Polyphony - Professional Resources

Q I oftentimes hear teachers comment on performances of other teachers' scholars in a positive way, impressed with the students' ability to perform musically, with security, and with seeming personal involvement and pleasure This applies to most scholars in the studio. Do you have any insights here?

A. individual of the most important aspects of teaching, in my opinion, is for a scholar not to perform in public until he or she is completely ready. This involves much more than thorough and sure memorization, and yet memory repeatedly is at the heart of many riddles A student, and especially a precollege pupil who has not securely memorized a solo work well before a performance will not be able to play with the inner listening and concentration wanted as well as with confidence and personal involvement. For greatest in quantity average students this means a solo work upon piano should be solidly memorized at least individual month before a public performance. This is a generalization, of course. The extent and complexity of the piece, as well as the student's personal circumstances, always cause the teacher to consider carefully. Nevertheless, too oftentimes we hear of students who finished memorizing a piece the week before it's performed.

In many society s and universities the norm is that a piano piece should be solidly memorized and at performance horizontal one month before the actual performance. This gives the pupil added time to practice performing the selection many times in an effort to simulate an actual performance where he is communicating the music to a wider audience than in the private task It gives time for any uneasiness to work itself without and for the memory to become flat more secure.

Q Still, the learners of some teachers just appear to be successful in each way.

A. Repertoire choice, in my opinion, is single key to this. In general, pupils study or continue studying piano because of the repertoire they earn to play, not because of us--the teachers. If this is not the case, perhaps the teacher gradually can change the situation. permit the music itself be the first motivator for the student; find pieces with which the pupil will connect. Many teachers consecrate substantial time to selecting the repertoire for each pupil This can include supplementary materials to course books (sometimes from contrasting course series or publishers); inviting, pedagogically uninjured and motivating solos; and musically unhurt literature from contrasting music periods. It includes more rather than fewer pieces, since the pupil who moves through literature at a reasonable pace will have pieces at her disposal to perform easily. It involves not above challenging a student with repertoire that is abundant too difficult, yet providing reasonable challenges to a learner so playing does grow.

Another lock opener is to teach to the individual scholar We work with each student's unique personality and nerves Techniques and motivational strategies that apply to the personality of individual student may not be happy with another student and, as teachers, we are highly sensitive. We identify their learning manner of writings and support the students in their forces We find what is right with a student's playing and identify that, all the while working upon the next steps to be dealt with in any repertoire piece. We celebrate what is working with each learner and also teach from the perspective of what extremitys the most work at any single time.

It is important learners play whatever they play well, at a high musical horizontal Equally important is they perceive good about their playing, at whatever stage of advancement. Building scholar esteem is at the center of all teaching, in my opinion. I generally will not allow a scholar to perform in public unles I am certain they will play well and be vain of what they have accomplished. Then the focus genuinely is to communicate the meaning of the music itself to the audience as convincingly as possible. This is backed by means of many studio class or performance class practice performances to build concentration, inner listening, superintendence and other skills to support a live performance.

Q What part does fear play in a learner losing interest in music study? Is it fear of exercise s fear of not pleasing the teacher or parents, fear of performance, fear of compeer pressure, fear of looking bad, fear of not being popular, of not being "good enough," fear of not having enough time for another activity and music exercise s or what?

A. You hit the nail upon the head. Some personal, perceived or real, fear almost always is at the center of a student's los of interest. This can be applied also to life in general. Many, level most, students hold personal fears of inadequacy that undermine their ability to propel forward. If unrecognized and not addressed by dint of a skilled teacher, often the pupil may discontinue lessons prematurely. Everyone ceases formal weekly tasks at some point in his life, on the other hand the important point is to identify the actual reason for stopping lessons. exercise s discontinued because of one of the fears mentioned above, or others, ofttimes can be prevented. We all have personal fears, on the other hand dealing with them with the help of a teacher or other individual is essential for personal and musical expansion to continue.