The Importance of Teaching Healthy Technique

In this week’s blog post, Penelope discusses the importance of teaching healthy technique and shares a few tips and suggestions for doing so!

Teaching Healthy, Expressive Technique Preview

This week we bring you a preview of a new online course on teaching healthy, expressive piano technique based on Penelope Roskell’s award-winning book The Complete Pianist.

Teaching Bach’s Musette in D without the Score

At the start of my teaching career I taught a number of child beginners who I soon discovered were capable of playing more difficult and interesting pieces than they were able to read from conventional staff notation. In addition to giving them a thorough grounding in theory and note reading, I developed a system of teaching them certain pieces where the score assumed secondary significance. Not only did this keep them motivated, it helped them build coordination and listening skills that accelerated their technical and musical development so that they could make very quick progress without missing out any important steps.  If you think about the stages involved in learning other skills, such as language, the reading part comes quite a long way down the road. The child learns to speak by hearing and imitating, the reading following later (the study of grammar later still). How many youngsters keen to explore the exciting journey of learning to play the piano have had their enthusiasm dampened or completely killed off by boring pieces using a few notes in the middle of the keyboard, and an over-insistence on theory? Using this approach exclusively they would need to wait quite a while before they could play pieces that capture their imagination, and they don’t need to. Patterned pieces, such as Kabalevksy’s 24 Little Pieces, op 39, are ideal for the sort of learning I am describing. But I am going to jump ahead a little, and show how we might present Bach’s Musette in D, BWV Anh. 126 from the Anna Magdalene Notebook to an elementary level student who already has a bit of background and experience with piano lessons.  Rote Learning? I don’t like the term “rote learning” because it doesn’t really […]

Create First! Teaching Improvisation from Lesson One 

This week’s guest post features an article by pianist, composer, and educator Forrest Kinney. In his post, Forrest introduces his approach to a creativity-based model for music education in which improvising (or what he prefers to call “creating” or “free play”) is taught alongside traditional approaches from the outset. *** *** *** Create First! Teaching Improvisation from Lesson One  Improvisation. It means many things to many people. To me, it’s a rather clumsy five-syllable word that could easily be the name for some sort of invasive medical procedure. It doesn’t convey the delight that comes from freely creating music, an activity that has enriched and sustained my musical practice for over four decades. I prefer to call it “creating” or “free play.” For hundreds of years, improvisation has been taught in a certain way when it has been taught at all. First, you learn to play a song—melody with accompaniment. Often this means you will learn about chords in the process and how to style them. (I call this activity “arranging” because it can be taught without involving improvisation.) Then, as you play and repeat the tune, you vary it while keeping the harmonic pattern of the accompaniment. And so, you might first play Amazing Grace in the key of G, then embellish the melody, and then perhaps freely create melodies using the notes of a G major scale. This time-honoured approach is undeniably practical. After all, keyboardists in churches and dance bands have been varying tunes for hundreds of years. And this is largely what jazz musicians do today—they learn and play tunes and then freely improvise over the chord progression, the “changes.” However, there are some serious drawbacks to this approach. The main one […]

By |September 24th, 2018|Teaching|2 Comments

On Rhythm: How to Develop a Steady Pulse  

I decided to put together an occasional series on rhythm, in response to readers who say they experience rhythmical issues when they play. There are many factors that may contribute to this problem, and I am going to cover one point at a time. Welcome to the first post in this series, on the importance of setting and maintaining a steady beat. I can’t think of many activities we do at the piano that are not connected to a pulse, therefore establishing and maintaining the pulse should be the first priority in all we do. This demands special attention during our practice when we are stopping and restarting. At the elementary level it’s the job of the teacher to set the pulse in lessons by counting out aloud energetically one or two bars before every scale, before every piece, and before every time a passage is repeated. After a while, the pupil is invited to set their own pulse by counting out aloud before they play. Laborious? A bit, but well worth the effort. In this way the process becomes internalised, and happens as second nature. Clapping to the Metronome How good are you at maintaining a steady beat? In this metronome experiment, continue to clap the beats when the metronome suddenly drops out. Can you maintain the pulse? Find out here… And now for another exercise. Set a metronome to whatever speed you like, and clap so that your claps drown out the sound of the metronome. If you hear the metronome, the chances are that your clap is a bit before or after the beat. Clapping is just one way of responding to the pulse, but notice how in this Dalcroze Eurhythmics class […]

On Demonstration

There are those teachers who demonstrate for their students all the time in piano lessons, and those others who don’t go near the instrument. I have studied with both types. Does a demonstration necessarily have to be a perfect model though, to be listened to reverentially and copied verbatim? Or might a teacher’s hands on the keyboard serve other purposes? To illustrate different ways of practising, or to give various suggestions as to how a phrase might be shaped, or indeed how not to do something? In his interview with Frederic Gaussin for iplaythepiano.com Yevgeny Kissin reminisces about his teacher, Alice Kantor. Mrs. Kantor never played herself during her lessons. She never voluntarily played piano, for me or her other students. In studio classes, she never demonstrated herself what she expected from us, simply because she didn’t want us to mimic her. Mrs. Kantor only used verbal cues. Her teaching was entirely passed on through speech. And everyone, every single student, kept their own demeanor, their particular manner. Regarding this last point, I knew – and I knew this even at the time – that this was not necessarily the case in other schools. For me the term “demonstration” does not capture what’s really going on, it feels way too pretentious. I like to think of what I do at the piano in a lesson as an extension of speech, a soundtrack over what I am saying. The Dangers of Copying Have you noticed how listening to a recording of a great artist playing a piece you are learning can immediately change your own playing? The danger of listening to recordings is that you can easily end up copying without developing your own authentic ideas about the […]

Remembering my Studies with Peter Wallfisch

I had the great privilege to embark on my postgraduate studies with Peter Wallfisch, studying with him from 1980 for two years (but returning on occasion thereafter). During my time with this remarkable man, my playing blossomed and I grew not only as a pianist but also as a musician. I look back on this chapter of my life with gratitude and a tremendous fondness for a teacher I came to love dearly. Last year, when I visited his widow, Anita Lasker, I walked into the studio where I had had my inspiring, magical lessons and  was overcome with emotion as so many wonderful memories flooded back. Peter Wallfisch was born in Breslau in 1924, and had sought refuge from Hitler’s Germany in Jerusalem and Paris before settling in Britain in 1952. His tenure as a professor of piano at the RCM was from 1973 to 1991, during which time he influenced many notable pianists now active in the profession. He was head of a musical dynasty that includes his wife Anita Lasker-Wallfisch, (cellist and founder of the ECO), son Raphael (international concert cellist), daughter-in-law Elisabeth (noted violinist), grandsons Benjamin (composer and conductor) and Simon (cellist and tenor). Peter was a musicians’ musician who is remembered not only a solo pianist but as an ensemble musician. His lineage was the Germanic tradition from Bach right through to Reger and Krenek, but he also championed very many British composers (including Kenneth Leighton, whom he raved about) and other slightly unusual composers (such as Novak). He confessed to having a passion for organ music, and he was not overly keen on Chopin or Rachmaninov. One time I arrived for my lesson and Peter was not in a […]

A Practical Theory Lesson

Most of us were probably brought up on the middle C approach to learning the piano, and the first scale we ever learned was C major. We probably got tangled up with the fingering, since there are no black notes there to help us. Chopin taught the B major scale (RH) and D flat major scale (LH) before C major, not only because the fingerings are self-evident, but also because the hand positions are more natural and therefore these scales are the most comfortable. The long fingers (2, 3 and 4) are more suited to the black keys and the short fingers (1 and 5) to the white keys. It is useless to start learning scales on the piano with C major, the easiest to read, and the most difficult for the hand, as it has no pivot. Begin with the one that places the hand at ease with the longer fingers on the black keys, like B major for instance. (Chopin, quoted by Jean-Jacques Eigeldinger) If we begin with B major in the RH and D flat major in the LH, there is virtually no chance of confusion with the fingerings. There are only two white notes in those scales and the thumb takes both of them – there is nowhere else for it to go! While adult minds will want to know the theory behind the construction of the major scale, there is absolutely no need to teach this to a child beginner for them to be able to play their scales. This would be as ludicrous as teaching the rules of grammar to a child who is just learning to speak. We can save theory until later and start teaching the scales using […]

Chess or Checkers?

I have written extensively about the subject of slow practice on this blog and elsewhere. Since slow practice is such a cornerstone of our practice routine I don’t apologise for making a few comments about it again now! Here is Angela Hewitt talking about slow practice. I totally concur that when we practise slowly we can do so with rhythmic integrity, musical expression, good sound and attention to pedalling and texture. This is important! If we think about slow practice as something dull, mechanical and unmusical we risk playing in this way. I’m afraid I cannot agree with Ms. Hewitt’s sentiment that nobody likes doing it! I get the same sort of satisfaction practising slowly as any dedicated craftsman would get from the process of making something beautiful, rather than just the end result. I actually love practising slowly, controlling every finger and every sound I make. Don’t you? It feels to me like a type of meditation, a discipline where I delay the gratification that comes from playing through a piece and make a serious investment in the quality, security and polish of my playing. I think of it as something other than playing actually, a totally different type of activity. In Issue 74 of Pianist Magazine, there is an interview with Steven Osborne. I really like what he has to say about slow practice: The thing that’s helped me learn things faster has actually been practising slowly, and very intently, trying to get it to feel good and taking time before speeding up. Two important things come out of this – doing the slow practice for long enough and having it feel good. I often think of slow practice as digging foundations for a building. The more […]

By |October 11th, 2013|Teaching|6 Comments

Looping – How to Manage Repetition Rhythmically

Piano playing requires extremely sophisticated motor skills and superfine coordination. While we acquire these skills for a new piece or if we are polishing up an old one, a certain amount of repetition is inevitable. As we repeat, we refine and ingrain. When we need to repeat something, it strikes me as preferable to know why we are repeating it. Am I repeating it because it was good and I want to make it a habit, or was there something wrong that needs to be corrected? If the latter, what was not right about the first repetition that I need to do it again? Not just a vague response like “there were some wrong notes” but something more probing, along the lines of “my LH misjudged the leap at the beginning of the bar and that threw me out”, or “I sensed tension in my forearm and noticed the semiquavers became uneven”. I can hear some of you thinking that’s all very well, but young players don’t have the diagnostic skills to figure these things out by themselves during practice. I sometimes ask a younger student to give me a lesson, meaning we reverse roles and I mirror back to them what they did. I admit that sometimes I might exaggerate my point slightly, but I am amazed that most of the time they are able to hear and tell me what wasn’t right. It is absolutely possible to teach them to listen with elephant ears and to teach them by asking questions. The Feedback Loop When we use the feedback loop during practice, we deliberately stop and think before correcting a mistake. “Think ten times and play once” was Liszt’s command, and it remains a […]

By |September 6th, 2013|Teaching|6 Comments