other may follow or imitate.
· Students may start to excel at a different pace.
· Time managing for two students - need to consider the time it may take to work with two students on a certain piece, or activity.
In one of my pedagogy class, we were given the opportunity to give mock master classes to non-music piano majors. This activity made realize the issues we must deal with while teaching in a master class setting. For instance, time management, how to choose which issues to work on with the student under a short period of time, and how to begin and end a lesson.
There are several things I observe when I attend a master class.
1. What is the first thing the master teacher says to the performer? The first words are important. It sets the ambiance of the class.
2 . How does the master teacher structure or organize the lesson? Does he point out a couple issues he will address, or does he go right into teaching?
3. How does the master teacher manage his time? Does he have a time keeper in the audience? Does he keep a watch on the piano? or does he not time manage at all?
4. If the teacher is still working with the student, but it is time to move on, how does he quickly end the lesson, what does he say?
5. What are some of the issues master teachers work on with students?
6. How long does the master teacher pursue an issue? Until the student gets it right? Until he knows the student understands and can work on it more later?
7. How much does the master teacher demonstrate?
8. How to make the class interesting for the audience as well? Does the master teacher share relevant historical background of the piece, or talk facing the audience?
Take 2 - 3 measures from the “new piece” the student will be learning as sight reading exercises.
This can help the learning process of a ‘new piece’ for the student and can also allow the teacher’s lesson plan to be more coherent.
Using examples/analogies students relate-to can effectively help them understand the concept more clearly!
Today I was a substitute private piano teacher for a several elementary school students. One of them was playing with flat fingers.
I asked, “Did your teacher tell you about a good piano hand position?”
She nodded and shared a nice analogy with me.
She said that she used to be a ballerina, but she sprained her ankle so she doesn’t do ballet anymore. So how her previous piano teacher demonstrated a good piano hand position was by telling her, ” when you play the piano, you play with the tip of your fingers just like how you dance on your toes when you do ballet.”
Children seem to read music o.k. when they just start staff reading. However, when the music become slightly more difficult with bigger intervals, and more notes in both hands, students’ sight reading skill begin to go down hill.
Several suggestions:
1. Flash cards - say the notes, then play.
2. Teacher/or student points to a note on the keyboard and the student writes it on the grand staff. Then have them play it.
3. Have them write down what they compose - this will help them understand rhythm, keyboard and staff relationship even more.
What other exercises can teachers do to help young students become better sight readers?
When you are practicing, do you sometimes find your fingers moving, but your mind is not focused on the music?
The key is awareness - paying attention to what’s going at the moment.
When we are not focused, we are distracted. Distractions may include the things happening around us, our thoughts, and feelings. For instance, thinking about what’s for dinner, worrying about an exam, or daydreaming. Stop practicing if you become aware of distractions!
How do we regain focus? First, by accepting the distractions and then choosing to focus our attention on sight, hearing, feelings, and understanding. We then become aware of the music.
Here are some ways to help you be more focused when you practice:
1. Focus on Sight: keep your. eyes on the score and visualize playing it from memory. Imagine what your fingers and body look like while you’re playing.
2. Focus on Sound: By listening to the music you are playing, you will become less distracted of the sounds in the environment and even the ’small talks’ in your head (i.e. what’s for dinner?) You become more present and give yourself better feedback about how you are playing.
3. Focus on Feelings: Be aware of how you feel when you are playing the music - are they the feelings you want to express in the music? How your body feels while playing the music? Knowing the physical and emotional feelings will help you become more absorbed in the music.
4. Physical Ques: Engage your body with the music by dancing, singing, foot tapping, and conducting.
5. Be able to hear the music in your head before/while playing.
6. Have learning goals - daily, weekly, long term goals.
7. When you start to learn a piece - keep in mind how it will sound, what feelings you want to express, what it is that you’re playing.
When a student is not responding what the teacher wants him to do, I always blame it on the teacher.
If the student is not paying attention or loosing focus, it is how the teacher is giving the lesson (i.e. choice of words, tone of voice). It helps to give reasons for the issues you choose to work on. For instance, how will ‘doing this’ improve ‘– skill (technical, musical etc)’.
If the student practiced, but didn’t show much progress at lesson, the teacher needs to figure out what went wrong and how else can the student practice to insure more improvement. It is important to ask how your student practiced throughout the week.
What are some qualities that make a performance memorable?
Today I went to Murray Perahia’s concert at the Chicago Symphony Center and his playing was just close to perfection.
*Intelligent planning of voicing and phrasing
*Embodying the internal rhythm of the pieces
*Characterizing the different movements
*Making a technical Chopin Etude sound effortless and deliciously musical
*Precise executions and release
*Breathe taking silences
Many pianists complain about having tension while they play. It is a frustrating issue because the tension can be heard in their playing. When they are not hearing the sound they want, they try too hard which causes even more tension.
One way to get rid of tension is to rate your tension on the scale from 1 (least) to 10 (most tension). Say your tension level is 5, try 10 - tensing every part of body. You will start to understand which part starts to tense due to how you are playing. Adjust accordingly until you feel comfortable at the piano - the music will start to sound the way you want it.