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?   

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

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.

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

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.

   

Teaching Suggestions from Dr. Ann David - Solfeggietto

SOLFEGGIETTO

By Carl Philipp Emanuel Bach

Suggestions for Teaching by Dr. Ann David

Piano Literature Volume Three; Compiled & Edited by James Bastien; Kjos

LESSON ONE:

1.      S(tudent) number measures in a box at front of each line if no numbers

2.      Ask what key: Key Signature; Two choices – Major/minor; Examine beginning & end

3.      Ask which hand plays what – how can you tell?   How would you count this piece [Huckleberries] Maybe have S write in the H and B throughout with T help if needed.

4.      S plays meas. 1 to first note of meas. 5 [FINGERING: Meas. 1 RH pattern begins 24321 followed by extension 4321.  Meas. 2 begins same: run begins with 5 & follows scale fingering.  Repeat fingering in meas. 3-4 ending with first note of meas. 5.]  Ask S what key for this part.  Ask how best to count the piece [♬♬ patterned pieces are huckleberry]

5.       Skip to meas. 9 through first note of meas. 13.  Repeat same process as before using the same fingering as before. [Yes, the thumb will play the F# - no big deal.] What key?

6.      Meas. 14 to first note of meas. 21: Same fingering; with all runs, name the change in keys

7.      Meas. 31 to end: remember all four parts are based on the same fingering

8.      Go back and have S play all four parts.

9.      Ask if S can play all four by memory next lesson – identical fingering for all is a must!

LESSON TWO:

1.      Check memory of four parts.  Praise what is solid; ask S to reinforce next week [sure memory]

2.      T(eacher) helps S ANALYZE meas. 26 through meas. 30.  [LH clefs; check upper chord notes move by half steps; play several times; try playing with eyes closed]  [RH block patterns; in meas. 26 on see relationship with E♮ to E♭ to D to D♭ to C going from top to bottom of sixths – use 5 on top note and 1 on bottom – scrunch and stretch between related notes.  This is the ‘trickiest’ part so it is important to see and understand how both hands move.  ASSIGN THIS SECTION HS SO PATTERNS/MOVEMENT ARE SOLID.

LESSON THREE:

1.      Review four-part memory.  Ask S to try crescendo/diminuendo in each section.

2.      Check HS work for meas. 26-30.  If solid, ask S to block LH then RH, LH then RH, etc. through section.  Practice all as assigned during week with huckleberries.

3.      REMEMBER: S is working on theory, scales, and 3-4 other pieces in various ways at the same time.  The S is learning the theory regarding this piece by tearing it apart, what it looks like on the page, to memorize with knowledge, and to know through consistent fingering what it feels like; all result in sure memory.

LESSON CONTINUE:

              Continue going backwards [BW] with analyzing, learning, memorizing sections until you are back to the first run and have the entire piece learned. USE METRONOME as you go since Students tend to go faster with parts that are solid and slower with the new. The new sections, regardless of length have similar parts to what has already been covered.  Block chord passages like meas.21, 13-16, 5-6.  Note common A in meas. 7-8, Continue dynamic rise and fall of lines.  The trill in meas. 25 is a hippopotamus . . . D E♭ D C D  with a slight ritard . . .  and got directly  to LH chord.

Transitioning from Method-Only Mode...

Dr. Ann David came down from Salt Lake City to share some of her ideas with us.  One of the very impressive parts of her presentation was her explanation that she has Rheumatoid Arthritis for the past 45 years and undergone 39 surgeries to correct some of the resultant problems.  A great example of fortitude and endurance!  The biggest focus of her lecture was to encourage all teachers to be aware of the needs of their students and not think that "one method fits all."  She brought a large library of books to "show-and-tell" and passed around to give us exposure to things we may not have used before.  There is SO much available.  We could have spent a couple of hours together!

Dr. David also briefly touched on implementing improvisation, and lead sheets, encouraging the use of Fake Books to intro our students to other repertoire.  She also had recommendations for effective and efficient studio policies, including payment procedures and effective late-payment strategies.

She covered a LOT in the small amount of time we had together.

At the end, we had some fun "drawings" for prizes.  Lots of people left with fun gifts.  Hope to see at January's meeting...next year...only a few weeks away!

Merry Christmas!!

Fanning the Flame with FUN!!!

Paula Manwaring and daughter, Tiffany Horrocks, presented a great workshop on making things fun for kids...our students...and fun it was for us at our meeting!!

We played rhythm games, speed matching games, and teamed up for some games testing our drawing (and recognizing the drawing!) abilities!  Some great ideas for use in our own lessons.  Simple little things, thrown in here and there, can really help our students love their lessons while learning at the same time!

Check out this Piano Camp fun with Rhythm!!

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

REMEMBER:  NO CHAPTER MEETING IN NOVEMBER...UMTA STATE CONFERENCE NOVEMBER 4-5 at Weber State University.  See you in December for our Chapter meeting with Dr. Ann David...among other things, she will be discussing how to take the next step from method books to expanded literature.

MUSIC MOTIVATION...and then some!!

What a great way to start off the new school year and our UMTA-St. George Chapter meetings!!  Jerald Simon came down from northern Utah and gave a jam-packed presentation that left us wanting more time to digest everything he presented.  WOW!!

Jerald gave us a handout listing the "FIRST 5 Steps of Practical Application of Theory" which was motivating and very helpful just by itself!  If you missed out, you might want to check out this link:  MUSIC MOTIVATION - Theory Application

** A side note after the presentation - A few of us stayed after and were talking with Jerald, when he mentioned a study that was done at WSU (I think that's where he said it was...)  Anyway, the study was showing how playing pieces in EVERY key, even as simple as Mary Had A Little Lamb, or Twinkle Twinkle Little Star, connects neuro-pathways and makes NEW connections as well...which, in turn, helps stave off dementia, etc.!!  Aren't we glad we teach piano?!?!

We learned all kinds of stuff today!  Thanks, Jerald!!
=====================================================================

You might want to go to Jerald's Website and check it out.  He has MANY resources and free stuff to share with teachers and students!  An excellent resource!!

PERFORMANCE EVALUATIONS COMING BEFORE WE KNOW IT!!!!

YEP, Performance Evals are nearly here!!!  (Is it truly September, already?!?!)

The registration deadline is Saturday, October 8th.  The Performance Evaluation dates are Friday, October 21st, and Saturday, October 22.  Both days will be at the Eccles Fine Arts Building at Dixie State University.  Dr. Lynn Dean is our Region Chair for this event.  PLEASE make sure you have your students' information (AND money) submitted BEFORE October 8th.

Here are links to the information you need:

TEACHER REGISTRATION INFORMATION

REGISTRATION FORM

REGION CHAIR CONTACT INFO

If you have questions, please contact Dr. Lynn Dean.