Autumn
2006, Vol. 17 #3
Group lessons - Part two
In the 2006 Summer issue of Keyboard Companion, this column featured an extremely interesting and informative interview with Ted Cooper about group lessons. Because I think that this is such an important subject, I would like to expand a bit more upon it in this issue.
In the Spring of 1998, MTNA sent out a newsletter containing the results of a l997 random survey which the organization had conducted with its membership. One of the questions in the survey had to do with group teaching, and a summary of the survey results indicated that 40% of the one thousand teachers who responded offered some type of group instruction for their students -21% of them providing group lessons for some of their students, and 19% of them for all of them. (I wonder how [or if] these percentages would change much if a similar survey were conducted today?)
Adult Piano Study
Dept: Glenna Sprague supplements her article with video and audio
clips, and additional photographs of live performances of the
Oakton Six Piano Ensemble.
Music Reading Dept: Midori Koga provides extra photos to supplement her article, "How does teaching music-reading differ from teaching sight-reading?"
I do hope that a good many of you
reading this are already as sold on the value of group instruction
for piano students as I am. Be that as it may, since this is
the beginning of a new teaching year, let's review some of the
advantages of group lessons which we might share with parents
of our new students, or with other colleagues who might be considering
incorporating them into their current study plans. Below are
some of my own reasons for providing all of my students with
regular group instruction along with their individual lessons.
Group lessons provide a ready-made audience for regular performance opportunities. We know that the more a student plays for others, the more he or she will feel at ease about performing, particularly if most of the performance experiences are for peers in a pleasant, non-threatening environment as opposed to the more "formal" recital setting. When we are preparing for a recital performance, the group format provides a perfect setting for rehearsing recital protocol, i.e., walking to piano, adjusting the bench, beginning and ending with the hands in the lap, bowing, etc.
Group lessons provide valuable learning incentives. Via performance experiences with peers at group lessons, students can also gain learning incentives that cannot be provided as effectively by just the teacher. For example, when our students hear us play one of their pieces they are not particularly motivated by how well we play it. They expect that it will probably sound better when their teacher plays it than when they do. On the other hand, when they hear one of their pieces (or similar repertoire) played superbly by one of their peers, this performance becomes a believable model - one which they feel is within the realm of their own potential. "If my friend, Mark, can play the piece this well, so can I!" This is the kind of reassurance that can seldom be provided as effectively by an adult performance.
Group lessons provide valuable opportunities for students to learn how to listen to music. In my own studio classes, we spend about 75% of the time making and listening to music (the remaining 25% being devoted to miscellaneous drills). The students almost always follow the score as they listen, and we usually precede each performance with some sort of an activity which prepares the non-performers for active listening. For instance, sometimes I might assign each student something specific to listen for, i.e., "Connie, you listen for dynamic contrasts." "James, please check the staccatos vs. legato." "Michelle, you check on the ritards and fermatas." etc. Sometimes the non-performers are asked to study the music and silently select one or two special things they plan to listen for. (In this case, the performer is not informed of these choices until after he or she has played the piece.)
Each performance is followed by some discussion. Sometimes the auditors are asked in advance to be prepared to discuss the piece's formal structure after hearing it (ABA? etc.). Sometimes they are asked to mention one thing that they especially liked about the performance, along with offering one suggestion for something that they think would make it even more effective. Once in a while, they are not allowed to look at the score as they listen but instead, are asked to make a list of all of the things that they hear (staccatos, ritards, crescendos, etc.) Who will have the longest list? Sometimes they are asked to play "judge" and write out their comments. (In this case, I collect their sheets and then read all comments to the performer without revealing the identity of the writers.)
In summary, to encourage active listening, we always have to have something specific to listen for, and after each performance, we always evaluate it - "Did we hear what we expected to hear?" Pre-performance analysis of the music, following the score while listening, post-performance questions, and also other types of activities as mentioned above help to ensure that the auditors are every bit as involved as is the performer so that all are having a musical and educational experience at all times.
Group lessons provide increased opportunities for ensemble-playing. All students enjoy being able to make music with their friends - playing either duets, or trios - or if there are two pianos in the studio, quartet music for four players. And what better place to do this than in a group lesson! (During the past season, three trios which my students thoroughly enjoyed were Vandall's "Rustic Dance," and "In the Groove" from Jazz for Three [both Alfred publications], and an exciting version of Sousa's "The Stars and Stripes Forever" [arranged by Weekley and Arganbright for 3 players at one piano and published by Kjos]. The students had such a good time with these trios that they asked if they could perform them on the Spring recital. They did, and the audience also thoroughly enjoyed them!)
Group lessons provide more instruction time for the student. For one example, in my own studio, the school year is divided into three 12-week terms, and all of my students are enrolled on a 45-minute private lesson basis. This means that during each term, without group lessons, they would receive a total of nine hours of private instruction time. However, because group lessons are a regular part of the curriculum, my students also have three one-hour group lessons per term in addition to their weekly private lessons. (During group lesson weeks, the private lessons are abbreviated i.e., 45-minute lessons become 30-minute lessons. I do this in order to free up time in the schedule so that it is possible to offer the groups.) This plan means that during each 12-week term, my students have nine 45-minute private lessons (totaling six and 3/4 hours of time), three 30-minute private lessons (totaling an hour and a half), and three one-hour groups. This results in their receiving a total of eleven and a quarter hours of instruction per term as opposed to just nine hours were they to have only the twelve 45-minute private lessons.
Group lessons provide additional time for reinforcement drills. We all know how difficult it is to try to squeeze into a private lesson adequate drill activity needed to reinforce concepts being learned in the areas of reading, rhythm, theory, ear training, etc. Group lessons provide the perfect setting for such drills, and of course, they are always more fun when done with peers rather than just by the student with the teacher at a private lesson.
Group lessons can provide a great forum for composing. One emphasis in my own group lessons is on composing. For each group, students are ask to create a piece of their own based on a format assigned at the previous class, i.e., "For next month's group, make a piece in which the left hand always plays on black keys and the right hand, on white keys"; "Make a piece in ABA form"; a piece that includes both major and minor; a piece built around an ostinato figure, etc. It is always fun to hear three or four original pieces all based on the same structural format but each sounding so different!
Group lessons
can enhance intelligent practice strategies. Some times I assign an "on-own"
piece to everyone in the class - the same piece to each student.
This is always a short piece that is at least a couple levels
easier than the students' regular repertoire, and one that I'm
sure no one has ever studied. The idea is that each student is
to work the piece out entirely by him/herself, write out the
practice steps used, and then play it at the next class. We usually
ask the student that is the best prepared to demonstrate the
practice strategies that were used to produce his/her performance.
(I believe that students can often learn just as much about effective
practice strategies from each other as from their teacher.)
(As an aside, I also regularly assign "on-own" pieces
to students at their private lessons as well as for a group assignment.
This is about the best yardstick I have found for measuring what
a student has really learned - and has not yet learned - about
how to practice.)
Group lessons help to minimize the solitary status that many students associate with piano lessons. It's obvious why students enjoy singing in the school chorus or playing in the band or orchestra - because it's something they are doing with their peers! But what about taking piano lessons? The child who always has the lesson alone, and who is expected to practice alone can easily feel that this "piano" activity is outside of the mainstream of his/her life and is therefore less motivated to practice and to want to continue on with the lessons.
On the other hand, students who regularly share the musical experience with others - particularly with their peers - have an opportunity to experience the same type of enjoyment that they receive when participating in group musical activities at school. This sharing can often make the difference between a decision to continue on with lessons or to drop out.
As we think about the many advantages provided by group lessons, it is obvious that they can add a dimension to music study that the private lesson by itself can never provide. Hopefully, more and more students are experiencing the adventures inherent in group lessons, and because of this, we are finding ourselves not only producing a generation of performers who play for others with more ease and enjoyment, but who are also able to intelligently, actively and imaginatively listen to music as well!
About Our Cover Art
Nancy
and Randall Faber and their daughter, Vivian.
Photo is courtesy of the Fabers.
For more information on their work, please visit their website
To see larger images of our current and past cover art, please visit our Art Gallery.
MULTIMEDIA ARTICLES
Adult Piano Study Department
|
Glenna Sprague provides video and audio clips, and additional photographs of her ensemble performing live. These supplement the article, "What is the buzz about the Oakton Six Piano Ensemble?" |
Music Reading Department
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Midori Koga provides extra photos for her article, "How does teaching music-reading differ from teaching sight-reading?" |
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Also
be sure to check out our page of |
Table of Contents from
Autumn 2006, Volume 17, Number 3
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The Magic Triangle: |
How did you develop your career in music? - Part two of an interview with Day, Kern, Klose and the Vandalls |
Kingsley Day |
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The Other Teacher: |
What are some of your favorite routines for practicing scales? |
William Phemister |
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Independence Day: |
How does teaching music-reading differ from teaching sight-reading? |
Midori Koga |
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Let's Get Physical: |
Can we learn good technique by fixing mistakes? |
Hanna Wu Li |
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The Heart of the Matter: |
How do you help students who chronically have difficulty playing with rhythmic accuracy and expression? |
Susanne Baker |
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Issues and Ideas: |
Teaching the young child: An interview with Lorna Heyge |
Lorna Heyge |
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It's Never Too Late: |
Glenna Sprague |
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Putting It All Together: |
What do you think is essential when teaching the interpretation of music in the Classical style? |
Augustus Arnone |
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Tomorrow Today: |
How do you use technology with adults? |
Amy Rose Immerman |
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The World Around
Us: |
An interview with the Fabers |
Nancy and Randall Faber |
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Keyboard
Kids' Companion |
Puzzles, Practice Projects, Meet the Composers, and more! |
Helen Smith Tarchalski |
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