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<?xml version="1.0" encoding="UTF-8" standalone="no"?><rss xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" version="2.0"> <channel> <title>The Piano Workbook Blog</title> <atom:link href="https://pianoworkbook.com/blog/feed/" rel="self" type="application/rss+xml"/> <link>https://pianoworkbook.com</link> <description></description> <lastBuildDate>Thu, 05 Jan 2017 18:17:44 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <image> <url>https://pianoworkbook.com/wp-content/uploads/2015/12/cropped-PW-logo-trimmed-32x32.jpg</url> <title>Blog – The Piano Workbook Series</title> <link>https://pianoworkbook.com</link> <width>32</width> <height>32</height></image> <item> <title>Choosing a Private Piano Teacher: Part I</title> <link>https://pianoworkbook.com/choosing-a-private-piano-teacher-part-i/</link> <dc:creator><![CDATA[owner]]></dc:creator> <pubDate>Thu, 05 Jan 2017 18:16:36 +0000</pubDate> <category><![CDATA[General]]></category> <category><![CDATA[Parents]]></category> <guid isPermaLink="false">https://pianoworkbook.com/?p=411</guid> <description><![CDATA[Finding the right music teacher for your child is important, both for their success and your sanity. Some students will do well whomever they work with but most will require the right match in order to learn with a positive attitude. The teacher who suits one will not necessarily suit another so, while word of mouth is a great way to narrow the field, you will need to consider three… ]]></description> <content:encoded><![CDATA[<p>Finding the right music teacher for your child is important, both for their success and your sanity. Some students will do well whomever they work with but most will require the right match in order to learn with a positive attitude. The teacher who suits one will not necessarily suit another so, while word of mouth is a great way to narrow the field, you will need to consider three main factors before settling on a particular studio. . .<em><strong>experience, personality, and location.</strong></em></p><p>Part I of this series will focus on<em><strong> experience.</strong></em><br />There are a lot of people out there calling themselves piano teachers but they are definitely not equally qualified. If we divide the group into four categories it might make it easier to make a decision.</p><p>1. Experienced teachers with substantial qualifications – Teachers in this category will have years “in the field” so they will know how to deal with students of all personalities, they will be familiar with preparing for exams and festivals, they will have considerable knowledge of the repertoire and they will have connections within the music community. Their qualifications could include undergraduate and post-graduate work in pedagogy (the art of teaching) and piano performance, and they will likely attend conferences and workshops to continue to improve their own skills. All this knowledge will be reflected in their lesson fee, but if your child learns quickly with good technique and a positive attitude, its worth the cost in the long run.</p><p>2. Experienced teachers with minimal qualifications – Teachers in this category will have hands on experience and much practical knowledge although their formal training might be limited. They could have been teaching for years without attending post-secondary classes but they should have a level 10 or higher RCM equivalent in order to be able to demonstrate good technical skills. Conferences and workshops could also be part of their teacher development along with a strong network of teacher colleagues to rely upon.</p><p>3. Qualified teachers with minimal experience – These teachers will have pedagogical training and maybe performance experience but they need the practical knowledge that comes from working with live students. They will likely be quite enthusiastic and eager – positive attributes for any teacher – and these traits can offset the bumps that may occur in the first stages of their careers. Everyone has to start somewhere and if teachers in this category have the educational background to support them in their first years, that will definitely make things easier.</p><p>4. Unqualified teachers with minimal experience – Individuals in this category include pianists who’ve taken some exams (maybe to a relatively high level) but have no teacher training. Asking this kind of a “teacher” to work with your child follows the same logic that a Grade 12 high school student will make a good kindergarten teacher. On the one hand, both individuals can read and play/write; on the other, neither is at all prepared for the practicalities of teaching. Any advantage gained by inexpensive fees and good intentions will be offset by slow progress and the development of poor technique that will take months or years to correct later on if the student happens to show real interest or aptitude in the piano. Of all the above categories, this is only one I STRONGLY suggest you avoid.</p><p>There are professional associations of music instructors in both Canada and the US that require teachers to have a minimum level of experience and educational background, these are a good place to start when looking for a qualified teacher. Check out the <a href="http://www.cfmta.org/en/" target="_blank">CFMTA</a> in Canada and their Provincial Branches, the <a href="http://www.mtna.org/" target="_blank">MTNA</a> in the US as well as individual state organizations, and the <a href="http://www.rcmusic.ca/teacher-directory" target="_blank">RCM Teacher Directory.</a></p><p>In the end, a teacher’s abilities should be judged not just by the letters behind their name or the years they’ve been teaching but also by the success of their students. I’m not talking about the ability to produce students who win awards and high marks (which is always impressive) but rather about the ability to bring out the best in all students, even the most average of players. If a teacher can inspire students to play musically with good technique whatever their level while at the same time instilling a life long love of the piano, your time and money will be well spent.</p><p>Check out Part 2 in the series for ideas on finding the best personality match for your child.</p><p>.</p>]]></content:encoded> </item> <item> <title>Acoustic Piano vs Electric Piano: What to do?</title> <link>https://pianoworkbook.com/acoustic-piano-vs-electric-piano-why-the-real-deal-is-the-best-option/</link> <dc:creator><![CDATA[owner]]></dc:creator> <pubDate>Fri, 25 Nov 2016 21:43:51 +0000</pubDate> <category><![CDATA[General]]></category> <category><![CDATA[Parents]]></category> <category><![CDATA[Teachers]]></category> <guid isPermaLink="false">https://pianoworkbook.com/?p=401</guid> <description><![CDATA[Let’s begin with the basics. Music is sound organized around the elements of melodic, harmony, rhythm and tone. These concepts are constant, it doesn’t matter which acoustic instrument is being played, piano, trumpet, flute, erhu, sitar, etc. Learning to play any instrument is about understanding the physical action needed to produce the best quality tone possible while adding melody, harmony and rhythm in whatever combination is appropriate or possible. More… ]]></description> <content:encoded><![CDATA[<p>Let’s begin with the basics.</p><p>Music is sound organized around the elements of melodic, harmony, rhythm and tone. These concepts are constant, it doesn’t matter which acoustic instrument is being played, piano, trumpet, flute, erhu, sitar, etc. Learning to play any instrument is about understanding the physical action needed to produce the best quality tone possible while adding melody, harmony and rhythm in whatever combination is appropriate or possible.</p><p>More specific to the piano.</p><p>Playing is about so much more than reading notes off the page and making the keys go down. Its about learning the concepts of arm weight and how to apply them; its about how the attack of the key can change the tone and mood of piece; its about using of the damper pedal as more than an “on/off” switch; its about listening to the richness of tonal colour when the strings vibrate sympathetically.</p><p>If you play golf, tennis, or baseball you know that its not just the contact point that’s important. How you approach and follow through each stroke will determine the speed, spin, and direction of the ball after its hit. The key to hammer relationship on the piano is no different. The tone quality is effected as much by the preparation and the follow through of the hand and finger as it is by the actual point of sound.</p><p><em><strong>ALL</strong></em> of the above concepts equire the student to feel the direct relationship of the key to the hammer and then to the string. For that you need an acoustic piano. (FYI the difference between upright and grand pianos will be discussed in a later article).</p><p><strong><em>NONE</em></strong> of the above are possible on an electric piano. There are no hammers, no strings, and no dampers connected to the pedal. Yes, there is sampled tone from a Steinway or a Bösendorfer or whatever, and yes, there is weight added to the keys but these qualities do NOT equal an acoustic piano and no one should be telling you otherwise.</p><p>Go to any performance ~ jazz, contemporary, or classical ~ and 99% of the time (I’m not going to rule out that one odd exception) you’ll see a wonderful black grand piano on the stage. The pianists may practice occasionally on electrics, and they may perform on them to use a different sound setting when the whole band is going but when it comes to playing solos or really expressing themselves, they’re on the acoustic every time.</p><p>Electric pianos have a place and there are advantages to using them, but please recognize that they are not a substitute if you are planning to play music written specifically for the piano. If you want to excite an interest in music and inspire your child to continue playing for the rest of their lives, let them learn on a decent piano with live, rich tone and find a teacher who understands that its all about the sound and the experience.</p><p>That’s how to have fun and keep the music going!</p><p> </p>]]></content:encoded> </item> <item> <title>The Importance of Posture at the Piano</title> <link>https://pianoworkbook.com/the-importance-of-posture-at-the-piano/</link> <dc:creator><![CDATA[owner]]></dc:creator> <pubDate>Mon, 24 Oct 2016 20:34:48 +0000</pubDate> <category><![CDATA[General]]></category> <category><![CDATA[Parents]]></category> <category><![CDATA[Students]]></category> <category><![CDATA[Teachers]]></category> <guid isPermaLink="false">https://pianoworkbook.com/?p=395</guid> <description><![CDATA[How often do piano teachers remind students to sit properly? If you’re like me, its a pretty frequent occurrence. Over the years, I’ve become increasingly aware of how important posture and balance are to efficient and effective piano playing. I’ve had to deal with my own back issues stemming from a bike accident decades ago. The event itself was not overly traumatic but the consequences to my spine were far… ]]></description> <content:encoded><![CDATA[<p>How often do piano teachers remind students to sit properly? If you’re like me, its a pretty frequent occurrence.</p><p>Over the years, I’ve become increasingly aware of how important posture and balance are to efficient and effective piano playing. I’ve had to deal with my own back issues stemming from a bike accident decades ago. The event itself was not overly traumatic but the consequences to my spine were far reaching. Physiotherapy and chiropractic sessions have made a substantial difference and I can honestly say that I have a freer approach to the piano as a result, but alone, they are not enough to maintain a healthy back in the long run. So now, I continually work on my core muscles to keep everything in balance and the back issues at bay.</p><p>Most students begin piano lessons as young children between 5 and 7 years of age. They sit beautifully – tall, proud, and obvious to the mechanics of their spine. Once school starts, they spend more time sitting at desks and less time running around. They start using tablets and phones, playing Minecraft or other games on the computer. Their backs start to round when they sit, their heads tilting forward to view screens and their shoulders cave in. If the bad habits not corrected before puberty, the vertebrae get “stuck” in this distorted position and its difficult to reverse the process without serious attention and exercise.</p><p>To convince your average “know everything” teenager that sitting in a balanced position is important, I always give them reasons beyond the obvious . . . “it looks sloppy”. Try any or all of the following arguments to appeal to either their scientific minds or at the very least their vanity.</p><ul><li>Poor posture will lead to back and neck pain if it hasn’t already, as your muscles are working harder than necessary to keep you on the chair.</li><li>When you breath deeply to get oxygen into the blood stream so you can think more clearly and deal with performance situations, the space between your vertebrae expand, they can’t do this when you sit in a slouched position.</li><li>Your arms are lighter when the spine is balanced properly, this means there’s less weight going into the keys by default and its easier to control the tone quality.</li><li>When your back is hunched, your body language says you are insecure, shy, and possibly less than properly prepared. (Take a video to prove the point)</li></ul><p>There are lots of resources regarding posture, here are three that I’ve found helpful in my pursuit of pain free playing.</p><ol><ol><li><em>What Every Pianist Needs to Know about the Body</em> by Thomas Mark – A great book for figuring out exactly how our bodies are used at the instrument.</li><li><em>Alexander Technique – </em>There are interesting websites and articles on this method but the best results come from actual lessons with a qualified teacher.</li><li><em>Body Mapping</em> – www.bodymap.org – This technique combines the concepts above into a comprehensive and accessible approach to alleviating and/or preventing pain from playing. If you ever have a chance to participate in one of their workshops, make the time for it. If possible, I would highly recommend organizing an event through your local Registered Music Teacher’s Association.</li></ol></ol>]]></content:encoded> </item> <item> <title>The Piano Teacher as Mentor</title> <link>https://pianoworkbook.com/the-piano-teacher-as-mentor/</link> <dc:creator><![CDATA[owner]]></dc:creator> <pubDate>Thu, 06 Oct 2016 05:54:26 +0000</pubDate> <category><![CDATA[General]]></category> <category><![CDATA[Teachers]]></category> <guid isPermaLink="false">https://pianoworkbook.com/?p=381</guid> <description><![CDATA[  This July, a dear friend and colleague, Mary Tickner, passed away at the pianistic age of 88. In the past few months, I’ve thought about the role she had in the lives of her students and I’ve contemplated the true meaning of the words “mentor” and “teacher”. When I consider all the educators I have had in my own life, from private lessons and elementary school to post-graduate studies,… ]]></description> <content:encoded><![CDATA[<p> </p><p>This July, a dear friend and colleague, Mary Tickner, passed away at the pianistic age of 88. In the past few months, I’ve thought about the role she had in the lives of her students and I’ve contemplated the true meaning of the words “mentor” and “teacher”. When I consider all the educators I have had in my own life, from private lessons and elementary school to post-graduate studies, the number who truly inspired creativity and excited imagination are not as numerous as one would have hoped. I was pointed in the right direction several times, for which I’m very grateful, but I was not always given the tools to puzzle through ideas or the space to make mistakes and grow in confidence.</p><p>As a teacher now, I wonder what I can do to make sure I impart some of the curiosity for life and music that someone like Mary gifted to her students. Its not enough to love the music you’re teaching, somehow you’ve got to get the student to love it too or at the very least get them to persevere until they reach a level at which it can be appreciated. What to do? Well, each teacher has different ideas on the subject but here are a three of my own to add to your tool box.</p><ol><li>Make the composer human and real to the student. Its important to speak about composers and give context to the music through their lives, their friends, where they lived, what they liked or didn’t like, etc. Give the student some humorous facts, show pictures, google archived interviews from the last century, email questions or comments to them if they’re actually alive! Make the composer more than just a name under the title of a piece.</li><li>Sing in the lessons to get the student to focus on sound quality. Its a great way to shape phrases, pace rubato and its much more fun than just sitting there and counting out loud. It also has the added benefit of energizing the teacher on those days when you’re just a little on the frazzled side.</li><li>Keep expectations realistic while at the same time pushing the student to be their best. This is a fine line and one that I admit I’ve gone over at times but I keep trying to get it right. You really never know where a student will go with the lessons you teach, I’m sure most of my early teachers would be amazed that I actually make a living in the field.</li></ol><p>In the end, I believe what I do is not about creating a studio of concert pianists (not practical or probable in most cases), its about nurturing well-rounded human beings. A poem on the wall of my son’s violin teacher sums it all up, I read it in the middle of exam season when I’ve heard one too many F major scales missing the B flat and finishing on finger 2!</p><p><em><strong>I Teach Music<br /></strong></em>Not because I expect you to major in music,<br />Not because I expect you to play every day of your life,<br />Not so you can relax,<br />Not so you can “have fun”,<br />BUT<br />So you will be human,<br />So you will recognize beauty,<br />So you will be sensitive,<br />So you will be closer to an infinite beyond this world,<br />So you will have something to cling to,<br />So you will have more love, more compassion, more gentleness, more good, in short more life,<br />Of what value will it be to make a prosperous living unless you know how to live,<br /><em><strong>That is Why I Teach. </strong></em></p><p><em><strong>(author unknown)</strong></em></p><p> </p>]]></content:encoded> </item> </channel></rss>If you would like to create a banner that links to this page (i.e. this validation result), do the following:
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