MTNA Conference: Conclusion

This is my last post on MTNA conference. Hard to believe it was 6 weeks ago! I always enjoy going to conference, this one was my 4th conference. My first one was when I was living in Utah and it was held in Salt Lake. That was awesome! Then I went to Albuquerque, New York and then Anaheim. While I don’t always make it every year I really enjoy going when I can. Not sure I’ll make it to Chicago but I will definitely be there when it’s in Las Vegas the following year!

I just wanted to close and share some of the pictures I took. I like to take opportunities to get pictures with teachers and exhibitors I’ve known for years online and finally get to see and meet in person. Enjoy!

This was my first time meeting Susan Paradis in person! So excited!

Also my first time meeting Mario Ajero in person!

Always love seeing Natalie Wickham!

And Marci Pittman!

With Mary Gae George!

With Jennifer Linn!

With Shelagh McKibbon!

Shelagh and Glory St. Germain

First time meeting Kristin Phillips in person!

Finally met Jennifer Eklund!

With Michelle Sisler!

With Christine Hermanson

MLC family- literally!

With Karen Koch!

With Lori Frazer!

With my good friend Angelica!

I know I missed out on a lot of others that I didn’t get pictures of! But I enjoyed seeing and meeting everyone. It was a great conference!

MTNA Conference: Wednesday Session; Learn at First Sight- A Review of Sight-Reading Research

By Margaret M. Young

What is Sight-Reading (or sight-playing)? Performing from written notation without prior playing.

7 Stages:

-Examining

-Recalling

-Retrieving

-Storing

-Preparing

-Performing

3 Stages

-Perceiving notation

-Recalling previously played music

-Programming muscles

Interesting things about sight-reading:

Almost all sight readers examine score they begin playing.

Novices focus on musical parameter.

Eye movements- does not remain static while sight-reading. Each fixation lasts between200-300 mill-sec.

Saccades can be forward or backward looking Located on note-heads, spaces, dynamic markings, bar-lines, and other musical cues.

Experts extract more info per saccade and have fewer saccades than do novice readers.

Skilled Reader- read 1 pattern; Unskilled reader reads note by note.

Our eyes can take on more if the tempo requires it.

Eye hand span- distance between production and perception (varies with difficulty of music)

Perceptual Span-amount of info taken in during one fixation (usually 2-4 bbets- 1 measure)

Recalling previously learned musical material (2nd stage of SR)

-Recognizing patterns: combinations of notes are stored in memory as chunks to be recalled in anew context. Pianists have superior pattern recognition skills. Expert sight-readers use their training and knowledge to predict what happens next. Expert readers can infer the correct note if it is altered or erased. Expert readers let the structure of the music to guide their performance. E.R. play tonal music more accurately than atonal music.

Programming the Performance:

-Usually automatic

-Complex movements are specified as cognitive representations of individual actions.

-Opposed to other skills, like typing the duration of actions while SR is paramount.

Kopiez and Lee 2006 create 23 factors to predict SR success (see picture below for list)

Sight-read easy pieces can be predicted by SR experience info processing speed

Sight-read difficult pieces can be predicted by: trilling speed; info processing speed.

High sight-reading can be predicted by trilling speed, non-right handedness. (decreasing RH superiority)

Ways to become a high performing Sight-Reader-

Visual reaction time shorter then 170.5 ms.

Slow visual reaction time, slow reaction to auditory stimuli and more then 631 hours 3 of accumulated sr experience

Fast auditory reaction time and more then 9,4944 hours of SR.

Speed matters, highly individualized paths to the high performance group, SR experience should be acquired before age 15.

Deliberate practice is not enough to account for the discrepancies in SR ability.

Kopiez and Lee 2008

Best combination of factors

Trilling speed

Reading experience before 15

Speed of info processing

Aural imagery. (hear score without playing it) Are able to imagine how the sight-reading example will sound with only visual input.

Other factors that influence Sight-Reading:

-Performance of rehearsed music

-Taking Lessons

-Accompanying experience

-Teacher that emphasize SR

-GPA

-Age (how much they can attend to one time.)

Rhythm Reading- Rhythm is one of the most common mistake in sight-reading.

-Improve Rhythm Reading:

Body movements

elongating note-heads (did not improve)

Color-coded notation (did not improve)

Error detection- listen and/or see note errors.

Shadowing

Chunking procedures

Rhythm reading drills

tonal pattern drills

Pre-playing score study

Sight-read before you Begin

*Teachers:

-Should select music in advance.

-Should be easier than music they study for lessons.

-Find appropriate and variety of music

-Teach students to read intervallically (relationship between notes is most importantly)

-Consistent fingering patterns

-Don’t cover score to help with sight-reading. Sight readers look forward and backwards

*Students:

-Examine score for relevant info (musical parameters, rhythm, melody, harmony)

-Select tempo they are able to maintain throughout score

-Avoid looking at hands

-Read ahead and anticipate what is coming next

-Encourage students to chunk note groups.

-Focus on the big picture (errors and omissions are ok; get to notes however you can.)

After you finish-

Identify the mistakes you made.

Misreading (error occur during processing stage)

Misexecution (errors occur during execution stage)

Keep a sight-reading journal.

Keep track of common mistakes, pieces you would like to sight-read, sretagies that work well.

Suggestions to improve Sight-Reading

1. Practice – start early
2. Find music that has clear patterns.
3. Search for and learn different patterns with your students. (***have students describe out loud those patterns)
4. Practice Sight-Reading in groups. (requires to continue playing in spite of mistakes)
5. Do your own experiments.

Here is the Learn at First Sight handout you can download.

 

MTNA Conference: Tuesday Showcase; JoyTunes

One of my students favorite apps is the app, Piano Dust Buster. So when I saw that JoyTunes, creator of Piano Duster would be doing a showcase, I wanted to attend.

If you aren’t familiar with Piano Dust Buster you got to check it out.

The storyline is the granny dusting off the notes when students play it correctly. It is not intended to be a teaching tool. This app was intended for the beginner phase to get students psyched about piano. The app download is free and includes a song pack purchase. From there you can purchase additional song packs.

The exciting announcement at their book and their showcase was about a new app called Piano Mania. I am currently beta testing this app with my students and I can’t wait until it is available to the public. Think Piano Dust buster with more!

A few things we learned about Piano Mania:

- It is designed for piano teachers as a tool for teaching.

- For practice motivation and a solution for teachers and parents.

- Covers treble AND bass clef

- Will have free play- users side of app

- Gradual learning experience by advancing Ranks.

- Customizable- adjust tempo, note names shown or hidden, wait for correct notes as you play or perform

- Will score technique, rhythm and sight-reading.

- Students will not be able to jump ahead, they will need to do it rank by rank.

- RH or LH separate or both hands.

- There is a find at teacher section in app based on location, name, level, review…

- Teachers can get progress reports fro students, how much practice time, scores, etc… Then teacher can give feedback from a single click. (Good job, amazing etc.)

- For Parents- an idea is to have parents and child challenge to a piano “duel”.

- Will have chart buster pieces on this app as well. (This is good news because chart buster is my students favorite section of the dust buster app)  Good motivation to advance ranks.

- Has time signature. Will have key signature changes.

More about Piano Mania when it comes out! Which shouldn’t be too far away!

MTNA Conference: Tuesday Session; Movement Pathways in the Brain: From Sound to Movement to Learning

Another presentation that I attended on Tuesday was by Lois Svard and Kay Hooper: Movement Pathways in the Brain: From Sound to Movement to Learning

While it was an interesting presentation, it was really one of those presentations that is hard to blog about. One of those, you really had to be here presentations… So I’m just going to share a few quotes that stood out to me.

 

“Music is about sound. When we connect sound and movement it results in moving.”

“Each time we repeat an action or connect an action, that pathway to the brain becomes stronger. Fired together- wired together. If we are practicing with mistakes or tension, that also gets wired.”

“We need to practice new information to create a new pathway. Then old pathways disconnect. Use it or lose it.”

 

MTNA Conference: Monday Session: Engage the Brain: Cognitive Warm-up activities for effective music lessons

 

This presentation by Dorothy Yan was an interactive presentation on activities we can do with our students to wake up the brain so to speak. I wanted to get a hold of Dorothy before blogging about this presentation to see if she happened to have any video’s on the activities that she shared at the conference. But I haven’t had any luck. So hopefully you can visualize from my notes. I think if she hasn’t already, it would be awesome for her to make some video’s and share them on YouTube.

In Dalcroze, the body is first instrument. Rhythmic movement, ear training, vocal, physical and instrumental improv.

Mental game of sports- hitting is 50% + mental.

Teach-Practice-Teach method. (teach, practice, re-evaluate)

Keep verbal communication at a minimum for maximum results.

Repetition is Key.

Benefits of brain warm-ups- helps set goals early in the lesson; fully engage the students brain as soon as possible; establish a level of respect; inspire creativity.

Musical objectivities-

-Rhythm

-Pitch

-Melody

-Phrasing

-Patterns

-Meters

-Note Values

-Inner Pulse

-Canon

-Subdivisions of beat

Activities-

Thumb/Pointer activity- set a tempo on hand points, the other thumbs up then switch; then pick speed on metronome, then turn metronome off and then back on and see if they are where they left off.  Rhythm- do it to a particular rhythm.

X Marks the Spot- One hand beats fist on leg, the other hand rubs forward and backward with the other hand. Subdivisions of the beat- take right foot half notes, “x” hand is doing quarters, sliding hand is eighth notes, steady tempo. Mouth is saying 1&2&

Body Canon- stand up, leader starts taps a body part and says the body part and then we come in 2-4 beats behind and follow behind. Variation, the leader says wrong body part when tapping another- don’t say body part if it’s said wrong.

Canon, subdivisions of the beat, memory

If students lead- put metronome on.

Hip Hop- Uses circular clapping. Use word hip and hop. Hip means to go two times slower then beat, hop two times faster than beat.

Subdivisions of the beat, quick response, steady tempo

Variations- Tap hip hop rhythm on each other’s hand

Yes/No- Fun to do at beginning of lesson. Patterns, Focus, Quick Reactions. Yes or No questions. If answer is Yes, head will do the opposite.

Variation- switch it. Mouth says wrong answer but head does right answer.

Up/Down- similar concept to yes/no but pointing up and down. Can add rhythms.

These activities do not always have to be at the beginning of the lesson. Can be used as tools to “fix” something or refocus.

A1/B2- One hand motions and starts A, other hand does 1, then B…2, C…3

Patterns, steady tempo, rhythm patterns, subdivisions of the beat, concentration

Variations: Add random words like “white” things. A, 1, paper, B, 2, clouds, etc…..

Thumb Tappers- Tips of fingers (“donut holes”)

3 5 4 2 4 3 2 5 – tap in order, backwards

Variation- minus 1, plus 1 (5 stays the same)

Add rhythms underneath

Benefits of doing these activities with students: 

-Focus/Concentration

-Fun/Enjoyment

-Motivation/Passion

-Goal Setting

-Practice Intensity

-Self confidence

-Emotional control

-Personal Responsibility

MTNA Conference: Tuesday Showcase; American Popular Piano Showcase

(I have one more Monday session to blog on, but want to get a hold of the presenter before I post- so stay tuned for that one…)

While I have heard about the American Popular Piano series by Christopher Norton and Scott McBride and have seen them before I wasn’t really familiar with the series and wanted to learn more.

Christopher first begins by saying that it is important to have pedagogically sound styles. The American Popular Piano books have fun syncopated rhythms; exciting acoustic and electronic instrument accompaniments; and interesting, jazzy harmonies. He goes on to say that students will play what they love. Students of all ages like to play music they relate to. “Pieces about rainbows don’t always cut it in the world of pop stars, blockbuster films…”

Two reason students usually quit piano:

#1-I want to play music by popular styles

#2- No time to practice

Classical shouldn’t be the ONLY things we offer students.

In part from wide range of styles in this series,it teaches improvisation, ear training, sight-reading. Glancing at the books I noticed that it can easily used as either a main method book or a supplement. I particularly liked the improvisation sections and the back tracks for the pieces students will learn and play. The repertoire is divided into 3 sections- Lyrical, Rhythmic and Ensemble. (Ensembles include a backing track)

Etudes are improvisational etudes divided into performance, technical-classical and technical pop. Clapping doesn’t have to be just with hands, can tap shoulders knees, etc… Feeling the beat is all that is important.

The Etude Improvisation book is based on pieces from repertoire book. The two main purposes of this book is to enhance the skill for thinking ahead and musical confidence (hear sound in your mind) and musical understanding. Building up skills bit by bit so don’t need to do the entire module at once.

The Skills book focuses on Technique, Sight-Reading (based on common patterns), Aural skills Rhythmic and Pitch.

The American Popular pieces are great for busy students. They can take pieces and learn them by ear and/or notation.

I’m looking forward to exploring this series further and trying them out on students. I think they will really enjoy the pieces and accompaniment CD that is included in these books.

 

MTNA Conference: Monday Session: Keep Your Mind on the Music: Performance Psychology for 6-12 year old Musicians

(Be sure to visit Music Matters Blog for the ChordPlay Showcase and the Keynote Speaker. Both were wonderful!)

After attending the ChordPlay showcase and listening to the entertaining keynote speaker, Rick Beyer, I attended “Keep Your Mind on the Music: Performance Psychology for 6-12 year old musicians” presented by Jyoti Hench

I will be sharing my notes from this presentation below. The biggest thing I got out of this presentation is the power of being positive not only as a teacher to your students (and I think this is really crucial), but for the students to understand that power as well.

 

Preparing students- Polish technical details, Discuss artistry and interpretation, Set memorization deadlines, Guide stage presence

*Address mental performance strategies

What is performance psychology? “A positive approach to studying human performance.”

A Positive Approach-

Before a performance:

I’ve done all the hard work already, I’m going to play really well today (vs. I know II’m going to mess up when I get on stage)

During:

Here comes the part I practiced so well. (vs. Here comes the hard part)

Positive but also honest! Needs to be true to be affective.

After:

My dynamics sounded great, I shaped my phrases great, etc… Reflect on performance on positive way. (vs. I made two mistakes)

Every time they perform give yourselves 3 small gifts (things they have done well in the performance.)

 

(Inner Game Books are great resources. MTNA Keynote Speakers are another great motivational resource.)

Is performance psychology only for the elite? (resources are usually geared towards adults)

“Young athlete are not miniature adults, they are children and they have the right to play as children” Smith and Smoll

Summary of Youth Sport Research

1. Overview of research

-Mastery: confidence in ability in order to complete task well

-Fun: If it’s not fun they won’t want to do it.

-Self Esteem: Every aspect of performing (anxiety, experiences, quality) ties back to self esteem. We need to boost the self esteem we are not helping them succeed as performers

-Mental Skills: Positive attitude, relaxation, imagery, concentration (focus)

Mental Skills

1-Positive attitude- pre-requisite; fundamental; positive living skills. “Teaching positive perspectives may have the additional advantage of freeing children to feel more relaxed.” St. Denis and Orlick, Positive Perspectives

Use of Affirmations- Positive declarations about one’s self or about one’s performance of an activity. If repealed often enough in a relaxed state- can help build positive attitudes and a sense of self worth (star and starr)

“I am really god at trying what my teacher tells me to do…” (Values effort)

Should be concrete and specific.

Affirmation for a specific performance (should happen in every lesson/practice session)

Positive post performance reflection. (I really play my dynamics well, I kept a steady tempo- versus I did not rush..)

On the assignment sheet create a starter affirmation sentence where they finish the sentence. (Takes time, students will ignore it at first- so come up with something together to get it started)

Highlighter cards- One highlight during your lesson today was…. Looking for good things in each lesson. Give to student at the end of the lesson. (Note to self: This would be great to share to parents when reconciling as well)

2-Relaxation

2nd grade children learned to lower their own heart rates.

Children can in fact learn tension/stress control within 6 weeks (4th grade study)

-regulate breathing (avoid breath holding)

-being mindful of one’s own breaths

-deep breathing

Swimmer breathing activity- choreographing his/her breaths with music. Breath in for a measure, out for one. Reverse it, then add measures, etc…

When focused on breathing it’s harder for your mind to wander off.

3-Imagery- Picture anything in our head.

-Relaxation and imagery together have been shown to improve performance quality n 7-12 year old athletes.

-Pictures- real or imagined helped 2nd grade students memorize information.

-Musical storytelling- tell a story for their piece. Not just story but create pictures.

-Create a comic strip story board for the piece. Visual-Can put their comic strip up on the piano. Now take it away can you picture what it likes? Aural- can you imagine what it sounds like Physical/Kinesthetic- what would it feel like?

-Engaging in mental practice.

Vividness- the more it is vivid the more effective. (ie: color in the pictures in the comics)

4-Concentration/Focus- most important skill in performance (Orlick)

Usually when you slip up it’s because of a concentration lapse.

What should they think about? (how to focus)- make a list of good things to focus on while performing. 1. Must be positive 2. Music related

“Let’s Make a List”

-the sound of the melody

-words to the music

-feel of my fingertips on the keys

-sound of dynamics-

-story I created for the piece.

“Concentration Station” activity-

Student chooses one item from list; Succeed at focusing on that item, no matter how short the section; Be mindful of whether you focused completely.

More elaborate application-

Create performance strategy

ie: A section- fingertips; Plan ahead and shift focus for B section- legato/breathing

Back to A, coda

Verbal cue words can help in performance.

When you give your mind a task to focus on it’s hard to wander.

MTNA Conference: Sunday Afternoon Session; Dyslexia: Identifying the invisible and how teachers can help

Though I don’t have any current students (that I know of) with Dyslexia, I thought this would be an informative presentation to attend. Lynn Godfriaux Maloy was our presenter for this session. Lynn herself has dyslexia.

She started out by explaining that students with dyslexia can read but it just takes it longer. It’s NOT low intelligence. They typically do better with oral instruction.

Students with dyslexia have difficulties with note and keyboard location, phonetic sounds, may include problems in score reading, and reduced music reading experience, notation patterns, repertoire. Experts don’t know what causes dyslexia. There are no blood tests, treatment, rehabilitation.

Dyslexia includes symptoms besides reading impairment such as Dysgraphia, Dysphasia, Fine coordination, ADHD and so on. The neural activity is in front of the brain, with increased activity in the right hemisphere. (Non-Dyslexia is in front and back of brain, increased activity in left hemisphere.)

There are a lot of myths with dyslexia. You can read about those myths in her handout: Dyslexia- identifying the invisible, and how teachers can help-1. The first one that she mentioned though surprised me because when I think of dyslexia this is exactly what I think of. Myth: Dyslexia is when people reverse letters. Truth: Some dyslexic readers reverse letters, but so do many inexperienced non-dyslexic readers. This is not a typical symptom.

You will find that students will actually have good progress in their lessons usually during primer and early levels but then it changes and it seems like they go backwards. They prefer to play by memory and their practice slacks off.

Sometimes dyslexia can be confused with vision issues or visa versa. Things to watch for would be focusing, eye tracking and looking ahead. Reading issues may be vision related rather than a reading issue. There had not been a correlation between an eye issue and dyslexia.

With this challenge there are also many gifts- Students with dyslexia are highly aware, they think in 3 dimensional,  have vivid imaginations; thought is a reality. They have higher then normal intelligence and extraordinary abilities. Fine motor facilitates cross brain training. These wiring differences often lead to special strengths then more then make up for the challenges. When teaching staff reading here are some things to keep in mind as far as approach goes…

1. Intervallic (recognizing difference between line and space- can’t always recognize)
2. Acronym means rote memory- hard (4-5 different things to remember)
3. Suzuki (works well- but reading usually introduces late and gets ignored)

Circle of 5th’s is hard because of interval relationships.

Solfege (looks like dew, ree,me fay, soul, law, tye, dew)

Can see intervals, keys etc on keyboard but not on sheet music.

For hints on simplifying reading, key signatures etc… see the handout: Dyslexia- identifying the invisible, and how teachers can help-1.

Because it’s not a diagnostic category in the special ed laws, many school professionals will say it doesn’t exist. (AWFUL!!!) While most dyslexia is a life long condition, it can be corrected ONLY if caught early enough and only in some cases. In order to get federal funding you have to concentrate on what they can’t do…

Some popular questions and the answers…

1.How do I approach parent if I suspect?

*Ask notice any reading issues at school?

*Work with student but be more forgiving..

2. How to tell whether a student is?

*Takes a period of time.

*Student more then willing to play by memory but not read.

*Student not playing at all.

3. Should I pursue a diagnosis if I suspect my child?

*Depends on severity and outside help. Can work with your child on your own if able. (Very expensive to go through diagnoses. School doesn’t like to diagnose for this reason- will refer you to a psychologist for you to spend $$)

Other question that were asked:

-Practicing tips? Rote, listen to recordings following with the score, YouTube, etc.

-Confusing hands? Play both hands even if one clef

-Would it help if score was larger? For moderate tempo it could help. But faster tempos not too much.

-Confusing line and space- teach only spaces, show notes on keyboard.

Think outside the box (may need to break theory ‘rules’)

Students with dyslexia are typically kinesthetic learners. Manipulative’s help. Hands on is good.

These are children who have been reading for awhile and are getting into more advanced pieces and things bottom out and get really difficult.

Thanks Lynn for an informative presentation on dyslexia!

MTNA Conference: Pedagogy Saturday; Maximize Your Value, Power of Popular Music

I had the pleasure of attending Kristin Yost’s presentation, which was my last class on Pedagogy Saturday.  Kristin is the executive director for Centre for Musical Minds, LLC.

Kristin begins by asking the question, ”If Bach and Beethoven were alive today do you honestly think they would be teaching minuets that they composed 300 years ago?” The answer is of course, “No! They would be teaching music that is relevant today.”

What makes this question so interesting is if this is the case, why do a lot of teachers not teach pop music in their studio? Not only do they not teach it, but they have no interest in teaching it. While learning Bach and Beethoven certainly has it’s place, students typically want to learn to play piano because they want to play pieces they can share with their friends and have fun. A couple days ago, I was tagging along with my husband and son who were doing a video shoot of the high school musical later that evening. While they were setting things up, I heard the piano playing and kids singing along. Do you know what it was they were playing/singing? A student playing basic chord changes from a pop song on the radio. And they were having a lot of fun!

Kristin’s school has what they call ‘Pop Showcase’ every year. What is unique about the pop showcase is students are jamming along with a live drum, bass and guitar accompaniment. There are no rehearsals with the band, so it is totally live jamming. Kristin will send home rhythm tracks with students about 3 weeks prior so they have the opportunity to practice as if they were practicing with the band.

While they have many performances throughout the day, every time the performances are different and new because each child is different and brought something different with a piece. They put their own spin on things. She goes on and says that whether we do a pop showcase or not, the focus should be the love of music. The tool to get there doesn’t matter. Musicianship skills are applied to their activities later in life.

“When you can speak the language of today, your studio’s will be full. If we have been teaching this way the last 50 years, I don’t think our symphonies would be bankrupt right now.”

When teaching Pop pieces, they can simply be lead sheets student created. Kristin she doesn’t get bogged down by notating rhythms, chords, and so on.  She has even created bridges, areas for improv etc… Knowing and reading go hand in hand. Using ear helps with difficult rhythm and notation.

One thing to keep in mind and what Kristin says is the key to a successful pop recital is to not go for cheap musicians. (She paid $75 each musician each performance- she had 5 performances, 3 musicians. Steal!) Musician’s will typically play by ear and follow students. You want to make sure they are experienced in this. There will be expenses, band, facilities, etc… Be sure to charge for the event.

A little side note on charging for events… I know some teachers are wary charging for the recitals. But if you only knew how much parents pay for other recitals. I know with dance, parents have to pay tickets per person, so it’s not just a recital fee. Then on top of that they have to pay for the costumes and anything else that comes along with the performance. So don’t be afraid to charge a fee, or even for tickets. You have your expenses and they should not be a burden on you. This is a great opportunity you are providing in your studio and if it’s a fun and fulfilling event, they will have no problem in paying.

Kristin shared a checklist for holding a pop recital-

-Hire Professional musicians

-Find a space with nice piano

-Choose age level appropriate music with strong rhythm

-Work on form with students to create their own lead sheets (practical theory)

-Practice tracks using GarageBand or keyboard rhythm accessibility; 3 weeks prior to performance, if not before.

-Work on feeling the beat, rather then counting.Great ear training opportunity. Students need to practice counting off.

-Average cost with hall rental,musicians, should be approximately $15-20 per students.Well worth it!

Music Ideas/Resources-

musicnotes.com

(Another couple resources that would be good is Playground Sessions and an app called NoteStar by Yamaha)

Beginning students: Faber popular books are great

-Martha Mier, William Gillock,Eric Baumgartner, HL Current Hits etc… Anything with a beat…

-5th’s and Octaves in LH will make any pop song sound good.

-”Count off’s starts the motor running” (Bradley Sowash)

-Extraordinary results with every student. Think differently…

-Find the strength of the student go with the strength and expand…

-Lots of rhythm tracks.

-I Reel B (backing tracks with chord changes)

In my studio I hold what I call Keyboard Festival every year. It’s one of my students favorite events as they play along with midi accompaniment, but I really love this idea of doing a Pop Showcase with a live band. I was talking with a piano teacher friend of mine and saying to really make this happen for my students, I would need to collaborate with other teachers just for the financial end of things. My studio alone wouldn’t be able to front the costs for a band and the facility even with charging a fee (which I definitely would do). It is definitely something I would love to do and hope that it can happen soon!

Whether or not you hold a Pop Showcase in your studio, I hope this has encouraged you to include pop music in your students repertoire. I know for my own students they love it when they can play pieces their friends recognize and can sing or jam along with. It makes them feel so good and I think they stay in lessons longer because they are learning pieces that are relevant to them.

MTNA Conference; Pedagogy Saturday: Cracking the Code: Teaching Adults Jazz/Pop

I’m a Scott Houston fan so I was really excited to go to this presentation. I always wanted to see him speak in person and was out of town when he came to Arizona and spoke at the Musical Instrument Museum. Scott Houston is best known as “The Piano Guy” from his PBS show. I know sometimes he gets a bad rap from teachers because of his teaching style, but I look at his style as a huge benefit in the RMM world of teaching. Matter of fact, I have used his materials when I taught a summer workshop to my students on lead sheet reading. They were very helpful and made my job a whole lot easier.

Scott mentioned that he only teaches adults, so this topic is close to his heart and he knows what he is talking about!

He begins by asking why teach adults?

#5 They are Fun

#4 They get your jokes

#3 They like music you can relate to instead of the latest Disney starlet of the month tunes.

#2 Don’t pick their noses then play our piano

#1They are there because THEY want to be…

BUT! They are so…. different!

 

He explains that adults may be nodding “ok” in lessons but here is what they are really thinking…  Here I go again, when can I play a tune?  Adults typically don’t share everything they are thinking. As a teacher our job #1 is to get them playing a tune they like ASAP!

He shared that guitar teachers have many successful adults students because they teach a tune the very first lesson. So the adult student walks away feeling pretty good about themselves and is able to share something with their family and friends from Day 1.

Scott shared some helpful steps to create the same environment of success from Day 1…

-First, start with a few chords in the LH (pretend you a guitar teacher). ”Let’s learn a few chords”. If you want you can even use chord diagrams though there is no need to show the chords notated…yet. (These would be diagrams shown on the keyboard)

-Don’t worry about what fingers to use (have them experiment which sounds the best).

Until they know why it doesn’t work, they won’t realize why it’s important. Let them figure it out on their own. You will have plenty of opportunities to teach the “rest” later. They will quickly figure out that something doesn’t feel right. When this happens, this is a great time to show them a “better” way.

-Relax…  There is no need to show the chords notated, notes, lead sheet, etc… (yet!)

-Have them use their aural skills. See if they could tell you when they should change chords. Have them figure it out by ear. It’s empowering for them to figure that out by ear.

-Have them hum or sing a few tunes they can PLAY along with. Yes- PLAY! Let them experience making music!

 

The second step is to introduce playing a melody line. No music Yet? Start on simple melody and help them hunt and peck. (Forrest Kinney calls this ”Trial and Ear”)

Introduce notation with this justification: You now know you can figure it out yourself. You an always try to hunt and peck a new melody that’s not cheating. Soon they will realize on their own that learning it from music notation can save you a lot of time once you get the hang of it.

***It’s like leading a horse to water if you do it in this order.

Scott reminded us that we can teach notation however we want to. In pop style playing, the notation is the guide, not the gospel…  We play to create, not to clone. (That’s what recordings are for) Play musically!

He then asks, why does notation exists? The answer is simple: there was no other way to record music. He had us reflect on our own playing and chances are… when you feel the most musical/creativity is typically when you don’t have the notation. The only reason notation exists is to get a melody line learned so you won’t need it anymore.

Another tip concerning notation at the beginning is to just stick to the treble clef. It’s all that is needed to read a lead sheet. (unless they request to learn notes in bass clef) Give it to them when they are ready and want it. Teach things only when they are needed.

 

The third step is having them play with hands together. When you have a struggle- first thing is figure out which hand should come down, slow it down a lot.

 

Teaching order for adult students: (different from what many are used to)

1. Play tune student wants to play

2. Learn chords

3. Learn melody

4. Teach something new in context

Snowball gets bigger and students gets happier.

 

Scott Houston just came out with a brand new lead sheet book called Three Chord Songs Fake Book published by Hal Leonard. There are 200 songs using just 3 Chords! Fantastic resource for getting started and help make our students feel successful from day 1!