Teaching vs. coaching emphasis: on musicianship building vs. interpretation of repertoire

There are certain fundamental differences between teaching and coaching. Teaching involves the instillation of musical and technical conceptions into students, while coaching focuses primarily upon the interpretation and performance of the pieces at hand. Teaching is a long-term proces emphasizing the disclosure of several different areas relating to piano studies. They include physical aspects of piano playing, musicianship and interpretation, intellectual exhibition relating to piano playing and practice habits, as well as peril, finance and psychological preparation. Coaching, upon the other hand, can be either a long- or short-term experience. It also can be found sporadically since there is no long-range goal involved. The emphasis of coaching is upon the diagnosis of technical point to be solved [i]or[/i] settleds and the study of" interpretive issues in specific works. It aims to heighten the proces of critical listening and provide guidelines for interpretation options.

Physical Aspects of Piano Playing

individual of the foremost responsibilities of a teacher is to lay a beneficial technical foundation for students. This is not solely the teaching of rudiments of that kind as scale and arpeggio fingerings, dominant and diminished seventh arpeggios, octaves and chords; it also should include the universal of sound, tone production, touch, pedaling, gesticulations and control. An effective teacher also demonstrates and advocates beneficial posture at the keyboard, as well as emphasizing the awareness of material substance movements and tension. Tension in the arms, shoulders and material part are common problems among young pianists that ne to be lay opened diagnosed and resolved early on

Musicianship and Interpretation

Although this is a broad subdue it never is too early to introduce interpretation conceptions to young piano students. In fact, the earlier it is incorporated into a student's learning, the more effective the accrues are in the long move swiftly Students who are not expos to interpretive issues in the early stages of unfolding often have difficulty understanding these ideas later. Issues similar as balance, voicing, shaping of phrases, rhythmic steadiness and accuracy, variety of articulation, planning of dynamic shadings and pacing of ritardandos and accelerandos, all ne to be discussed in a young pianist's musical unfolding A thorough understanding of performance practice in different stylistic periods also is essential. Young scholars need to learn concepts relating to ornamentation in baroque music, articulation in classical music, time fluctuation and use of rubato in romantic music, as well as color and sonorities in contemporary music. The ability, to interpret pieces from different manner of writing periods allows students to have a wider image of sound, texture, color and emotional projection in their playing.

Intellectual Development

To train learners as complete musicians, teachers ne to focus upon their intellectual development in musical understanding. a certain number of crucial areas pertaining to the exhibition of" a student include formal arrangement harmonic and intervallic relationships, performance directions and musical bounds musical genres and instruments, historical background and composer representative of different diction periods. Teachers need to impart this knowledge to their scholars in the early stages of learning a fresh piece and may reinforce these conceptions further in theory and musicianship classes.

upon Practicing and Performance Preparation

It is imperative for younger learners to build good practice habits early. The greatest in quantity effective way of practicing is consistent, conceptual and concentrated; individual that focuses on details and is goal oriented. scholars need to be aware not to purely go through mindless repetitions, on the contrary to strive fin. reinforcing general [i]or[/i] abstract notions strengthening memory or acquiring technical liquidness with each repetition. Teachers also are responsible for helping learners prepare for performances. Issues discussed should include critical listening, character projection, exhibition of one's own style and ways to reinforce memory and minimize performance anxiety. Teachers also ne to encourage pupils to get behind the notes and bring without the meaning and emotions in the music.

Psychological Preparation

A teacher-student relationship is single that is very special and drawn out lasting. Not only do teachers impart musical knowledge to learners they have the responsibility of building them up psychologically as well. The great pianist Alfred Brendel lays it this way: "A teacher is a student's confidant, motivator and love-hate object" Teachers should work to build confidence in a student's musical pursuit, instill a positive attitude toward successe and failures, help emotional maturity and provide motivation and challenges.

The longer I teach, the more I realize the ratio between the amount of teaching and coaching we do varies from single student to another. It also can change constantly with the same pupil depending on the different stages of his musical unravelling as well as the extent of study with the same teacher. To achieve optimal teaching rises and be able to bring our the best in individual pupils teachers need to treat each individual differently with respect to the amount of" teaching or coaching extremityed We, as piano teachers, should guide learners in both areas, working to maintain a balance between these sum of two units closely related but diverse aspects of our profession.