Summarized from the book “The well-tempered keyboard teacher”

Marienne Uszler, Stewart Gordon, Elyse Mach

Schirmer Books, 1991 -This second edition of the best-selling piano pedagogy book provides future
piano and keyboard teachers with the essential tools to meet the challenges the next century.
Fundamental to every keyboard teacher, the text examines current learning theories, offers a historical
overview of keyboard pedagogy, reviews educational materials, and describes specific teaching
techniques. It also discusses specific repertoire and technique for beginning, intermediate, and adult
students.

CHAPTER 1: The elementary-age student

The teaching of reading, counting, and technical skills is often assumed to be the sole
responsibility of the instructor, not of the method books

Teaching reading

3 Reading approaches
 Middle C
 Multi Key
 Intervallic

Teaching rhythm

 Metrical counting
 Chanting the names of the note value
 Unit Counting
 Syllabic counting

 Reinforcement: teacher and student duets, student to student duets (music for multiple
pianos)
 Teacher accompaniment to pieces, rhythmic drills and improvisatory activities
 Use of computer programs that emphasize drill rhythms and rhythm patterns.
 Provide ensemble experience by using MIDI and CD accompaniment available.

Teaching technique

 Using the black keys

  Five finger pattern
 Arm-weight
 Beginning with non legato approach.

Presenting scale

 Representation of scale forms with complete fingerings.

 The thumb motion is first matter of teaching the thumb under the 3rd finger or 4th finger
 Introduce the concept of building a scale before the playing of a scale.
 Two motions involving the use of thumb are included throughout the early stages of
technical in ways that prepare the hand for the extended and continual thumb adjustment
needed in the playing of multi octave scales.
 The scale playing introduce in the descending right hand/ascending left hand so that the
crossing over the thumb movement is the first motion practice.
 The arm wrist finger cooperation applied in the thumb under motion naturally in the cross
over technique.
 The arm and wrist is the making of crossing occurs.
 The concept of scale fingering, all scale fingerings comprise alternate groupings of 3 and
4 and many scales have identical fingerings.

Teaching musicianship

 An extensive program of instruction for piano class.

 Music and activities to develop reading and rhythmic skills.
 Music and activities to develop skills and harmonization, transposition and improvisation
(creativity)
 Repertoire (recital, solo, and ensemble music)
 Exercise and etudes to guide the development of technique.
 The teaching of keyboard musicianship skills, changes in emphasis in method books are
observable particularly in three areas.
 The presentation of the concepts of scales, key, and key signature.
 The development of harmonic understanding.
 The type and sequencing of improvisational and creative activities.

Scale, key, and key signature

 Sharp and flats introduce with first presentation of the major scale and reference made to
the meaning and use of key signature
 Method that introduce the minor second at the same time as they present sharps and flats
in understanding the concept of scale building.
 Intervallic pattern – building commences with the explanation and use of the major five-
finger patterns.
  In multi key- varied use of five-finger patterns form the basis of the repertoire and of the
technical and improvisatory activities.
 In the intervallic approach the introduction of the major five-finger patterns occur after
the development of the reading range to the interval of the fifth.

Reading Chords

 Triads defined and drilled as combinations of alternating letter names (C-E-G, F-A-C )
and referred to by the letter names of the root ( C chord, F chord ).
 Multi key method: line-line-line or space-space-space staff formation of triads.
 Triads are identified by their functional names (I, IV, V7)
 Intervallic method- harmonic reading with the introduction of two notes combinations
(dyads)
 The harmonic function plus the interval number (tonic fifth, dominant six)
 Three note chords (triads) form the addition of another interval to the dyads
 Example of pieces in which intervals and interval shapes are prominent features of the
music construction.

Experimenting at the keyboard

 Multi key method -high priority on harmonic knowledge, support and guide the
improvisation of accompaniment, melodic phrases ostinato-base pieces.
 Intervallic method- provides incentives to accompany, include specific directions for
using intervals to create short pieces.
 Improvisation and creative activities incorporate with group session or monthly
musicianship classes
 Involve students in keyboard exploration at every lesson
 Teachers manual and workshop handouts which give helpful and specific suggestions on
how to guide and sequence improvisatory experiences.

Technology as a teaching Aid

 Computer music programs are designed with the elementary-age student, use to practice
sight-reading skills, improve aural acuity and support early composition ventures.
 Computer music software- interactive CD-ROMs format
 Juilliard Music Adventure- computer software present materials in games or adventure
format.
 Video- featuring the lives and times of composers
 Band-in –a-box- allows player to create solo improvisation accompaniments by a music
ensemble, supported by the computer and MIDI instruments
 Composition software ( Concertware).

 Necessity of Elementary methods

  Some teacher first two years as a general preparation for the teaching the classics
 The students learn to read pitch and rhythmic notation, acquire basic technical skills and
be introduce to general dynamics, agogic and harmonic principle before being expose to
classic literature.

A checklist of evaluating elementary piano method

Reading

 Pre reading activities, rote experiences, unstaffed notation, or a gradual presentation of

the staff.
 The overall reading approach, middle C, multi key, intervallic, modified middle C,
modified multi key, or eclectic.
 Pitch reading reinforced, extensive repertoire in the core text, written activities, flash
cards, software and supplementary books.
 Note values include, quarter, half, dotted half, whole eighths, dotted quarter, triplets,
sixteenths, dotted 16ths, equivalent rests, and ties.
 Meter used
 Rhythmic reading reinforced, repertoire in the core text, ensemble playing, separate
rhythmic drills, eurhythmic suggestions, written drills in the core tezt or in supplementary
books and software

Technique

 List of review of selected basic piano method books Technique used, whole hand or arm ,
single or braced finger, or finger ( often five-finger) legato
 First legato experience, for five-finger, two- or three-note slur
 Articulations presented for staccato, phrasing, and tenuto
 The hands move for lateral movements or change of position, coordination (alternating
hands, hands-together, parallel or contrary motion), extensions or contractions within the
hand, and thumb crossings.
 Principles is fingering associated, whether fingering is related to five-finger patterns and
extensions, intervals, scale fingerings, and chord construction.
 Attention given to nuance and sound for range of dynamics, agogics ( rit., a tempo, accel,
fermata), and pedaling.
 Techniques reinforced for exercises in the core text or any supplementary books, etudes
in the core text or in any supplementary books, or experiences built into the core text
repertoire.

Musicianship

 Keyboard patterns for major/minor five-finger pattern, major scales, parallel (or relative)
minor scales, chords and inversions, and cadences.
  The experience of key, or tonality for pieces with accidentals, stress on key signature,
major/minor changes, variety (or not) of keys and experience of modes.
 Stimulus to create or improvise for suggestions and directions in the core text or in any
supplementary books, and software.
 Musical signs and symbols for tempo terms, short-hand signs (such as repeat, ottava,
1st/2nd endings), and inclusion of a glossary or dictionary.
 Musicianship reinforced for presentations in the core text or in any supplementary books,
activities that re1uire playing or written response, suggestions for ear-training activities,
and software.

CHAPTER 2: The pre-school student

Influences on Preschool Musical Instruction

Influences to the nature and direction of preschool musical instruction arise from outside
the United States. The educational ideas and teaching strategies associated with Emile
Jaques- Dalcroze (1865-1950), Carl Orff (1895-1982), Zoltan Kodaly (1882-1967 ),
Shinichi Suzuki (1898-1996 ), and the educators who developed the Yamaha Music
Education System.

Dalcroze method

 Eurhythmics (good rhythm)

 Children are allow and encourage to respond naturally and unrestricted

Orff method or Orff Schulwerk

 Full body expression of rhythm and melody

 Orff instruments

Kodaly method

 Movable do and Solmization

 Hand signals or gestures
 Use of syllables to express rhythms and rhythmic figures

Suzuki method

 Rote teaching
 Ear training

The Yamaha music education system

The preschooler and technology

  Use of video-music technology illustrate the instruments
 Interactive CD roms (the music world of Professor Piccolo or Silly Noisy house)
 Computer software programs (Early music skills and Music Ace)

CHAPTER 3: The Adult students

 Slightly older student (9 or 10 years old)

 Teenagers
 College non music majors (18-24)
 College music majors
 Adult who play for pleasure (25 and above)
 Senior citizen (special adult category)

Motivates adult to study piano or keyboard

Reasons for beginning piano or keyboard study

 Teenager regard playing keyboard as a social asset participating with peers in performing
group
 Wish to perform current favorites
 To learn something about reading music and using chords in order to create and/or
accompany original songs
 To be able to accompany a church choir
 To enjoy a means of self expression
 Immediate motivation is a practical availability of the keyboard class

 To mature adult – Wish to play for pleasure

 Fulfillment of a long –held dream or goal
 New adventure begun at any time
 Change of lifestyle
 Precipitate a fresh examination of personal interest and possibilities
 Antidote to loneliness
 Means of increasing self esteem
 Satisfying hands on arts experience
 Therapeutic support or outlet
 Enriching use of leisure time

o Parents wish to accompany their children or play ensemble music with their children who
takes piano lessons
o Both young and mature adults learning to play the piano or keyboard will be personally
rewarding
 o Discussing expectation should be bilateral
o What the teacher will expect by way of accomplishment should be made clear from the
beginning

The Adult learning has cognitive skills

The piano or keyboard teacher may:

 Capitalize a numbers of ways on the positive aspect of the adults cognitive tendencies
 Provide or encourage experiences that will often tendencies deterrent to learning.
 To established a good playing and listening habits

Teaching tips

 Be sure that experience proceeds definition

 Playing the piano by rote, by ear from unstaffed notation, or as part of improvisation
should proceed the presentation of single or grand staff reading
 Choose materials carefully
 Select books that have adequate
 Be sure that each lesson or class is as full of musical experience as possible
 Avoid excessive talking. Show and demonstrate, rather than explain and tell
 Try to arrange that in each lesson or class the student has had several successful playing
experience, no matter how short or simple
 Suggest other means of preparing for the lesson or class
 Communicate sensitively
 Answer questions directly, but simply
 Ask many questions and listen carefully to the answer

Motor skill and the adult

 Adult- aware of the importance of timing and precision in the use of movement
 Difficult to change movement patterns and gesture
 Difficult to trust the body to move without a great deal of inner instruction and advice
 Cannot make certain gestures with ease because of arthritis and etc.
 Younger adult- Attained the size and strength association with physical maturity and not
yet lost muscle resilience
 Telling the adult to be patient in effective
 Needs to achieved recognizable success in order to move forward
 Provide complete ample opportunity for the adult to exercise motor skill

Teaching tips
  Stress posture and attitude that foster relaxation
 Plan the lesson or class so that the adult may warm up
 Do not over look the value of getting the adult to experience rhythm while clapping,
tapping, swing, scat singing etc.
 Have the adult occasionally stand, stretch, bend, shake hands and arms, or move around
to break the concentration
 Arrange experiences so that the adult may observe and feel how the body functions
naturally
 Work at physical skills (technique) in small doses
 At first, adult should be able direct full attention to making basic gesture. Short,
memorize technical exercise that do not involved reading and written complexities are
best
 Assign specific practice goals
 Stress awareness of the body, not merely performance of routines
 Encourage the adult to experiment with gesture and fingerings until the body feels good
or cooperative.
 Be alert to whether or not the adult speaking up his/her own bodily feed back
 Learn to ask question that stimulate such attention

The adult has attitudes

 Realize that beginning adult student have attitude about playing the piano
 Instructor must think in terms of more immediate goals
 Teacher are more successful in helping an adult player achieve results if the adults
attitude are acknowledge
 Adult student are generally not so easily led or influenced and bring strong predisposition
to affect the learning atmosphere
 Deal with the adult student in an adult manner

Teaching tips

 Create an atmosphere of partner ship

 Offer frequent choices of pieces and activities
 Allow the adult, to be musically responsible
 Arrange opportunities for feedbacks
 At all times be encouraging, but honest
 Ask questions that call for judgments and opinions
 Provide many short reinforcing exercises, pieces or activities that can be several
successes on each lesson
 Avoid creating at atmosphere in which only perfection is acceptable
 Don’t polished every pieces especially in the beginning
 Musical activities in which there is no single correct response or solution
  Have adult students play for one another, even if they don’t study in a group
 Maintain a sense of humor

Technology and the adult student

 “The Pianist”- Allow experimenting with improvisation and composition using

technology and allow the user to listen to several hundred pieces master works
 Band-in-the-box, rock, rap’n roll or concert were
 Explore software with children, learning about music
 Adults may enjoy exploring an older form of technology-books-to support and
understand there learning
 Discussion on the internet can link adult learners with one another

Categories of adult piano books

 Present the method in very few volumes

 Contains a considerable amount of text with explanation and definitions
 Includes charts and graphs that often defect an entire body of information
 Incorporates standard classic quite early in the book
 Offer few(er) supplementary books
 Moved quickly to playing chords and harmony

Each category of adult oriented text has certain characteristics

 Older-beginner method is those in which the organization is base on the playable of

pieces and exercises and only secondarily on the development of harmonic manage on
functional keyboard skills
 Collage adult method, integrate skills in reading, playing, harmonizing and improvising
in a single book