Home Practice
Elvina Pearce, Editor
It is fairly obvious that a student's ultimate success with a piece depends largely upon how he or she practices it. Of particular importance is what is done with the piece during the first week or two of practice. If the student does a careful job of working it out, then accuracy should be the result, and subsequent lessons on the piece can be spent on its interpretation, i.e., making music rather than making corrections!
It is also fairly
obvious that what a student does at home with a new piece
especially an elementary level student depends greatly on
the teacher's initial presentation of the piece at the lesson,
as well as the student's application of whatever practice steps
are assigned. For this article, we have chosen three contrasting
early level pieces ("Tall Pines" by Jon George, "A
Porcupine Dance" by Kabalevsky, and "Dance" by
Schytte), and asked our writers, Ruth Chown, Heidi Mayer, and
Craig Sale to discuss them from the above point of view. I think
that you will find their contributions both insightful and worthwhile.
from Craig Sale's article
Making a "musical" connection between a piece and the assigned practice steps
Motivation to practice can be much stronger when students are focused on musical goals. When students reach the level represented by the three pieces presented in this article, the practice steps I assign deliberately focus on the musical content of the piece. Often this musical content is directly related to a technical skill. If the musical "end" of the technical "means" is clearly articulated in the lesson, the student is more likely to be interested in practicing this technique.
"Tall Pines"(by Jon George): Its presentation at the lesson
When presenting new pieces, I believe it is vital that the work done in the lesson be representative of how I want the student to practice at home. In teaching each of the three pieces selected for this article, I focus the in-lesson workout of the piece on musical goals and then assign practice steps clearly connected to that workout.
"Tall Pines" by Jon George features crescendi and decrescendi. In the lesson I play the piece and ask the student to physically "act" the dynamics-i.e., start in a crouched position and rise up to a tall stretch and then back down, based on the piece's dynamics. I have found this physical experience of dynamics to be very effective. When practicing the rhythm, I have the student tap and count on the keyboard cover, including the hand crossovers, and I also ask him/her to express the dynamics in their counting. We then silently practice the moves on the keyboard before playing and counting. Special note is be made of the times when the RH needs to prepare for a Bb. . .
Craig Sale is the Editor for KEYBOARD COMPANION'S
Music Reading column, and the co-author of The Music Tree 3: Activities
and The Music Tree 4: Activities books. (Summy-Birchard/Warner
Bros.) He teaches piano pedagogy at Concordia University in River
Forest, IL where he also serves as Director of the school's Preparatory
and Community Piano Program.
from Ruth Nordine Chown's article
Teaching and practicing early level repertoire
The descriptive piece, "Tall Pines" by Jon George, is a favorite for the early level student. In its simplicity, it is an eloquent statement. Its picturesque image is very familiar to those of us who live in the north on Lake Michigan, surrounded by majestic pine trees. We often hear the wind whistling through the trees, sometimes a cool, gentle summer breeze; other times a wintry wind, fierce and gusty. Imagery is important in this beautiful piece, calling for a quiet dignity. Phrases are shaped in calm expressiveness. The title suggests upward motion from low notes to high notes, thus illustrating the "tall" pines. This spacious example further describes through crescendi and decrescendi the wind in the pines, alternating with the calm.
Introducing "Tall Pines" at the lesson
I find it very helpful to introduce this piece with the title,
asking the student to look at the music to
determine why it would be called "Tall Pines." By observing
the score before playing, the early level student gains an understanding
of what to expect. He/she will quickly notice that there are definite
patterns. For example, the first two measures of each line are
made of ascending eighth note fifths and crossovers to be played
with alternating hands (students always enjoy experiencing the
expansiveness of traveling across the keyboard!); each line concludes
with descending seconds. Comparing patterns of low to high, dynamics,
interval structure and rhythms (noting the differences between
mm. 3-4 and 7-8, and 16-19), and the register change from F
to C and back to F will not only give young
students an understanding of what to expect, but will also suggest
freedom of arm movement. With a brief analysis, I find that most
students are usually able to play the piece at sight with only
a few suggestions. Pedal is then added, as marked in the score.
Practice steps for "Tall Pines" (Chown)
1) play/count perfect fifths ascending with alternating left
hand and right hand crossovers (mm. 1-2, and 9-
10)
2) play/count RH F major descending five-finger patterns
from C down to F (as in mm. 2-4)
3) practice changing positions from lines 2-3 (F to C
major), and then returning to F in line 4.
4) practice moving the RH an 8va higher in the last
3 measures, and the LH an 8va lower in the final
measure. . .
Ruth Nordine Chown, NCTM, holds Bachelor and Master
Degrees in Music Education from Northern Michigan University.
A Career piano teacher, she conducts a studio of 35 students.
She served several years as Chairman of the Independent Studio
Teaching Committee with the National Conference on Piano Pedagogy
and as music faculty at Bay de Noc College in Escanaba MI. Music
projects have included writing, arranging, and producing six benefit
community fund-raising Monster Concerts, Art Center programs and
recitals, hosting guest artists, composing, arranging and producing
two full-scale musicals, "A Gift of Carols" (based on
the
Alfred Burt carols), "Halloween Carnival", an original
touring musical theater production, and special Community musical
events, including composer birthday parties and concerts.
from Heidi Mayer's article
Hearing a beautiful performance of a new piece is a great practice motivator!
When first presenting a piece, I generally perform it for the student, playing with as much artistry as possible. It is important for students to have an aural concept of the pieces they play, and a beautiful performance can convince them that it's worth the effort to practice them! At the lesson, we would take the opportunity to review tempo indications, time signature, musical symbols, the meaning of the title, and why the composer may have decided to give the piece that name.
"Tall Pines" is certainly an appropriate title for this piece consisting of an expansive melodic range, legato touch, dignified tempo, and lush pedal. Porcupines are very prickly, which is perhaps the reason Mr. Kabalevsky wanted every note staccatissimo in "A Porcupine Dance".
My early-level students tape their lessons, as I find it is
more time-efficient to speak detailed practice instructions than
write them. This works very well for students struggling with
reading skills, and is an excellent alternative for the students
for whom even opening their assignment book is pure torture! Should
parents not be able to attend the lesson, they also find it helpful
to review the tape to assist in home practice. . .
Heidi Mayer received two Bachelor of Music Degrees
in Choral Music Education and in Piano Performance from the University
of Michigan. After receiving her M.M.A. in Piano Performance from
Eastern Michigan, she studied vocal accompanying under the auspices
of a Fulbright scholarship in Vienna, Austria. In addition to
maintaining an independent piano studio in Park Ridge, she is
an accompanist, soloist, and frequent adjudicator in the Chicago
area.
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