The following is from The Editor's Page, by Richard Chronister: |
This issue's cover art is titled Feline Groovy by Jeff Gold |
Now, we feature, Feline Groovy, a montage of really cool cats enjoying making music together, led, of course, by the keyboard player, who was probably responsible for the gathering, and they are probably playing in his basement. There are four keyboards in all, if you count the marimba in back, so it's easy to see that the keyboard is a significant part of this swinging ensemble. We still hear people say that piano lessons and piano practice and piano playing make a lonely business and, therefore, cannot compete with other musical activities that are enjoyed in groups, as well as all the group-sports activities that draw the attention of young people. This is only true for those of us who insist on keeping our heads in the sand while the world moves on without us. To begin with, we continue to have a strange reluctance to embrace group teaching as the most efficient, most effective, and most social approach to keyboard study. There is no evidence that private piano lessons inherently produce better learning, and plenty of evidence that group lessons inspire and encourage all students. The traditional explanation that piano lessons may be the only remaining activity where children have a one-on-one relationship with a teacher is growing frayed at the seams. When I watch a private lesson, I don't get the feeling that it's the child who craves this one-on-one relationship. I think it is simply easier for piano teachers to continue doing what they've done for eons. It does take some effort for piano teachers who have never tried it to find good instruction in group teaching skills. And then, it's even harder to go through what can be the complicated process of planning and scheduling group classes. Many of our college piano pedagogy programs are also reluctant to go to the trouble to provide group teaching experience for pedagogy students. Any college pianist who has a truly successful apprenticeship working with groups will find it hard to establish a teaching studio of nothing but one private lesson after another, teaching the same thing to student after student as their eyes glaze over amidst the umpteenth lecture on eighth notes and the importance of daily practice. But Jeff Gold's Feline Groovy leads us beyond group lessons into the world of making music with other musicians. This ought to be the natural result of music lessons on any instrument. These cats are probably not playing a Bach minuet or perfecting a performance of a Schubert sonata, but you can bet your bottom dollar that the pianist-leader had a traditional beginning as a piano student. And if his teacher played his or her cards right, he is most likely spending some time on the classic literature as well as jamming with his friends. We must realize that piano lessons at the earliest levels cannot have piano virtuosity as their only goal. If we provide the kind of early music education that each of our students deserves, they will be prepared to go wherever their talents and their interests lie as they become older, more sophisticated, and more literate. Early keyboard study is for the purpose of giving children the tools they need to pursue life-long music making - whatever route that course may take. Piano teachers are in the best position of all other music educators to lead the reform needed to insure a nation full of literate musicians. Let's not settle for our cozy, insulated position that served the past so well. It's the future that counts." To see a larger image of the cover photo, please visit our Art Gallery. |
 What is the difference for YOU between counting
rhythm and musical rhythm? Jennifer Merry and
Richard Chronister explore this open-ended and fascinating question. Jennifer's
article examines rubato and agogic
issues, and includes many audio clips that
demonstrate her points. Richard's essay
focusses on a surprisingly simple approach to teaching rhythm that can result
in student independence in playing musically. |
In this website issue we offer the premiere of a new feature, the Department Diary. Occasionally, our editors will share their personal experiences and thoughts on subjects that are relevant to the magazine, but that don't necessarily fit into the usual question-answer format. Bruce Berr launches this new website-only feature with his RHYTHM DIARY, which includes some photos, audio clips, and video clips of a drum circle he saw while vacationing in Idaho. (Next issue, look for the premiere of the MAGIC TRIANGLE DIARY). |
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The Magic Triangle: |
What did you do in your practice this week? |
Anna Facci |
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The Other Teacher: |
What do you see when you watch your students practice? |
Jennifer Merry |
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Independence Day: |
What is the Frances Clark Center for Keyboard Pedagogy? |
Excerpts from FCCenter Prospectus |
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Let's Get Physical: |
Revisiting: |
Scott McBride Smith |
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Partners in Time: |
How is the piano depicted in popular culture? |
Madeleine Crouch |
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The Heart of the Matter: |
How do you teach the difference between counting rhythm and musical rhythm? |
Jennifer Merry |
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From the Inside Out: |
How do you encourage your students? Part II |
Joyce Cameron |
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It's Never Too Late: |
What advice do you have for other adults who plan to begin taking piano lessons? |
Beverly A. Rawles |
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Putting It All Together: |
Do you ever assign arrangements of traditional repertoire? |
Marvin Blickenstaff |
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Tomorrow Today: |
What advice would you give your colleagues who want to start using technology? |
Sandra Bowen |
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or this issue's cover art,
we use another of musician-artist Jeff Gold's whimsical drawings of musicians.
You probably remember our 
