It shouldn’t be the same old five-finger warm-ups and scales without an infusion of emotion/imagination. That’s why I decided to experiment and have two adult students communicate a juxtaposed shift of mood between a MAJOR penta-scale (five-finger position) and its companion parallel minor. Neither pupil expected to be asked to raise five step-wise notes to a level of emotional engagement.
So here’s what happened:
Peter started with Parallel thirds (in a five-finger Db MAJOR and minor) frame.
Laura took off with a B Major/minor penta-scale.
Later in his lesson, Peter infused a G Major Arpeggio with a “floating” contour…
Another keyboard view of G Major arpeggio
Experiences with mental image prompts encourage expressive music-making and will be valuable in all practicing phases.
International Online Piano Teacher, blogger, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC H.S. of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning by Skype and Face Time with supplementary videos: SKYPE ID: shirley kirsten
Contact me at: shirley_kirsten@yahoo.com OR http://www.youtube.com/arioso7 or at FACEBOOK: Shirley Smith Kirsten, http://facebook.com /shirley.kirsten; https://www.facebook.com/skirs.7/ TWITTER: http://twitter.com/arioso7
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Private fundraising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches
View all posts by arioso7: Shirley Kirsten
