"Tales of a Musical Journey" by Irina Gorin, acoustic piano, arioso 7, blog, blogger, blogging, blogging about piano, blogs about piano, children's music, El Cerrito, El Cerrito California, El Cerrito piano instruction, El Cerrito piano studio, emotion in music, fingering and phrasing at the piano, fingering and piano technique, five finger positions at the piano, five finger warm-ups, Irina Gorin, Journal of a Piano Teacher from New York to California, Just Being at the Piano by Mildred Portney-Chase, legato playing at the piano, mental imagery, mindful piano practicing, mindful practicing, molto cantabile, MTAC, MTAC.org, New York City, New York City High School of Performing Arts, Oberlin, Oberlin Conservatory, pentascales, phrasing at the piano, pianist, piano, piano addict, piano blog, piano blogging, piano blogs, piano instruction, piano instructor, piano lesson, piano lessons, piano playing, piano playing and relaxation, piano practicing, piano studio in El Cerrito, piano study, piano teacher, piano teachers, piano teaching, piano world-wide, pianoaddict.com, pianoworld, pianoworld.com, playing five-finger positions, playing legato at the piano, playing piano, playing staccato, playing staccato at the piano, playing the piano, POWHOW, POWHOW instruction, POWHOW piano instruction, POWHOW.com, practicing a piece in 7 different emotions, practicing arpeggios, practicing piano, practicing piano with relaxation, publishers marketplace, publishersmarketplace, Rina, Rina 4 takes piano lessons, Rina takes piano lessons, rotation in piano playing, scales, shirley kirsten piano teacher in El Cerrito, Shirley Kirsten teaches classes at POWHOW, shirley s kirsten, Shirley Smith Kirsten, Skype a piano lesson to Australia, Skype piano lessons, slow mindful practicing, slow piano practicing, teaching piano to young children, teaching Rina piano, teachinig piano to young children, technique, word press, word press.com, wordpress, wordpress.com, you tube, you tube video, youtube.com

Growing piano technique in baby steps: Rina, 5, advances to hands together five-finger positions (adding in 10ths)

Rina may not know the words “pentascales” and “tenths,” but she has the intelligence to notice when her fingers move up and down together, playing the same notes an “octave” apart. With a sound knowledge of the music alphabet in both directions, she has good cognitive reinforcement. (She also knows “running notes” or 8ths, “long sounds”–half notes, “short sounds”– quarters, and “half-note dot” is a dotted-half note.)

But note-name recognition and having a concept of rhythmic values are just part of the learning process. She needs to cultivate the singing tone wedded to limpid phrasing–a dimension of playing we’ve explored from day one embracing Irina Gorin’s Tales of a Music Journey philosophy.

In this regard, Rina is working on softening the impact of her thumbs, so she can nicely roll into her LEGATO five-finger positions and smoothly taper them. (LEGATO means smooth and connected, finger-to-finger)

She has progressed from having played each hand alone through five notes ascending and descending, in a “conversational” way, to synchronizing both hands at the same time in parallel motion.

She also creates an “echo” effect on a repeat and we make sure to include the parallel minor in her playings. (Black notes also belong to the keyboard family)

Next, I thought to introduce a bit of “magic.”

How about starting the Right Hand on E while the Left Hand remained on bass C. (still five notes up and down but spaced in 10ths)

Rina took to it like a duck in water especially with an enticing harmonic landscape.

Here are two snatches from her lesson, starting with the first (both hands playing same notes in legato)

In the second video, she plays in 10ths:

Our next piece is “Little March” by Daniel Gottlob Turk. This follows Minuet by Reinagle of which Rina is separately studying the bass part. In addition she’s rendering it in the “minor,” enlisting a “B flat.” (She performed the melody on our recent Spring Recital) The Reinagle piece came with its own new landmark: Rina played detached and legato notes in one selection.

I’ve prepared a video to assist mom with ear-training experiences for “Little March” during the week. Rina will be saturated with listening; doing hand signals for melodic shape; singing notes and then rhythms. (phrase one) This is the first stage of her learning process.

***

LINK:

Rina plays at the Spring Recital


https://arioso7.wordpress.com/2012/05/05/rina-5-performs-at-our-spring-recital-after-8-months-of-piano-lessons-video/

Circle of Fifths, classissima, classissima.com, ear training, five finger positions, five finger warm-ups, Fundamentals of Piano Theory by Keith Snell and Martha Ashleigh, Keith Snell, Keith Snell and Martha Ashleigh, Martha Ashleigh, piano instruction, piano instructor, piano lessons, piano student, piano studio, piano teacher, piano teaching, pianoworld, pianoworld.com, sigtht-singing, solfeggio, transposing music, word press, wordpress.com, you tube, you tube video

Piano Instruction: Solfeggio and Transposing (Videos)

Using Solfeggio or Solfege to advance ear training and to transpose pieces into various tonal regions is very helpful for piano students of all levels.

If we set a goal of memorizing the first 8 notes of a scale using the syllables, Do, Re, Mi, Fa, Sol, La, Ti (or Si) Do, we’re on our way to understanding musical lines in any key that will have a common point of reference. This presupposes that “Do” (or the first note of any scale) is MOVABLE.

In C Major, “Do” would be C. In G Major, it would be “G,” and so forth.

With MINOR tonalities, the first note of a scale in any form whether it be Natural, Harmonic, or Melodic would also be “Do,” but certain internal alterations of the minor scale according to its structure and content would have the following solfeggiated syllables:

For C minor Natural form: C D Eb F G Ab Bb C

Do Re Me (pronounced may) Fa Sol Le (pronounced lay) Te (pronounced tay) Do

If we are in any tonality and an accidental (sharp or flat) is inserted within a measure, then solfeggio accommodates the change.

In the key of C Major, if a composer inserts an F# in the score, then FA (F) become Fi. For an Eb accidental, Mi (E) becomes Me (“may”) If A is lowered to Ab, La (A) becomes Le (Lay)

Many piano teachers start students on solfeggio before they learn note names because it imbues a consciousness of RELATIONSHIPS/interval spacing between notes. Unfortunately the STANDARD method books on the market fixate on Middle C and “C position” making students think that C is the interminable, FIXED, “Do” in the “happy” Major. That’s why I grab any opportunity to insert an Eb (May) in the score, creating the parallel C minor as a tonal variation.

A pupil should begin to explore transposition of primer melodies into many different keys by using a movable DO. Otherwise, he will spend several months to a year in a time-warped C-centered universe until the next method book is introduced. At that point G-centered, “G position” plows along in the same predictable course.

To support tonal exploration, a teacher can start a pupil on a regimen of pentascales, or five-finger positions that travel through different keys. The student should sing these back in the Major and parallel minor using solfeggiated syllables. Note names are not abandoned just because SOLFEGGIO is added. Both learning modalities should exist side by side. After alll, the more psycho-neuro-musical-linguistic connections made, the better for overall musical development–Solfeggio being a syllabic lingo that frames music.

Five finger position examples:

C D E F G Do Re Mi Fa Sol

followed by,

C D Eb F G Do Re Me (May) Fa Sol

I make sure to journey around the CIRCLE of Fifths with a student well before beginning full scale study.

In truth, many teachers are shy about placing small hands on five-finger positions in multiple sharp and flat keys, but I’ve found that pupils relish the opportunity to explore something new and different. They will happily shuffle their pentascales, playing them in Major, minor, parallel and contrary motion in diverse geographies.

A few 8 and 9-year olds are now leaping like frogs with spring forward wrists through Dozen a Day, Book one, no. 3 “Hopping.” Parallel minors follow “Major” playings and I use Solfeggio to intone the top voice of the parallel thirds. Once solidly grounded in the first two keys of C and G, students play hopping in the keys of D, A, E, etc. (Major and minor)

A teacher can spring from Faber’s C-D-E-F-G March in Primer Lesson Book One to a self-created “sad” march using Eb–and as the student develops more dexterity, NEW keys can supplement the original. That’s where SOLFEGGIO can be introduced as a SECOND language of musical understanding. (A simultaneous translation, perhaps)

For SKIP and STEP discrimination, solfeggio is the perfect vehicle. If a teacher is motivated to nudge a student into more adventurous tonal realms, the transpositions will pay dividends by improving sight-READING and memorization.

SINGING, of course, is central to SOLFEGGIO as both are EAR-TRAINING activities.

Looking at an original melody in one key, and superimposing another’s key’s letter names during transposition would be very confusing. A rudimentary melody offered in G, will be more easily played in D, A, E, B etc. by using solfeggio.

One of my students, at the advanced Intermediate level, who had learned to read notes in the conventional way with her first teacher, recently embarked upon solfeggio using Keith Snell and Martha Ashleigh’s Fundamentals of Music Theory, Unit 12. She was asked to sight-sing the first melody on the page after I gave her the Do of the key which was C. After sight-singing the example a few times using solfeggio, she played the melody with her eyes fixed on the music drawing on the same solfeggiated syllables. Other tonal transpositions followed, and each line of music in the treble and bass clef was parceled out using solfeggio.

The videos below illustrate the activity:

***

Here are the Chromatic solfeggiated syllables: (Si or Ti can be used for the 7th note of a scale. Lowered by half-step, they would be say or tay)

Do Di Re Ri Me Fa Fi Sol Si (or Ti) La Li Si (or Ti) Do
Do Si (or Ti) Say (or Tay) La Lay Sol Say Fa Mi May Re Rah Do

blog, blogger, blogging, Circle of Fifths, composers, composing, Creative Fresno, El Cerrito, El Cerrito California, El Cerrito piano studio, Faber Piano Adventures, Faber Primer Piano Adventures, five finger positions, five finger warm-ups, fresno filmmakers alliance, harmonic analysis, how to help children compose, music history, music teachers association of california, New York City High School of Performing Arts, New York University, Oberlin Conservatory, pianist, piano, piano addict, piano instruction, piano instructor, piano lesson, piano lessons, piano pedagogy, piano practicing, piano repertoire, piano room, piano society, Piano Street, piano student, piano students as composers, piano teacher, piano teaching repertoire, piano technique, piano tutorial, piano warm-ups, Piano World, pianoaddict.com, Pianostreet.com, pianoworld, playing piano, publishersmarketplace, publishersmarketplace.com, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, Teach Street, Theory, word press, wordpress.com, you tube, you tube video

Piano Lesson: Fritz, Age 7, performs his composed piece, “FINDING GOLD” (Video)

Over a period of three weeks, seven year old Fritz, who’d been taking piano lessons for about 7 months, composed a piece that he titled, “Finding Gold.”

The student has been using Faber Primer Piano Adventures, with my inserted modifications. He warmed up this past Monday with Lesson Book p. 24, C-D-E-F-G March transposed to A Major followed by A minor, in Parallel and then Contrary Motion. The consciousness of “minor” occurred way back at the very beginning of study when he played “Balloons” (floating notes) with a the black key Eb inserted. Ever since he has been playing Major and minor when any opportunity presents. (He is reading music proficiently for his level of study, and has reached p. 59 in the Lesson Book)

Fritz is a very imaginative child who was enthusiastic about creating his own music.

On 3/21 I asked him to compose a four-measure treble melody in C Position, in 4/4 time using any combination of quarter notes, half notes, dotted quarter notes, and whole notes.

He was then asked to play the second phrase in the PARALLEL minor.
(He is familiar with this vocabulary as it has been used redundantly when he plays his Primer pieces in Major followed by minor)

His melody was completed on 3/21 at his lesson, and I helped with notation.

As part of Fritz’s assignment for the following week, I asked him to compose a bass line, placing his hand in C position. He could use single notes, chords, ties, whatever he chose. (He was aware of the parallel minor in the second phrase)

3/28: Fritz played his piece with an added bass line, which I helped him notate on manuscript paper. He surprised me by ending his second phrase with a C MAJOR chord. For the following week I asked him to title his piece, add dynamics, words, and an illustration.

4/4/11: Fritz brought his composition with dynamics and words inserted.
He had also included an illustration. His words matched the emotional content of the music. The second phrase in minor had a sad lyric, but the final measure with the C Major Chord reflected the celebration of FINDING GOLD.

I made the connection to the great composers, such as Handel who carefully realized the text in his Messiah!

Fritz’s words:
I like walking in the woods, It feels nice to me (first phrase)
Sometimes I feel lost and scared, but I find GOLD! (second phrase)

Fritz recorded his piece for You Tube on 4/4/11

Composing activities can be integrated into lessons periodically, and over the long term a student can produce a bound collection of pieces with accompanying illustrations if desired.

It’s not only a creative exploration but it advances knowledge of notation, form, and harmony. (A theory lesson is built into the activity)

Location: El Cerrito, California

RELATED:
https://arioso7.wordpress.com/2011/03/27/piano-students-as-composers-stimulating-a-creative-teaching-environment/

https://arioso7.wordpress.com/2011/03/30/individualizing-piano-study-how-to-avoid-method-book-dependency/

100 years, 6 degrees of separation, 77 Sunset Strip, adult piano students, Amsterdam Avenue and 74th Street, arpeggios, athletic coaching, athletic training, authorsden, Bach Inventions, Baroque music, Baroque trills, Beatles albums, Beethoven, blog, blogger, blogging, boxing, boxing lessons, California, Caroline Scheer, casio privia 110, cdbaby, Classical era, classical music, Classical period sonata, classissima, classissima.com, Creative Fresno, El Cerrito, El Cerrito California, El Cerrito piano studio, Facebook, Facebook friend, five finger positions, five finger warm-ups, Five for Fighting, Forever and Always, Fresno, Fresno Famous, fresno filmmakers alliance, Gospel Music, Guitar Center, humor, keyboard technique, Major and minor scales, memoir, mind body connection, MTAC, music, music and heart, Music Teachers Asssociation of California, piano, piano addict, piano instruction, piano lesson, piano scales, piano society, Piano Street, piano student, piano teacher, piano teaching repertoire, piano tuning, piano warm-ups, Pianostreet.com, pianoworld, pianoworld.com, playing piano, popular music, publishers marketplace, publishersmarketplace.com, Ralph Cato, satire, scale fingerings, scales, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, sparring partner, Steinway and Sons, Steinway M grand piano, Steinway piano, Steinway studio upright, talkclassical.com, Taylor Swift, Teach Street, teaching piano scales, teaching piano to teenagers, teaching scales, technique, teenagers, The Beatles, Uncategorized, video performances, whole body music listening, word press, wordpress.com, you tube, you tube video

Letting my hair down with a snatch of “Let It Be!” (VIDEO)

The piano room was a mess yesterday with music strewn about. Two ’60-’70’s era Beatles albums were excavated from a pile of sheet music, hard bound theory texts, and Urtext editions of Beethoven’s sonatas.

Foraging a big carton of stuff like this was a trip down memory lane. My very old Yamaha guitar, a prized possession, was off to the side, propped against a book shelf. A 1974 model with magnificent resonance, it evoked memories of my one and only group classical guitar lesson at New York University with a South American virtuoso. On the very first day of class, he tried to teach one of the more difficult pieces in the flamenco repertoire. It was Rubira’s “Estudio,” later renamed “Spanish Romance.” (The performer in this video was not related to the instructor)

Within a few weeks, class enrollment had dwindled to three and quickly, I made it two. It reminded me of several Oberlin Senior Recitals at Kulas where one audience member was seated in the front row holding a musical score. (I recalled a New Yorker cartoon with the same theme)

The NYU guitar teacher like many other music instructors I’d encountered needed a reality check. Half the students in his class had never read a note, but they expected to play guitar “in a flash.” Generations that followed were tapping iPhones and game boys with guitar tab charts and animated keyboards. It was an espresso learning revolution!

My sixteen year old student, Allyse was an anachronism in her approach to piano study. A fledgling, she went with the program, played scales and arpeggios around the Circle of Fifths, and studied the Baroque Masters as an entree to sampling Classical and Romantic literature. No short cuts for her.

Just the same, she drove a hard bargain, insisting the Beatles went with the territory somewhere along the time line.(Allyse had already niftily tackled Five for Fighting, “100 Years,” and Taylor Swift’s “Forever and Always”) She had me enslaved to these pieces, as I sifted through practical fingerings and labeled harmonic progressions. But the prep work jump started a two way roller coaster ride through the contemporary pop music landscape.

With bristling enthusiasm, I indulged Allyse’s Beatles’ request. In truth, I had a vicarious interest in reading through reams of my favorite songs besides pumping out Scarlatti sonatas on You Tube. I loved “Eight Days a Week,” “Hey Jude,” “Lucy in the Sky with Diamonds,” “Michelle,” “Yesterday” and the tour de force, Gospel style, “Let it Be!” Ralph Cato, US Olympic Boxing coach and former student, could have put me through the paces on that one. (*”Cato, His Killer Keyboard and a Round of Piano Lessons”) No one could pound the piano the way he did.

Allyse had lobbied to study “Let it Be!” with her new found confidence flying high. Just one week into our practicing, we had divided the parts at two pianos and did some public jamming–at least a snatch.

Our musical encounter was a peak experience!

This Saturday Allyse will come back down to earth playing her Baroque Rondeau at the Music Teachers Association’s Celebration Festival. An assigned adjudicator will evaluate each student’s performance and send them off, in any case, with a handsome medallion and Certificate.

Those who earn a Superior rating will play in one of the marathon Honors recitals taking place over two days.

If Allyse is not a marathoner, she’ll still race home to practice the right hand part of “Let it Be!” We have a re-run scheduled for next week. It should be a blast!

https://arioso7.wordpress.com/2010/10/24/teens-popular-music-then-and-now-taylor-swift-throw-in-five-for-fighting-100-years/

https://arioso7.wordpress.com/2011/01/30/teaching-piano-to-teenagers-classical-pop-taylor-swift-liz-on-top-of-the-world-and-more-videos/

* https://arioso7.wordpress.com/2010/12/22/cato-his-killer-keyboard-and-a-round-of-piano-lessons/

6 degrees of separation, authorsden, Baroque music, Bay area, blog, blogger, blogging, children's music, Children's pieces, Circle of Fifths, Classical era, classissima, classissima.com, counterpoint, Creative Fresno, Domenico Scarlatti, El Cerrito, El Cerrito California, El Cerrito piano studio, essercizi, Facebook, five finger positions, five finger warm-ups, Fresno, Fresno California, humor, J.S. Bach, JS Bach, Karl Orff, keyboard technique, Major and minor scales, memoir, mind body connection, MTAC, music, music and heart, Music Teachers Asssociation of California, music therapy, musicology, my space, New York City, New York City High School of Performing Arts, Oberlin Conservatory, Orff Schulwerk, pianist, piano, piano addict, piano instruction, piano lesson, piano lessons, piano pedagogy, piano practicing, piano society, Piano Street, piano student, piano teacher, piano technique, piano warm-ups, Piano World, pianoaddict.com, Pianostreet.com, pianoworld, pianoworld.com, publishersmarketplace.com, satire, scale fingerings, scales, Scarlatti, Scarlatti Sonatas, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, Steinway and Sons, Steinway grand piano, Steinway M grand piano, Steinway piano, talkclassical.com, Teach Street, teaching piano scales, technique, uk-piano-forums, video performances, videotaped replay, whole body music listening, word press, wordpress.com, you tube, you tube video

What can you do with a Performance-Piano Degree?

Face the music! Most new Conservatory grads with fancy Bachelor of Music, Performance-Piano Degrees bound in leather must improvise when catapulted into the competitive job market. With only a tiny space on the world stage reserved for budding soloists, many aspiring concert pianists will teach privately, wait tables, babysit, or become high school choir accompanists.

In my case, upon Oberlin graduation, I spent nearly ten years working at the New York State Department of Labor, starting out as an Employment Interviewer in the Household Division. In my spare time, I schlepped around the city giving piano lessons.

My first students, Annie, 7 and Naomi, 5, who lived in an upscale apartment complex off Washington Square in the West Village, benefited from my idealism and determination to be uniquely creative.

Instead of relying on John Thompson’s pixie popular primer series with its middle C fixation, I decided to have my fledglings create their own compositions from scratch. They would write short poems with simple rhyme schemes and we would scan them as iambics or trochees, and from there pick out five-finger positions and create melodies. Before long, I had composed a book of enriched accompaniments that kept our creative juices flowing.

Eventually, I experimented with Robert Pace’s materials that continued to invite sound explorations as it encouraged transpositions, but my job at the State, reigned in my teaching, and I was pressured to become a weekend private teacher in my tight quarters on West 74th and Amsterdam.

The daily stint at the Household Office, though energy draining, afforded a colorful work backdrop. Each day I sent mostly African American and Latina maids into hostile work environments on the East and West Side of Manhattan and then fielded follow-up calls from angry employers about missing booze in liquor cabinets, scratched furniture tops, over-polished, gummy piano racks, shattered kitchen tiles and mysterious bathroom puddles.

These complaints forced my involvement in a fact-finding investigation, not my favorite undertaking.

With Form ES.2 in hand, I called the accused applicant to my desk from the peanut gallery that was stacked with myriads of maids, some literally smelling like Ajax (We had several complaints about one particular worker whom I ardently defended) Who cared whether she over-used scouring powder? Other people layered themselves with perfume or the latest deodorant on the market.

In fact, “Jane” still had a contingent of fans who always requested her.

Inevitably, she got off, was put on an ES3.22, watch hold, a form of probation, and continued to saturate homes with her occupational odors.

In the meantime, I was trying to complete my Master’s Degree in Music Therapy and to this end, invented a cardboard “scanner” decorated with an assortment of Employment Service forms. I cut a horizontal opening measured to a book line of print that allowed me to roll it up and down over my course work text so I could surreptitiously read large chunks of material.

With an understanding supervisor/budding Romance novelist who had me proof read her unedited chapters on the sly, I was able to arrange time off the job to complete a Music Therapy related Internship at St. Vincent’s Hospital on W. 14th Street.

For three afternoons a week I would design musical activities for short-term alcoholic and psychiatric patients enlisting the musical philosophy of Karl Orff, and at the end of my service I had published a paper in Hospital and Community Psychiatry, a Journal of the American Psychiatric Association that summarized the techniques used to improve social interaction skills. These included the use body percussion (clapping, snapping fingers, tapping knees), singing activities and individualized, private piano lessons, etc.

Psychiatric Services — Table of Contents (26 [7])
Shirley M. Smith. USING MUSIC THERAPY WITH SHORT-TERM ALCOHOLIC AND PSYCHIATRIC PATIENTS. Hosp Community Psychiatry 1975 26: 420-421 [PDF] …psychservices.psychiatryonline.org/content/vol26/issue7/

Naturally, with a publication to my credit and a new Degree in hand that was shipped to my office in a hollow tube resembling a toilet paper holder, I thought I was destined to acquire a music-related full-time job.

But like most others holding the same piece of parchment with Gothic lettering, there was no work out there for me. Music Therapy was not regarded with as much respect in those days as it is today. Art Therapy had far more clinical standing.

My relocation to California definitely advanced my private teaching career, though it was not enough to put food on the table. For supplementary income, I subbed for the Fresno Unified School District in every subject known to mankind, and as a side bar, I helped organize substitutes into a union because of dirt-low wages spanning ten years. This effort succeeded and carved out a new legacy for those of us who toiled in the trenches, and spurred much needed change in the work environment. Teacher Magazine and Education Week put Fresno subs on the map in articles about their victory against all odds. (“Substitutes Unite!” October, 1999 by David Hill) Among these fighting back subs, were a few piano teachers, most likely with performance degrees.

So what does a music major do in the long term with such a prize-less piece of paper?

On this final note, I can’t overlook my high school choir accompanying experience that stole precious practice time otherwise devoted to the works of Scarlatti, Bach, Mozart and the other masters.

I won’t forget the day a pile of Christmas music with five endings, “da capo al fine,” and an added repeat inserted by the conductor was handed to me by the District’s Music Administrator. It was an overnight assignment with a medley of super-fast paced Christmas carols to be performed at the Big Winter Concert! While it went well, I swore I would never again be enslaved to such a pressure deadline to the tune of $12 per hour!

After that whole episode, I quit accompanying choirs and decided that teaching privately was my niche.

Coming back home was nice as it’s always been. Throw in some blogging and You tubing, and I was content.

Finally, with a sweet El Cerrito Hills piano sanctuary, I was, without a doubt, in seventh heaven!

6 degrees of separation, adult piano students, Album for the Young, Apple iPhone, arpeggios, Art Linkletter, athletic coaching, athletic training, attorney, authorsden, Baroque music, Bay area, blog, blogger, blogging, boxing, boxing lessons, California, Cato, cd baby, cdbaby, Children's pieces, Circle of Fifths, Classical era, classical music, classissima, classissima.com, counterpoint, Creative Fresno, crossed hands, diminished 7th arpeggios, diminished 7th chords, Domenico Scarlatti, El Cerrito, El Cerrito California, El Cerrito piano studio, essercizi, Facebook, Fig Garden Village, five finger positions, five finger warm-ups, Fresno, Fresno California, Fresno Famous, fresno filmmakers alliance, gymnastics, humor, Internet, iPad, iPhone, keyboard technique, kids say the darndest things, lawyer, Major and minor scales, memoir, mind body connection, MTAC, MTAC Baroque Festival, music, music and heart, music history, Music Teachers Asssociation of California, musicology, my space, New York City High School of Performing Arts, Oberlin Conservatory, pentachords, piano, piano addict, piano finding adventure, piano instruction, piano society, Piano Street, piano student, piano teacher, piano teaching repertoire, piano warm-ups, Piano World, pianoworld, pianoworld.com, playing piano, publishers marketplace, publishersmarketplace.com, Ralph Cato, satire, scale fingerings, scales, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, sparring partner, sports, Steinway grand piano, Steinway M grand piano, Steinway piano, Teach Street, technique, Theory, trills, tritone, uk-piano-forums, video performances, videotaped replay, word press, wordpress.com, you tube, you tube video

Adult piano students say and do the darndest things.

I remember Art Linkletter’s show, “Kids Say the Darndest Things,” which made me think of a few adult piano students and their hauntingly memorable words.

Yesterday, for example, I was forewarned by a 70-year old pupil, that I should expect a call from her during the night about the key of “F# minor.” What impending crisis was she talking about? Did it have to do with the Melodic form of the scale and its raised notes going up, but not coming down? Was it the temporary shift in fingering or the modal turnaround? I’d concede that the “melodic” was a cliff-hanger on the ascent with its “raised” 6th and 7th notes, but definitely a descending blow-out in its restored “natural” form. Would this duality catapult a student into full-blown despair?

F# G# A B C# D# E# F#
E D C# B A G# F#

The Circle of Fifths for Major and Minor Scales

Wait a minute, my 70-year old, wasn’t assigned the more complicated Melodic minor this week. She was supposed to practice the NATURAL FORM with mirror fingers, 4, 3, and 3,4 on F# and G# in every progressive octave, with 3’s meeting on C# in both hands. We’d spent a few lessons on these reciprocal relationships and symmetries, though she’d planted her 4th finger on two different notes in the same octave, hoping I wouldn’t see the guilty left hand from my vantage point at the second piano. But my peripheral vision had been fine-tuned from hunting down crossed-hand notes with rolling eyeballs.

All humor aside, it’s always difficult to navigate scales that are not strict patterns of two and three-black key groups with thumbs meeting like those of B, F# and C# Major and their “enharmonics” spelled in flats: Cb, Gb and Db. But just about every scale has an internal symmetry that can be explored to best advantage regardless of its location on the Circle of Fifths.

The scales of C, G, D, A and E fall under one heading where the bridge between the octaves has a reciprocal fingering or mirror.

In the case of C Major, the 7th note B crossing over C to D, uses finger numbers 4, 1, 2 in the Right Hand while the left plays 2,1, 4. The anchor finger over which 4 passes in either direction, holds things together.

In previous writings and videos, I also pinpointed where finger number 3 met in both hands, providing another internal organizer.

For the student who was rattled by F# minor, a scale that had a novel identity, we found a different location for mirror fingers, but still a helpful aid.

Another pupil, a US Attorney who’d been chasing robber barons in South Carolina, was worried that he didn’t get to the piano this past week, so he let me know in no uncertain terms by telephone and text message, fax, email, registered mail, certified mail, and just plain 3rd class snail mail, that his upcoming lesson would “just be a practice.” I wondered to myself, had he otherwise feared a public flogging in front of Starbucks?

He had done very well over the years, reconciling the relationship of scale study with his desire to improve his understanding of the Beethoven sonatas and other repertoire.

I’d previously mentioned Ralph Cato, the US Olympic boxing trainer who was my sparring partner for ten minutes following his lessons. Every week he’d use my staircase for athletic training and balance routines. Was I dreaming? Because his coaching was pert and perfect, I’d wished his precise directions were recorded for posterity, though they remain a lingering memory.

Up in the Bay area, a retired lawyer, used her iPhone to capture angles of her hand and fingers that were used as learning reminders between lessons.

I had started to believe these technology based aids were helping her and I had to get with it without resisting change.

She’d admitted that her first piano teacher, a nun in a rural Texas parochial school, had used a ruler to beat her hand into a rigid, arched position.

Oops, maybe I’d mixed her up with my paternal grandpa who ran away from the Cheder in Latvia after his knuckles were skinned with a cat o’ nine tails by the head Rabbi. He’d ditched his Torah lessons.

Oh well, some teachers over generations used this same dastardly approach.

In a few years, none of us would be collecting colorful stories about our piano students. We’d be replaced by micro robots who’d comb the keyboard, electronically marking fingerings for every major and minor scale.

An exaggeration, perhaps.

In retrospect, I should have appreciated middle-of-the-night calls from my 70-year old student. At least I could log them for a growing anthology of pianorama.

RELATED:

https://arioso7.wordpress.com/2011/02/25/piano-instruction-learning-the-f-minor-scale-video/

https://arioso7.wordpress.com/2010/12/31/piano-technique-related-videos/

https://arioso7.wordpress.com/2011/02/02/the-iphone-invades-piano-lessons/

https://arioso7.wordpress.com/2010/12/22/cato-his-killer-keyboard-and-a-round-of-piano-lessons/

https://arioso7.wordpress.com/2010/11/05/a-piano-teachers-worst-nightmare/

.

arpeggios, athletic coaching, athletic training, California, cdbaby, classissima.com, counterpoint, Creative Fresno, Domenico Scarlatti, El Cerrito, El Cerrito California, El Cerrito piano studio, Elaine Comparone, essercizi, Facebook, Fig Garden Village, five finger positions, five finger warm-ups, Fresno, Fresno California, fresno filmmakers alliance, gymnastics, harpsichord, humor, Internet, keyboard technique, Major and minor scales, mind body connection, MTAC, MTAC Baroque Festival, Music Teachers Asssociation of California, musicology, my space, New York City High School of Performing Arts, Oberlin Conservatory, Old Fig Garden in Fresno, pianist, piano, piano pedagogy, piano practicing, piano room, piano society, Piano Street, piano student, piano teacher, piano technique, piano warm-ups, Piano World, pianoaddict.com, Pianostreet.com, pianoworld.com, ping pong balls, publishersmarketplace.com, scales, Scarlatti, Scarlatti Sonatas, Shirley Kirsten, Shirley Kirsten blog, Shirley Smith Kirsten, sports, Steinway and Sons, Steinway grand piano, Steinway M grand piano, Steinway piano, talkclassical.com, Teach Street, technique, Theory, trills, uk-piano-forums, video performances, videotaped replay, whole body music listening, word press, wordpress.com, you tube, you tube video

Piano Technique: Big Leaps, Crossed Hands, and shifty eyeballs (with slow motion video replay)

up tempo:

Be prepared to exercise your eyeballs minus head movements when tackling large leaps, especially those hand-over-hand acrobatics that are intrinsic to many of Domenico Scarlatti’s sonatas.

In the first video I’ve isolated a few of these jumps from Sonata K. 113 in A Major, demonstrating what I’ve found to be the best approach.

While I’ve crashed and burned on more than one occasion, a new consciousness emerged through trial and error.

Recommendations

1) No bobbing head back and forth when playing crossed hands.

Use your shifty eyeballs, if necessary, to target the destination notes going back and forth over your right hand.

There are two places that stand out in this sonata. The first involves two octave, crossed-hand jumps. The Left travels back and forth over the right multiple times.

In the second instance, there are jumps of four octaves, and these can be suicide trips, unless mediated by shifty eyeballs.

2) Use an arc-like motion back and forth, but not too high, or you’ll lose contact with the keys.

3) Block out the broken chord progressions in the right hand as they move in sequence. Then unblock them before adding in the left hand.

Be calm, relaxed, and breathe deeply but not anxiously.

Finally, say a prayer..

CLICK to enlarge (page 1 and 2, Sonata, K. 113 by Scarlatti)