33

There are a few reasons that I found these technical drills helpful as a piano player: They help practice playing the hands together clearly and cleanly. Young piano players often play both hands "together," but the articulations between the hands are not actually in sync. As such, the result is one of constant flam and grace-note relationships between the ...


33

A major disadvantage is that you can't jam together because of the delay. You can explain and show things clearly, no problem, but playing together is impossible. The obvious advantage is that you can reach students around the world. The question is just if potential students around the world will be able to find you instead of many thousand other teachers ...


27

There was a trick for these that I used all the time based on what the rests look like. The whole rest looks like a hole. The words sound the same so it's a good way to equate them. The half rest looks like a hat and since hat and half both start with the letter 'h' they go together. I like this trick a lot because it associates the rests more with ...


26

I think @Ulf is on the right track--I'll elaborate here. It sounds like your student is at the point where you'll need to work on the absolute basics of rhythm. Before you get anywhere near subdivisions, time signatures, even the concept of a quarter note, your student needs to become proficient with steady beat. This is, in many ways, the concept that ...


21

In elementary school, I was taught to think of the rest like a raft in water. Since a half rest gets two beats, it's like a raft carrying two people - light enough to float on top of the water: The whole rest, on the other hand, gets four beats (in common time, anyway) and so it's like a raft carrying four people - enough weight such that it sinks down ...


20

It sounds to me like you are using the metronome in an effective manner. Your teacher might have been concerned that you, as a young student, would have seen playing in perfect time as an artistic objective. Of course it is rarely such. The musical artist is expressing emotion and other aesthetic insights. Variety of all kinds should be deployed for that ...


19

Besides the copyist mentioned in the other answer, students could simply write on their own! No need to have someone copy it for them. Also it was not uncommon for teachers to write stuff down for their students. I have had teachers that give handwritten scores (or copies of them) and notes to their students. This still is a way that is pretty cheap ...


18

I'm sure that you would be able to teach your child how to read music and play simple pieces; the nice thing about the piano is that the basics are easy to pick up. Where you'll run into trouble is technique; a lot of what my teacher drilled into me at a young age is stuff like "keep your wrists up, make sure your fingers are curved, don't tense your wrists,...


18

Advantages are things like: You can teach people around the world, from all countries as long as they speak your language. You save time... Neither you nor your student have to drive around with all the instruments to get to each other. Additionally, if someone cancels the session, you could just put someone else in between without any troubles. If you ...


17

For starters, merely being a good or great musician is nowhere near enough to be a successful teacher. Neither is having qualifications and certificates. Those downvoting - please tell your valid reasons! Having knowledge is one thing. Having the propensity to pass that knowledge on to others is far more important for teaching. So, no.1 - being able to ...


17

I understand that anxiety can cause a kid to freak out a little and start "flopping" the fingers, but I won't allow it to continue. I stop them and maybe do one measure at a time, or even one note to the next note. I will ask them again to tell me the note names and the fingering if applicable, and have them play one note at a time. If they had been ...


16

A whole-note (semibreve) rest hangs D-O-W-N from the line (four letters, so four beats). A half-note rest points U-P from the line (two letters, so two beats).


15

"Historical accident" is one way to describe it. Historical oversight might be another. The fact is we have never symbolically indicated the tonic in written music. D Dorian looks just like G Mixolydian - and after we discovered that there were notes between the letter named pitches and created key signatures, G Dorian looked just like C Mixolydian. A ...


14

Perhaps you could try working on walking in time. That should be simple enough to explain and includes basic physical feedback on the activity. The difference in the pace between walking and running might be helpful. Gradually you could add extremely simple hand clapping patterns while walking.


14

Teach students how to make music that they like. While experienced musicians are often very broad-minded, seeing value and beauty in many kinds of music, younger kids are often primarily interested in finding out about the things they like. Can you convincingly explain the structures of the songs in the charts/clubs/on your students' phones now? Could you ...


14

Here are reasons why a musician would want to know how to read and write music, which are also good reasons why any music teacher would be acting responsibly by at least encouraging all of their students to learn to read, if not forcing them: Scholarship - All kinds of materials that analyze and teach music rely on music notation. This includes books, ...


12

Ear training is an unfortunate problem here in America. For children during their earliest formative years, precedence is given to visual and tactile learning. While this learning is undoubtedly important, too often are ears left under-developed. If hearing were trained the same way as sight, everyone would have perfect pitch. If I were teaching this ...


12

You are missing independent coordination between your limbs. Your brain has not yet developed neurological connections that supports such kinesthetic interdependence as it is something that takes time to do - some of us longer than others. In order to develop strict and evenly developed competence with all of your limbs, it therefore stands to reason that ...


11

I think you should start as if it is a game. Your child should be interested in this game, and its rules should be easy. There is nothing hard about creating a random sound with a harmonica, and at first it will be ok just to leave him to this. Once your son is more familiar with the instrument, you should start the main phase of the learning: Find the ...


11

I would say personally that it's mostly a matter of the music being taught. The main exception to that is voice; all you have to do is listen to, say, Pavarotti and Frank Sinatra to tell the difference. They are obviously each going after a very different sound. Operatic singing doesn't use a microphone and emphasizes natural volume. The sound is ...


11

I think I can understand what your teacher was trying to say. He wanted to make you feel the music. Music needs to breathe. If a computer and a human play the same song, it will sound different; the human version will be more natural; the computer version will be more mathematically correct. Your teacher might be worried that if you kept practicing with a ...


11

Some ideas which may help her play and practice: If she's not a larger than average ten-year-old, then I hope she has a smaller than normal guitar. If not, then a smaller size guitar may make it easier for her to learn and play. Electric guitars are usually strung with lighter strings and are easier to get started on, as long as she likes the sound. Let her ...


11

There are two ways of approaching music theory - as a music theorist (who may or may not actually play) or as a music practitioner (that is: a musician). The knowledge requirements are obviously different and in the context of this question I will focus chiefly on the practitioner's perspective. Let's think about what (some) knowledge of music theory is ...


11

Why don't piano teachers teach how to play by ear and theory BEFORE they go into sheet music Well, some teachers do. Of the many branches of music pedagogy, the most common that goes this route is the Suzuki method. In short, the Suzuki method aims to mimic language learning as much as possible. When you're a child learning a language, you pick it up based ...


11

I teach both ways and I would say that by far the biggest issues involve proper posture and technique, and not being able to physically assist the student in altering these. One cause of this is a lack of 360 view of the student's hands. You can ask them to change the angle of their camera or how they sit but that is very cumbersome and wastes time. In ...


10

Virtually everything about piano playing is slightly less obvious than you would at first think. You just press down the appropriate keys, right? Almost certainly you already know that there's more to it than that. At the most basic level, which fingers to set where is a question that opens a whole world of possibilities. A good teacher knows this world ...


10

I’m a player, not a teacher, but the topic of how to teach young children comes up fairly often on the discussion boards at www.violinist.com. I’d suggest searching for ‘Teaching young children’, and ‘5 year old’. Some of the high points that come up repeatedly: Don’t expect the child to concentrate for more than 5-15 minutes. Some kids will be on the low ...


10

I actually had a piano teacher politely ask me if I was sure I wanted to keep going, as I wasn't really that interested in playing, but sort of went (I was about 10 years old). I regret that, as a few years later I picked up the guitar and loved it. I think the thing was, I was playing stuff I just couldn't relate to - at all. 'Oh when the saints go ...


10

Is this just a historical accident? Yes. Everything about music notation is a historic artifact! When you go back a very long time - into the Middle Ages - there weren't key signatures and the tonic was called the final which was literally the last note. Interestingly the system of notation also did not indicate absolute pitch, the singers sang at ...


9

If you apply the four stages of competence, there will probably be certain techniques on piano that fall into each of the following categories: You're not doing it right, and you aren't aware of it. ("unconscious incompetence") You're not doing it right, but you're aware of it. ("conscious incompetence") You are doing it right, but it takes concentration or ...


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