Obviously, the basic "Principles of Teaching" is based on the intermediate to
advanced student of the piano. Since we all begin at the same place, it is
crucial to understand, from the outset, what is expected.
DAILY PRACTICE and CONSISTENT LESSONS are the foundation for study. Daily
practice because the basic skills must be acquired through regular use and
consistent lessons since the COMMITMENT to the weekly time allotted in the
teacher's schedule must be respected. As we all know from experience, if we
give ourselves an out--we will take it.
DAILY PRACTICE should consist of CAREFULLY following the teacher's instructions.
TWO OR FOUR MEASURE SECTIONS REPEATED FOUR TO SIX TIMES would be a minimum.
TROUBLE SPOTS often require EIGHT OR MORE repetitions. Remember, a sloppy
repetition yields a sloppy performance.
Special care should be taken to COUNT IN A STEADY MANNER, letting the counting
pull the playing along (and not the reverse) and, of course, diligently FOLLOWING
THE MARKED FINGERINGS. We have eighty-eight keys to cover and only ten fingers.
Which exact finger to use, even in a simple piece, is not a minor consideration.
As skills are gradually acquired and knowledge of dynamic marks, legato and
staccato and phrasing are added, greater concentration is required in the
repetitions. However, since this is a gradual accumulation, the additional
intensity should not be particularly noticed--AS LONG AS THE SKILLS GAINED ALONG
THE WAY ARE SOLID.
A beginning student should practice a minimum of ONE-HALF HOUR EACH DAY (for the
very young student this should be split up into two fifteen minute
periods)--PREFERABLY AT THE SAME TIME EVERY DAY. For each additional year of
study, add on five minutes to the daily total. Please note! This is a BARE
minimum.
When playing ANY piece of music, you should always have something specific in
mind that you are trying to project. We all hear music in different ways.
Some of us hear it as a story; some of us hear it in terms of feelings and
some of us hear it as movement and/or color. Think carefully about how YOU hear
music and then follow through by making sure that you are communicating that in
your playing. It really doesn't matter if the listener knows what you are doing.
The honesty of doing it will spark their own responses. In this way you are truly
giving the music a chance to work its magic.
Many beginning students use an electronic keyboard. As soon as possible,
anyone studying the piano should consider purchasing an acoustic instrument--not
only for the range of notes and type of touch, but also for the use of the pedal.
Acoustic pianos should be tuned at least three times a year to protect against
humidity changes.
Particularly in the beginning, attending live concerts whenever possible is
crucial, as is participating in as many student performances as are offered.
The range of superior performances on CDs is limitless, but ask for
recommendations. The range of mediocre performances is, unfortunately, also
limitless. On video, movies like "Amadeus", "Immortal Beloved",
"Song Without End", "Madame Sousatzka", "Brother of Sleep" and presentations
of the Cliburn and Tchaikovsky Competitions are memorable.
By now you are probably tired of reading the work "repetition". Remember
when tying your shoelaces was a major effort, requiring all your concentration?
Eventually, as if by magic, you could to it so automatically that you could watch
television at the same time or have a conversation while doing it. Or think
about what it takes to shoot a basket reasonably well or rattle off the
multiplication tables. There's that word again, "repetition". But there are
innumerable ways to repeat something--to trick the mind into storing a skill to
the point where it becomes second nature. Use you imagination in the TYPE AND
QUALITY of the repetition and it can be an exciting adventure. Producing
something beautiful, the shimmer of the genius of the composer sifted through
the uniqueness of who you are, is well worth the hard work.
