CONFERENCE REVIEW & TEACHING TIPS!

The cinnamon rolls & milk were a hit, and so were all the things we talked about!!

Some of the ideas from conference:

Picture a graph and a student's age starting at 8 and going to 18 across the bottom; the progress of their piano skills being measured  from bottom to top.  In theory, we see progress from the bottom to the top by a diagonal line...as the student gets older, they get better at playing the piano.  It was pointed out that this is seldom the case:  Reality is more like a curvy line progresses and regresses at different intervals, as it, hopefully makes a general progression.  As teachers, we need to be aware of the students needs, the things taking place in their lives, their struggles, their triumphs, that will impact the piano learning.  When we are able to do this, we facilitate their learning!!

Do we point out the little things that we sometimes take for granted that our student knows, or should know...like pointing out that the key signature not only tells us what flats/sharps will be in the piece, it tells us what SCALE will be used by the composer, and therefore, which notes will be primarily used.  This may see obvious, but try pointing it out to your students and see if they say, "Duh!" or if they have an "Ah hah!" moment!!

There were lots of teaching tips shared and some good discussion on ways to help certain problems.  If you weren't able to attend, we missed you, and you missed a really good meeting!  Maybe next month!

Mark Gubler also shared some information about SUPAF being rekindled.  Registration is open!  Piano registration closes January 31, 2018.  All other registration closes December 31st!  Please contact Mark if you have any questions about it!

REGINA ROPER - JUST THE FACTS

We were so happy to have Regina Roper present to our UMTA chapter today!  She shared a lot of information that reminded us of some of the ways our students learn; how we can engage them differently to increase their learning; and showed us some great new theory resources!!  The JUST THE FACTS II Theory Workbooks are great, and we loved getting free copies of a couple of the levels!!  THANK YOU, REGINA!!!

 

WELCOME BACK, UMTA Teachers!!!

Today was our first Chapter meeting for the 2017-18 year.  It was SO nice to see so many in attendance!!  Cynthia Coombs did a great job sharing her thoughts and suggestions on "Partner Lessons" and there was some good discussion  on ways to implement this, or change things a little to be adaptable to individual studios.

Our meeting today reminded me how important each individual member of our chapter is to the group.  Everyone has something to share, and we can all learn from each other!!  THANK YOU for helping us each be better at what we do!

REMINDERS:

Performance Evaluations are coming up quickly.  Registration forms and checks need to be turned in to Lynn Dean no later than our next chapter meeting on October 3rd.  (Sooner is fine...not later!)

SUPAF for Piano will be reinstated this year with Mark Gubler overseeing the piano performance. Hooray for Mark!!

The Monster Concert sponsored by SUU and Dr. Christian Bohnenstegel will be held Tuesday, November 28th at the Cedar Heritage Concert Hall.  Contact me for more information.

AIM Testing will be taking place again this year in April.  Start preparing your students now!
= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =

SEE YOU NEXT MONTH!!!  October 3, 2017 - Regina Roper will be presenting JUST THE FACTS:  Learning from the inside out.

2017 CLOSING SOCIAL

We sure have a great group of teachers in our St. George Chapter of UMTA!!!  And it's always fun to get together!!

Today we had a short "teaching tips on For Elise" presented by Lynn Dean.  There were some excellent suggestions for helping students manage some of the passages much more easily...and the teachers teaching them, as well!!

And then we had an enjoyable time eating lunch (lasagne, salad, parmesan bread, cantaloupe, Cuties, brownie cupcakes, and Skor Cake!!  DELICIOUS!!!  And, it gave us a chance to compare notes on teaching, studio policies, etc.  Great way to end the year!!!  See you in September!!

Jazzin' Things Up A Bit!!!

Our chapter meeting for April was held in the Group classroom at DSU, and UMTA President-Elect, Laurisa Cope presented a great class on Jazz!!  We each had our own piano, plus headset, so we could play and hear ourselves, and the instructor, without hearing everyone else's pianos.  It was great!  Laurissa worked froma C Jam Blues base and gave us different aspects of Jazz to tryout.  There were also some great handouts!!  One was titled "10 Steps to Reading Chord Symbols" and was very informative!!  However, my favorite was "Cracking the Code - A Jazz Pianists' Secrets Revealed!" by Laurisa Cope!  Here are some of the secrets:

• The TRIAD is always MAJOR, unless they tell you otherwise.
• The SEVENTH is always MINOR, unless they tell you otherwise.
• Chords are independent of the key signature. (The melody is not independent!)

It was a great workshop with lots of variety to add to our studios!!  Thanks, Laurisa!!

PROGRESS...Can It Be Seen?

What a treat it was to have our UMTA State President, Cheryl Rytting, here to present to our small local chapter!!!  All in attendance came away with a platter full of inspiration, motivation, and additional ideas to take advantage of!  Here are the highlights:

1.  Mindset:  The PERCEPTION of PROGRESS is key to the student, the parent and the teacher.  What is being perceived?  Is the student aware of the progress he has made in the past 6 months?  Is it pointed out?

2.  Communication:  Three-way between student/teacher/parent.  Using technology to our benefit can help!  Take a phone video of the student working on the scales the way you want them done...then send to the parents (if young child) and/or the student.  A quick little note saying, "Susie is doing great with her scales!  Keep it up!" or other encouraging thing is very helpful.  Email and texts are great, too.

3.  Give students some control.  "What did you work hardest on this week?"  "What would you like me to hear first?"  "What would you like help on?"  When getting ready for evaluations or upcoming recitals, picking three pieces for the student to choose from, helps them feel involved in their music.

4.  Make progress more visible.  This can be done with charts, or with verbal recognition in front of the next incoming student or parent, or highlighting "breakthroughs" like "Wow!  Those crisp staccatos are sounding exactly the way I want you to play them!"  Or something similar.  Write it in the notebook...or a text to them and parents.  Lots of avenues to use!

5.  Visualize Future Goals:  What do they want to accomplish this month?  6 months?  For the next recital?  A year from now?

6.  Recognize/honor them.   Help each student feel like they are YOUR FAVORITE STUDENT!


Rachel France mentioned using the Positive/Negative Cycle to help students/parents SEE what their choices get them:

NEGATIVE: I didn’t practice I didn’t do well at my lesson My teachers mad I didn’t do well at the recital I’m embarrassed I not good at playing the piano I don’t want to practice STUDENT QUITS PIANO

POSITIVE: I practiced I did well at my lesson My teacher is NICE! I performed well at the recital Lots of compliments I’m good at playing the piano I want to practice more! STUDENT LOVES PIANO

We've all seen this take place in our studios!!  

HOPEFULLY, we can help our students recognize their progress so they will continue developing this very important and rewarding talent!!

(See you in April for our Jazz Chapter Meeting with Larissa Cope, our UMTA President-Elect!

Dr. Christie Sowby - Extended Piano Techniques

Dr. Christie Sowby shared some remarkable insights into the world of Extended Piano Techniques and External Sound Effects for the Intermediate Piano Repertoire.  She also gave us access to a great resource in her Extended Piano Techniques Handout.  We all left feeling inspired and impressed!!

GREAT PIECES & TEACHING TIPS

January's Chapter Meeting was inspired by our last chapter meeting...wanting more tips from teachers on some of their favorite repertoire to teach.

Patrice Hunt - Buzzing Bee by Nevin and The Great Smoky Mountains by Glover
Both of these pieces are easily taught by rote, initially.  Within five minutes a student can play the first page slowly...and memorized.  Often, when he sees the music of what he has just been playing, he is very surprised.  There are a LOT of notes on the pages so at first glance a student can feel intimidated.  Both pieces are fun to learn and to perform!

Caroline Jennings - Melody by Khatchaturian and The Cat and the Mouse by Copland
A handout was given with specifi suggestions for different areas of each piece.  I loved the reminder of The Cat and the Mouse as repertoire, and pulled out my very old copy to start using with my students!

Rebecca Boehm - Puck by Grieg
Rebecca shared many of the patterns that make learning this piece much easier.

Rachel France - Doctor Gradus Ad Parnassum by Debussy and Playful Puppy - Linda Niamath - Royal Conservatory Celebration Prep Book
Rachel's choice of repertoire was very helpful and inspiring.  The Playful Puppy was fun and easy, great for younger students.  Doctor Gradus was another piece that is good to include in our teaching repertoire!

If you missed this meeting, you missed some great ideas and suggestions!  See you next month!

SPECIFIC Teaching Helps from Dr. Ann David

BIKE RIDE

OP. 101, No. 39

By Ferdinand Beyer

Suggestions for Teaching

TEXT USED FOR ANALYSIS: Technic Is Fun; Early Elementary A; Comp./Edited by Gail Lew; Alfred

[This is a great book for first classics!  Each piece addresses a technical idea, is easy to read, and fun to play.  Most are in C Major and can be easily transposed.]  This piece is on p. 11.

LESSON ONE:

ANALYSIS: What is the first thing you see?  [Treble and bass clefs]  What does the 4/4 mean? [4 𝅘𝅥 in a meas.]  How shall we count this piece? [1 2 3 4]  What do the curved lines mean? [Notes touch each other] What do we do at the end of each curve? [Lift and droop wrist]  Do the notes step or skip?  Where?  Are any parts alike?  Where are they different?

1. What is the LH note that sits on a special little line?  [D] Where/how many do you play?  
2. Let’s leave it out and play all the other LH notes. [Student can understand the LH movement.]  
3. Play RH with the lift & droops.  

ASSIGNMENT: Write in counts. Play HS [Hands separately] RH lift and droop.  LH play notes w/o the D.  

LESSON TWO:

1. Check if counts are under correct notes. Check LH and RH assignment.
2. Meas. 15-16: Play meas. 16 HT.  Add meas. 15.  Play 15-16 HT several times.  Play with eyes closed.
3. What parts are loud? What is soft?

ASSIGNMENT: Play meas. 15-16 by memory.  Play all HT without LH D.  Remember the lifts & droops, louds and softs.

LESSON THREE:

1. Check memory for 15-16.  Check HT.  If not solid, repeat another week.  

ASSIGNMENT: Repeat if needed.  Otherwise, add the D and play as written.  Remember lifts & droops, louds and softs.

LESSON FOUR:

1. Check previous assignment.
2. Can you make meas. 1-4 and 9-12 rise to the D and fall back down to the G?
3. Play meas. 7-8.  Can you play them by memory?  How about meas. 15-16?

ASSIGNMENT: Louds/softs; Rise/fall; two memory places

LESSONS FORWARD:

Students should always have pieces to play by memory for family and friends.  Continue as before.

THE CHASE

OP. 117, No. 15

By Cornelius Gurlitt

Suggestions for Teaching

TEXT USED FOR ANALYSIS: first favorite Classics; Solo Book One; selected/edited by Lancaster & Renfrow; Alfred

[This is a nice small book for first classics!  This piece is on p. 19.]

LESSON ONE:

ANALYSIS: What is the first thing you see? [Bass/treble clefs] What does the time signature mean? [three 𝅘𝅥 in each measure] How should we count it? [1 2 3 or Cho-co-late]  What key [C Major]

LESSON ONE:

1. S put a boxed A by the first anacrusis and a boxed B in front of the C in meas. 16.
2. Write in all counts or a C for each chocolate.
3. Play LH chords in meas. 29 to the end.  Play RH.  Then HT.  Count Chocolate or 123 each time.
4. Go to the LH C in meas. 16.  Circle the C E G pattern twice.  What chord are you playing?  What fingering will you use? [Write it in if different from what is written.]  What are the curved lines above the notes? [slurs that connect notes to play legato.] Play the RH from the C to the end using correct counting and fingering.  Note the familiar LH chords.

ASSIGNMENT: Play from the C in meas. 16 → [to the end] HT with correct notes, fingering, and counting.

LESSON TWO:

1. Review meas. 16 → [to the end.]  Can you play this part by memory next week?
2. Let’s look at section A.  Is there anything like what you learned in section B? [LH chord; 2-note slurs]  Count and play the RH.  Do you like the fingering?  Do you need to change any?  What is different in the LH?  [the G/D chord]  Would you like to play it HS or HT this week?

ASSIGNMENT: Part B memory.  Part A HS/HT

LESSON THREE:

1. Check B memory.  Check A HS or HT as assigned.  
2. Discuss f, mf, rise and fall.  What does a rest sound like?  What does rit. mean? [stretch, gradually slow down.]

ASSIGNMENT: Play all by memory with all the ‘goodies’.

LESSON FOUR:

1. Check memory and details.
2. What would be a good ‘tick’ for now?

ASSIGNMENT: Practice w/wo music.  Can you move the tick up?   

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TOCCATINA

OP. 27, No. 7

By Dimitri Kabalevsky

Suggestions for Teaching

TEXT USED FOR ANALYSIS: Piano Literature Volume Three; Compiled & Edited by James Bastien; Kjos

[This is a great book for this level!  This piece is on p. 16]

LESSON ONE:

ANALYSIS: S(tudent) numbers measures in a box at front of each line if no numbers. Number at the first begins with first full measure, not the anacrusis or pickup E for LH.  Ask what key: Key Signature; Two choices – Major/minor; Examine beginning & end.   Ask what kind of chords do you play throughout the piece – root, first or second inversion [first inversion has single note on top]. Which hand plays the melody? [LH] How would you count this piece [1 & 2 & or ap-ples] Have S write in the counts throughout [with T help if needed].

1. S puts an A in a box inside the anacrusis meas.  Does this part come in again? [Meas. 13] How long are they the same [until meas. 7, let’s put a boxed B1 in meas. 7 and a boxed A in meas.13.  Where does it change again [Meas. 19] Does this look kind of like B1?  Let’s call it B2.  [meas. 35] Looks like A, but different . . . let’s call it an A2.  Notice at meas. 39 how the LH starts marching down? Is it getting ready to end? At the first of meas. 43 put CODA in a box.  What does CODA mean? [Italian for “tail” . . . concluding part of a piece or movement].

2. Begin with RH meas. 19 through 34.  This is a transition section with #s, ♭s and ♮s. When you can play this section, the rest is a ‘piece of cake’. Omit repeated chord; work BW meas. by meas. to ‘feel’ the movement and understand the pattern with movement {skips/steps between chords].

ASSIGNMENT:  Meas. 19-34 LH movement backward [BW] count ‘1 & 2 lift’ to hear the 2-note phrases.  Omit repeated chord in RH; begin learning chord progressions BW memorizing as you go.

LESSON TWO:

1. T(eacher) helps S ANALYZE meas. 25 through meas. 34.  [Do RH upper chord notes move by half/whole steps?  RH block patterns BW meas. by meas.  This is the ‘trickiest’ part so it is important to see and understand how both hands move.

ASSIGNMENT: Practice meas. 19-26 HS so patterns/movement are solid. Count LH.  Continue RH memory BW.

LESSON THREE:

1. Check solid knowledge of RH and LH.   What does dimin. mean? [gradually softer]

ASSIGNMENT: Begin playing HT as written BW.  Pick a slow tick. Use f and dimin. Continue memory work.

LESSON FOUR and forward:

1. This is the ‘trickiest’ section of this piece.  Be sure it is solid before moving forward.
2. Take coda next; meas. 39 →.  Check LH clefs, chord movement, phrasing/slurs, etc.  Use same HS BW approach followed by HT with dynamics.  Keep consistent tick.
3. Add B1 meas. 7-12 using same approach.
4. Begin connecting sections, adding meas. 31-38, meas. 13-18, and finally the beginning, memorizing as you go, keeping a consistent tick, and dynamics in each section.  
5. Define all dynamic markings as you learn; write meaning in music with pencil.

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VILLAGE DANCE

OP. 777, No. 8

By Carl Czerny

Suggestions for Teaching

TEXT USED FOR ANALYSIS: Masterworks Classics Levels 1-2 Comp./Edited by Jane Magrath; Alfred

[This is a great book for early classics!  [The same teaching techniques can be used for pp. 6, 7, 8, 12, 13, 14, 17, 21.]  This piece is on p. 12.

LESSON ONE:  

ANALYSIS: What are the first things you see? [clefs, sharp, 6𝅘𝅥𝅮 time] What key? G How will we count? [Cho-co-late] What does allegretto mean? [cheerfully] What dynamics will we use? [S write definition by each term.] How do we play this piece from beginning to end? [A A B B]

1. Mark sections with boxed A and boxed B.
2. Section B: block LH chords and play the changes w/o repeats so hand learns and is comfortable with changes.
3. Play B RH counting cho-co-lates.  Note the dee-yump [2-note slur] in meas. 11.

ASSIGNMENT: Block LH chords. RH chocs dee yump.

LESSON TWO:

1. Check LH chords and RH counts [fingering, counts, notes, etc.]  

ASSIGNMENT: Play RH with LH blocked chords on beats 1 and 4.

LESSON THREE:

1. Check assignment.
2. Play HT as written.
3. Play last two meas. By memory as written.  Last four . . . last six . . . all of B.

ASSIGNMENT: Memorize Section B BW [backwards as prepared at lesson]

LESSON FOUR:

1. Check memory of Section B.  Discuss all dynamics.
2. Address Section A in same manner . . . HS . . . block LH . . . RH with counts, fingering, slurs, etc.

ASSIGNMENTS: B memory dynamics A HS  LH block  RH chocs

LESSON FIVE:

1. Check B for memory & dynamics and A as assigned

ASSIGNMENT: A HT as written B memory

LESSON SIX:

1. Check assignment . . . discuss * [asterisk] at first.  All higher? A loud then soft, B loud then soft?

ASSIGNMENT:  A memory BW How will you vary? Transpose?

========================================================================================

MUSETTE IN D MAJOR

[Notebook for Anna Magdalena Bach]

By Johann Sebastian Bach

Suggestions for Teaching

TEXT USED FOR ANALYSIS: 100 Easy Piano Classics; The World’s Most-Beloved Masterpieces In Their Original Form.  Comp./Edited by Lancaster & Renfrow; Alfred

[Guys and gals both enjoy this piece!]  This piece is on p. 26.

LESSON ONE:  

ANALYSIS: What key? D Major What is the time signature? [2𝅘𝅥]  What is the fastest note? [𝅘𝅥𝅯]  How do we count pieces with 𝅘𝅥𝅯 groups? [Huckleberry]  What sections do we have? A B A Are both A sections the same? [Yes}  The secret to the piece is the B section . . . the rest is ‘a piece of cake’!

1. Mark the sections with boxed A B A.   
2. Section B CHANGES: Meas. 10, 11, 13, 15 change the beginning 2 staccatos to a dee-yump by drawing an arc to connect the two dots . . . both in meas. 11.
3. Meas. 13 – 16 Write in H B for Huckleberries.  Tap each H B with RH and say DEE-YUMP SHORT HOLD ON SHORT SHORT SHORT very rhythmically several times.  Then add RH notes.
4. Write H B in meas. 17 – 20.  Add RH notes and play 13 – 20 counting aloud.
5. Add RH meas. 9 – 12.  Play RH meas. 9 – 20 always counting aloud.

ASSIGNMENT: Write in H B for entire piece Play and count aloud RH meas. 9 – 20.

LESSON TWO:

1. Check RH in Section B for notes, fingering, counting.  Change any problem fingering; write in.
2. Play meas. 20 HT . . . then 19 – 20 . . . 18 – 20 . . . 17 – 20 Special attention to meas. 18.

ASSIGNMENT: HT meas. 13 – 20.  Count aloud Watch notes, slurs, fingering.

LESSON THREE:

1. Check meas. 13 – 20. Check LH staccatos against RH slurs.
2. Add meas. 9 – 12 HS and HT. Watch staccatos and slurs

ASSIGNMENT: Begin memory at meas. 20 and work BW.  Play meas. 9 – 20 with a ‘tick’ . . . 𝅘𝅥𝅮 = ?

LESSON FOUR:

1. Check meas. 9 – 20 and memory progress to see if section A work can be started.  If not, continue with B work and memory.
2. If ready, begin A RH work with counts [huckleberries].

ASSIGNMENT:  Continue B memory work BW.  Begin A RH.

FURTHER LESSONS:

1. Continue until B memory is solid . . . A is HT BW and then memorized.

========================================================================

WALTZ IN B♭

By Franz Schubert

Suggestions for Teaching

TEXT USED FOR ANALYSIS: Piano Literature Volume Three; Compiled & Edited by James Bastien; Kjos

[This is a great book for this level!  This piece includes a ‘waltz pedal.] It is on p. 32

LESSON ONE:

ANALYSIS:  Help S see that this is in A A B B form with an anacrusis beginning each section.  Put a boxed A or B at the beginning of each section.  Write in translation for each term.  What key?  How will you count?

1. Begin with B LH at meas. 24 anacrusis.  S write in workable fingering.  Begin with last 2 meas. playing big-less-least with chords.  Add pedal as suggested when back and forth movement is solid.  Pick a slow tick and count.  

ASSIGNMENT: Practice LH B with dynamics and pedal.  Begin to memorize.

LESSON TWO:

1. Review LH assignment.  Go through B RH part, observing slurs, staccatos, dynamics.  Write in any flats that are missed twice or more.

ASSIGNMENT:  RH BW for sure notes, counting, fingering. Write in counts using 1 & 2 & 3 &.  Continue LH work.  

LESSON THREE:

1. Check HS assignment.  Continue unless work is solid.
2. If ready, play B HT BW.  Count out loud as you play.

ASSIGNMENT: Continue B HT BW work until solid in all aspects.  What tick will work at this point?   Memorize as you go.

LESSON FOUR forward:

1. Continue working HT BW, memorizing as you learn.  Use a tick to keep all counts even.
2. When B is solid and memorized, follow the same procedure with A.

REMEMBER: Students should be working on parts of several pieces at the same time.  The goal is not speed but security.  When ready for recital and/or festival, place the piece in the student’s Memory Bank to be reviewed every 2-3 months.  Students should have pieces in different styles ready to play at all times.      

========================================================================================

A LITTLE PORCUPINE

Op 89, No. 8

By Dimitri Kabalevsky

Suggestions for Teaching

TEXT USED FOR ANALYSIS: Masterworks Classics Levels 1-2 Comp./Edited by Jane Magrath; Alfred

[Kabalevsky pieces are super for young students!]  This piece is on p. 26.

LESSON ONE:  

ANALYSIS: What is the first thing you see? [two treble clefs!] How will we count this piece?  [2𝅘𝅥 or 1 & 2 &] What does allegretto mean? [cheerfully] Staccatissimo? [very short, detached] Popcorn or trampoline? [popcorn]  What happens in the last line? [grow from soft to loud]

1. Meas. 1 block LH notes.  What note is on the bottom?  E Block next measure, then next, next. What are the bottom notes in all four? E F D E.
2. Continue blocking LH in each meas.  Name the bottom note in each.  Learn the pattern.
3. Block and say last line pattern.  Close your eyes and say/play.  Continue BW blocking and naming bottom notes.

ASSIGNMENT: Memorize LH bottom note pattern as you play and block.

LESSON TWO:

1. Check LH memory of pattern w/block.
2. LEARNING THE ‘CODE’!  Play first LH blocked chord and hold.  Place RH thumb on the note above the LH thumb and block the RH chord.  Play HT saying the bottom LH note E.  Keeping both hands together, move up to LH F.  Now both hands stay together and move to LH D and then back up to LH E.
3. Keep thumbs together and continue through the piece, saying the LH bottom note pattern.

ASSIGNMENT: Thumbs together say LH bottom notes block both HT

LESSON THREE:

1. Check HT movement.  Play as written.  Note fingering in the same in both hands going opposite directions.

ASSIGNMENT: Memorize last line HT saying pattern . . . last two lines . . . all memorized HT.  Let last line get louder.  Listen for ‘popcorn’ staccatos.