I’ve come to realize after decades of teaching, that one size does not fit all–meaning, there’s no full proof curriculum design that applies across the board to students who come to the studio with varying strengths and challenges. (I omit the characterization of “weak”–ness, even if it demands a time-honored pairing with its potent opposite)
With only a positive, forward-looking attitude, I try to examine what is working for the student in his practicing, and what seems to be creating roadblocks to fluent phrasing; or what impedes a singing tone with well-spaced and naturally breathed passagework.
If I start with a scale as a wealth transfer of so many ingredients that will pay dividends in applied repertoire, it’s a way to work through many problems to resolution. (I won’t let myself plunge into negativity regardless of our language’s pitfalls–like “problems” sounding like they might be irreversible)
Today I emailed a pupil who complained about things getting worse after many repetitions. And that was definitely an insight into what was the crux of the matter.
Here’s what I dashed off, which in so many, words has been thematic through lessons, with variation, depending on the pupil and his/her particular areas requiring improvement.
The reason, I reprint it, is to single out what many students might be working on, to “free” up passages and to feel a sense of control over them.
From Teacher to Student:
“I Just wanted to mention ways you can improve your practicing. I think too many hasty or quick, consecutive repetitions are not the way to smooth out scales or passages. (like in the Mozart K. 545) If you try to imagine what you want to hear BEFORE you place your hands/fingers over the keys, you will likely not experience what you describe as things getting worse.
“In your scales, a repeated issue is the crowding of the last octave on the ascent as well as the turnaround when the scale descends. You tend to rush this part of your scale. This means, as remedy, you should slow the beat, and play only the last octave, up and down, in a relaxed way (This is spot practicing).
“If you can space your repetitions without so quickly jumping into the next, you will likely find one or two repetitions that are SPACED and having a pleasurable breathing space between notes. Then with this emotional and physical imprint, you can restart the scale at a slower tempo for a while– gradually inching up your fundamental pulse. If you are still crowding the top octave, go back to the slower pulse at that very juncture, and “breathe” through the notes once again.
“In addition, use rotation at the top note, so you get a rounded turnaround. (My note: this rotational arrival for the destination or peak note avoids a piston poke, or sharp edge. The bundled energy of the top note generates a nice flow downward.)
“In the Mozart, K. 545, particularly in the Development section, using rotations with the broken chords, not rushing the beat at this point, will likely better shape your lines. In this regard, a singing pulse that’s framing the work is very important.
“I recommend SLOW, attentive practicing, and I would rather you play well behind tempo for a long time until you’re ready to control the piece at an increased tempo. So there’s no reason to rush progress. It comes with patience.
“Harmonic rhythm also plays a role in your phrasing. In the opening of K. 545 notice how you lean on the Dominant and resolve to the tonic, then lean on the sub-Dominant and resolve to the tonic.
“Keep the bass with its broken chords, lighter than the treble. Mozart is very melodic, like the opera, so the broken chord bass should never upstage the melody.
“I hope this helps.”
Would I send this post-lesson text to every student with a signature approach, copy/pasted far and wide? Only if it applied to what the individual pupil required to grow and develop, given his particular challenges–and these would have played out over time, in weekly to monthly increments, and through observation/interaction/modeling/given and take.
As conclusion, I forwarded my most recent video tutorial that explored another Mozart Sonata, K. 281, (Andante Amoroso) with integrated ideas about phrasing, voicing, and trills. (It had relevance in expanding upon the fundamental “singing tone” and operatic underpinnings of the composer’s works.)
Does this indicate a teaching “method” or blanket formula. Not at all–just an approach that serves what is organic to music by freeing tension barriers to expression, while filtering down to meet a student’s particular needs.
from Arioso7's Blog (Shirley Kirsten)
https://arioso7.wordpress.com/2019/03/24/piano-lessons-meeting-a-students-individual-needs/
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