from the Autumn 2002 issue

How do you teach the larger musical beat to elementary students?

{To jump to the audio clips, click here}

Excerpts from an article by Julia Tsien

The following excerpt is from the end of Ms. Tsien's article, which is the part that provides the context for the audio clips found here. The Rhythm Dept. in the print magazine also has an introduction by Bruce Berr, and an article by Barbara Fast that has no multimedia.

The importance of listening in musical performance

Finally, I would like to emphasize the importance of listening. I constantly remind my students to not only pay attention to the physical aspects of their playing, but also to listen attentively to their own music-making-they should be their own best audience. To help students achieve this, I do several things. Left hand accompaniments play an important role in sustaining large rhythms and long lines, so I constantly direct my students to pay attention to the left hand rhythms, harmonies, and bass notes. Also, in many lessons I demonstrate for them the same measures (both hands) played in different ways, and then ask them to compare them and select the ones they like most. With just a little time to think about it, almost everyone can discern the most suitable ones. This relates to the fact that music is a universal language­everyone can hear, learn and enjoy it. Our job as music educators is to expose the beauty of the music to our students, and help them communicate it. Playing in the largest possible rhythms gets one closer to that ideal.

To illustrate some points I have made in this article, I have chosen the first movement of Diabelli's Piano Sonatina, Op. 15, No. 2.

Some of the long-line gestures:

• mm. 1-4 make up one long line with momentary arrivals on the way up.
• mm. 5-12 are one long idea, made up of a long question (mm. 5-8) and a long answer (mm. 9-12). Yet within these longer ideas are shorter ones, such as the sequences at mm. 5-6 and 9-10.
• The bass line of mm. 9-12 creates a "hidden" long-line counter-melody.
  

Some details supporting the long-line gestures:

• Many slurs (such as at mm. 5-6) have upbeat entries-the sound should sneak in with a gentle finger touch.
• Slur endings should have a light touch.
• The repeating pattern at m. 7 naturally builds tension, creating a crescendo.
• Measure 11 needs large body movement to feel the direction of the phrase.

First half of the movement 673k, WAV sound file

Second half of the movement 780k, WAV sound file

Biography

JULIA TSIEN has taught piano at her private studio in Darien, Illinois for eleven years. She works with a broad range of students who participate regularly in recitals, festivals and competitions. She is particularly committed to helping all her students gain self-confidence and the ability to perform. Julia received a master's degree in piano performance from the American Conservatory. Her postgraduate work was with Dr. Karen Shaw at Indiana University in Bloomington.