Sensibility and the Holidays

Sensibility is the ability developed through learning by the senses. In Dr. Karen Hagberg's explanation of the term "Sensibility" as translator of Dr. Kataoka's book "Sensibility and Education" she says:

"To Dr. Kataoka "Kansei" (translated as sensibility) is the sum of the five senses, plus the intangible heart and soul, through which children absorb their environment."(1)

When we remember holidays past as adults, it may be the aroma of certain foods or the scent of the Christmas tree that remind us of our feeling/experiences as children. It could be the Christmas lights or the sound of carols. Ultimately it is the "intangible heart and soul" that remembers the feelings of Christmas/the holidays.

Holistic learning is a process of ingesting the environment/concept all at once in an intuitive/senses way rather than only the intellect. Children learn through touch, sound, intuition. Babies and children learn through absorption of the total environment rather than part by part.In holistic learning, the child has a grasp of a concept without necessarily knowing the details or even being able to produce anything. It is this type of learning that enables a person to perceive what is going on without necessarily being able to actually say in words what is happening. In learning language, babies are absorbing the environment and understand long before they are able to articulate. Children in general understand feelings even when they do not know exactly what is being said.

So, "knowledge" in this way is not really measurable. Students who learn primarily this way may not always do well on a test. However, given a practical situation they may be able to cope with the problem solving issues that another student going by the textbook answers would be unable to solve. This is how a person can be in a completely foreign country where they do not speak the language,yet be able to communicate and act appropriately without ever learning the customs or being told the protocol. Contrast this with how a person can grow up to be completely unaware of how other people are thinking/feeling/perceiving, or unable to make good judgments. We see this in real life all the time and wonder how to educate children to make wise judgments in the complexities of day to day reality.

Core education is the development of life ability-or talent at life. The definition of the word core is: " the central, innermost, or most essential part of anything." It is core learning that develops the ability to learn which is the essential part of education. Developing life ability involves preserving and nurturing the natural way children learn from birth through their senses.

How can we preserve and nurture sensibility? Essentially, by having awareness of the child's senses and giving credence to them. Dr. Suzuki said:

"Skillfulness in rearing a child comes from knowing and feeling as he (the child) does in his heart."(2)

So this means taking the time and the presence to experience life directly with our children. This includes not thinking of other things when the children are talking and giving the space for the child to enjoy the moment without rushing to the next thing, In this way the child has the time to discover without extra instruction or thinking. We also preserve sensibility by recognizing that the holidays are full of stimulating activities and therefore balancing these activities with quiet feelings and enough sleep.

Find the place of a calm peaceful happy heart inside yourself and notice how your child responds to you. As Dr. Suzuki said:

"The mother's smile is the child's smile."(3)

In music study, the child who learns holistically can play freely without the burden of too much thinking or worrying in the way. Music then becomes a form of direct communication. There are two important things you can do over the holidays:

1. Continue to play the Suzuki recordings. In this way even if the child practices less, they will not forget their pieces, and will be internally memorizing the new pieces to be learned in the coming months. Additionally this provides a consistent environment and motivates them to go to the piano and play their review pieces.

2. Let your child share their music with friends and family. When children can give their music as a gift to others they can learn the joy of giving. You can do this informally, or organize a concert. Also, you can use the video recordings and send to relatives and friends far away with a personal holiday message.

Have a wonderful holiday!
Leah Brammer

Bibliography
1. Sensibility and Education, Dr. Haruko Kataoka, p. xii
2. Ability Development from Age Zero, Dr. Suzuki, p. 23
3. Words for the Day, #2-A collection of 31 sayings by Dr. Suzuki written on shikishi. (See right side of the blog for picture)

The 16th Fryderyk Chopin Competition

The 16th Fryderyk Chopin Competition in Warsaw finished this week. Many of the most famous pianist in the world including Martha Argerich, Garrick Olson, Maurizio Pollini, Yundi Li,and Krystian Zimmerman have won this competition at the beginning of their career. The admissions committee began it's process in February and the live preliminary auditions were in April. The first stage auditions began on October 3, with the finals finishing on October 20. There were 78 performers to enter the first stage, forty participants went on to stage two, 20 participants were chosen for stage three and 10 performers were selected for the finals. Each stage had specific requirements. The final stage included the concerto with orchestra,

There were so many wonderful pianists from all over the world, and many incredible performances. I feel it is inspirational for piano students to be able to watch these young performers as they begin their careers.
Therefore I would like to share with you excerpt performances of the finalists.
The links to watch their complete performances at the Chopin Competition on the competition website are at the bottom of the post. The audio quality is better on those links, but it is more difficult to get to specific pieces as you cannot fast forward, and there is no embed code for a blog/website. So, I have taken the best clips I could find off You-tube. When you are watching the excepts below, you can click on the full screen button in the far right corner of the video to enlarge the video, and then press the escape key to get back to this blog.

Evgeny Bozhanov, age 26 from Bulgaria is my personal favorite of all the performers. He finished in 4th place. Below are two excepts from his performances:






Next Daniel Trifonov age 20 from Russia came in third place. Interestingly he misses the repeated notes in the very beginning, but goes on to play a wonderful performance.



Next is Lukas Geniusas(spelled wrong on the You-tube link) from Russia/Lituania who at 19 years old tied for second place:


The other second place was Ingolf Wunder, age 26 from Austria:



Next is the first place winner Yulianna Avdeeva age 25 from Russia performing the famous Polanaise op. 53 from the second round of the competition, and then the third movement of the Concerto in e minor in the final round of the competition:






First Place -Juliana Andeeva -Link to third stage performance:
http://konkurs.chopin.pl/en/edition/xvi/video/3_Yulianna_Avdeeva/stage/3

Second Place -Lukas Geniusas -Link to third stage performance:
http://konkurs.chopin.pl/en/edition/xvi/video/14_Lukas_Geniusas/stage/3

Third Place -Danill Trifonov -Link to the third stage performance:
http://konkurs.chopin.pl/en/edition/xvi/video/72_Daniil_Trifonov/stage/3

Fourth Place -Evgeny Bozhaov -Link to third stage performance:
http://konkurs.chopin.pl/en/edition/xvi/video/5_Evgeni_Bozhanov/stage/3

Enjoy!
Leah Brammer

Learning Technologies

Dr. Suzuki was a big proponent of using technology to provide the best environment for students. He formally began his Talent Education School after World War II in the small farming community of Matsumoto. Students listened to recordings of great artists. As early as the graduation concert in 1953, Dr. Suzuki was listening to tapes of students playing as a part of their graduation process. There are many accounts of how he would awake at 4:00 AM and listen to all of the tapes submitted to him from around Japan. Just from listening to the tapes he would be able to tell specifically how the student was playing, such as holding the bow, bowing, posture, etc. He would give specific advice on how to improve their tone through technique, as well as encouragement, a graduation certificate, and the opportunity to perform in the Graduation concert.
Dr. Kataoka was very interested in the Blu-Ray technology with it's superior sound and video capabilities. She had a collection of famous pianists that had recorded on Blu-Ray. Additionally, all of the 10 Piano Concerts in Matsumoto are professionally recorded, as well as many of the concerts. So, there is a history of openness in the Suzuki Method for using technology as a tool for learning.
Let's research how to use technology to help us create an optimum environment for learning:

1. Recordings: Please use a collection of recordings and make play-lists. These play-lists can be put in various places from the car to the MP3 player, as well as on the iPhone, or burned onto a CD.
It is good to make sure that your child hears pieces they are working on now as well as next month, next year, and even years from now. For example students in Book 1 can listen to pieces in Books 2 and 3, or the graduation level pieces including piano concertos. These pieces can be mixed in to their working pieces, or listened to at special times. Often times in the lesson I will make a specific listening assignment for that week.

2. Video blog: The studio video blog on this website has postings of Suzuki students playing the repertoire beginning as far back as 1996. I am regularly adding to this library. This is a wonderful place for your child to spend time watching and listening to piano students perform:

http://coresuzukipianovideos.blogspot.com

3. You Tube: On my You-tube homepage I have a section devoted to Suzuki repertoire. Some of them are professional pianists, and others are students. I also have piano music sorted by performer, and am beginning to save according to individual pieces. When I am writing blogs, I am researching You Tube and playing it at the same time. This is inspirational to me.


http://www.youtube.com/user/LeahBrammer

4. Recorded lessons: Having a record of the lesson is a very useful tool. The camera is in the best position to be able to see the body balance of the student. When you view the video you can really see the posture, how we are working on it, and how it affects the sound and the playing.
This is more valuable than written notes. For students whose lessons are getting longer it is a good idea to "track" the different sections of the lesson. This way there will be different sections on the video recording that you can view separately. To do this turn the camera to pause and then back to record. For example, the scale, reading, each piece, or a special practice section. This will make it much easier to get directly to the section that is the most useful.

5. Books and Blogs: There are many good books on ability development that have come out in the last couple years. I will be writing some blogs on the book "The Talent Code" by Daniel Coyle. You may be able to get it at your local library.

all the best,
Leah Brammer

Create Ready

All of us are working on the process of lessons, such as how to arrive with calmness. When I say all of us, I mean myself, the parents that are new to the studio, and the returning parents as well. So, we are really always working on the most important points. To help your child in this endeavor, please make as much quiet listening space as possible for your child before the lesson.

We're focusing attention on the ready - the place of non-action - the place of stillness. Students continue to need this time, and practicing the ready every day creates a habit of becoming still before beginning to play the piano. Ultimately after many years of practice, it develops the ability to become still/focused inside as a conscious choice. Please continue.

When the process of learning is rooted in stillness/calmness, children feel nurtured in the doing rather than rushed, or pushed. This can be difficult to achieve in the middle of a busy schedule! It takes a strong intention to make the time and the place for a child to become still and focused.

This focus is the ready and is the potential for a high level of learning. Teaching this kind of focused attention is teaching how to learn.

At the beginning of this school year -Create Ready

*Please play the recording many hours every day. Internalized sound is a key component of "ready" to speak music.

The New Year

In August, I usually ask parents to prepare for the new school year by getting organized: ordering books, playing discs, setting routines in place, and establishing good habits. These processes are both important and necessary to provide a good environment for the child. However, with all of these extra things to do, along with taking care of other children, a job to attend to, and various responsibilities, it is easy to be thinking about everything except the child in front of us. Teenagers are often finally able to verbalize this feeling when they exclaim: "You don't listen to me!"

Attention develops Awareness

When we give children our full attention, they feel acknowledged, empowered, important, and nurtured. Attention is totally different from judgment. With total attention we bring awareness to the child. Ultimately it is this awareness that develops through our attention that enables the child to change and grow.
As Dr. Kataoka said:

We must, with effort and perseverance, patiently nurture the ability to concentrate, listen and differentiate.(1)

So, if a parent is texting, e-mailing or other forms of non-attention to the lesson, the child has less awareness for learning. Part of the room is focused on something else. When it is the parent or the teacher that is thinking about other things, it becomes especially difficult for the child to remain focused. If another child is playing with a toy during the lessons it is distracting, however if the adults are focused on the lesson, the child can still concentrate. If another child is reading a book, they are engaging in a similar kind of focus, so it is much easier for the child having the lesson. However, when everyone is watching the student have a lesson, the child can really concentrate well. The child loves this experience and learns to communicate to the other people in the room through the sound of the piano.

The same is true at home. In the book Journey Down the Kreisler Highway (2) violinist and Suzuki teacher Craig Timmerman writes:

Your children will always carry the memory of your working with them each day of their childhood. Can you imagine the warm memory that will be theirs to carry around in later years when they leave home? That memory and knowledge will provide a security and appreciation that will be deeply rooted...It seems that there is always a special bond within families who give this kind of gift to their children. Undoubtedly it will take years for your children to fully appreciate the gift you have given them, but when that realization does come, what strength it will have.

Keiko Ogiwara, former student of Dr. Kataoka and Suzuki teacher says:

"The memories and abilities that the children gain through their music study will be their treasure when they are older, more valuable than anything you can buy."(3)

This "special bond" is nurtured by the attention and focus of the parents without judgment on both their child's home practice and lesson times. With this attention, children can develop a better awareness of their own sound and enter into a "flow" state.

This is a positive psychology concept developed by Mihály Csíkszentmihályi. From Wikipedia: (5)

Flow is the mental state of operation in which a person in an activity is fully immersed in a feeling of energized focus, full involvement, and success in the process of the activity. According to Csíkszentmihályi, flow is completely focused motivation.

Csíkszentmihályi describes some specific parts of the flow experience. These include the following:
1. Clear reasonably reachable goals.
2. A high level of focus or concentration in a limited area.
3. A disappearance of self-consciousness. That is, a person’s ‘awareness’ joins with the action and that common experience of having a separate sense of observing the self disappears.
4. The subjective sense of time is distorted.
5. Immediate feedback is available to adjust behavior as needed.
6. There is an optimal balance between a person’s ability level and challenge (the activity is neither too easy nor too difficult). So, a person is not overly frustrated nor bored.
7. A sense of personal control over the situation or activity.
8. The activity is intrinsically rewarding. The activity is worth doing for its own sake.

This 'flow' state leads to the best performances when the child can fully express their self and communicate with their audience.

It is important to distinguish between attention that develops awareness, which fosters intrinsic motivation; and attention that accompanies judgment (be it positive or negative) which is a type of extrinsic motivation. In one of my earlier posts, "Affirm, Motivate, and Inspire" (4) I discuss how extrinsic rewards diminish motivation:

"I believe this is partially because the child looses their sense of autonomy and feels controlled rather than nurtured and supported. The question then is not whether to use a "carrot or a stick" to influence a child's behavior, but how can we preserve and nurture intrinsic motivation? Think about a baby learning to walk. It's great when parents are happy that the child is trying to walk, but it is also obvious that the child is trying to walk because they are driven to do so. I have never known a parent to give candy to a child if they took an extra step!"

Although it may seem contrary in terms, I would define this process of a baby learning to walk as a "flow" experience. Likewise, it is important that students are motivated intrinsically to develop their awareness and ability to communicate through music.

Providing the best environment means holding the space for concentration by looking and listening and noticing and acknowledging. This awareness enables you to give the child an affirmation or acknowledgment of what you are observing. This increases their their ability to learn and improve without the emotional roller coaster of good and bad. The intrinsic motivation to play the piano is strengthened through this experience. This is Positive Affirmation.

We can develop children's music ability by fostering their inner awareness. In doing so, we will surely help them develop their Life Ability.
The resolution for the New Year is concentration.
The intention is the development of awareness.
"It is the readiness of the mind that is wisdom." Shinryu Suzuki (6)

Bibliography/links
1. From Piano Basics Newsletter Volume 2.6 November/December 1997
in the article "Prince Shotoku and Pianists"
2. "Journey Down the Kreisler Highway-Reflections on the teachings of Shinichi Suzuki" by Craig Timmerman published 1987.
3. From a speech given at the Sacramento Suzuki Piano Friendship Concert-August 15, 2010
4. From this blog "Core Suzuki Piano", the article "Affirm, Motivate, and Inspire" published January 2010
5. Flow Theory:
Wikipedia
Mihaly Csikszentmihalyi: Creativity, fulfillment and flow from Ted Talks on You-Tube
6. "Zen Mind, Beginner's Mind" by Shunnru Suzuki, page 113

*Thanks to my daughter Bria Long for editing this post.

28_Twinkle Lessons: Learn by Heart, Play by heart

At this time it is important to review, absorb, and finish. It is the end of the school year physically, mentally, and emotionally. The goal to the end is to be doing the most important learning in the present moment.

In the last blog I discussed the importance of Transfer in Learning. The students are in the process of transferring the ability they have developed in their Twinkles to the Right Hand pieces. Additionally, they are acquiring the left hand skills with very little instruction because they are transferring the learning from the Right Hand.

Also important in the development of ability is the contextual variety or differences in the pieces. For example, Clair de Lune and Long Ago both start with the first note repeated and then go up from the Do to the Re. Another example which is coming up for the students is Little Playmates and Allegretto II which begin with the same notes and same basic rhythm.
This challenges the student to differentiate between the two songs. Through repeated listening and practice they will be able to do this easily without confusion. This is the natural outcome of pattern recognition development that is discussed in the blog Ability Development and Pattern Recognition. This is done first aurally, then physically, and they also may be using some mental discriminators such as Clair de Lune has 3 repeated notes and Long Long ago has 2 repeated notes. By memorizing the aural patterns and connecting them physically and mentally they are internalizing patterns in a very different way from students who learn to read symbols and depend on the visual cue to "know" which notes to play. So, in addition to developing the ability to recognize patterns, we are developing the ability to understand the relationships between those patterns much like putting together words and sentences. They are able to "speak" and thus have a fluency and security in their playing. This is a much deeper knowledge/ability than having a piece "memorized."

Through playing the disc many hours each day we provide the most important part of the process for the child to be able to learn all of these skills.
It's amazing really how complex it is what they have to learn, contrasted with how simple it is to provide the right environment for natural learning.

After the student can play the correct notes with accuracy and tone it is important to help them keep the steady beat. The easiest way to do this is to continue to sing the solfege - not to help them find the notes or fingering -but to help them keep from slowing down or speeding up. At lessons I do this by playing with the student. Also we are working on deep and light sounds. This is the same as natural inflection in speech. It is good to mark the places where I am demonstrating deep and light sounds in your score and then you can sing in that same way at the home practice. This will help them to feel the beat and rhythm, and thus will help their music have "feeling". This is discussed in more detail in the blog "On the rhythm"

At the beginning of year I wrote "Fertilizing the roots" which refers to the idea of reinforcing the most basic concepts upon which the framework of learning is developed.
The roots have been fertilized well. The students have good posture, and good ready position.The students can produce a good tone and move their fingers. They understand how to listen to singing/playing and copying the sound. They can play many pieces, and are learning the left hand. They have their unique preferences and abilities too. This is also natural and part of individual sensibility that teachers and parents must always be aware of. Dr. Kataoka's book Sensibility and Education is a wonderful book to have and to read.

Now is a good time to affirm everything that they can do when they play piano. The concept of affirmation is presented in the blog "Affirm, Motivate, and Inspire" and is one of the Seven Principles of Core Education. This affirmation will help them understand on the emotional level (without the need for external rewards) how much they have really learned this year. As they practice, point out all of the skills they can do. It is not necessary to say that they are "good" or even "did a good job", but only to affirm what they can do. Also, please affirm the process such as "you are able to do that spot 10x now" . That is the most important point to bring to their awareness now. Intrinsically, they will grow from this understanding. Emotional growth is part of Integral Learning which is written about in this blog: Twinkle Lessons: Integral Learning.

In January 2009 I wrote an article on integral learning to the teachers in Philadelphia before traveling there to teach. Here is an excerpt from that blog which is relevant to the point we are at now:

Dr. Suzuki's famous quote "Character then ability" points to the recognition of developing the emotional and spiritual quadrants. In fact, the whole true way of "Talent Education" is to enable the student to develop physically, emotionally and spiritually as well as mentally.

"Playing by heart" is not just memorization. It is not just physically being able to play the notes without looking at the music. It has to do with what is going on inside when a person is playing. This is mysterious isn't it? For example, if we teach physical with mostly verbal/mental directions, students are probably thinking "move your fingers, drop your shoulder, don't drop your head, etc. etc." If we teach how to "interpret" the musical score with directions instead of teaching through sound, students are possibly thinking "Get louder here, slow down here, ...etc"
If we do not help the students achieve enough ability before a performance, we can feel/hear them get nervous when the hard part comes.

When you see a great performer, do you think they are thinking/feeling this way? Can we teach "playing by heart" through teaching students many things to think?
Dr. Suzuki called this way "playing with heart tone", which is in essence the place where the sound and the awareness are one without interfering thought.

With our best intentions and effort the children can play by heart at every practice, every lesson, and every performance. This is optimum learning.
Piano Ability is Life Ability

*Please enjoy the performances on the right side of this blog. The two performances are an excellent example of ability development, the concept of transfer, and playing by heart. Katie performed the Beethoven Moonlight Sonata 3rd movement for her level 9 Graduation performance, and the Beethoven Concerto #3, 1st mvt. for her level 10 Graduation performance.
**All the best to the Atlanta teachers and students on the upcoming Graduation Concerts. A Special Congratulations to Marjorie Saviano and her wonderful teacher Robin Blankenship. Marjorie will be performing the Beethoven Concerto #3 for her level 10 graduation. performance.

27_Twinkle Lessons: Ability Development and the Concept of Transfer

Recitals and concerts are very important points in the learning process. They solidify and accelerate the learning because their importance makes them memorable, and the connection between the preparation and the performance becomes internalized.

What is important after a recital is to utilize the learning from the recital by transferring the ability into the new pieces. In the Book Intelligent Music Teaching Robert Duke explains the concept of transfer:

"The Application of acquired knowledge and skills in situations other than those in which the knowledge and skills were originally learned is called transfer of learning."

He discusses the importance of educators always asking themselves the question "Why is it important for students to learn this now?" By teaching and emphasizing only the most important point at a given point in time in the learning process, students are able to learn the fundamental skill that will transfer into the new pieces. This of course involves repetition of the specific skill.

Just now the students can play Twinkles with good ready, good posture, good technique, and good tone. As you can see from the lessons this week I will continue to ask them to improve their Twinkle technique. It is also time to transfer their ability to the pieces in Book 1. The repertoire is uniquely suited to developing ability because the pieces contain multiple opportunities to transfer the knowledge and gain fluency through this process. You may notice when your child is learning a new piece that their sound is now legato even when they are just learning the notes, and that their hand position is naturally above the keyboard. We can facilitate this transfer by helping them discover similarities and pointing out times when you observe them using skills from a previous piece on the newer pieces.

The transfer of ability into the next piece, the next book, the next level of complexity, is through the process of fostering, nurturing, natural learning, and critical to ability development.

This last week I worked on keeping the "thumb up" with some of the students. This is only one small point but allows the whole hand to stay over the keys and the fingers to be able to move. The new pieces coming up -Clair de Lune, Long Ago and Little Playmates all start on the thumb so this is the appropriate time to solidify this ability and spot the beginnings of the pieces.

How the students are learning the left hand is another good example of the use of transfer. They "know" how they are supposed to hold the arm and move their fingers, but the physical skill has to be developed. So, in this case the contextual similarity of the right hand and left hand will enable them to acquire the ability much more quickly than when they learned the right hand. That said, since the students are right handed the left hand may require more development to become fluid. Repetition is the important key here.
Dr. Duke says about repetition:

"Through consistent, productive repetition over time, the physical and intellectual habits of musicianship become learned to the point that they are somewhat automatic and require less and less conscious though on the part of the learner. All competent musicians have skills in their repertoire that have been rehearsed to a level of automaticity that requires little effort or thought. For example, when it's time to play, the body and the instrument "go to playing position" without a great deal of thought on the part of the performer."

Contextural variety or differences are important too. Pieces that have the same rhythmic feeling at the beginning such as Go Tell Aunt Rody and French Children's Song, but have different pitches develop learning off similarities and differences. Long Long Ago and Clair de Lune together teach this same concept of similarities and differences because they both start on the same note and both go up at the beginning of the melody, but have different rhythms.
The optimum environment for human beings to learn and to transfer that learning into ability arises out these abilities which have become internalized. Eckart Tolle,author of A new Earth and The Power of Now says:

"Do you think that when Rembrandt was painting, he stood there with a brush in his hand thinking, "Okay, I wonder what my next brushstroke is going to be. If I put it there then it may clash with that. I'm not quite sure, but maybe two more centimeters to the right, let's measure it. It might look better over . . ." Creativity arises out of the state of thoughtless presence in which you are much more awake than when you are engrossed in thinking."

This kind of awareness/ability is taught through helping students transfer knowledge/ability from one situation or piece to the next. Again Dr. Duke says:

"If the goal of education is that students learn to use knowlege and skills effectively in the future, even in unfamiliar circumstances, then transfer must be defined as the goal of instruction."

As we continue to learn piece by piece we are focusing on core ability development that is transferable immediately in the new piece. accessible as a habit/ability that we use spontaneously.

Links:
Google Scholar search on Transfer in Learning Transfer in Learning The first article listed from International Encyclopedia of Education is a good general description.

Intelligent Music Teaching by Dr. Robert Duke, director of the Center for Music Learning at The University of Texas at Austin:



Other articles I have written on Ability Development:

Ability Development and Pattern Recognition
Ability Development and the Growth Mindset

Link to the final Twinkle Lessons Blog in this 2009-2010 Series

26 - Ability Development and pattern recognition

There are many resources to validate that music lessons of varying types increase intelligence. If you Google "music and cognitive development", there are no less than 4,000,000 articles.
Websites I found ranged from sites which want you to buy a listening CD, to research papers at various Universities including the MIT research site where I found 1,830 articles on music and cognitive development.

The question then is: How can we optimize music learning so that core ability is developed?
What is the link between learning music and cognition? After thinking upon this for a long time I have come to the conclusion that the most basic link between music and cognition as well as the link to physical and emotional learning is pattern recognition.
A very good explanation of pattern recognition is from the Intelligencetest website:

"Out of all mental abilities this type of intelligence is said to have the highest correlation with the general intelligence factor, g. This is primarily because pattern recognition is the ability to see order in a chaotic environment; the primary condition for life. Patterns can be found in ideas, words, symbols and images and pattern recognition is a key determinant of your potential in logical, verbal, numerical and spatial abilities. It is essential for reasoning because your capacity to think logically is based on your perception of the logic around you. Your pattern recognition skills are expressed verbally through your long term exposure to language and your mathematical and spatial abilities are based on your perception of numerical data and 3D objects."

Learning piano through the Suzuki method uniquely develops pattern recognition. This is done first aurally, then physically, and then through making the visual connections to the sound and the tactile sense. Additionally through repeated listening, "understanding" develops of the smallest pattern which is repeated in many variations as well as the a sense of the larger patterns such as whole pieces, movements and larger works. When Suzuki students memorize the aural patterns and connect them physically and mentally they are internalizing patterns in a very different way from students who learn to read symbols and depend on the visual cue to "know" which notes to play. So, in addition to developing the ability to recognize patterns, music study develops the ability to understand the relationships between those patterns, and to be able to create from this level of understanding.

As students are learning the melodies of the pieces in Suzuki Book 1 they are learning the pattern sequences of the notes - going up/going down/repeating the same sound. They are learning the similarities and differences of these patterns for the phrases in a piece, and also the form of the whole piece. They can play many different pieces. As they internalize the patterns, they are working on the quality of the sound and how to use the body to get the best sound. This way, the knowledge from the repetitions becomes ability and the *implicit learning about the patterns becomes actualized. This is important to note, because it is the self-discovery and experience of playing the patterns that develops the ability.

Through this process the framework is developed for the more advanced pieces. It is much better to take time to develop the solid basics and then the children can progress naturally with ease and ability. This is truly what Dr. Suzuki meant when he said these two important phrases:

"Knowledge plus 10,000 times equals ability"
"Raise your ability on a piece you can play."

In Daniel Pink's book "A Whole New Mind", he proposes what he considers to be the necessary qualities to be successful as society changes from "the information age" to "the conceptual age":

"Symphony, as I call this aptitude, is the ability to put together the pieces. It is the capacity to synthesize rather than to analyze; to see relationships between seemingly unrelated fields; to detect broad patterns rather than to deliver specific answers; and to invent something new by combining elements nobody else thought to pair.

Psychologist Daniel Goleman in his book "Working with Emotional Intelligence" writes about a study of executives at fifteen large companies:

"Just one cognitive ability distinguished star performers from average: pattern recognition, the 'big picture' thinking that allows leaders to pick out meaningful trends from a welter of information around them and and to think strategically far into the future."

I firmly believe that all students who begin piano at a young age and with the right environment can learn to perform a full piano concerto by memory in collaboration with an orchestra and at the same time have an individual expression before they finish high school. I already have seen many students do this. By setting these aspirations for the children and giving them the steps to achieve these goals over each week, each month, year, and ultimately their childhood, we are creating patterns of work, dedication, enjoyment, and success that will enable them to be adults who envision and create their life.

Piano Ability is Life Ability!
Children are so wonderful,
Leah Brammer


Implicit Learning: This kind of learning has been called various names including ‘learning by osmosis’, ‘thinking without thinking’, ‘the adaptive unconscious’, and also 'natural learning'.

Links to Music Learning and Cognitive Ability information
Here is a short one from Science Direct:
The Effect of Early Music Training on Child Cognitive Development
This article mentions the studies being done on students at a Suzuki School in Canada:
Effects of Music on the Brain
Here is another one:
"Higher Intelligence through Music"
The idea of listening to music to increase spatial reasoning was popularized as the Mozart Effect:
Wikipedia on Mozart Effect

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25_Twinkle Lessons and Core Education

Dear Parents,
The students can play many pieces now. We are balancing learning new repertoire with developing skills and habits. Please keep the focus on the most important points to continue to progress and develop ability:

1. Life Ability-Spend as much time on the ready position as possible in every practice. This will develop awareness and intention.
2. Natural Learning-Listen to the disc as much as possible in every 24 hour period.
3. Whole Learning-Continue to encourage free time at the piano while differentiating the practice time with more discipline.
4. Integral Learning- Focus on the inspirational quadrant by listening to performances from the Core Studio video blog, and disc for books 2 and 3.
5. Ability Development-Help your child connect moving their fingers with the sound they are making. This is possible when the ready position is good so that the hand is relaxed and the mind is focused. Do repetitions on the assigned spots and ask for moving fingers.
6. Core Focus-The most important point to come back to at this time is "ready".
7. Positive Affirmation-Everyone is making progress. Progress is not necessarily in a "straight line". We are learning balance and depth at the same time we are moving forward.

These are the seven principles of core education.
all the best,
Leah Brammer

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24_Twinkle Lessons: On the Rhythm

As the children enjoy finding the notes to the songs, they will sometimes speed up on the sections that they know well. and slow down or skip over other parts of the piece. It is important to help them learn how to keep a steady rhythm after they are fluent in the notes.

Rhythm is a natural part of life, and life ability. The word rhythm comes from the Greek word 'rhythmos" and means "flow". Our heartbeat is a natural pulse. We breathe in a rhythm. The earth has daily, monthly, yearly (etc) rhythms. Our lives evolve around daily rhythms. It is quite natural for children to play music with good rhythm. We do not have to "teach" it.

My good friend and colleague Robin Blankenship sent me an article about research being done on babies concerning rhythm. The article They Got Rhythm: Study of babies finds" supports previous research showing that infants respond to rhythm and keep a beat or pulse with their body. This article has a video of the testing being done on infants which is interesting.

Another article, "Newborn Infants detect the beat in Music" published in the National Academy of Sciences in 2008 goes into more detail with measuring electrical brain responses that even show infants responding to downbeats and omission of downbeats.

Our job then is to preserve this natural ability to feel rhythm and apply it while playing piano. So, we need to be aware that as soon as the mind becomes too busy thinking about what to do, the natural feeling diminishes.

Rhythm has different parts. There is the steady beat which creates the underlying pulse. The meter represented by the time signature at the beginning of the piece makes groups of deep and light sounds out of the steady beat. So, if the meter is 3 beats per measure, beat one is the deep sound and beat 3 is the lighter sound. These groupings are the basic component of meter and provide the base upon which the individual rhythm of the piece is set. For example, Twinkle has 4 beats in each group or measure, and Cuckoo has 3 beats (like a waltz). It is not important for the children to "know" this, but as adults it is good to be aware of it at this point as you are listening. See if you can tell when you are listening if you hear/feel duple (2 or 4 beats) or triple (3 beats) groupings. We will be working on this in the near future. The term "rhythm" then refers to the individual short and long sounds in a piece, but also generally means the beat, the meter and the individual rhythm as one whole.

In group class the children were easily able to clap the beat, and then lightly clap the rhythm of several Book 1 pieces. Please do this at home as well. It is not necessary to make it part of the regular practice, but on occasion as you are listening to the disc. We will continue doing this in the group class.

The best way to develop the child's ability to be able to stay on the rhythm while playing the piano is for the teacher to play with the student in the lessons. Sometimes it may seem that there is not much "teaching" going on during these times. This is the next step for the child after they have learned the notes. It is not really beneficial for the child to play with the disc. The disc cannot adapt to the natural tempo the child is ready to play on. Also there is no "ready-go" so the child cannot come in accurately on the the rhythm. Therefore, the time at the lesson to play together with the teacher is vitally important.

Please continue to have your child get ready before playing when you are practicing with them. Of course they can also have time at the piano which is "free time".
By getting ready on each note of the twinkles, on each spot, phrase and piece, they are developing the ability to start on the rhythm. By getting ready each time, they are developing the habit of finding good body balance and concentration before playing. This is the first essential step to having good rhythm It is much easier to keep a rhythm once it is started. Actually it is impossible to have good rhythm if it is not started at the beginning. The beginning of the piece is crucial for setting the rhythm so please observe the way that you say "go". Practice how you say "go" so that the word "go" sounds like the way a conductor of an orchestra looks when they start the orchestra. If you imagine this it will help.


When you sing solfege as the child plays you are also helping them to keep a natural rhythm. You can say: "let's stay together as you play and I sing". Next you can lightly tap the steady beat. If they have trouble then it is probably a part of the piece they need to spot practice (separate from playing the whole piece), because they are unsure or unable to play the correct notes in rhythm on that part.

It is important to introduce the concept of keeping the steady beat after the child can play the notes well. This includes playing with good body balance, and good tone. The concept of sequencing skills to present the most important point at the appropriate time is the "core focus principle of nurturing", and is one of the seven principles of Core Education

So, please do not try to have them keep the steady beat on the pieces they are just learning. Dr. Suzuki said :

"Raise your ability on a piece you can play."

Helping the children keep a steady beat on the pieces they can already play is a good example of what he meant in that statement.

For Further Reading:
*"How To Teach Beginners" by Dr. Katoaka: Part 4 General Considerations in Book 1

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23_Twinkle Lessons: Visual Sensibility-Eyes to hear

When a musician looks at a score they hear the music internally. The musician doesn't think "That is a G, the next note goes up, hold that note for 2 beats" etc. Printed music is a picture of the sound in the best way we know how to represent it.

In the book Reading by Ear by Cathy Hargrave discusses her conversations with Dr. Suzuki about reading when she was studying in Matsumoto:

"One morning, I was in the main lobby of the Talent Education Institute when Dr. Suzuki arrived. He led me by the arm to a nearby sofa and firmly declared, "Of course, Suzuki students learn to read." He began explaining his Mother Tongue Approach, its application to musical instruction, and the natural progression into reading musical notation. The following paragraphs are a brief account of parts of the conversation: Before reading begins, introduce it into the environment. Thus far, the student has learned all pieces by a combination of ear and repetition, so only the parent has used the music book. Begin leaving Volume One and other familiar volumes of the Suzuki repertoires in plain sight of the child so s/he may browse through them. Make casual comments about the book whenever appropriate during lessons and practice sessions."

So here we have in the closest possible terms what Dr. Suzuki told us about how to introduce reading in the Suzuki method. Cathy Hargrave's book goes on to explain the next steps Dr. Suzuki discusses in beginning reading.

When the Suzuki book is used as a reference in lessons and at home, the children will develop a natural curiosity about it. This is exactly the same in regard to children's readiness to read English. They first observe reading in the environment. They have books read to them. This develops motivation.

There is so much that the child can learn about reading a musical score through observing others reading, and by having the books in the environment for reference. This is part of the whole learning environment and happens naturally without actually "teaching" anything. By using the book in lessons and practice, the child will experience that their Suzuki Book 1 has every piece represented with a visual copy of the sound and how to play it with the correct fingerings. They gradually gain awareness that each dot on the score represents one sound. They will glean that the music is read from left to right, top to bottom. The sounds are placed on lines - the staff, and they go up and down -pitch by placement as higher/lower on the staff. By having the sound internalized and looking at the score, the rhythm will begin to look like it sounds with longer notes taking up more horizontal space.
In this way, they understand the score holistically first. They will be able to look at the score and hear the music inside their mind. This is possible because they are not thinking about how long does that dot last, or the name of the note. The symbols translate directly into sound.

The Suzuki book is the best place to keep your notes. It becomes a kind of memory book. You can write down dates that you started or performed a piece for example. Please use the book to mark spots and main points, solfege and how to practice. You can use the score to write notes on and look at during the lesson, and use at practice.
It is good to have another copy on the piano that is your child's copy. I will refer to it during the lesson, opening it to circle a spot, show a whole note, or to point out a fingering to you and play the correct fingering. You can then mark the same spot in your score. Then, we can close the book and play. This gives an important message to the child that the book has importance and is a visual reference.

Because of this developing readiness it may be unclear at exactly what point the child is "reading" - that is to say looking at the score and internally hearing the sound. (as different from reading and playing at the same time) We will begin using a separate book for reading around the beginning of Suzuki Book 2. This will give the child experience playing and reading at the same time. We will learn all the names for the notes rhythms and symbols. This will be easy for them because they already know the sound.

An important point to insure that a child will be able to read a musical score and play at the same time is to develop their playing independent of the visual sense. This means they can physically create the sound they have internalized without looking at their hand all of the time. The kinesthetic/aural connection must be fully developed first, then reading while playing at the same time will be successful. When the ability to play with a good sound and basic skills is established, the child then is free to devote the visual sense to the printed symbols.

Because of this early period of creating reading readiness while the child is developing the physical/aural skills in playing piano, the reading process will unfold naturally. Most importantly, the visual sensibility of the child will directly put the symbols into sound without having to translate into the mental realm such as "Every Good Boy Does Fine-that's an F" etc. The ability to have direct translation from symbol to sound is what makes a fluent reader.

References and further research:
Reading by Ear - Cathy Hargrave - This is a link to my Recommended Books page where you can link to purchase this book from Young Musicians.
Principles for Implicit Learning - a good article on learning, and the development of knowledge frameworks.
The promotion of explicit and implicit learning strategies in English instruction: a necessary aim? I found this while writing this blog. This is my reading for the week. It is an in depth look at language acquisition and includes implicit learning as well as flow theory.

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22_Twinkle Lessons: Freedom, Individuality and Structure

Dear Parents,
The recital was really wonderful in so many ways. The children were all happy to be a part of the recital. They listened intently to the performances. The picture session at the end of the recital made all of the students feel important and nurtured. The performances are uploaded to the Core Studio Video Blog. The photos are posted on the Core Studio Photo Gallery. I hope you and the children enjoy looking at them.

I noticed this week the students were eager to play new pieces. I tried to let them play without giving them too many instructions. This can be difficult for adults to do. It's good to remember how important this is to preserving the intrinsic drive/motivation.

This preservation of the freedom of the child is a large part of the Montessori method:

"If it were necessary to compress the description of the principles of the Montessori method into a single phrase, perhaps the most comprehensive would be that it was a method based on Liberty in a prepared Environment."
from Dr. Montessori's writings

Similarly, in Suzuki lessons, the child is motivated by the "prepared environment"- (listening to the disc many hours a day, attending recitals, observing other students lessons, singing solfege, group classes, having an in tune quality instrument to play on.) The child can then freely learn to play the songs they hear. When the student is intrinsically motivated to create the sounds they hear, they will try as many times as needed to acquire the right sound, as long as there is no outside interference or instruction.

The Book 1 pieces are also an integral part of this "prepared environment". In "A Montessori Handbook" EC Orem discusses the development of the child through a multi-sensory approach with carefully structured materials in her method:

"The didactic (teaching) material, in fact, does not offer to the child the 'content' of the mind, but the Order for the "content". It causes him to distinguish identities from differences, extreme differences from fine gradations, and to classify, under conceptions of quality and of quantity...The mind has formed itself by a special exercise of attention, observing, comparing, and classifying."

This exactly describes the material in the Twinkles and Book 1 pieces. They are the raw material from which the children learn tonal patterns, harmonic patterns, phrases, rhythms, the rudimentary elements or framework in the language of music.

Individual children will use these beginning materials differently. Some students will learn the pieces in the exact order of the book, phrase by phrase with the help of their parent singing the solfege. Other children will pick out songs solely by ear near the end of the book, then come back to other pieces in a seemingly random order. It is important to allow this process to unfold naturally. It is the child's individual sensibility and motivation that we preserve this way.

The ability is then developed with the assistance of a mentor who gives the right instruction at the right time to aid in the growth of the child. The teacher is coming "behind" the student working on body balance, working on tone, making sure the basics are taken care of. It may be important for the teacher to hear the "new" piece in order that the child feels listened to, and it is a good way for the teacher to evaluate what skills are becoming part of the child's ability to play. The majority of the teachers time is spent developing ability on what the child already can do.

In terms of giving instructions to the child R.C. Orem says about Dr. Montessori's approach:
"Montessori says the teacher should "count her words," that is utilize carefully chosen words purposefully."
In her book Sensibility and Education, Dr. Kataoka says:
"The senses cannot be taught anything with verbal explanations."

The natural body balance and tactile sense is related to the sound so that the child learns through the senses. The instructions are by example, with only a few words, and are the most fundamental point at that moment to allow for maximum learning. This is very much like using composted organic soil amendments for plant health rather than trying to force growth with high nitrogen fertilizers.

It is important to make sure our instructions are really focused on THE most critical point that will enable quality, ease of learning, and skill development. Understanding and utilizing the most fundamental point in instructing students is both subtle and critically important to maximizing learning and avoiding over teaching. This Basics principle of skill development is one of the seven Core Education principles.

So, the way of knowing how to help the child is to always to start with the most basic point. Dr. Kataoka used to use the analogy of building a house to explain this to teachers -You do not want to put the walls on before the foundation of the house is strong.

Skills develop in a spiral so that we are always coming back to the most basic point-internalized sound/intention/ready. So, even at an advanced level of playing such as when a student is playing a concerto with orchestra, we are working on the bow, the ready position, the tone. Of course the balance between the orchestra and the piano, the phrasing, the concept of the whole are all necessary as well, but not possible without continuing to reinforce the most basic points. There is then this basics level of ability that must always be increasing in depth to enable the horizontal progression of advancing levels of difficulty.

Each week I will listen to your child play and will seek to find the most basic point that will produce the best result. Sometimes I will try different words to see what effect they have. I may try different ideas before I determine what is best. If you can understand how the instruction is uniquely suited to the child at that moment, you can really enable your child with the help you give them, and avoid the trap of too many instructions which make the child feel controlled.
Please use the Core Practice Assignment Sheet Books 1-2 (also under the right sidebar Practice Sheets) to help create structure in the weekly assignment. Beside each piece you can list a single focus point. As the lesson evolves you will notice there is one main focus point for the week. Please notate these few things on the assignment sheet to help you in practice. Remember it is not necessary to fix everything you see/hear that could be better. Please use the focus points from the lesson to help you from over instructing. You can mark the boxes to show how much each piece is played during the week. Naturally the child will be drawn to certain pieces at certain times. It is good to honor this, and also to make sure they are playing the pieces they already know well in order to develop their physical ability to produce good tone.
It's always a balance between freedom and structure.

all the best,
Leah Brammer

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21_Recital Preparation

Dear Parents,
The most important point to know about preparing for a performance is that it is exactly the same as every day practice! Day by day the student is building general skill as well as deepening their understanding/knowledge of the particular piece they are playing.

Before a performance the practice should have become easy. Do all of the spots many times. Practice slowly, hands separate. Practice with metronome if assigned. Memorize tempo by playing the beginning phrase/part many times. Practice the ending. Go through the same process that has been assigned in previous weeks.

At the lesson before the performance there are no "new" points. This way the piece will be internalized and feel easy without lots of things to remember.

In the few days before the recital teachers and parents can help focus attention on the sound.
For example, "Listen for the the deep and light sounds." It is good to make the instruction on listening one holistic point rather than several different points of listening to remember. When the child is able to go directly to the sound awareness they will be able to concentrate in the performance environment.

It is not useful to play the piece through at the performance tempo hands together many times. This can actually create anxiety about performing when the student makes a mistake, or the quality goes down.

It is useful to practice the performance aspects of the recital ahead: Bow, get ready, play the beginning, play the ending, bow, walk off stage. This gives the child a sense of the whole performance.

It is also good to let the child focus on their performance piece 2 or 3 days ahead of the recital, without working on the other parts of the practice (technique, new pieces, review, reading.) This will also enable them to spend more time on the piece.

This is a critical time for repeat listening of the performance piece only on low volume. This will make playing the piece very familiar and natural for the child. It gives the student freedom to create the piece as they want it to sound.

On the day before and day of the recital it is good to take care of the basics carefully-enough sleep, good food, good feelings, practice, space to relax, and enough time to get ready and drive without rushing. It takes a whole day to do the best preparation. This is an important ability to foster in the child: preparation- the process of making ready.

20_Ability Development and the Growth mindset

Here is a quote from Alfred Binet, the inventor of the IQ test in the early 20th century:

"A few modern philosophers...assert that an individual's intelligence is a fixed quantity, a quantity which cannot be increased. We must protest and react against this brutal pessimism...With practice, training, and above all, method, we manage to increase our attention, our memory, our judgment and literally to become more intelligent than we were before."

It is interesting that the Binet-Simon scale was adopted in the US and has come to represent a number which defines a persons "fixed" intelligence.

Dr. Carol Dweck, a psychologist at Stanford, has written the book mindset: The new psychology of success. She defines two types of mindsets about learning-Fixed mindset and Growth mindset. A fixed mindset is one in which you believe your intelligence or the "way I am" is "fixed" or not changeable, and a growth mindset is one is which you believe that you can develop talent/ability/habits with practice.

Her documented research over many years shows just how much a persons mindset affects their ultimate ability to learn. When students believe that intelligence is fixed they are set up to need to prove their intelligence, do not want understand the value of working hard, and become fearful of mistakes which would make them look dumb. Their thinking is "If you have to work at something, you must not be good at it" and "things come easily to people who are true geniuses."

One of the interesting parts of this book is the research on how much praising children about their intelligence negatively effects their performance. She says: "If success means they're smart, then failure means they're dumb...If parents want to give their children a gift, the best thing they can do is to teach their children to love challenges, be intrigued by mistakes, enjoy effort, and keep on learning. That way their children don't have to be slaves of praise. They will have a lifelong way to build and repair their own confidence. "

How do we "teach" effort and determination? As I said in the last blog, infants and toddlers already have an intense amount of determination and drive. Our job is to preserve it by not praising results which focuses the child on getting praise for being smart or fast, and instead appreciate the process of repetition and effort. Dr. Dweck says:

"When we say to children, "Wow, you did that so quickly!" or "Look, you didn't make any mistakes!" what message are we sending? We are telling them that what we prize are speed and perfection. Speed and perfection are the enemy of difficult learning."

Dr. Suzuki says: "Knowledge plus 10,000 times equals ability." Malcom Gladwells book "Outliers: The story of success" second chapter is entitled "The 10,000 hour rule."
He discusses several breakthrough thinkers/performers/achievers from Mozart to Bill Gates. In each case he approximates it took them 10, 000 hours to acquire "true expertise". In Mozart's example he cites the point that his "masterworks" were composed at age 21 and later, after he had been composing full pieces for over ten years. He also points to the variable of opportunity (environment) and shows how each great achiever had the right opportunity at the right time.

Last week I attended the Piano Basics Workshop in Phoenix Arizona where I had a lesson. It must seem so odd to think after thirty years of studying and teaching Suzuki piano, I am taking a lesson on Twinkles. Yet each time there is something new to learn and improve, and I come back motivated to continue practicing and working to improve my tone.

There were several students in the workshop who are now graduated from high school and still coming to the workshops to study and perform. I believe one of them is majoring in piano, the others are not. To me this shows how wonderful the Suzuki method is! The students after all this time are still studying piano because they did not grow up only practicing for the next competition, but instead for their own learning, to participate in non-competitive graduations which are based on skill acquisition, to play together with others in a 10 piano concert, or for a Friendship concert. They have a lifelong love for music and sound they hasn't ended when they graduated from high school and listed their competitions on their college application.

A growth mindset enables a person to continue to improve even after they are already one of the "best" in their field. It sustains intrinsic motivation by keeping alive the drive to learn for self-
improvement and for a sense of contribution and purpose. This is Life Ability - the ability to live life optimally.

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19_Twinkle Lessons: Affirm, Motivate, Inspire

It has been rainy cloudy weather for many days now here in California. However, for the last 3 years California has been in a drought. I could say "I have not been able to go outside for many days", or I could say "The rain is very good for the plants and it is becoming very green on the hills." Both would be "true." I also could say "The sky is clear" ignoring the rain and hoping that the weather would change. This might serve to make me feel better. When I focus on the green healthy plants I am accepting the situation as it is and I also feel grateful that we are not in a drought.

When working with children, affirming the positive aspects of the situation does much more than make the child feel better. It also serves as a positive feedback loop. By telling the child; "when you moved your finger that time the sound was much better", you are helping the child to connect their actions with the result in a way that enables them to learn faster. This ability to learn and improve is the primary motivating factor for the child. By giving the child an affirmation of what they are doing correctly, we are increasing their ability to learn and improve. Positive affirmation is one of the seven principles of core education

This is very different concept than the "carrot and stick" approach of "positive/negative reinforcement." A simple example of "positive reinforcement" would be: "If you practice with good concentration for 15 minutes you can watch TV".

There is a fascinating new book (December 2009)by Daniel H. Pink entitled Drive - The surprising Truth About What Motivates Us
Publishers weekly writes this review:
"According to Pink (A Whole New Mind), everything we think we know about what motivates us is wrong. He pits the latest scientific discoveries about the mind against the outmoded wisdom that claims people can only be motivated by the hope of gain and the fear of loss. Pink cites a dizzying number of studies revealing that the "carrot and stick approach" can actually significantly reduce the ability of workers to produce creative solutions to problems. What motivates us once our basic survival needs are met is the ability to grow and develop, to realize our fullest potential. Case studies of Google's "20 percent time" (in which employees work on projects of their choosing one full day each week) and Best Buy's "Results Only Work Environment" (in which employees can work whenever and however they choose—as long as they meet specific goals) demonstrate growing endorsement for this approach. A series of appendixes include further reading and tips on applying this method to businesses, fitness and child-rearing. Drawing on research in psychology, economics and sociology, Pink's analysis—and new model—of motivation offers tremendous insight into our deepest nature".

Daniel Pink cites an important book; "The hidden costs of rewards" by psychologists Mark Lepper and David Greene written in 1978. They did an experiment on motivation with preschool children. They watched a classroom and identified children who chose to draw in their free play time. Next they divided those children into 3 groups: the "expected reward group" was told they would receive a blue ribbon for drawing, the "unexpected reward group" who received a certificate after they chose to draw, and the third group who received "no reward." Two weeks after the first session where the rewards were given the "expected reward group" had little interest in drawing. The "unexpected reward group" and the "no reward" group were both still engaged in drawing during their free time. These researchers went on to prove their thesis in many more experiments. Daniel Pink goes on to site many more studies and examples of how extrinsic rewards diminish motivation.

I believe this is partially because the child looses their sense of autonomy and feels controlled rather than nurtured and supported. The question then is not whether to use a "carrot or a stick" to influence a child's behavior, but how can we preserve and nurture intrinsic motivation? Think about a baby learning to walk. It's great when parents are happy that the child is trying to walk, but it is also obvious that the child is trying to walk because they are driven to do so. I have never known a parent to give candy to a child if they took an extra step! It is great to recognize progress with natural authentic enthusiasm, and fine to have an occasional treat when something is really accomplished. This would fall under the "unexpected reward" category.

When we give children appropriate feedback about what they are doing that is improving their ability, we are helping them learn while preserving their motivation. It is rarely necessary to point out what is wrong because the child has the sound internalized. It is ok to bring awareness to something that needs attention such as the finger numbers by singing them, or asking the child to check to see what fingers are playing. This keeps the learning objective and helps reduce negative emotions related to the necessary concentration and work required in learning. It is important to empower the child in their own learning. This preserves their own internal drive to learn. This week-end I was teaching students at a workshop in Philadelphia that I had never met before. I was truly amazed at their desire to learn. After listening to them play, I would help them by affirming what was really good in their playing such as "The first part of the piece sounded very nice", or "You have learned all of the notes to the piece" and then give them a point to practice. Next, I would ask "Do you want to keep working on this?" Invariably the answer was "Yes."
What happens if the child says "no?" Most often this happens because the child feels for some reason that it is too hard/takes too long. Make the assignment easier/smaller until the child feels it is doable. It doesn't matter if you think the assignment is hard or not. It is the child's drive (intrinsic motivation) to do it that is important.
Success then is the ability to do the assignment well without extrinsic reward or punishment. In the long run, success and improvement is what will motivate the child and develop the ability to practice.

Inspiration is inherent in motivation. Listening to the disc is an important part of providing inspiration because it provides the model. This involves listening to music that is well beyond the pieces that the child is currently learning as well as the current pieces they are learning. Having opportunities to perform and share with others is also very important. Hearing a live concert is probably the most inspiring experience because it most directly raises our concept of what is possible, our ideal.

Lastly, we inspire children when we give credence, and a voice to their aspirations. At the Philadelphia workshop after a student played a Bach minuet I asked her if she had heard other pieces by Bach and recommended some Bach pieces (Italian Concerto) for her to listen to . I told her that I could imagine her playing many pieces by Bach because she had a good feeling for the style of Bach. She said "When you say that I feel so inspired". It is the teacher/parents unerring belief in the child's capacity that develops and sustains aspirations-the desire to learn the next piece, finish the book, the vision of playing a concerto for Level 10 graduation, etc. Inspiration and aspirations go together just like inhale and exhale. We need them both. Inspiration and Aspiration are the basis of intrinsic motivation.


On the assignment:
Finger numbers and note names: Please continue the repetition on these skills. They may be good to do after a period of concentration.
Ready Practice -on each note of the A phrase of Twinkle: This practice of the ready without any playing is for the purpose of making the shifting from one finger to the next easy without having to reposition the hand/elbow/body. Once this is easy, the ready time on each note of the Twinkles will be shorter and the assignment will now go faster. It is good to do one time at the beginning of practice.
Twinkle A: It is good to do the whole Twinkle now instead of just the first phrase. This will help them to memorize the sequence.
Twinkle B and C: Continue to experiment with the way you say "go" in order to help the child have good rhythm. Be aware of the physical changes your child makes when you say "ready" and only add other words when necessary.
Twinkle D: Sing sometimes,and other times say "Please move your fingers, please move your fingers, soft hand" in a quiet voice. Sometimes have your child do a performance where they bow, get ready, say go for them, play Twinkle D (by themselves), and then bow. Perhaps you can make a video, have other people watch, set up the stuffed animals for a performance, or other idea to make this "performance" or "recital" different from the regular practice.
Right hand melodies: Some children will prefer to try to find the notes without much help. Others will prefer that you sing the solfege. You can ask. Try it both ways. Switch back and forth. Also it is fine to sing finger numbers sometimes. We want them to be able to respond by playing the finger we sing. So, try different ways and always ask what your child thinks is helping. This helps them be objective about their learning and separate their emotions from their mental/physical learning.
Time: Be mindful of your child's natural concentration period. Each day is different. It is good to give choices ("Twinkle B or Twinkle C?") and set priorities on any given day ("Let's do Twinkle D one more time to get your fingers really moving and then we can work on Lightly Row tomorrow-is that ok?"). Choose review to develop skill, choose the new pieces to motivate as long as they are not too difficult. Let the child decide which is better for that day.
Day by Day,
Affirm, Motivate, Inspire
Leah Brammer

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18_Twinkle Lessons-Tone Lessons

Dear Parents,
We are at the important stage of learning legato and focusing on creating "ringing tone". Therefore, I am going to "remix" some of my previous writings on tone with new thoughts for this blog.

Developing ability continues in a spiral so that we are always always coming back to the most basic points as we advance. Students in books 2 and up will come back to the Twinkle rhythm to practice tone production with a relaxed hand on sections of their pieces. Great pianists will repeat the sound of one note over and over to achieve the best sound.

Understanding develops in a spiral as well. It is not necessarily the things we study and take a test on that have deep meaning to us, rather it is what we internalize and use that has meaning and depth. As we continue to understand and research how children learn, our own ability to apply that knowledge becomes greater.

Listening is Step 1
By listening, the students are internalizing the sequence of the notes, the rhythm and the tempo of the songs, and the tone as well.
It is interesting that the students know which is the good tone immediately when I ask them. They can already hear when the tone has tension in it, just as babies hear and respond to tension in a persons voice. Everything is absorbed by the child, even our own attention and feelings. Dr. Suzuki says:

"Tone has living soul. Without form it breathes."

Ready is step 2.
Think about what you do when you seek to hear something -you become still. This is a kind of "focusing" with the aural sense. When students become "ready" they become still and thus become able to really hear the subtleties in the sound they are producing.

When the student practices with the "ready-go" method they are able to put their whole concentration into the physical-aural connection of making tone on one note. They do not have to think about the reading or even the sequence of the notes. Because they are playing only one note, they can learn to balance the body without tension and listen for the tone rather than thinking about which note to play next.

Teaching tone is step 3.
Teaching tone is bringing awareness to the natural state of learning the children already possess. The sound/tone is already internalized through the period of listening. Now we can ask "Were all the sounds ringing tone?" This is teaching awareness. You can notice the difference in how the note is sustained when it is played with a "hit tone", or with a relaxed moving finger. The hit tone is very loud at first and then dies off quickly. The "heart tone" has more of a bell shape to the sound.
Dr Suzuki says:

"Music is the language of the heart without words."
and also:
"Beautiful Tone, Beautiful Heart"

Twinkle A: Listen for short clear sounds. Listen that the rhythm is natural and not too slow.
Twinkle B. Listen for the long sound. The practice of playing one sound and listening until it stops is very useful. This is a good review practice even though they are already playing Twinkle B.
Twinkle C: make sure the rhythm is accurate. Sometimes the children still confuse Twinkle A and Twinkle C.
Twinkle D - Legato-smooth connected singing tone
Teaching legato is perhaps the most difficult and most important task to teach beginning piano students. When students play staccato it is much easier to relax the hand. When students first play legato there is a strong tendency to keep "pushing" to hold the note down.
Dr. Kataoka relates playing legato to walking:

"For legato, all we need is to do with the fingers on the keyboard what we do with our legs when we walk normally. Human beings are not naturally stiff and do not find it hard to move. Normal people shift their body weight from one leg to the other with true dexterity, and walk lightly while smoothly balancing the body. It is the same with the fingers."

This is a useful analogy and it is good to walk around noticing how your legs move smoothly without stopping as the weight shifts. Also notice how important your feet movement is and compare this to the first joint of your finger or fingerpad.

When the student is able to play legato well on a single note the next task is to stretch out the hand and connect the Do with the So. Then they can successively move the weight from one finger to the next in the same way as walking.

Another important aspect of legato is the movement of the thumb. Dr. Kataoka used to say "Don't play piano like a monkey!" to students (and teachers) because they didn't move their thumb. She was fascinated at how students used their thumbs when texting on their cell phones.(it was popular in Japan before it was in the US) To play legato the thumb also has to connect the sounds by moving and not pushing with the joints locked in a stiff position. The movement is sideways the way that the hand naturally grasps or picks up something. If you try this you can observe how the thumb moves differently from the other fingers. When playing the piano this movement becomes unnatural because the sideways movement also must make the key go down in order to produce sound.

The connection of the physical feeling of the finger moving with the continuation of the sound enables direct playing so that the piano effectively becomes the voice. The sound and the movement become the same thing. The child makes this connection of how the movement of the fingers and body directly affects the sound in a similar way to how a baby learns to move it's mouth and tongue to produce different sounds.

Once the student can play a beautiful legato on Twinkle with a natural body, it is relatively easy to learn the notes of the melodies in Book 1. Singing the solfege with the disc will also make this go much much faster. You may want to select the Twinkles plus the first few pieces on the disc and put them on repeat for a couple weeks while the students are first learning these beginning songs.
The most important point is that the students can play with a beautiful tone and a happy heart:
Dr. Kataoka says:

"Being able to play the piano using a heartfelt, true, natural and musical tone becomes a great joy throughout your entire life.

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17_Happy Continuum

Dear Parents,
Happy 2010!

In my New Years Blog 2009 I wrote about the book Remix by Lawrence Lessig which I was reading at that time. He wrote about the evolving RW (read/write) culture made possible by new technologies which enable people to creatively contribute/comment/create/edit/quote/analyze/synthesize/ and thus "remix" information of all types including words/sounds/photo/visual-video into multiple mediums. The book also discusses copyright issues with the use and remixing of different media. After reading that book I made my website part of the "Creative Commons License" which is basically a share and share alike license.

This was the beginning of my using the web to research in a new way by gathering all kinds of resources from videos and websites, and also uploading my own content. I am really amazed at the quality of information that is available now and the quantity of information that one must sort through in order to find the quality. It has been a wonderful year of research!

Also in my New Years blog last year I wrote about Dr. Kataoka's article on the essence of Tibetan Buddhism. In her article, "One day is a lifetime," she draws the connection between each moment and each sound being important for human beings. Dr. Kataoka says in that article:

Whether we are talking about each and every day or each and every note, the fact that every single unit is precious and important is the same. When you live each day and every day with your heart and soul in the best natural way, there is a continuum which results in a wonderful lifetime.

In continuing with the research and writing that began last New Year, I have been watching the online videos of the 2009 Peace Summit in Vancouver with the Dalai Lama, other Nobel laureates and leaders.
Please watch this incredible video from the 2009 Vancouver Peace Summit. Much of the Summit focused on education as a key to peace. Education of the heart.

The whole clip is a session on Creativity with various speakers. One of the speakers, Eckart Tolle, talks about how to tap into the creative source, and the necessity of developing ability in order to use creativity. He begins talking about the penalty shootout in a soccer event , and relates it to concentration and the process of going within to tap into a creative source..

Please watch this as it is right on point with the use of "ready" and the development of ability.
After the video begins (there is a 15 second commercial) fast forward to 29:30 (drag the red circle to the right with your mouse) to get to Eckart Tolle's talk which is about 7 minutes.

2009 Vancouver Peace Summit-Creativity Session


On the assignment:
Twinkles: Eckart Tolle's concept of "going within" from the video is the "Ready" or becoming still physically and mentally. "Ready" also includes physically still in a natural balanced position which enables the student to efficiently produce the best sound and performance.

Continue with "ready go" for Twinkles A, B, and C. On Twinkle D "theme", please spot 5 times or so the beginning "Do-Do-So" while listening for legato. After this please have your child play the whole Twinkle D while you sing the solgege, and also have him play without any singing (or any instruction) It is good to have your child experience the concept of the whole piece and play freely even if it is not all the way legato. By doing the spot every day, the ability to play legato will transfer into the whole piece.
Finger numbers: Please go over Left hand numbers every day as well as the right, switching back and forth between the hands. We will be starting Left hand twinkles shortly.
Note names: Please have the child find notes from one end of the piano to the other in the same way we did in the group class. Have them say the name as they play the note.
You can switch back and forth between letter names and solfege. It is good to do this standing up with the bench out of the way.
On the Video recordings:
The video camera has become an important part of the studio and the learning process. The video recordings are an invaluable aid for parents to review the lesson points, observe the posture and sound, and follow through with the assignment. Since lessons are only once a week, this is an ideal way for you to get extra help without leaving your home. This Twinkle class is the first time I have recorded lessons and then posted them online for parents. In the process of doing this I have spent a lot of time reviewing the lessons myself. I have really learned so much from this.

The lessons are becoming longer now and so I want to make them more usable by having them in smaller parts. The easiest way to do this is to add tracks to the video recording. You can do this by pressing pause and then record again. This way each section such as Twinkle A, Twinkle B will have a separate place on the recording, will be easier to upload, and easier to view small sections. I will show you how to do this at the next lesson.

Looking forward to a great year,
Day by Day,
Leah Brammer

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