Effective and Efficient Lessons

Dear Parents,
Following are suggestions to optimize learning in the lessons:
1. Set-Up
Please make a habit to set up your child promptly with their bench/footstool and books, and put the assignment sheet on my piano. Even older children need some help to make this step go quickly. This is best to do as soon as the previous student is finished. Next, you can organize you notes and score, and work the video.  This will be a non-verbal signal to your child about the importance of the lesson time. Therefore in this time it is best if the adults do not talk too much.
It is better to talk casually after the lesson.
2.  Assignment Sheet
Please provide an assignment sheet that is filled out with the main point of the lesson, and the main points on each piece that were covered at the last lesson.
It is also important to have the review pieces listed. This is also a signal to your child about the importance of the assignment and your role in helping them. Also, with a clear assignment sheet I can follow through with the assignment and provide continuity.
3.  Distractions
Please turn off all electronic devices so that the children are the total focus of attention.  Electronic games can be engaging.  When siblings are playing with very interesting toys like this it makes the concentration at the piano a little harder. Texting by the parent can be especially distracting, and can make a child feel that they are  actually being neglected by their parent, even though the parent is "present".   Many teachers and researchers are coming to this same conclusion. Dr. Karen Hagberg wrote about this in her recent article in Piano Basics.  She references Dr. Sherry Turkel, the Director of Technology and Self at MIT, author of the book "Alone Together:Why we Expect More from Technology and Less from each other. Dr. Turkel says that "mobile connectivity allows us to  bail out of the physical realm at any time."  You can watch her TED talk video which is very interesting:
Sherry Turkle - TED Talk
When the adults are totally focused on the lesson the children will best be able to concentrate.
4.  Observe without interference
Please observe the lessons without instructing your child to pay attention, or giving other directions. It is the teachers responsibility during the lesson to nurture the child's attention and behavior.  You can observe the process of learning this way. It may be that I allow the child more time to get ready, or learn through doing without giving the answer.  I may be allowing the child to learn through experience that if too much time goes by without focused attention there is not enough time for the new piece, or the make-up song, etc. In the long run this will develop concentration and motivation much more than verbal directions about concentrating or hurrying up. So, please observe what is ignored as well as what is affirmed. Please take notes and also use the musical score to refer to.  It works well to put some notes such as the spots directly onto the score.  Other notes may be better in a notebook.  Keep a main point for each lesson.  It is good to keep a notebook that you can look back on months later and reflect on the progress, and the points to stay focused on.
The child will feel your concentration and attention, and without the judgement will be able to turn all of their attention to the learning.

5.  End of Lesson
 At the end of the lesson I will summarize the main points.  This is a good time to ask any questions about the assignment.  Next, please help your child clean up the environment (stuffed animals back in place, etc.)  Often this is also a casual time to talk and that is important too.  Most of the time logistical questions can be saved for e-mail. Please be mindful of the next students lesson time and leave quietly.

After the lesson on the way home, please affirm what your child did well, and talk about what you will work on for the next week.
Thanks so much for your part in making the lessons an environment for optimum learning experiences.
Leah Brammer

Recital Preparation-Key Points

1. Listen to the recording as much as possible.
Notice when the volume is right so that you are able to  hear the music clearly without it being to loud or soft.   This way you can make the best environment for listening to many repetitions. If you have more than one child performing, you can make a playlist with the two- four songs so that it is easy to repeat.

2. Be well rested and early to the recital, with appropriate concert dress. 
Balance practice with other activities, free time and rest.

3.In practicing, affirm each step, each part that is done correctly, and especially notice when the tone is really clear and ringing.

• Practice the beginning and the ending many times.

• Practice hands separate in a slow tempo, and also in performance tempo.

• Spot and part/phrase practice focusing on the most important points.

Focus on the tone as much as possible without too many instructions so that the child can internalize what they have learned. 

It is good to have a performance practice time (in concert dress) one and/or two days ahead.  On the day of the recital, please practice with good concentration for a short period.  There is no need to play the piece hands together many times.  This can make the piece get worse! If the child makes a mistake with this kind of in tempo hands together playing on the day of the recital it may inadvertently get into their performance too.  So, it is a good time for lots of listening, rest, and hands separate spot/part practice. So, it is like putting the repetitions (skill development) into a savings account to "spend"  at the recital. 

all the best,
Leah Brammer

Re-solutions

It's interesting in the "New Year" that most people decide to really do what they meant to do before.  So, it is not really something "new", but rather a renewed effort to do what one already "knows" is the best thing to do.

Dr. Suzuki often talks about knowledge and action in his writings.  He says: 
           "Knowledge plus 10,000 times equals ability."

In this way, the action is the resolution:
         "The habit of action - this, I think is the most important thing we must acquire.  Life's     success or failure actually depends on this one thing.  So what should we do?  We should get so that it is second nature to put our thoughts into action."


In Nurtured by Love he states his own resolution from around the end of World War II:
          "I shall acquire the habit of doing the things I have in mind to do."

All the best for the New Year!
Leah Brammer

Concert Recommendations

There are so many wonderful concerts in the SF Bay Area to go see this year!  Following is a list of recommended solo piano concerts and one SF Symphony recommendation with piano concerto. They are listed by performer in chronological order with links to the sites to buy tickets. Enjoy!  Leah Brammer

Yefim Bronfman

Tuesday October 11 8:00 PM

Zellerbach Hall - Berkeley

 http://www.calperformances.org

***Marc-Andre Hamelin- Get tickets asap

Wednesday Nov. 2  8:00PM –Herbst Theatre SF

SFperformances.org

SF Symphony-Garrick Olson

Performs Mozart Concerto #9

Performances Thursday Feb. 2-Saturday Feb. 4

http://www.SFSymphony.org

Good for younger students

Leif Ove Andsnes

Thursday February 9 8:00 PM 

Herbst Theatre SF

SFperformances.org

Andras Schiff

Wednesday Feb. 28 8:00 PM

Zellerbach Hall – Berkeley

 http://www.calperformances.org

Murray Perahia

Sunday March 11 – 3:00PM

Zellerbach Hall - Berkeley

http://www.calperformances.org

Stephen Hough

Monday, March 19  7:30

Oshman Jewish center in Palo Alto

http://www.chambermusicSF.org

***Jonothan Biss –Get tickets asap

Sunday April 1 -3PM

Hertz Hall – Berkeley

http://www.calperformances.org

Olga Kern

Monday, April 16 – 7:30 PM

Oshman Jewish center in Palo Alto

http://www.chambermusicSF.org

*SF Symphony- Jean-Yves Thibaudet

Performs Saint-Saens Piano Concerto #5

Performances Thursday April 19-Sunday April 22

http://www.SFSymphony.org

The Importance of the Beginning

The beginning of the school year is a very special time for children.  There is a sense of excitement and readiness for learning in the air.  So, it is the parents and teachers responsibility to provide the best possible environment that preserves this readiness, nurtures awareness and supports optimum learning.

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 this awareness that develops through our attention 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)

In the lesson and at practice the parents main job is to put total attention on the child. For example, 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. Ideally, 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 kind of attention is valuable 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."

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. 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?

At the beginning of the school year, children are ready and eager to learn. We nurture that motivation by having the highest quality music and music experiences in the daily environment. This includes observing other students lessons, group classes, individual lessons, home listening/watching videos, practice, and attending concerts, 

We maintain this desire to make music by listening and noticing as the child is learning.  Then, as we give the child an affirmation or acknowledgment of what we are observing it increases their ability to learn and improve without the emotional roller coaster of good and bad.  The acknowledgment of what they are doing correctly provides them with the valuable feedback that enables deep concentration and learning. This is Positive Affirmation. We will be discussing how to use language in a way that supports this way of working with your child at the parents meeting.
 
The intention for the New Year is the development of awareness through optimum learning.
The resolution for the New Year is to provide an environment which preserves and develops intrinsic motivation. 

"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 this blog "Core Suzuki Piano", the article "Affirm, Motivate, and Inspire" published January 2010

4. "Zen Mind, Beginner's Mind" by Shunnru Suzuki, page 113

Masterclass Workshop with Cathy Hargrave

Date:  April 9 and 10
Location:  Core Suzuki Studio

I am very pleased to announce that Cathy Hargrave will teach master class lessons for the studio and also for students from around the Bay Area in the Core Suzuki Piano Studio on April 9 and 10.  
Parents can sign-up in the studio for their time.  Teachers who are interested in observing and/or having students for lessons can contact Leah Brammer.
  
About Cathy Hargrave:
Cathy Hargrave is one of 24 pianists world-wide who was granted a teaching certificate by Dr. Shinichi and Dr. Haruko Kataoka, the co-founder of the Suzuki Piano Method. She lived in Matsumoto, Japan four years for the purpose of studying the pedagogy of Suzuki Piano first-hand with Dr. Suzuki and Dr. Haruko Kataoka. For over 30 years, Cathy has taught Suzuki Piano to children and teachers. She has been a frequent guest lecturer/clinician/SAA teacher trainer at workshops, national, and international conferences throughout the U.S., as well as in Canada, Japan, and Russia. She is author of the book
Reading Music by Ear.   She maintains a private studio in Rowlett, Texas.

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.

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.

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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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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Marc-Andre Hamelin -Herbst Theatre- December 15!

Marc-Andre Hamelin's concert is definitely not to be missed. The City Box Office promo says of Hamelin:"A Startlingly original blend of virtuosity and power has earned this Canadian artist legendary status. Long known for his matchless exploration of unfamiliar piano terrain, Hamelin is now universally recognized for the depth and originality of his interpretations of Classical and Romantic repertoire."

Here is the program:
Haydn: Variations in F minor, hob. XVII:6
Mozart: Sonata in A minor, K310
Liszt: Venezia e Napoli, from Annees de Pelerinage
Faure: Nocturne No.6, Op. 63
Alkan: Symphonie for Solo Piano


Here is hamelin performing Liszt Hungarian Rhapsody #2



Tickets are almost sold out. See you there!

City Box Office tickets for Marc-Andre Hamelin on December 15

11_Twinkle Lessons -Discrimination

Dear Parents,
The boys really enjoyed the class this week. They have gotten much better with the rhythms, singing the solfege and are recognizing the pieces. Being able to recognize and name the pieces is very good for sound discrimination.

On Practice time:
Some students are now able to figure out the notes of the songs on the piano. Please continue to let them do this as it develops their ability to hear sound patterns and find them on the piano. It also drives their motivation to play. So, this independence is important for their overall progress even as it reinforces some physical habits we are trying to evolve. Three points are important to make this activity beneficial:
1. They need to hear the disc many hours a day so that the tone on the recording is the internalized sound they are trying to produce on the piano.
2. They are doing it on their own without instruction. In this way they will not go too far beyond what they can naturally do.
3. Separate this free time to figure out songs from the structured practice time. You can do this simply by taking a bow before and after the actual "practice".


Learning Suzuki method enables a child to play in the "Flow" without words in the way of the experience. This happens if we do not give them too many instructions.
So, anytime you can use a physical que this helps. Please use a soft hand to help them find the correct posture. Then, you can speak softly with a few key reminder phrases that you get from the lessons. This way your voice does not interfere with the sound of the piano.


On the Bow: Please continue to improve the bow by asking for one point such as "please look down when you bow", or "eyes at the end please".

On the Twinkles: Please have them listen for different kinds of sounds.
Twinkle A is all short sounds. When the finger releases the sound the hand relaxes. Teaching short sounds first imprints the physical movement so that the hand does not hold stiffness after the sound is played. Playing the short sound with a good tone is like throwing the dart into the very middle of the dart board. Playing becomes focused and accurate from this practice.

Please ask your child to listen for every sound to be short. When they finish that one pattern ask them if all of the sounds were short. If they say no, please affirm that they have very good hearing! This listening and knowing what has been played develops concentration and discrimination.

Twinkle B the first step is to listen for the long sounds, and practice long sounds. Through this practice they will begin to relax on the long note and not hold the note down with tension. Notice when the sound is really good.
After they are playing the rhythm with the long sound you can direct their attention to the short sounds. Was the first note really short? "I thought so too."

If you practice Twinkles this way they will not become boring. They are of course work. But they will remain interesting. The key is that the practice is affirming what the sound was, how the finger moved etc. in a neutral way with non-judgment about the child. By involving the child in the process of this knowing we are enabling them.

Dr. Kataoka says:

Tone is the basic element of music. If we do not completely learn how to produce tone in our childhood, we become people who are uninterested in tone, and then we can allow ourselves to play piano with a terrible and noisy sound. People who play like this gradually begin to dislike playing the piano. But if we play carefully with soft fingers, making a resonant sound and avoiding a crashing noise, we can give our whole minds to the tone we are playing.

Here is a link to a great article written about the Twinkles by Dr. Kataoka:
Dr. Kataokas article on Twinkles


I posted a video of Marc-Andre Hamelin performing the Hungarian Rhapsody #2 by Liszt with his own original cadenza. Please watch it if you have not already.
Below is the same piece performed at the 2007 10 Piano Concert in Sacramento. You may recognize parts of it as the "Bugs bunny/Tom and Jerry song.

Andrew Loo who you have seen in previous posts is performing as well as my daughter Bria. The 10 Piano Concerts are a very special part of studying Suzuki Piano. This is a very fun piece and is a wonderful opportunity for the children to "play with one heart"



Part 1



Part 2

Again, thanks so much for taking the time to read these posts, to watch the videos and to work with your children daily. This is a big job, perhaps more than you previously imagined. The benefits will be seen many years from now, but also please enjoy the process too. As a mother of two grown children I have felt how long a practice time can be and how short a time it is from childhood to adulthood. They are both true. You are all doing a wonderful job.
Leah Brammer

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Graduation Concert

Congratulations!
The following students will be performing at the Suzuki Music Association of
California's Bay Area Piano Graduation concert on November 15: Sydney -Level 1 Graduation, Helen -Level 2 Graduation, Minnie -Level 6 Graduation. This event will be at Holy Names College in Oakland.
It is free and open to the public.
Mark your calendars.
See you there!

8_Twinkle Lessons -The week of the Storm

Dear Parents,
It was a challenging environment for the students this week with the new schedule to understand and the storm as well. Thank-you to everyone for for being on time. The smaller groups will work well for the lessons once the routine is established. Please bring one book for them to read, or something to write/draw on by themselves that does not attract too much attention from the other students. I will always take time to look at the drawing or work that the students do while they are observing.

In group time we will continue rhythm study, and singing solfege. Please clap the rhythms at home and say the name "Twinkle A" etc.

The most important point for this week is to make sure there is no tension in the ready position. If we try to teach to much with words the result will be unnatural. The children need to feel balance over the keys with the correct finger touching the correct key. This is simple yet involves physical and mental stamina, as well as motivation and connection to something more interesting yet to come.

So, they need encouragement that this process will yield a result. Please let them know that their work is going to enable them to play the piano. Play the disc and videos and reinforce the concept that the practice they are doing is going to help them play well. This may seem obvious, but they need to hear encouragement often to keep working on holding a position at the piano without playing...

The ready position is both a beginning and a huge accomplishment. It takes time and care. It is the most difficult part of the process of playing, and a life lesson as well.


Please re-read this section from "How to Teach Beginners" by Dr. Kataoka:

Part 11: When the Lessons Begin

For some motivation here is a video I just posted of a former student Andrew Loo who is now a freshman at Georgia Tech performing Bach's Italian Concerto in his 2006 Graduation Level 8 Concert:


Andrew Loo performing Italian Concerto by J.S. Bach

Children keep us in the moment, whatever that may be
thankfully,
Leah Brammer

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7_Twinkle Lessons #6

Dear Parents,
I continue to be amazed at how much learning is going on. So much more than meets the eye of an adult. Watching the video is very informative.

The bows were so much better this week. I noticed that just doing the good bow made the students more serious about learning.

I put the new photos we took of each student on the Twinkle video blog section of the site, and also in the Current Studio Photos. We will do this again as their ready positions get better and better. Next class I will take a group photo.

I hope the boys enjoyed the little pumpkins and that they will remember the lesson this way.
It is very good to teach the children to give small gifts. It teaches respect and caring, and the gift of giving.

"What does not exist in the environment will not develop in the child. By no means only words or music, but everything, good or bad, is absorbed by the child." Dr. Suzuki

On the schedule/Creating awareness and importance in the environment:

They are all doing great. Because of this the lessons are getting longer and it is just too long to be in the environment now that the time is extended. Therefore, from this week forward the individual lessons will be divided into 2 groups. One group will go before the class time, and the other group will go after the class time. This will allow us to have the solfege singing, rhythm and other activities all together, but have a smaller group for the individual lessons.

With this new schedule it is really important that the students know exactly what to expect.
We need to continue to provide the structure in the environment for the students. This includes keeping the same format of coming in quietly, taking off shoes and placing them neatly on the shoe stand, washing their hands. sitting quietly, etc. This care creates awareness and importance. The knowledge of what is happening and what to do creates confidence and calmness. With this structure in the environment, the students can concentrate and learn fully.

On the Class Time: Please sing solfege at home with the recording so that the children are becoming more and more familiar with the notes. You can do this casually as the recording is playing. It is fine if you only know some of the solfege. Little by little it will become easy. If you sing this way with the recording it encourages the children to try to sing even if they don't know all of the solfege. It is fine if they do not sing. They will join in when they are ready.

On the Lesson:
Do finger numbers at the beginning of the practice. Begin with knowing finger # 1 and finger #5. Next Add finger # 2. When this is clear, focus in on finger #4. This is necessary to play Twinkle as it is the next finger they have to get ready on after the thumb.

Please have them get ready on each note of the twinkle before they play. Please have them wait for "go" . Especially give attention to finding ready on the note "So" with finger #4. Once the ready position on finger #4 is good, the other fingers are easy. Have them listen for short sounds.

The main point this week: Please work with your child at home in basically the same way you observe me working with them in the lesson. It is good for you to observe what is particularly successful in working with your child and also what is not. Every child responds according to their own sensibility. Being able to watch your child in the learning situation as the observer is such a critical part of being able to help them.

Thanks so much for your dedication to your child's progress and your attention to the lessons.
Leah Brammer

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Practice Sheets

Dear Parents,
I have uploaded the practice sheets so that you can print them at home as you need them. They are on this post, and I will also put the links on the sidebar for easier access in the future.

If the students and parents establish the habit and response ability to complete what is on the practice sheet each week, mark it on the sheet, and return it to the lesson, the practice time will become much easier and the progress will be much faster and more secure.

Please write out the assignment on the assignment sheet after the lesson. It is good if you can do this together with your child using the notes and video from the lesson. The main purpose of the lesson is to establish what and how to practice. So, as the teacher I first establish the core learning to be essential for the most effective learning, (the what) and next try several different ways of accomplishing that goal. (the how)
When the student can do well what is being asked in the lesson, then ability is being developed. This is assignment: to practice what they can do well. It is good to use the exact words that are effective at the lesson as ques at home. For specific spots, please also mark the spot in the score that you are using, and I will usually also have the student mark the spot in their score.

Of course practicing what they can do well also means learning new pieces. When the assignments on the pieces they are working on are accomplished the student is able to learn the new piece without struggle even if it involves challenge and focus.

There is also a main point to each lesson. This could be "follow and mark the assignment sheet". It could be "move your thumb", or "prepare for the recital" . Having one point to come back to is very useful, especially if you begin to feel overwhelmed!

I hope this helps.
Leah Brammer

Core Twinkle Practice Sheet

Core Book 1 Practice Sheet

Core Books 2 and up with daily boxes

Core Books 2 and up with daily boxes and more lines

Core Books 2 and up no daily boxes

Core Books 2 and up no boxes, wider format

5_Twinkle Group Class #4

Dear Parents,
Thank-you for taking the time to come to the parent meeting. I hope that the discussion of the terms "mother tongue method", "Natural learning" , and "Ability Development" in regards to your questions was useful so that you can refer often to these in your thinking about education and environment for your children. The discussions about the class environment were useful too and I hope that you are feeling comfortable in the class and also in how to work with your child.

I am very happy that the boys are so eager to come to the piano and all are doing their very best.
They really just need time to really absorb the physical/mental/emotional/spiritual skill of "ready". Physically this means arms above the keyboard with thumb on the note "do" and the other fingers relaxed but not touching the keys. I think all of the students can be more above the keyboard and you can observe my helping them with this on the lesson video. Once they can do this playing the piano will be infinitely easier with a much better tone/sound. So, if you can have them get ready 5 or so times during practice (each time counting to 5 or another number) that would be great. When you look at the video you will notice how each time I had them get ready the position improved. Then with some of the lessons there is the point where the ready was not as good. That is because I asked too much. So, it is good to know that "too much is the same as not enough". This is the kind of research we have to do as parents and teachers.

The seeds are planted. We can cultivate with care. Remember the old adage of the farmer who was so eager to assist his crops that he went out at night and tugged on the new shoots.
Sometimes the most difficult thing to do is the same thing with faith that ability is accumulating.

The following video from my Youtube channel would be great for the students to watch as they can really see hands over the keys, and a beautiful sound. Zak studied Suzuki Piano Basics in my studio for many years.
Zak Beard performing Mozart Concerto #20, 1st mvt. part 1
Zak Beard performing Mozart Concerto #20, 1st mvt. part 2 -(it will also come up as an option on the screen at the end of part 1)

At the parent meeting we discussed playing a Mozart Concerto for your children as recommended by Dr. Suzuki to develop an aural understanding of the language of music:
Here is a link to Amazon for the Mozart Concertos #20 and #21 You can buy the disc or the MP3 download. I recommend the disc however as you can always upload it to your computer and then still have the disc and the information insert. It is only $7.98!!


you all are doing a great job,
all the best,
Leah Brammer

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