I am a very blessed piano teacher. Quite nice parents, not too difficult students .
As I broaden my repertoire, there are some work to be done.
I believe in working with what is in my hands at the moment.
Draw out plan for each individual students, launch stickers gift redemption scheme , final year recital , fees revision ..... The rest will follow up later.
Discipline , time management and focus to get all these done by the end of this year.
Group baby musician class must be planned and carry out soon
Wednesday, September 14, 2011
Saturday, July 16, 2011
Saturday... 16th July
This student 's grade 3 practical examination is around the corner. However we have yet learn the third piece . She is putting more efforts after I start to tighten all reins but I really dislike it this way. This is her second examination and she usually carelessly learn and play her piano until I get mad. However she done not want to stop lessons. Hope I can do whatever I can to help her pass this examinations.
The next student is taking his grade 4 practical exams. He is a huge contrast. He really put in efforts and he could reach where he is right now in 2 years. The only concern which I am working on with him is his shut reading and aural which previously I fail to see the importance and failed to include in every lesson till nearing examinations.
The third student is not taking examinations this year. We have lots of time to work through scales fingerings, cantabile technique and various elements for repertoire . The downside is the lack of motivation. Learning takes place slower as there is no dateline to meet
The next student is taking his grade 4 practical exams. He is a huge contrast. He really put in efforts and he could reach where he is right now in 2 years. The only concern which I am working on with him is his shut reading and aural which previously I fail to see the importance and failed to include in every lesson till nearing examinations.
The third student is not taking examinations this year. We have lots of time to work through scales fingerings, cantabile technique and various elements for repertoire . The downside is the lack of motivation. Learning takes place slower as there is no dateline to meet
A rewarding second lesson
This week speed by so swiftly...
There is a student that motivates me much this week.
An adult student whom just had two lessons.
This week I introduced her to a piano method book. I was sharing with her that I planned to teach her some familiar tunes like Bach's Minuet in G. I played the melody and she started to learn that piece observing my fingers on the piano. And that was how the lesson began.
She managed to play 4 bars with LH accompaniment of block chords. She even went home to search on YouTube .
Many musiciAns play by ear. Teachers should at times play by ear. Whatever lesson plan was done, teachers can teach according to Student's interest.
That lesson went on to some history on baroque, note values, time signature, key signature and even patterns. It was a rewarding lesson.
There is a student that motivates me much this week.
An adult student whom just had two lessons.
This week I introduced her to a piano method book. I was sharing with her that I planned to teach her some familiar tunes like Bach's Minuet in G. I played the melody and she started to learn that piece observing my fingers on the piano. And that was how the lesson began.
She managed to play 4 bars with LH accompaniment of block chords. She even went home to search on YouTube .
Many musiciAns play by ear. Teachers should at times play by ear. Whatever lesson plan was done, teachers can teach according to Student's interest.
That lesson went on to some history on baroque, note values, time signature, key signature and even patterns. It was a rewarding lesson.
Friday, July 1, 2011
Quite a successful simultaneous learning
Prior to this lesson with a 7 year old beginner (boy), I do not have a weekly lesson plan. However the long term plan was to follow the Piano Adventure 2A and achieve what was already in the book.
When he arrived, we were discussing what he had learnt from the performance he put up at the June Concert which happened a week ago.
Glancing through the next piece in the book, I got him to locate and play all the five keys of G position which he was not very sure yet. After that we make up some music in that position. Initially with nothing in mind and he went up and down the five keys. Subsequently, some ideas were incorporated into the improvisation which include- bouncing basketball, high jump , hopping rabbit, happy song etc ... Well done ! We have convered quite a lot , from learning G position to improvisation . I know this student learns a little slower in a new piece, trying to read all that is in the page and struggling to put things together. I think now he can play lots of songs that he is going to make up .
Next we proceed to placing magnets note on the grand staff magnetic board. I get thim to do it and I will guide him to find the right line or space when needed.
Now, he was ready to play the piece. Right hand first always, especially for this boy. So right hand went playing the melody but with quite a few corrections needed. I just feel that was not good enough.
We stopped playing. Instead I proposed that he tells me if he can find the notes in bar one on the treble staff appearing elsewhere. He spotted it in the second bar, and twice consecutively on a phrase in the second page as well. Seems things are improving.
Then miracles happen. He play the first phrase melody on the right hand again and this time he can play the melody without as many mistakes as compared to the first time. Actually he played well.
At the end of the lesson, we managed to focus on the the first phrase to be played by both hands , that means two phrases as the phrase reappears in the second part of the music.
Lesson was well paced- not congested with activities and music elements . However it was a great lesson as student get to really understand each element well, achieved progress and an interesting homework which will include playing new improvised music everyday.
When he arrived, we were discussing what he had learnt from the performance he put up at the June Concert which happened a week ago.
Glancing through the next piece in the book, I got him to locate and play all the five keys of G position which he was not very sure yet. After that we make up some music in that position. Initially with nothing in mind and he went up and down the five keys. Subsequently, some ideas were incorporated into the improvisation which include- bouncing basketball, high jump , hopping rabbit, happy song etc ... Well done ! We have convered quite a lot , from learning G position to improvisation . I know this student learns a little slower in a new piece, trying to read all that is in the page and struggling to put things together. I think now he can play lots of songs that he is going to make up .
Next we proceed to placing magnets note on the grand staff magnetic board. I get thim to do it and I will guide him to find the right line or space when needed.
Now, he was ready to play the piece. Right hand first always, especially for this boy. So right hand went playing the melody but with quite a few corrections needed. I just feel that was not good enough.
We stopped playing. Instead I proposed that he tells me if he can find the notes in bar one on the treble staff appearing elsewhere. He spotted it in the second bar, and twice consecutively on a phrase in the second page as well. Seems things are improving.
Then miracles happen. He play the first phrase melody on the right hand again and this time he can play the melody without as many mistakes as compared to the first time. Actually he played well.
At the end of the lesson, we managed to focus on the the first phrase to be played by both hands , that means two phrases as the phrase reappears in the second part of the music.
Lesson was well paced- not congested with activities and music elements . However it was a great lesson as student get to really understand each element well, achieved progress and an interesting homework which will include playing new improvised music everyday.
Monday, June 27, 2011
June Students' Concert
I received a call from a parent to feedback to me that her son cried badly as he did not perform well at the concert last saturday. This child had strong pride and always felt he played very well. Through the concert, he was convinced that he need to put in more efforts in his practice.For this student the peers influence impacted him more than teacher and parent ( figure of authority ) .
For another grade 6 student, she has managed to play one grade 6 examinations piece better as a result of preparing the piece for the concert. Without the concert as a motivation factor, she would take longer time or even procrastinated till her examinations before the piece is polished.
Another gain of this concert is to allow students to be independent. They no longer are performing just for the teacher. They are playing for their peers and some parents. From afar, I could observe their responses to the audience, how they handle any mistake they make and how they manage by themselves.
Generally there were some who were calm , quite oblivious to the pressures some are having. There were those who felt so uncomfortable to the extent of not able to perform well. There were a handful who showed full confidence .
Overall the concert is a great learning experience for all.
For another grade 6 student, she has managed to play one grade 6 examinations piece better as a result of preparing the piece for the concert. Without the concert as a motivation factor, she would take longer time or even procrastinated till her examinations before the piece is polished.
Another gain of this concert is to allow students to be independent. They no longer are performing just for the teacher. They are playing for their peers and some parents. From afar, I could observe their responses to the audience, how they handle any mistake they make and how they manage by themselves.
Generally there were some who were calm , quite oblivious to the pressures some are having. There were those who felt so uncomfortable to the extent of not able to perform well. There were a handful who showed full confidence .
Overall the concert is a great learning experience for all.
Monday, June 20, 2011
Group sessions
4th - 7th days of the CT ABRSM is over. In this 2nd stretch of the course, I am reminded that I need to work on my music knowledge, teachnique of playing and work on the lesson plans for teaching.
2 weeks ago, the three groups of teaching I have done was a learning experience for me. For the 5-7years old and 8-11 years old, to get them to participate in the activities requires not much "Co-ercing" . It was tougher for the 12-15 years old, they were far too shy to response and interact with the peers.
That does not conclude that group lesson is not suitable for the 12-15 years old. They were still participarting and responding but sheepishly. They were observing intently at their peers through the session.
For the 5-7 years old, the Steps and Skips Game took almost 1 hour to complete. Though from half way through the game most were quite sure how to recognise a step and a skip, the game is taking up too much time. I have done some amendments to the game to ensure a player can reach the finishing point at a shorter time.
At the end of most of the sessions, an interview was taken on the video with students sharing their thoughts about the session.
My plans for the next 5 years is to invest in digital pianos and focus on group teaching .
2 weeks ago, the three groups of teaching I have done was a learning experience for me. For the 5-7years old and 8-11 years old, to get them to participate in the activities requires not much "Co-ercing" . It was tougher for the 12-15 years old, they were far too shy to response and interact with the peers.
That does not conclude that group lesson is not suitable for the 12-15 years old. They were still participarting and responding but sheepishly. They were observing intently at their peers through the session.
For the 5-7 years old, the Steps and Skips Game took almost 1 hour to complete. Though from half way through the game most were quite sure how to recognise a step and a skip, the game is taking up too much time. I have done some amendments to the game to ensure a player can reach the finishing point at a shorter time.
At the end of most of the sessions, an interview was taken on the video with students sharing their thoughts about the session.
My plans for the next 5 years is to invest in digital pianos and focus on group teaching .
Wednesday, June 8, 2011
Group Teaching - June 2011
Today's group lesson was great . Each time I teach a group, I gained confidence and insights.
Though working with only one upright piano and an electone, the group of 8 students learnt a great deal learrning Bizet's Toreador Song. I like the approach that student learn a new piece of music through listening. Today students were asked to listen out for the key, melodic patterns, dynamics, style etc of the piece.
As they tried to unscramble a cut up pieces of the music, they were motivated to read the music and hear it in their head in order to piece them in order. I love this part which it really works - the score was more than theoretical notes but they were able to hear the music in themselves.
Learning to play the piece could be more directive. Getting them to work out the piece was not too successful. The music could be study as a group in phrase and assign one to play just parts of it - probably all the interval 3rds , all rhythmic pattern one or melodic pattern 2 etc. The whole piece could have been well studied before they do their homework to play the piece before the next group lesson .
Well done. Keep going !
Though working with only one upright piano and an electone, the group of 8 students learnt a great deal learrning Bizet's Toreador Song. I like the approach that student learn a new piece of music through listening. Today students were asked to listen out for the key, melodic patterns, dynamics, style etc of the piece.
As they tried to unscramble a cut up pieces of the music, they were motivated to read the music and hear it in their head in order to piece them in order. I love this part which it really works - the score was more than theoretical notes but they were able to hear the music in themselves.
Learning to play the piece could be more directive. Getting them to work out the piece was not too successful. The music could be study as a group in phrase and assign one to play just parts of it - probably all the interval 3rds , all rhythmic pattern one or melodic pattern 2 etc. The whole piece could have been well studied before they do their homework to play the piece before the next group lesson .
Well done. Keep going !
Tuesday, May 24, 2011
Everyday is a learning
Yesterday, teaching Wen En was joyful. He is 6 but yet he knows how to express himself well. Full of confidence. He shows interest in The Can Can and even wanted sister to teach him.
Chatting with Wanyu was fun though she took a while to warm up and was still so soft spoken.
I was going through the grade 5 piece by Bach ( c'mon remember the piece's name ) and was showing Vivien the E minor arpeggio pattern . The next lesson with Cherlynn I realised that the LH phrase before and after the arpeggio is of the same melodic pattern starting on a different key.
One thing about teaching adult is reassurance of "you can do it " . Adult's mindset is full of " I cannot do this " .
Our lifestyle need a radical change. We need to reflect upon ourselves daily and think about how we can live a better tomorrow.
Chatting with Wanyu was fun though she took a while to warm up and was still so soft spoken.
I was going through the grade 5 piece by Bach ( c'mon remember the piece's name ) and was showing Vivien the E minor arpeggio pattern . The next lesson with Cherlynn I realised that the LH phrase before and after the arpeggio is of the same melodic pattern starting on a different key.
One thing about teaching adult is reassurance of "you can do it " . Adult's mindset is full of " I cannot do this " .
Our lifestyle need a radical change. We need to reflect upon ourselves daily and think about how we can live a better tomorrow.
Something need to be done
As the assignment and lesson observation deadline draws near, Quick Study, journal and many other things are put aside. I must plan well and keep reviewing my plans to improve how I manage.
Teaching is fun and rewarding at times. Frustration is part and parcel of it when dealing with the "uncontrollable" .
Keep on doing. Be like the persistent widow in Luke 18.
Teaching is fun and rewarding at times. Frustration is part and parcel of it when dealing with the "uncontrollable" .
Keep on doing. Be like the persistent widow in Luke 18.
Saturday, May 14, 2011
The sky is never always blue
Indeed things will not always be "fine" .
Things are not going on as well this week. Children's school examinations is one of the factor. Progress of CT assignments , projects etc is pulling me apart.
Things are not going on as well this week. Children's school examinations is one of the factor. Progress of CT assignments , projects etc is pulling me apart.
Practice , Prepare , Plan
Teaching Diary 2011 ( May 6, 2011)
Keep on practicing, prepare and plan.
It is rewarding to be hardworking. The regular practice on Grade 6 pieces has certainly built up my piano technique. Stamina is built, fingers agility has improved a little and most of the “difficult” pieces has become manageable. Constant practicing the piano is like fresh water. It refreshes the passion for music and teaching. It is definitely not the only element to make me a better teacher but it helps me not to backslide.
Professional insight is important for me. Today I read the Teaching Notes on the Piece by Edward Grieg and was taken aback by the challenge of the pedal works involved. I did not expect that. It goes to show that a teacher needs to plan and study what she is going to teach and be well prepared. Indeed fail to plan, plan to fail. Though it is not easy to plan, but it is a vital part of teaching.
As I start to plan, more ideas tend to fall in place. Sometimes when I plan or record my lesson, I begin to realize which area I can improve on. Take for example I started planning my lesson using the format attached in the book The Music Teachers’ Companion written by Paul Harris and Richard Crozier. After using the template for a few student, I came up with another format whereby 4 lessons can be input on a sheet and progress of the student is visibly recorded. The new format consists of specific areas like scales, technique, repertoire, aural, sight-reading, improvisation, composition and theory. As I began to teach in the simultaneous style, I would like a clear plan and record of what is taught specifically in each area.
Keep on practicing, prepare and plan.
It is rewarding to be hardworking. The regular practice on Grade 6 pieces has certainly built up my piano technique. Stamina is built, fingers agility has improved a little and most of the “difficult” pieces has become manageable. Constant practicing the piano is like fresh water. It refreshes the passion for music and teaching. It is definitely not the only element to make me a better teacher but it helps me not to backslide.
Professional insight is important for me. Today I read the Teaching Notes on the Piece by Edward Grieg and was taken aback by the challenge of the pedal works involved. I did not expect that. It goes to show that a teacher needs to plan and study what she is going to teach and be well prepared. Indeed fail to plan, plan to fail. Though it is not easy to plan, but it is a vital part of teaching.
As I start to plan, more ideas tend to fall in place. Sometimes when I plan or record my lesson, I begin to realize which area I can improve on. Take for example I started planning my lesson using the format attached in the book The Music Teachers’ Companion written by Paul Harris and Richard Crozier. After using the template for a few student, I came up with another format whereby 4 lessons can be input on a sheet and progress of the student is visibly recorded. The new format consists of specific areas like scales, technique, repertoire, aural, sight-reading, improvisation, composition and theory. As I began to teach in the simultaneous style, I would like a clear plan and record of what is taught specifically in each area.
Wednesday, May 4, 2011
How to learn Fugue - Music Teachers Helper
How To Learn Any Fugue in 5 Easy Steps
May 3rd, 2011 by Chris Foley
Part of the wonder and frustration of playing fugues lies in the sheer complexity of playing with only two hands a contrapuntal composition that most of the time contains at least 3 moving voices. We need to line up each moment of the composition, divide the voices between our two hands (often with bizarre fingerings) and at the same time hear the melodic direction of every one of the voices, which are most of the time doing completely independent things.
This mental and musical multitasking can be a sizable mountain to climb for younger pianists making their first acquaintance with the form, so it’s important to have a clear order of battle when learning one of these beasts, whether for the first time or the forty-eighth.
Here’s how I learn a fugue and how I teach others to learn one:
1. Play through the entire fugue at the first sitting. That’s right. Dig right in and get the darned thing learned, mistakes and all. Write in some fingerings if you need to, figure out which hand is playing what, and get to the end in one session. It usually takes an hour or so, and if you end up crawling away from the piano afterwards to cry into a plate of chocolate chip cookies or play World of Warcraft for the rest of the evening, that’s okay.
2. Spend more time learning fingerings, articulations, division of the hands, and getting fluent. Working at the entire texture, get the nuts and bolts of the piece worked out so that you can play it tolerably well.
3. Learn each voice individually. You don’t need to play with either the same fingerings or even the same hand that you played with in step 2. You just need to be able to hear the voice, its musical shape, where the phrase is going, and how you want to play it. Do this for every single voice in the fugue. Think of it like individual members of a choir going home and learning their parts before the next rehearsal.
4. Learn each combination of voices. Once you’ve learned the individual voices, it’s time to put them together in every possible subset of voices. Yes, every single one. That means for a 3-voice fugue (with soprano, alto, and bass parts) you’ll play SA, SB, and TB. For a 4-voice fugue (with soprano, alto, tenor, and bass parts) you’ll play SA, ST, SB, AT, AB, TB, SAT, SAB, and ATB. For 5-voice fugues it gets even more complex, but do every single combination and you’ll really know what you’re doing.
5. Put the entire fugue together again. Now is where it helps to have done some accurate work in step 2. However, when you put all the voices back again, the experience of having spent time learning the voices individually and in combination will completely change the experience of playing the fugue, as well as what you’re able to comprehend. By now, you should have a sense of whether this is a stretto or episodic fugue (or combination thereof), as well as how each voice has its own character in relation to the others.
After step 5, you’ll be ready to do even more technical, musical, or analytical work with your interpretation thus far. Or you can go back to step 3 again and practice the individual lines again. At any rate, you will have already done the toughest work regarding how to wrap your fingers and brain around what can be some of the most wonderful, complex, frustrating, and glorious music in the repertoire.
May 3rd, 2011 by Chris Foley
Part of the wonder and frustration of playing fugues lies in the sheer complexity of playing with only two hands a contrapuntal composition that most of the time contains at least 3 moving voices. We need to line up each moment of the composition, divide the voices between our two hands (often with bizarre fingerings) and at the same time hear the melodic direction of every one of the voices, which are most of the time doing completely independent things.
This mental and musical multitasking can be a sizable mountain to climb for younger pianists making their first acquaintance with the form, so it’s important to have a clear order of battle when learning one of these beasts, whether for the first time or the forty-eighth.
Here’s how I learn a fugue and how I teach others to learn one:
1. Play through the entire fugue at the first sitting. That’s right. Dig right in and get the darned thing learned, mistakes and all. Write in some fingerings if you need to, figure out which hand is playing what, and get to the end in one session. It usually takes an hour or so, and if you end up crawling away from the piano afterwards to cry into a plate of chocolate chip cookies or play World of Warcraft for the rest of the evening, that’s okay.
2. Spend more time learning fingerings, articulations, division of the hands, and getting fluent. Working at the entire texture, get the nuts and bolts of the piece worked out so that you can play it tolerably well.
3. Learn each voice individually. You don’t need to play with either the same fingerings or even the same hand that you played with in step 2. You just need to be able to hear the voice, its musical shape, where the phrase is going, and how you want to play it. Do this for every single voice in the fugue. Think of it like individual members of a choir going home and learning their parts before the next rehearsal.
4. Learn each combination of voices. Once you’ve learned the individual voices, it’s time to put them together in every possible subset of voices. Yes, every single one. That means for a 3-voice fugue (with soprano, alto, and bass parts) you’ll play SA, SB, and TB. For a 4-voice fugue (with soprano, alto, tenor, and bass parts) you’ll play SA, ST, SB, AT, AB, TB, SAT, SAB, and ATB. For 5-voice fugues it gets even more complex, but do every single combination and you’ll really know what you’re doing.
5. Put the entire fugue together again. Now is where it helps to have done some accurate work in step 2. However, when you put all the voices back again, the experience of having spent time learning the voices individually and in combination will completely change the experience of playing the fugue, as well as what you’re able to comprehend. By now, you should have a sense of whether this is a stretto or episodic fugue (or combination thereof), as well as how each voice has its own character in relation to the others.
After step 5, you’ll be ready to do even more technical, musical, or analytical work with your interpretation thus far. Or you can go back to step 3 again and practice the individual lines again. At any rate, you will have already done the toughest work regarding how to wrap your fingers and brain around what can be some of the most wonderful, complex, frustrating, and glorious music in the repertoire.
Saturday, April 30, 2011
Composing
A student composed a short tune after being introduced to improvisation.
At first we try to continue to compose by playing "anything" but the outcome is nothing desirable.
I do not want to brush off this opportunity. Thus I asked her to play the short tune today. Next, I asked her to think of a suitable time signature and worked out the rhythm with help. With the composition becoming visible, finding the notes was easy. Right in front of us was a 4 bar rhythm with names of notes .
Though it was the first composition we are working on, but I encourage her to compose a 16 bars piece. Trying out a few keys, the next 4 barsjust do not sound right. Instead of sticking to what the student wanted which is to play the 1st 2 bars again, we used the last note in bar four to be the link to the next 4 bars. After making a few melodies, finally she made her choice. The rhythm and notes are now in place for 8 bars.
There is a sense of achievement though much time was spent on that. Student is assigned homework to work on the next 8 bars with a criteria to end on the key note.
With this lesson, I will teaching composition with small steps of guidelines . Thus this will be a start of part of my teaching curriculum.
At first we try to continue to compose by playing "anything" but the outcome is nothing desirable.
I do not want to brush off this opportunity. Thus I asked her to play the short tune today. Next, I asked her to think of a suitable time signature and worked out the rhythm with help. With the composition becoming visible, finding the notes was easy. Right in front of us was a 4 bar rhythm with names of notes .
Though it was the first composition we are working on, but I encourage her to compose a 16 bars piece. Trying out a few keys, the next 4 barsjust do not sound right. Instead of sticking to what the student wanted which is to play the 1st 2 bars again, we used the last note in bar four to be the link to the next 4 bars. After making a few melodies, finally she made her choice. The rhythm and notes are now in place for 8 bars.
There is a sense of achievement though much time was spent on that. Student is assigned homework to work on the next 8 bars with a criteria to end on the key note.
With this lesson, I will teaching composition with small steps of guidelines . Thus this will be a start of part of my teaching curriculum.
Saturday, April 23, 2011
Joy of teaching
Embarking on the CT course is a good choice. The course has given me a fresh perspective in my teaching which has made my work more enjoyable.
Saturday is a day that I teach with a good momentum as students come in one after another.
I am glad that a grade 4 student managed to get his pulse steady in the second half of the Chev le forgeron. Playing the melody for 2 bars in right hand then melody appears in the left hand for 2 bars requires some careful attention . The next 4 bars is a repeat of this. Then the music becomes more "percussive" which requires both hands to coordinate well in order to get the beat flowing in time. Renhui finally manage to play these phrases in a steady pulse after demonstrating to him and allowing him to play through a few tries.
For this student, I introduced Czerny Op 599 to practise B flat Major. Though the piece I have picked is not entirely on the scales but about a few phrases but it will serves 2 purpose - one is he get to play a piece of new music and secondly he get to practise scales within the piece.
Maikapar's Chev Le Forgeron is a favourite among my students. Eveline came in and when asked to play her choice, she chose this first. One of the challlenge is the repetitive 3rds that both hands play alternate in which one common key is often not released to be played in time. Release the keys immediately after playing is reminded to all students. As some melody is played by left hand in some parts, left hand does need to play more . Playing more pieces with left hand melody helps.
While this student plays her A piece - Allegro by Anon ( Nannerl's notebook ) it hits me that the challenging phrase is similar to the Grade 6 Handel's Allegro. I showed her the similarity in the 2 pieces. Key to be able to play such phrases fluently is recognise the patterns, stick to one set of fingerings, drill often until fingers get to the auto mode and play "automatically" when approaching such patterns.
As the next student comes in and observe the last part of this lesson comparing the 2 different grade pieces, I asked her if she remembers her previous grade piece and she played through with the book I have. Many students I supposed will leave after lesson , go home and practised what is done during the lesson at most. How many will play the pieces they have learnt in the past ? If they record their repertoire and create a "Pianist's Portfolio " , will their music world horizon widens ? Anyway, I shared with her what I played for my grade 1 exams - Le Couppey's Melody . She listens and plays the melody on the spot . That's a great way of approaching sight reading. The whole session was relax , natural , no stress and so enjoyable .
As she is playing Beethoven's Minuet in G , she noticed that her grade 3 exam piece was Minuet in G ( exact same name ) but by Bach. We did a comparison between the 2 , talk about the different period, the texture of the piece, the different instruments , the dance etc.
With another grade 4 student, though he has to practise his exam piece again for this week, we highlighted what is the purpose of the practice- which is to approach the leaps by feeling the way and not looking at the keyboard. Played Mignon and showed him how the intensity was built up which in that piece his piu mosso passage lacks the feel.
His A piece ( Allegro in F from Nannerl's Notebook ) semiquavers are rather uneven. Slowing his pace and careful approach is good enough to help him rectify.
Ths last student was playing Turkey in the Straw. Going through the left hand chords transition is required for her. Showed her another piece of music Trumpeter's Serenade that use the same chord . While playing Gertrude's Dreams, we go into some technical work on slurs doing the drop- roll up action. Pauline Hall's Practise Makes Perfect has an exercise which work on this technique.
I have enjoyed teaching and I believe students benefitted greatly when teacher is enjoying music, enjoying teaching, tries different approach and always reflecting on what is done and what can be done better.
Saturday is a day that I teach with a good momentum as students come in one after another.
I am glad that a grade 4 student managed to get his pulse steady in the second half of the Chev le forgeron. Playing the melody for 2 bars in right hand then melody appears in the left hand for 2 bars requires some careful attention . The next 4 bars is a repeat of this. Then the music becomes more "percussive" which requires both hands to coordinate well in order to get the beat flowing in time. Renhui finally manage to play these phrases in a steady pulse after demonstrating to him and allowing him to play through a few tries.
For this student, I introduced Czerny Op 599 to practise B flat Major. Though the piece I have picked is not entirely on the scales but about a few phrases but it will serves 2 purpose - one is he get to play a piece of new music and secondly he get to practise scales within the piece.
Maikapar's Chev Le Forgeron is a favourite among my students. Eveline came in and when asked to play her choice, she chose this first. One of the challlenge is the repetitive 3rds that both hands play alternate in which one common key is often not released to be played in time. Release the keys immediately after playing is reminded to all students. As some melody is played by left hand in some parts, left hand does need to play more . Playing more pieces with left hand melody helps.
While this student plays her A piece - Allegro by Anon ( Nannerl's notebook ) it hits me that the challenging phrase is similar to the Grade 6 Handel's Allegro. I showed her the similarity in the 2 pieces. Key to be able to play such phrases fluently is recognise the patterns, stick to one set of fingerings, drill often until fingers get to the auto mode and play "automatically" when approaching such patterns.
As the next student comes in and observe the last part of this lesson comparing the 2 different grade pieces, I asked her if she remembers her previous grade piece and she played through with the book I have. Many students I supposed will leave after lesson , go home and practised what is done during the lesson at most. How many will play the pieces they have learnt in the past ? If they record their repertoire and create a "Pianist's Portfolio " , will their music world horizon widens ? Anyway, I shared with her what I played for my grade 1 exams - Le Couppey's Melody . She listens and plays the melody on the spot . That's a great way of approaching sight reading. The whole session was relax , natural , no stress and so enjoyable .
As she is playing Beethoven's Minuet in G , she noticed that her grade 3 exam piece was Minuet in G ( exact same name ) but by Bach. We did a comparison between the 2 , talk about the different period, the texture of the piece, the different instruments , the dance etc.
With another grade 4 student, though he has to practise his exam piece again for this week, we highlighted what is the purpose of the practice- which is to approach the leaps by feeling the way and not looking at the keyboard. Played Mignon and showed him how the intensity was built up which in that piece his piu mosso passage lacks the feel.
His A piece ( Allegro in F from Nannerl's Notebook ) semiquavers are rather uneven. Slowing his pace and careful approach is good enough to help him rectify.
Ths last student was playing Turkey in the Straw. Going through the left hand chords transition is required for her. Showed her another piece of music Trumpeter's Serenade that use the same chord . While playing Gertrude's Dreams, we go into some technical work on slurs doing the drop- roll up action. Pauline Hall's Practise Makes Perfect has an exercise which work on this technique.
I have enjoyed teaching and I believe students benefitted greatly when teacher is enjoying music, enjoying teaching, tries different approach and always reflecting on what is done and what can be done better.
Monday, April 18, 2011
Antonin Dvorak 's Humoreske
I heard Antonin Dvorak's Humoreske over the FM 92.4 last sunday and was attracted to the light hearted piece with an interesting melodious section in the middle.
Receiving SSO 's Bravissimo last night, I saw there is a contest for Kinokuniya 's Book voucher by answering one Dvorak's question and another . Hope I get this voucher and I will purchase Dvorak's biography.
I have seen this word " Elegie " or "Elegy" since starting to play the Grade 6 exam pieces. Today I see the same title again. Finally I wonder what is Elegy and act upon it. My Oxford dictionary says : A song of lament for the dead or for some melancholy event.
It goes to show that there are so many things in life we see and we just leave it as it is without following our heart to get to the bottom of things. Life is short. God says our lives are numbered and I am already in my 35th year . 35 . I don't seems to understand what 35 means . I feel the same as yesterday. That is a deceit. I dont have all the time in the world. God give me only limited time.
Psalms 90:12 Teach us to make the most of our time, so that we may grow in wisdom.
Receiving SSO 's Bravissimo last night, I saw there is a contest for Kinokuniya 's Book voucher by answering one Dvorak's question and another . Hope I get this voucher and I will purchase Dvorak's biography.
I have seen this word " Elegie " or "Elegy" since starting to play the Grade 6 exam pieces. Today I see the same title again. Finally I wonder what is Elegy and act upon it. My Oxford dictionary says : A song of lament for the dead or for some melancholy event.
It goes to show that there are so many things in life we see and we just leave it as it is without following our heart to get to the bottom of things. Life is short. God says our lives are numbered and I am already in my 35th year . 35 . I don't seems to understand what 35 means . I feel the same as yesterday. That is a deceit. I dont have all the time in the world. God give me only limited time.
Psalms 90:12 Teach us to make the most of our time, so that we may grow in wisdom.
Saturday, April 16, 2011
One week is over ?
For students who are preparing for practical examinations this year, I have asked them to pratise all scales in contrary motion. Some students find playing the same thing over and over again boring. Playing the same scales in contraty motion is something new and it will require students to think while playing.
One of the students whom I am planning to teach as my project 1 did not work out well. Though teaching her through methods like listening and singing the melody, working through separate hands , looking out for patterns but the progress is not to my minimum satisfaction.
I have planned to teach a group lesson this June . Lesson will be evolved around Antonin Dvorak 's Humoroeske. Another group lesson will be focusing on theory and rehearsal for June Recital. One sesison will be the June Recital - dedicated to parents.
I have finally lay my hands on the grade 6 alternative pieces - Zipoli and Oscar Peterson, I need to go easy on my playing as my right wrist hurts. Rachel is inspired to play after hearing me play many pieces. It is encouraging to see her playing Soiree Polka and Edvard Grieg's piece.
Piles of books waiting for me to arrange them on the new shelf and for me to study.
I had an idea of teaching around a theme each quarter . The music room should be decorated accordingly and pieces should be based on the theme. I am thinking of a theme for May- June . I am interested to start a studio that works this way, providing teachers support and guidance. The ideas can be marketed to private teachers as well . Well, it is possible . God leads the way if He is the one that provide the vision of " Noah's music ark"
One of the students whom I am planning to teach as my project 1 did not work out well. Though teaching her through methods like listening and singing the melody, working through separate hands , looking out for patterns but the progress is not to my minimum satisfaction.
I have planned to teach a group lesson this June . Lesson will be evolved around Antonin Dvorak 's Humoroeske. Another group lesson will be focusing on theory and rehearsal for June Recital. One sesison will be the June Recital - dedicated to parents.
I have finally lay my hands on the grade 6 alternative pieces - Zipoli and Oscar Peterson, I need to go easy on my playing as my right wrist hurts. Rachel is inspired to play after hearing me play many pieces. It is encouraging to see her playing Soiree Polka and Edvard Grieg's piece.
Piles of books waiting for me to arrange them on the new shelf and for me to study.
I had an idea of teaching around a theme each quarter . The music room should be decorated accordingly and pieces should be based on the theme. I am thinking of a theme for May- June . I am interested to start a studio that works this way, providing teachers support and guidance. The ideas can be marketed to private teachers as well . Well, it is possible . God leads the way if He is the one that provide the vision of " Noah's music ark"
Friday, April 8, 2011
Bela Bartok , Michael Rose and teaching progres...
Played through some pieces in Bela Bartok for Children. His pieces has unique rhythms and melody. I love the Pentatonic - sounds very oriental. I wonder how pentatonic is related to oriental and how is Bela Bartok fitted into the picture.
Bought this book and Michael Rose's Ten Dances last thursday. I love Michael Rose's pieces , especially the Tango.
Playing new pieces is what I should do as a music teacher. I must keep learning and play new pieces. I am inspired and I am learning new rhythms. I am finding ideas and pieces to teach different students as I keep playing. I want to play different pieces of music everyday.
I have played Michael Rose 's Tango for quite a few students and most of them like it . Generally I am pleased with my students' enthusiasm in lessons after changing my way of teaching. Vivien , whom usually cancel her lesson when school activities clash with her lesson timeslot, but this week she did not cancel though her school activity ended late.
Li Hang has been excited and enjoyed the lessons. I am pleased that while listening to him played Military Minuet and thinking of a way to get him to play the semiquavers evenly, ideas of playing the semiquavers in a inverted pattern brought surprise and a new interest in a piece which he has been practising for quite a while.
I was teaching another few students without music notations . During the lesson I wanted to teach The Sound of Music's Doe Re Mi. Aural training is taught as I played the piece as a whole, then followed by one phrase for my student to play back . At the end of the piece we explored two different endings. One ending plays a C Major contrary motion scales while another ending we explored a chromatic scales beginning on C in contrary motion. We discussed the effect of the two.My student made her choice for one while we both conclude that the chromatic scales added "scherzando" to the piece.
It was fun and creative to play on the keyboard to mimic trains, birds, elephants etc.
For the beginners , I really enjoyed using Piano Adventures A Disc. I used to be quite reliant on books. Today I managed to teach aural and rhythm in a fun way by playing the CD and asking my student to copy the horn by playing on the 2 black keys and 3 black keys.
I have so much more that I do not know how to teach and I know I have lots of teaching strategies to learn.
Bought this book and Michael Rose's Ten Dances last thursday. I love Michael Rose's pieces , especially the Tango.
Playing new pieces is what I should do as a music teacher. I must keep learning and play new pieces. I am inspired and I am learning new rhythms. I am finding ideas and pieces to teach different students as I keep playing. I want to play different pieces of music everyday.
I have played Michael Rose 's Tango for quite a few students and most of them like it . Generally I am pleased with my students' enthusiasm in lessons after changing my way of teaching. Vivien , whom usually cancel her lesson when school activities clash with her lesson timeslot, but this week she did not cancel though her school activity ended late.
Li Hang has been excited and enjoyed the lessons. I am pleased that while listening to him played Military Minuet and thinking of a way to get him to play the semiquavers evenly, ideas of playing the semiquavers in a inverted pattern brought surprise and a new interest in a piece which he has been practising for quite a while.
I was teaching another few students without music notations . During the lesson I wanted to teach The Sound of Music's Doe Re Mi. Aural training is taught as I played the piece as a whole, then followed by one phrase for my student to play back . At the end of the piece we explored two different endings. One ending plays a C Major contrary motion scales while another ending we explored a chromatic scales beginning on C in contrary motion. We discussed the effect of the two.My student made her choice for one while we both conclude that the chromatic scales added "scherzando" to the piece.
It was fun and creative to play on the keyboard to mimic trains, birds, elephants etc.
For the beginners , I really enjoyed using Piano Adventures A Disc. I used to be quite reliant on books. Today I managed to teach aural and rhythm in a fun way by playing the CD and asking my student to copy the horn by playing on the 2 black keys and 3 black keys.
I have so much more that I do not know how to teach and I know I have lots of teaching strategies to learn.
Tuesday, April 5, 2011
Meeting my piano teacher
Angela was my piano teacher at age 9 until 15 years old. She had always been patience , encouraging , lent me many listening ears and influenced me to a great extent.
She had taught me to be a friend to music and my piano. Both had accompanied me through my ups and downs . Music and piano has been my faithful friend. I strongly believe many more need a great friend or companion in their lives. From now , I am the one will be the matchmaker between people and piano music.
Angela had passed me two teaching books. What she has given me is more - what she has given me will be passed on to many more and the ball will be passed down to even generations. Angela, thank you for your love and belief in me. I am deeply grateful to all your efforts. As I am reminded of Angela's contributions , I am more determined to become a better music teacher who teaches enthusiasticLly with a mission in mind. Adopting positive attitude towards every person is what I want to work towards. Living my life creatively is my vision as this is just going to grow the creative cells and positive cells in me. Then I can be a really salt and lighted light for God to use.
God bless Angela
She had taught me to be a friend to music and my piano. Both had accompanied me through my ups and downs . Music and piano has been my faithful friend. I strongly believe many more need a great friend or companion in their lives. From now , I am the one will be the matchmaker between people and piano music.
Angela had passed me two teaching books. What she has given me is more - what she has given me will be passed on to many more and the ball will be passed down to even generations. Angela, thank you for your love and belief in me. I am deeply grateful to all your efforts. As I am reminded of Angela's contributions , I am more determined to become a better music teacher who teaches enthusiasticLly with a mission in mind. Adopting positive attitude towards every person is what I want to work towards. Living my life creatively is my vision as this is just going to grow the creative cells and positive cells in me. Then I can be a really salt and lighted light for God to use.
God bless Angela
Drifting away
Almost 3 weeks after the first three days sessions and I feel that real life has set in and drawing me a little away. With more responsibilities , I need to be more
Disciplined , consistent in practising and working on my projects and assignments.
I enjoyed reading Paul Harris 's Improve Your teaching : does practice really makes perfect? It helps me realise my students ddo not practise enthusiastically because they do
Not experience joy in that activity. Is a responsible student who bothers to practise confined to uninteresting repeat activity ? Can they be guided to really appreciate and enjoy music such that they are naturally motivated, or even magnetised to do what I required them
To do .
Disciplined , consistent in practising and working on my projects and assignments.
I enjoyed reading Paul Harris 's Improve Your teaching : does practice really makes perfect? It helps me realise my students ddo not practise enthusiastically because they do
Not experience joy in that activity. Is a responsible student who bothers to practise confined to uninteresting repeat activity ? Can they be guided to really appreciate and enjoy music such that they are naturally motivated, or even magnetised to do what I required them
To do .
Forum post to Chian chin and Katrina
Hi Chian Chin and Kartrina
Thanks for sharing and contributing.
I am currently teaching a teenage boy . Often I 'tune' him up or down a little to help him reach the exact pitch. At the same time praise him for his efforts. Single note is played and sung at each time till he can proceed to two or more notes.
As for the project one, I am doing a few. Scales, improving a grade 3 piece with a student who struggled for some time, working on baroque - Bach ( grade 4 ) are some of my choices.
I am not too sure which is good so I am currently applying and improvise my lesson , while taking short videos and 25 min video such that I can view , think and decide on the 2 projects and written assignment.
Ultimately I want to be able to deal with all the issues which I felt handicapped before attending this course. Three weeks after the three day sessions and I feel the synergy decreases until related email arrives or when I read Music Teacher's Companion and Improve your Teaching.
Happy learning to all teachers !
I miss you all.
Eileen Ong
Thanks for sharing and contributing.
I am currently teaching a teenage boy . Often I 'tune' him up or down a little to help him reach the exact pitch. At the same time praise him for his efforts. Single note is played and sung at each time till he can proceed to two or more notes.
As for the project one, I am doing a few. Scales, improving a grade 3 piece with a student who struggled for some time, working on baroque - Bach ( grade 4 ) are some of my choices.
I am not too sure which is good so I am currently applying and improvise my lesson , while taking short videos and 25 min video such that I can view , think and decide on the 2 projects and written assignment.
Ultimately I want to be able to deal with all the issues which I felt handicapped before attending this course. Three weeks after the three day sessions and I feel the synergy decreases until related email arrives or when I read Music Teacher's Companion and Improve your Teaching.
Happy learning to all teachers !
I miss you all.
Eileen Ong
Thursday, March 31, 2011
Good to be in a community
Yesterday was our 2nd study session and I have learnt much.
Planning is important and vital. However at times plan is not carried out as it is supposed to be. Thus being alert and discern at the moment if it is necessary to stick to plan . I prefer to adjust accordingly but review the discrepancy and work on a better plan the next round.
Being postive is important too. Especially when dealing with people. People has feelings. Someone may get hurt unknowingly to the person who done it. Stick to the rule of being postive to people, blessing them in all words and acts in Godly love. Correct with kindness. Accept others ' opinions and suggestions and lead them to evaluate the pros and cons their contributions.
Planning is important for my student. What will I plan for them ? What to achieve this year, what repertoire , what ...
Plan my learning in music : Play more music, listen to more music, read about music and teaching .
Be positive to all around me, children, family, students ... situations ...
I bought Michael Rose's Ten Dances in a American latin style . Some not too difficult pieces . Interesting rhythm .
Borrowed some books from the library. 2 about practice.
Read Swanwick about the value of music.I met a student's mum this morning and had a good long chat. Her younger daughter who is suffering from leukemia has interest to learn music. I offered to teach her with no charges because I know their financial situation.
Music has been my great companion in my life. Though I have yet develop great passion for it but I like it. To love it is a constant interaction with music .
I have sometimes been calculating how much I earn per lesson and always wish to earn more per lesson so that I can spend more time with my children. My attitude must be changed. God will provid everything I need. My music lesson is impacting lives, sharing my life companion with many people. I am a good example to my children and students, that is how they learn.
Music is a lifetime legacy.
Planning is important and vital. However at times plan is not carried out as it is supposed to be. Thus being alert and discern at the moment if it is necessary to stick to plan . I prefer to adjust accordingly but review the discrepancy and work on a better plan the next round.
Being postive is important too. Especially when dealing with people. People has feelings. Someone may get hurt unknowingly to the person who done it. Stick to the rule of being postive to people, blessing them in all words and acts in Godly love. Correct with kindness. Accept others ' opinions and suggestions and lead them to evaluate the pros and cons their contributions.
Planning is important for my student. What will I plan for them ? What to achieve this year, what repertoire , what ...
Plan my learning in music : Play more music, listen to more music, read about music and teaching .
Be positive to all around me, children, family, students ... situations ...
I bought Michael Rose's Ten Dances in a American latin style . Some not too difficult pieces . Interesting rhythm .
Borrowed some books from the library. 2 about practice.
Read Swanwick about the value of music.I met a student's mum this morning and had a good long chat. Her younger daughter who is suffering from leukemia has interest to learn music. I offered to teach her with no charges because I know their financial situation.
Music has been my great companion in my life. Though I have yet develop great passion for it but I like it. To love it is a constant interaction with music .
I have sometimes been calculating how much I earn per lesson and always wish to earn more per lesson so that I can spend more time with my children. My attitude must be changed. God will provid everything I need. My music lesson is impacting lives, sharing my life companion with many people. I am a good example to my children and students, that is how they learn.
Music is a lifetime legacy.
Tuesday, March 29, 2011
Jittery about Improvisation
I met up with Jesilyn and Candy, 2 wonderful ladies for helping once another on our learning.
Candy was sharing her apprehension about improvisation.
I found some light from Paul Harris's Improve Your Teaching.
He suggested to start improvisation with a few ingredients ! That sound interesting to me . C Major, Treble Clef, 2 crotchet beats in a bar and C.
Put that together, we can have a single C crotchet . Next, encourage 2 notes. That is improvisation .
My personal note . As I improvise my ingredients, the result of students' improvisation will develop in the way they like.
Improvisation Games - This can be my project 2
I provide the different ingredients. Students do what they like to it and create their music. Sounds like a composition to me at the same time.
Candy was sharing her apprehension about improvisation.
I found some light from Paul Harris's Improve Your Teaching.
He suggested to start improvisation with a few ingredients ! That sound interesting to me . C Major, Treble Clef, 2 crotchet beats in a bar and C.
Put that together, we can have a single C crotchet . Next, encourage 2 notes. That is improvisation .
My personal note . As I improvise my ingredients, the result of students' improvisation will develop in the way they like.
Improvisation Games - This can be my project 2
I provide the different ingredients. Students do what they like to it and create their music. Sounds like a composition to me at the same time.
Excited about Tuesday Lesson
This morning 's student is taking his grade 3 practical examinations this year. Last lesson was totally not compartmentalised unlike our usual. Thought today we need to go through some usual routine to check that most he is familiarised with most of the scales we have covered so far.
As he play his first scale, I realised that both hands did not strike the keys down at the same time. Thus I intentionally get him to play scales with the left finger strike key down before right finger strikes after immediately. That created an interesting scale . He continued with that style for the next few scales.
At times when he fail to play on his finger tips, I guide him to hold his hand tight like a fist and let go gently and slowly but always with a round ball in his hand. Another method which checked him very successfully is the donut ring formed by any finger joining to thumb. Remember the donut must be very round and everyone need to press on the finger tips to get a really round shape.
Awkard fingers caught my attention as he move into the 3rd scale. From then, we change the style. He played the scales that use the same fingerings on each hand and play only the first few keys until right hand thumb need to turn to play the next key and stop. I ask him to indentify the same pattern.
I am excited with his piece English Dance. As i spot his struggles at different phrase, I was trying to think of a way to help him. One of the struggles was to play a few interval sixths that is the melody. Using the few sixths, I played a simple tune that requires a answering phrase. ASked him to sing out and helped him to tune note by note. After the answering phrase is good, singing is good we proceed.
We picked out another 2 phrases that focus on 3rds and octaves. I enjoy given student questions to think. I simply ask him to identify the similar intervals and play through them.
Schumann : staccato has become non legato. Galloping horse must gallop ... play staccato - play notes short and precise.
This is a great enjoyable learning lesson.
As he play his first scale, I realised that both hands did not strike the keys down at the same time. Thus I intentionally get him to play scales with the left finger strike key down before right finger strikes after immediately. That created an interesting scale . He continued with that style for the next few scales.
At times when he fail to play on his finger tips, I guide him to hold his hand tight like a fist and let go gently and slowly but always with a round ball in his hand. Another method which checked him very successfully is the donut ring formed by any finger joining to thumb. Remember the donut must be very round and everyone need to press on the finger tips to get a really round shape.
Awkard fingers caught my attention as he move into the 3rd scale. From then, we change the style. He played the scales that use the same fingerings on each hand and play only the first few keys until right hand thumb need to turn to play the next key and stop. I ask him to indentify the same pattern.
I am excited with his piece English Dance. As i spot his struggles at different phrase, I was trying to think of a way to help him. One of the struggles was to play a few interval sixths that is the melody. Using the few sixths, I played a simple tune that requires a answering phrase. ASked him to sing out and helped him to tune note by note. After the answering phrase is good, singing is good we proceed.
We picked out another 2 phrases that focus on 3rds and octaves. I enjoy given student questions to think. I simply ask him to identify the similar intervals and play through them.
Schumann : staccato has become non legato. Galloping horse must gallop ... play staccato - play notes short and precise.
This is a great enjoyable learning lesson.
My teaching after starting CT course from 19th MArch till now
After attending the three day session in March, I am more conscious about the posture correction that my student requires.
For students who need the stool for their feet, I encourage to tap some rhythm on their feet. That is more desirable than a simple instruction.
As I have been noting down what is done in every lesson, I am able to reflect on what was done for the previous lesson and plan for the coming up one. Though I have done some sort of planning but I feel that my planning can be better.
Let me reflect on yesterday 's lesson.
I planned to evolve lesson on Handel's Allegro ( Suite in G) .
1)apply the melodic pattern of rising melodic 2nds but every pair will start at the lower note of the scale - play the same melodic pattern in different keys . This is a new way of playing scales.
2) Spot and play all the broken chords through the piece.
3) Play mordent in a scale
4) Question and Answer : Listen to the question and answer phrases . Create a question and let student play the answer. ( Did not carry out this eventually)
As rapport was built, student played this piece. I was rather disappointed as she clearly enjoed the lesson last week and I expect her to put in more efforts in playing despite her tight schedule. However I realign my focus and carry on the plans.
Plan 1- 3 were carried out effectively. At the instant I thought of another studies for this piece. As the melody pattern from bar 8-14 can be found in the 2nd section of the piece, I encourage student to identify the other phrases. We played through the different phrases and compared the difference which include modulation to the relative minor scale for the 2nd such phrase. I took the opportunity to ask her to describe the feel of the modulation. Quote an example of how the clear blue sky changes to the darker weather.
It is another step forward for me as I start planning my lesson and evaluate the lesson this way. The sense of achievement is there upon completing the plan. Having note down , I can start thinking and planning the next lesson for this particular student. With planning I can see that lesson can include aural perception - playing a phrase from the piece and ask student to sing back, then play a 2nd higher and ask student to sing back the same melody.
As I mentioned about lack of practice, I would like the student to keep track of her practice daily and learn to be responsible of her own practice,listen to another Handel's music ,compare with a different composer 's baroque music. These are next lesson's plan and also include play through the different exercises done in this lesson.
I have introduced playing scales using one of the piece's melodic pattern to quite a number of other students. With planning, I can trace what I have done in a lesson for a particular student which I can improve or improvise on the method and use that method that suits another student.
For students who need the stool for their feet, I encourage to tap some rhythm on their feet. That is more desirable than a simple instruction.
As I have been noting down what is done in every lesson, I am able to reflect on what was done for the previous lesson and plan for the coming up one. Though I have done some sort of planning but I feel that my planning can be better.
Let me reflect on yesterday 's lesson.
I planned to evolve lesson on Handel's Allegro ( Suite in G) .
1)apply the melodic pattern of rising melodic 2nds but every pair will start at the lower note of the scale - play the same melodic pattern in different keys . This is a new way of playing scales.
2) Spot and play all the broken chords through the piece.
3) Play mordent in a scale
4) Question and Answer : Listen to the question and answer phrases . Create a question and let student play the answer. ( Did not carry out this eventually)
As rapport was built, student played this piece. I was rather disappointed as she clearly enjoed the lesson last week and I expect her to put in more efforts in playing despite her tight schedule. However I realign my focus and carry on the plans.
Plan 1- 3 were carried out effectively. At the instant I thought of another studies for this piece. As the melody pattern from bar 8-14 can be found in the 2nd section of the piece, I encourage student to identify the other phrases. We played through the different phrases and compared the difference which include modulation to the relative minor scale for the 2nd such phrase. I took the opportunity to ask her to describe the feel of the modulation. Quote an example of how the clear blue sky changes to the darker weather.
It is another step forward for me as I start planning my lesson and evaluate the lesson this way. The sense of achievement is there upon completing the plan. Having note down , I can start thinking and planning the next lesson for this particular student. With planning I can see that lesson can include aural perception - playing a phrase from the piece and ask student to sing back, then play a 2nd higher and ask student to sing back the same melody.
As I mentioned about lack of practice, I would like the student to keep track of her practice daily and learn to be responsible of her own practice,listen to another Handel's music ,compare with a different composer 's baroque music. These are next lesson's plan and also include play through the different exercises done in this lesson.
I have introduced playing scales using one of the piece's melodic pattern to quite a number of other students. With planning, I can trace what I have done in a lesson for a particular student which I can improve or improvise on the method and use that method that suits another student.
Monday, March 28, 2011
29th March 2011- Handbook and Improve Your Teaching
11 days has passed since the last day of the March CT course . Yesterday upon receiving Richard Crozier's email , my more relaxed mode has switched to a gear 4 from gear 3.
Yesterday night before sleeping, I finally managed to start reading the CT course handbook and once again came back to reality of the many areas to spend time to explore and prepare. It goes to show that how easily I can fall into comfort zone and how important it is to schedule reading, communication with fellow teachers, learning new strategies or knowledge to ensure I do not stagnate but keeps on growing with good "nutrients" . Reading the handbook has helped me to realise how I can improve my diary reading which thank God I am able to put into practice now.
I was reading Paul Harris's Improve Your Teaching last night too. Page 23 talks about Teaching a big sonata movement and I will soon try the method. "Pupils need to know their music deeply. building up a personal and profound 'relationship' with the piece .... Pupils should listen intelligently to the music. They must begin to develop ideas about the piece: what does it mean emotionally ? What is the music saying? What does it mean to them ? They must use discerning ear to understand exactly what is going on - this marks real connections with aural perception .... "
I was surprised as Paul continues in the heading "Towards an Intepretation " on the following page that "a number of weeks may have passed by now and we still might not have begun to play the pieces through from bar one . " I totally agree when he said " Our work so far has been directed towards building up a concept of the music, acquiring a deep knowledge of its content and meaning". I it was at the later stage of my music studies that I really "know" what I am playing . That was when I continued learning music a couple of years after achieving my grade 8. Why I "know" ? It was because I was taught how to recognise the patterns found in the music, I was taught how to anaylse the music, somehow the music makes sense to me suddenly. Therefore, I encourage student to be able to see how the music is put together by identifying where the same rhythm or melody repeat, how the music develops from the main idea , the impact and effect of the changes of key , dynamics, articulations etc ...
Parents should be educated on what I am doing and why such approach is adopted as my ultimate aim is that the student will appreciate music for life. At the same time when the student learnt how to study music indepently, he will be able to play and appreciate beyond the music I have taught him. I strongly feel that is what many parents desire and not merely a certification of credits which only prove how the child performed on that particular examination day.
I am glad I did the reading and the discovery . and I am really glad I can reflect and record this for my future learning.
Yesterday night before sleeping, I finally managed to start reading the CT course handbook and once again came back to reality of the many areas to spend time to explore and prepare. It goes to show that how easily I can fall into comfort zone and how important it is to schedule reading, communication with fellow teachers, learning new strategies or knowledge to ensure I do not stagnate but keeps on growing with good "nutrients" . Reading the handbook has helped me to realise how I can improve my diary reading which thank God I am able to put into practice now.
I was reading Paul Harris's Improve Your Teaching last night too. Page 23 talks about Teaching a big sonata movement and I will soon try the method. "Pupils need to know their music deeply. building up a personal and profound 'relationship' with the piece .... Pupils should listen intelligently to the music. They must begin to develop ideas about the piece: what does it mean emotionally ? What is the music saying? What does it mean to them ? They must use discerning ear to understand exactly what is going on - this marks real connections with aural perception .... "
I was surprised as Paul continues in the heading "Towards an Intepretation " on the following page that "a number of weeks may have passed by now and we still might not have begun to play the pieces through from bar one . " I totally agree when he said " Our work so far has been directed towards building up a concept of the music, acquiring a deep knowledge of its content and meaning". I it was at the later stage of my music studies that I really "know" what I am playing . That was when I continued learning music a couple of years after achieving my grade 8. Why I "know" ? It was because I was taught how to recognise the patterns found in the music, I was taught how to anaylse the music, somehow the music makes sense to me suddenly. Therefore, I encourage student to be able to see how the music is put together by identifying where the same rhythm or melody repeat, how the music develops from the main idea , the impact and effect of the changes of key , dynamics, articulations etc ...
Parents should be educated on what I am doing and why such approach is adopted as my ultimate aim is that the student will appreciate music for life. At the same time when the student learnt how to study music indepently, he will be able to play and appreciate beyond the music I have taught him. I strongly feel that is what many parents desire and not merely a certification of credits which only prove how the child performed on that particular examination day.
I am glad I did the reading and the discovery . and I am really glad I can reflect and record this for my future learning.
Thursday, March 24, 2011
Burger Notes
English Dance - Play the double notes with another note in the other hand together like a burger ... the bread , the meat, the veg stack together. He likes the describtion and he buys it !
I must always remind myself : my students need clear specific directions !
I must always remind myself : my students need clear specific directions !
Gingangoo
"Gangoo goes the little green frog one day
Gangoo goes the little green frog
Gangoo goes the little green frog one day
And the frog goes gingangoo"
This song appears in my head before my niece comes for lesson. As she learns faster through listening, I played the song with singing and got her to sing together. Her eyes lit , engagement succesful !
Sang the solfege and she played quite successfully with simple chords on the left . Within minutes she is playing a new song enjoyably.
Thank God for telling me the song and helping me to be in tune with his prompting.
Gangoo goes the little green frog
Gangoo goes the little green frog one day
And the frog goes gingangoo"
This song appears in my head before my niece comes for lesson. As she learns faster through listening, I played the song with singing and got her to sing together. Her eyes lit , engagement succesful !
Sang the solfege and she played quite successfully with simple chords on the left . Within minutes she is playing a new song enjoyably.
Thank God for telling me the song and helping me to be in tune with his prompting.
Ball rolls and ball bounces
A student who is learning for less than a month was playing all his songs from the Alfred Premier's Lesson Book musically.
Realising that his posture need corrections, I ask him to curve his fingers like a ball. The ball rolls , and the finger press down the keys beginning with the thumb, to the next, until it finish off on little finger. Repeating this we roll the ball a few times at different keys for both hands.
The hand curve - which is the ball flattens pretty often. Next we bounced the ball. As all the fingers descend into the keys like a firm bounce, the curve was better. This is a good exercise for beginners to get used to the correct hand position.
This boy loves the music in his book. Today we try to play more music without the book. I guide him to write a four sentence stanza of things he likes. We read the little poem and add some rhythm to it.
As we go along, we come to the lesson book that introduce the 7 alphabets on keyboard. Singing the alphabet song to the "Twinkle twinkle little star" was indeed fun for a 6 year old child. He loves it. Next we sing only the first 7 letters repeatedly to the same tune. Next we draw a set of 3 white teeth and beside it a set of 4 white teeth. Next we add the black keys and he fill in the letters with AB starting before the set of 2 black keys.
Realising that his posture need corrections, I ask him to curve his fingers like a ball. The ball rolls , and the finger press down the keys beginning with the thumb, to the next, until it finish off on little finger. Repeating this we roll the ball a few times at different keys for both hands.
The hand curve - which is the ball flattens pretty often. Next we bounced the ball. As all the fingers descend into the keys like a firm bounce, the curve was better. This is a good exercise for beginners to get used to the correct hand position.
This boy loves the music in his book. Today we try to play more music without the book. I guide him to write a four sentence stanza of things he likes. We read the little poem and add some rhythm to it.
As we go along, we come to the lesson book that introduce the 7 alphabets on keyboard. Singing the alphabet song to the "Twinkle twinkle little star" was indeed fun for a 6 year old child. He loves it. Next we sing only the first 7 letters repeatedly to the same tune. Next we draw a set of 3 white teeth and beside it a set of 4 white teeth. Next we add the black keys and he fill in the letters with AB starting before the set of 2 black keys.
One week after starting CTplus ABRSM Course
Indeed I am having fun teaching, students having fun learning.
Beside fun, my lessons are now more exciting.
Today I was teaching an adult student. She hardly practise. Today she revealed again that the grade 5 piece is not difficult but she did not practise much. I decide to let her play sight reading in the key of the piece which is E minor. She played quite well.
We proceed to a simple song in the More Romantic Pieces Book I and she played quite well though a little lacking in expression. There I found a way to enrich our lesson . Every one or 2 lesson , our focus will be on a piece of simple music she can play studying it for 3 minutes and we will evolve learning around that music.
This is so much better than to try to get her to practise a piece which we almost never get things done.
Beside fun, my lessons are now more exciting.
Today I was teaching an adult student. She hardly practise. Today she revealed again that the grade 5 piece is not difficult but she did not practise much. I decide to let her play sight reading in the key of the piece which is E minor. She played quite well.
We proceed to a simple song in the More Romantic Pieces Book I and she played quite well though a little lacking in expression. There I found a way to enrich our lesson . Every one or 2 lesson , our focus will be on a piece of simple music she can play studying it for 3 minutes and we will evolve learning around that music.
This is so much better than to try to get her to practise a piece which we almost never get things done.
Interesting Time !
Now my teaching evolves around a piece of music or sometimes music without any paper.
Last Saturday as I was going through a baroque piece with a student, I figured out she need help for the changing of 4 chords. There is a similar note from one chord to the other. I call that the pivot / anchor point. Many times I think student knows since they can read the notes but actually I am wrong. They are not experience or just did not see certain attributes that is obvious to me.
The chords are the primary chords and here I am teaching theory, which is what Paul Harris quotes in his book "Improve Your Teaching" as "simultaneous learning" where connections are made from one to another.
It is really great to hear student say that she had an interesting time during lesson .
Last Saturday as I was going through a baroque piece with a student, I figured out she need help for the changing of 4 chords. There is a similar note from one chord to the other. I call that the pivot / anchor point. Many times I think student knows since they can read the notes but actually I am wrong. They are not experience or just did not see certain attributes that is obvious to me.
The chords are the primary chords and here I am teaching theory, which is what Paul Harris quotes in his book "Improve Your Teaching" as "simultaneous learning" where connections are made from one to another.
It is really great to hear student say that she had an interesting time during lesson .
Monday, March 21, 2011
Well done ! Scale Duets and Inspiring conversations.
As I start this course , I must firstly affirmed myself that I have what it takes to be a teacher that makes lesson effective and fun.
As I read "Improve Your Teaching" by Paul Harris, there are many factors which encourages me. One example I read today is " There are usually too many variables and unforeseeable conditions to plan each lesson in too muc detail. However it is important to plan your short-, medium-, and long-term objectives : it is essential to know, in general terms, where each pupil is going."
That is exactly what I have been practising in my teaching. However I started asking myself how am I supposed to plan all the activites and methods I have learn from the CT course.
Since my first lesson after the 3 days of intensive CT sessions, I start to implement activities like playing the scales duets with almost every students. I am aware that this is great fun because my students has never practise the boring dull scales in such a interesting way. However I foresee that they will find it boring if playing the scales duets become a routine.
I was inspired on a lesson through a conversation with a student. I was asking her how she feel and she answered " O K Lah " . Instantly, we started scales to the " O K lah" speed. We sang "O K Lah " to every note in the scale. It did not make any sense but it was funny. In such a mood, there is not a single bit of tension. Furthermore, it leaves a deep impression.
The conversation led to she could not sing well as she is having a sore throat. My reply was : Drink lots of fruit juice , Eat lots of fruits. At the next moment, we are chanting that sentence rhythmically. I seized the opportunity to write down the sentence and we continue to chant the rhyme rhythmically. Instantly , I got her to think of what note to use to represent the words such that the rhythm is noted down. She tried to add in quavers, crotchets and minims that result in a different rhythm we chanted. I praised her and show her the rhythm we chanted in wrtten notes and encourage her to spot the similarities and differences.
Another activity we flowed into was playing a minor scale to that rhythm and words .However as there were nine words in that sentence, we played up to the first nine notes in that scale. The focus became familiarising the turning of the scales up to the first nine keys.
While my thoughts just flow on this student and the activites we had, I will proceed to start next lesson with this sentence and rhythm. Composing a melody to the sentence and rhythm is what I will introduce in the next lesson. To complete that, we will work on harmony chords, chord patterns and some musical signs and terms .
Ta-dah ! I am very excited with all these. Conscientiously, I need to keep this going.
As I read "Improve Your Teaching" by Paul Harris, there are many factors which encourages me. One example I read today is " There are usually too many variables and unforeseeable conditions to plan each lesson in too muc detail. However it is important to plan your short-, medium-, and long-term objectives : it is essential to know, in general terms, where each pupil is going."
That is exactly what I have been practising in my teaching. However I started asking myself how am I supposed to plan all the activites and methods I have learn from the CT course.
Since my first lesson after the 3 days of intensive CT sessions, I start to implement activities like playing the scales duets with almost every students. I am aware that this is great fun because my students has never practise the boring dull scales in such a interesting way. However I foresee that they will find it boring if playing the scales duets become a routine.
I was inspired on a lesson through a conversation with a student. I was asking her how she feel and she answered " O K Lah " . Instantly, we started scales to the " O K lah" speed. We sang "O K Lah " to every note in the scale. It did not make any sense but it was funny. In such a mood, there is not a single bit of tension. Furthermore, it leaves a deep impression.
The conversation led to she could not sing well as she is having a sore throat. My reply was : Drink lots of fruit juice , Eat lots of fruits. At the next moment, we are chanting that sentence rhythmically. I seized the opportunity to write down the sentence and we continue to chant the rhyme rhythmically. Instantly , I got her to think of what note to use to represent the words such that the rhythm is noted down. She tried to add in quavers, crotchets and minims that result in a different rhythm we chanted. I praised her and show her the rhythm we chanted in wrtten notes and encourage her to spot the similarities and differences.
Another activity we flowed into was playing a minor scale to that rhythm and words .However as there were nine words in that sentence, we played up to the first nine notes in that scale. The focus became familiarising the turning of the scales up to the first nine keys.
While my thoughts just flow on this student and the activites we had, I will proceed to start next lesson with this sentence and rhythm. Composing a melody to the sentence and rhythm is what I will introduce in the next lesson. To complete that, we will work on harmony chords, chord patterns and some musical signs and terms .
Ta-dah ! I am very excited with all these. Conscientiously, I need to keep this going.
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