Is it a lesson... or a rehearsal?

A bit of background:
As a singer I performed with the Chattanooga Boys Choir for 7 years (directed by Stephen J Ortlip) , the University of Tennessee-Chattanooga Singers for 4 years (directed by Glenn Draper), was an instrumental grad assistant for Carolina Alive (directed by Richard Conant), and have performed with numerous other groups (vocal, pop, rock bands, big bands, etc etc etc ad nauseum).

Oh, and I played tuba in high school band (almost majored in it, in fact, but decided I could make more money as a pianist. I was right.)

I've had 4 piano teachers, each of whom taught in dramatically different ways. One of those teachers - let's call him Mr. Smith - was terrible at teaching, though an excellent pianist. The other three were excellent teachers.

So? The point is that I've had significant experience in performing groups where you "rehearse", you don't practice. So what's the difference, and what in chocolate milk's name does this have to do with teaching piano?

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"Lesson", all too often, brings forth images of the poor pitiful student playing away at the keyboard, while the teacher hangs over them unapprovingly with a pointy stick, ready to jab the student at any mistake. The student pounds away at piece after piece after piece, while the teacher gives constant feedback: "This was wrong, this was wrong....".

While extreme, I think many teachers think of a piano lesson in this galaxy (if not neighborhood!) - where the student is there to soak up fountains of learning poured forth by the almighty teacher. In some situations this would work, but I posit that a different approach can work a world of wonders: Treat the lesson like a rehearsal.

So, what's the difference between a lesson and rehearsal? In a lesson, you are one to one, and often it has the aforementioned floodgates of knowledge - sponge type of dynamic. A rehearsal, though, has much more give and take. There is often a focus on a particular passage, rather than a runthrough - accompanied by practicing techniques to overcome limitations and mis-playings.

For example, in your typical choir rehearsal with a good director, the choir may not do a complete runthrough of a piece for several rehearsals - instead focusing on particular passages that have or may prove problematical. The director can demonstrate why this place is a problem, how to fix it - or even several ways to fix it - and then ask the choir to transfer the learning to another piece. (i.e. when you see a passage with the same issues somewhere else, apply the same solution)

How to apply in the piano lesson context? When is student is going through a piece (and has practiced it, and it's a decently intelligent day!), try rehearsing the piece in bits. Don't just do a runthrough - take the piece a chunk at a time and look at the problems, come up with solutions, and (THIS IS IMPORTANT) practice the solutions right there.

Take a problem spot, and slice-n-dice it vertically or horizontally. Work on a chunk. Make a duet out of it so the student's brain has some bandwidth open up. Focus and widen on the problem spot. (Future posts on planned describing these techniques in more detail. Keep an eye out!)

The student can see some immediate results, PLUS they learn how to practice, which is a double bonus for any teacher.

So don't just teach a lesson. Run a rehearsal.

Video: 6 year old pianist on the Tonight Show

I find a couple of things interesting about this clip (beyond the fact that Evan is surprisingly articulate in the face of all the attention). His technique still has a lot of "flop" in it - there is a fair amount of wasted motion as he plays. There are some NICE musical aspects of his playing - a particular nice crescendo at one point. The pice he "wrote" is also surprising - it has a definite form to it.

Enjoy!

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New video performance

This is a performance of "I Surrender All" that I did at Vineville North in July, 2007. This was a jazz improv version - inspired by the thought that this traditional church tune sounds kinda mournful - but the idea of surrendering to Someone who is perfect is pretty cool, and should be cause for celebration!

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Acoustic vs. Digital Pianos

Heard mention the other day that a local piano tuner was recommending to some of his clients to switch to digital. He said he was tired of keeping all those acoustics in tune.

Sounds to me like he's ready to retire!


My views have changed on this subject over the years as technology has evolved on both the acoustic and digital fronts. While I do believe there is NOTHING like playing a quality grand (the expressiveness and sound is unbelievable), the digitals come out ahead when comparing a quality digital piano and the cheaper spinets and consoles.


The acoustics have the advantage of longevity - even a cheaper spinet will last for decades (IF taken care of). I don't believe the digital keyboards will last much longer than a decade, of that long (Depends on how much they are played, of course). The acoustics in general allow a bit more touch control, and especially pedalling nuance (things like half-pedalling, etc are just not possible with most of the digitals.)


On the other hand, digitals never go out of tune. You can use headphones. They generally have additional sounds, useful for keeping practice interesting (ever heard Bach played with a harpsichord sound? A vibe?). The MIDI capabilities, when used with a computer, open up a world of possibilities. Some are portable.


So what do I recommend when buying a digital? I look at three primary things: Key size, Keyboard feel, and Sound. The keys have to be full sized, and the feel needs to be as close to a grand as possible. (I currently really like the feel of the Casio Privia series, for example - especially in it's price range.) I tell my parents to sit down and really listen to a piano's sound for an extended period of time - if their ears aren't tired of hearing the sound, then it will probably work.


I wish all my students could use a quality grand piano in their practicing - but that's not going to happen in this lifetime. The digitals are a great alternative.

That's my opinion. What do YOU think?


So what do I prefer?



I'd REALLY like a Bosendorfer Imprerial Grand - but that ain't gonna happen in my lifetime, because not only would I have to put down well voer $100,000 for the instruments, I'd also have to buy a MUCH bigger house to put it in!

I love playing a good piano - there really isn't anything like it. HOWEVER< i also use digitals, and have for years. I've learned to adapt my touch to different intruments, and can make music on just about anything.

I currently have a Roland RD-700sx (88 note fully weighted hammer action keyboard which feels pretty good).



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http://www.tomrule.info/

http://www.tom-and-co.com

Improv at the piano

I have been working - in my mind, at least - on an outline re: teaching improvisation. Usually my starting point is either a book of some sort, from which I pick up a pedagogical outline, or my own experience. In terms of improv, though, the books I've found seem insufficient. They are either way too theoretical, or way too tune-based. By the latter I am referring to the design where a book throws several tunes out and basically says, "Here, play this".

There deosn't seem to be material which walks a student through the process of working on an improvisation, which has started me thinking about the process you go through when improvising. What musical skills and knowledge do you have to have in order to imrpvo successfully? What ear capabilities?

In this, also, my own experience is proving deficient. I don't remember how I started improvising - other than I began by adding in parts to the boring piano accompaniments I was playing for my high school choir.

So, my initial thoughts:

1. Scales and keys play a part. You need to know instinctively what notes fit a particular key.
2. Knowing chords is also a part. You could work off the notes in a particular chord.
3. Some Rhythmic capabilities is necessary - being able to play rhythmic patterns for comping work, for example.
4. A sense of form - you'd want to play differently between the verse and chorus.
5. There's also the non-note-based but oh-so-important performance aspects such as tempo, dynamics, expressions, and articulations. Intonation, too!

So in what order would you teach these concepts? Using what material? At this point I am certain you can't segment the areas listed, but how to mix them together into a cohesive whole is a fairly knotty problem - not to mention the problem of keeping things interesting!

There are a few things i've worked - some commercial, some just for kicks, posted on my regular site. Take a listen if you've got some time!

The Piano Teacher

A blog about

• piano teaching
• piano pedagogy
• piano technology
• and music as a profession in general

by the macmusicguy.

First, a quick introduction. I have umpteen years experience performing piano and keyboards all over the country with various groups. I studied piano at the University of Tennessee @ Chattanooga (a.k.a. UTC) with Earl Miller, and at the University of South Carolina with Dr. Raymond Dudley and Dr. John Williams. I also studied piano pedagogy with Dr. Max Camp.

It's telling, I think, that three of the four teachers mentioned are now dead.

I am or have taught piano at Chattanooga State Technical Community College, Macon State College, and in my own private studio.

I also play with several bands, and have a fair amount of recording, writing , and arranging experience....and I'm an ASCAP writer.

So what is this blog for? I'll be adding entries about all things piano related- whether it's teaching teachniques, music reviews, technology tips.... it's all fair game.

The purpose? I'd like to start a dialog with piano teachers - especially teachers just beginning to teach. I've picked up some techniques I want to pass along (plus as i set them in the blog I can refer to them when I forget them!), and express some opinions along the way.

.........and maybe you will also see something interesting in the Google ads at some point. If you click on one, remember to smile because you just helped support a hungry musian with teenaged mouths to feed!