Dear Parents,
Thank-you so much for the Christmas gifts. It was wonderful to see the children so happy to be giving the cards and gifts they brought.
By researching how children learn naturally and optimally we can provide the best environment and instruction to develop and expand children's ability to learn.
Dr. Suzuki named his school "Talent Education Institute" because of his realization and belief that all children with the right environment can learn music and develop "talent", or ability. In his book Where Love is Deep Dr. Suzuki says about the word "talent":
"I used the word in the sense that talent is something to be nurtured...I just used the word 'talent education' in my own way, and maybe I should say ability. But 'ability education' wouldn't make sense to anyone. If there is a better word, please tell me."
Ability education is the development of life ability-or talent at life. I use the phrase core education to refer to the same thing. The definition of the word core is:
" the central, innermost, or most essential part of anything." It is learning that enables the ability to learn which is the essential part of education. This is why I use the term "core education"
Developing talent involves preserving and nurturing the natural way children learn from birth. It is through their sensibilities that children learn. In her book Sensibility and Education, Dr. Kataoka says:
"A child can be a genius at ten, brillant at age 15, but an ordinary citizen after age twenty." (Japanese proverb) Why? The key to the answer lies in the fundamental difference between the nature of children and adults. Once we become adults, we start to accumulate knowledge which becomes the basis for our thought process and the source of our judgment. While sensibility, which is given to us by God when we are born, never fails us, knowledge, which is the wisdom of human beings, sometimes interferes with correct judgment made by sensibility. Knowledge is quite a powerful tool for us, but we should not always depend on it.. Our education must take better care of the sensibility of children so that they will not become "ordinary" adults who depend on knowledge to the extent that they ignore correct judgments made by their sensibility."
Whole learning is a process of ingesting the environment/concept all at once in an intuitive way.
It is the same principle that Dr. Kataoka refers to in learning through the senses rather than only the intellect. Children learn through touch, sound, intuition. We remember smells from our childhood that bring back vivid memories.
Babies and children learn through absorption of the total environment rather than part by part. This is also sometimes called ”right-brain learning” Whole learning is a better way to describe this absorption as it involves the right brain (learning through the senses/intuition and left brain (analytical) types of learning working together.
Whole learning is a concept which means that 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.
In music study, it is being able to understand and speak the language of music without necessarily knowing what a dotted quarter note is or the actual definition of all those Italian terms. Of course this knowledge is important. However, the child who learns holistically can play freely without the burden of too much thinking in the way.
The principle of skill development or sequence learning is the aspect of learning that develops ability. It is the principle that the most fundamental aspect in a child’s learning must always be addressed rather than focusing on the content of what is being learned. This is the balancing concept of whole learning and involves understanding of learning in relationship to sequencing and the development of ability through the acquisition of foundation skills. It is step by step that one can execute an ability whether it is playing piano, tennis, math or any endeavor that involves skill development. Without this we become a society of people that have knowledge, but fail to actualize that knowledge into ability.
Dr. Suzuki says:
"We may be able to say in an adult life, in many cases, is a life in which one cannot practice what one knows to be good."
When you hear a great pianist such as Marc-Andre Hamelin perform (last Tuesday evening) it is so inspiring because he puts everyone in the audience in this state of direct experience with the music. Obviously he has done a lot of study because in addition to playing completely freely he has an unbelievable skill level that has taken hard work, diligence and time. On the side of this blog I have posted a video of him performing a piece that he played on Tuesday evening.
So, we are always balancing whole learning where the person has an overall sense of the situation and learns freely/naturally with sequential learning where the ability to do something is developed with day to day practice and diligence.
In relation to the children's learning at this point in time:
Whole Learning: Continue to have listening on all day even as the holiday is busy and there may be less actual focus time at the piano. Sing solfege in the car with the disc. This absorption or internalization of the pieces is the "ready" for playing the melodies which we will begin after the holidays.
In practice to help students learn holistically allow them to experiment with finding the notes to the new pieces without any assistance. Allow the child to make mistakes without any judgment, but as a natural part of the learning process the way we know a baby will take a step and then fall down. Be careful not to give too many verbal instructions.
Sequential Learning/Skill Development When we are assigning spot practice we are using sequential steps to build ability. This is the Twinkles with "ready-go" part of the practice right now and occupies most of the practice at this point. To help students in sequential learning continue to write down the specific points from the lesson and mark off the assignment sheet with the sticker to show that the assignment is completed as assigned. Also give specific affirmations such as "When you moved your finger the sound/tone was really good."
*Please be sure in the ready position on thumb that the fingers are relaxed and not closed in a tight position. When the fingers are tight and the thumb plays there is a strong tendency to then put the thumb over top of the fingers when going to the next finger-finger #4. (Try it)
The thumb should never be over top of the fingers or else the fingers are unable to move when it is their time to play.
As parents and teachers we have the response ability to provide the environment for whole learning and the structure to enable sequential learning and develop life ability.
The holidays are a wonderful whole learning experience for children.
Happy Holidays!
Click Here for the link to the next Twinkle Lessons Blog
Friday, December 11, 2009
Wednesday, December 9, 2009
15_Twinkle Lessons-Applying the Integral Learning Concept
Dear Parents,
Last week I pointed out that December is a good month for the children to be able to absorb and integrate the skills that we have been working on since the beginning of the school year. It would also be good for you to review what has been in the previous blogs and relate it to your child's lessons.
On the Assignment:
Mental: You can follow through the group lesson activity of making alphabet/solfege snakes by starting on the lowest note of the piano "A" and saying the names of every white note. Then you can go back and do it again saying the solfege starting with "la". Also, please continue finger numbers daily even though I did not do them with every student in the lessons.
Physical: The most important point I see for all the children right now is that there is enough time in the ready where the body becomes still. Actually this point will probably be true all the way through learning Book 1. So much learning is going on in the "ready" when it seems that nothing is happening. Because, "nothing" is the point of ready. You could also think of it as "everything" because they are two sides of the same thing. In"ready" the body finds balance in the position, the mind settles down from outside thoughts, and there is a feeling/awareness of the moment. The sound is internalized as intention. Then on "go" the student is on the natural rhythm.
When there is good body balance in the ready position the student can achieve the best sound. So, you will notice that I am always working to find the best position. I am deciding this by any tension I see, how the fingers are moving, and also by the sound the student is making. As you work with your child on the body balance in the ready position you will come to know when the position will produce the best sound.
So, the most important point to teach is tone/sound. The sound has vibration that rings and affects the human being on many levels. It is produced with a balanced body, a clear mind, a soft heart, and hearing awareness.
Spiritual/Inspiration:
Play beautiful music in your home. The Nutcracker recording I recommended last week performed on 2 pianos with Martha Argerich is a wonderful recording that you will use for many years. On the side of this blog are You-tube links to that recording so that you can listen to it. I highly recommend buying the recording, so am putting the links on the side of this blog to inspire you to order it.
I was very happy this week when I played my arrangement of the Pachelbel Canon/ First Noel for the children that a couple students recognized the Pachelbel Canon .
Emotional: The children love working out the new songs. I think the solfege singing has facilitated their ability to do this. Please continue singing solfege and naming the songs on the recording as you hear them.
Also, it is wonderful if the students can share their own music with others. Each holiday I ask parents to make recording of their children playing piano to give to friends and family, post on Facebook, etc. It is fun to make a compilation of videos over several years as a Christmas present so even if the beginners aren't playing songs yet it will be good to have the beginning steps recorded. Twinkle Twinkle is a fine Holiday song!
Please read this article written and revised over the years:
The Gift of Giving
Environment:
Outside noise does effect the ability to concentrate. Ideally one can focus totally and not be distracted. However when there is quiet it is much easier to open up to the sound of the piano in the room. The children have become much more adjusted to being quiet in the studio. This week there was definitely more energy in the air with the Christmas decorations up. As the Christmas season becomes more busy, let's work to make the studio quiet during lessons. Then in between the lessons as we are changing students it is fine to talk. The bow at the beginning is the signal for the room to become quiet, and the bow at the end is the signal that it is ok to move around and talk.
Happy Holidays!
Leah Brammer
Click Here for the link to the next Twinkle Lessons Blog
Last week I pointed out that December is a good month for the children to be able to absorb and integrate the skills that we have been working on since the beginning of the school year. It would also be good for you to review what has been in the previous blogs and relate it to your child's lessons.
On the Assignment:
Mental: You can follow through the group lesson activity of making alphabet/solfege snakes by starting on the lowest note of the piano "A" and saying the names of every white note. Then you can go back and do it again saying the solfege starting with "la". Also, please continue finger numbers daily even though I did not do them with every student in the lessons.
Physical: The most important point I see for all the children right now is that there is enough time in the ready where the body becomes still. Actually this point will probably be true all the way through learning Book 1. So much learning is going on in the "ready" when it seems that nothing is happening. Because, "nothing" is the point of ready. You could also think of it as "everything" because they are two sides of the same thing. In"ready" the body finds balance in the position, the mind settles down from outside thoughts, and there is a feeling/awareness of the moment. The sound is internalized as intention. Then on "go" the student is on the natural rhythm.
When there is good body balance in the ready position the student can achieve the best sound. So, you will notice that I am always working to find the best position. I am deciding this by any tension I see, how the fingers are moving, and also by the sound the student is making. As you work with your child on the body balance in the ready position you will come to know when the position will produce the best sound.
So, the most important point to teach is tone/sound. The sound has vibration that rings and affects the human being on many levels. It is produced with a balanced body, a clear mind, a soft heart, and hearing awareness.
Spiritual/Inspiration:
Play beautiful music in your home. The Nutcracker recording I recommended last week performed on 2 pianos with Martha Argerich is a wonderful recording that you will use for many years. On the side of this blog are You-tube links to that recording so that you can listen to it. I highly recommend buying the recording, so am putting the links on the side of this blog to inspire you to order it.
I was very happy this week when I played my arrangement of the Pachelbel Canon/ First Noel for the children that a couple students recognized the Pachelbel Canon .
Emotional: The children love working out the new songs. I think the solfege singing has facilitated their ability to do this. Please continue singing solfege and naming the songs on the recording as you hear them.
Also, it is wonderful if the students can share their own music with others. Each holiday I ask parents to make recording of their children playing piano to give to friends and family, post on Facebook, etc. It is fun to make a compilation of videos over several years as a Christmas present so even if the beginners aren't playing songs yet it will be good to have the beginning steps recorded. Twinkle Twinkle is a fine Holiday song!
Please read this article written and revised over the years:
The Gift of Giving
Environment:
Outside noise does effect the ability to concentrate. Ideally one can focus totally and not be distracted. However when there is quiet it is much easier to open up to the sound of the piano in the room. The children have become much more adjusted to being quiet in the studio. This week there was definitely more energy in the air with the Christmas decorations up. As the Christmas season becomes more busy, let's work to make the studio quiet during lessons. Then in between the lessons as we are changing students it is fine to talk. The bow at the beginning is the signal for the room to become quiet, and the bow at the end is the signal that it is ok to move around and talk.
Happy Holidays!
Leah Brammer
Click Here for the link to the next Twinkle Lessons Blog
Friday, December 4, 2009
14_Twinkle Lessons - Integral Learning
The month of December is a good month for integration and absorption of skills.
The skills already learned can become easy and natural through the depth of learning that comes with time. Dr. Suzuki says: "Never hurry, don't be lazy" This is a good time to balance the busy holidays with practice sessions that do not hurry to the next skill.
Dr. Suzuki also said:"Knowledge plus 10,000 times equals ability."
Core Education is direct experience that integrates the mental realm with the physical and develops ability. Connecting the sound with the physical action is an integration of the physical with the mental and leads to an integration with the emotional and inspirational.
When the ability to play is developed so that the thinking and physical movements are not occupying the persons total concentration, but are integrated into the experience the student can "play by heart".
At this time it is important for the skills acquired be repeated enough times that they become a framework for other learning which will be built on top of it. The "framework" can also be compared to the software on a computer, or a map. Children's brains are forming the neural pathways that are like highways for later traffic. It is much harder for adults to acquire new frameworks -like learning a new language for example or using technical devices.
This is why childhood is so important.
The framework for playing piano is being developed through playing the Twinkles.
It is so wonderful that the Twinkles develop both pattern memory (the sequence of the notes in Twinkle) and pattern differentiation (the rhythms in the variations).
This absorption of the learning will enable the child to apply the framework of producing sounds to the new pieces.
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.
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. 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.
The first step is the internalized sound. Please listen to the disc on low volume all the time.
Then by directing attention to the sound as much as possible in practice and in lessons, the child learns naturally how to move the body to get the sound that they want.
Here is a recent NPR article "Musicians Hear Better" which cites current research being done on the development of auditory discernment through studying music
Dr. Mark Jude Tramo, a professor of neurology at Harvard and director of the Institute for Music & Brain Science says in the article : A musician "is going to be able to do better on any task that involves auditory concentration."
For holiday listening I would like to recommend a wonderful disc with pianist Martha Argerich performing Tchaikovsky"s Nutcracker suite with Nicolas Economou in the two piano version as well as Tchaikovsky's Piano Concerto #1 with the Berlin Philharmonic orchestra. It is the first disc on the Listening Recommendations page of this website.
I hope you are enjoying the journey of this research. Thank-you for you attention to it.
Leah Brammer
Click Here for the link to the next Twinkle Lessons Blog
The skills already learned can become easy and natural through the depth of learning that comes with time. Dr. Suzuki says: "Never hurry, don't be lazy" This is a good time to balance the busy holidays with practice sessions that do not hurry to the next skill.
Dr. Suzuki also said:"Knowledge plus 10,000 times equals ability."
Core Education is direct experience that integrates the mental realm with the physical and develops ability. Connecting the sound with the physical action is an integration of the physical with the mental and leads to an integration with the emotional and inspirational.
When the ability to play is developed so that the thinking and physical movements are not occupying the persons total concentration, but are integrated into the experience the student can "play by heart".
At this time it is important for the skills acquired be repeated enough times that they become a framework for other learning which will be built on top of it. The "framework" can also be compared to the software on a computer, or a map. Children's brains are forming the neural pathways that are like highways for later traffic. It is much harder for adults to acquire new frameworks -like learning a new language for example or using technical devices.
This is why childhood is so important.
The framework for playing piano is being developed through playing the Twinkles.
It is so wonderful that the Twinkles develop both pattern memory (the sequence of the notes in Twinkle) and pattern differentiation (the rhythms in the variations).
This absorption of the learning will enable the child to apply the framework of producing sounds to the new pieces.
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.
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. 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.
The first step is the internalized sound. Please listen to the disc on low volume all the time.
Then by directing attention to the sound as much as possible in practice and in lessons, the child learns naturally how to move the body to get the sound that they want.
Here is a recent NPR article "Musicians Hear Better" which cites current research being done on the development of auditory discernment through studying music
Dr. Mark Jude Tramo, a professor of neurology at Harvard and director of the Institute for Music & Brain Science says in the article : A musician "is going to be able to do better on any task that involves auditory concentration."
For holiday listening I would like to recommend a wonderful disc with pianist Martha Argerich performing Tchaikovsky"s Nutcracker suite with Nicolas Economou in the two piano version as well as Tchaikovsky's Piano Concerto #1 with the Berlin Philharmonic orchestra. It is the first disc on the Listening Recommendations page of this website.
I hope you are enjoying the journey of this research. Thank-you for you attention to it.
Leah Brammer
Click Here for the link to the next Twinkle Lessons Blog
Monday, November 16, 2009
13_Twinkle Lessons - November 17, 2009 - Happy Thanksgiving
Dr. Suzuki said "Only practice on the days that you eat".
From looking at the practice sheets I can see that see that the children are practicing daily. So, about now the daily habit should be getting easier-just in time for the holidays...music becomes a part of every day.
As my children were growing up holidays were special concert days instead of the regular practice. All the family would gather for the performance. It turned out that this became an event that evolved into making up a program to give out, getting out the video etc. So getting ready for the performance was important too.
Whether your child is doing make-up songs, Twinkles, or the Liszt Hungarian Rhapsody this is a wonderful way to acknowledge your child's efforts in a relatively pressure free situation. Grandparents usually can enjoy each little step and children enjoy playing for them because of this. If you are away at friends or family there may not be an adjustable bench and footstool, or even only a keyboard is available. Not to worry. Flexibility is good.
It is good to keep these occasions very relaxed and in the spirit of the holiday. The most important point is to really enjoy this time as it is and then your child will enjoy the attention, feel good about sharing their music, and want to do it again in the future.
If you are traveling away from home be sure to take the disc/listening. Long trips are perfect for extra listening, and a good chance to listen to the "Suzuki favorites" disc, or the Mozart Concerto.
This holiday I am very grateful for my wonderful students and parents!
Happy Thanksgiving.
Leah Brammer
Click here for link to the next Twinkle Lessons Blog
From looking at the practice sheets I can see that see that the children are practicing daily. So, about now the daily habit should be getting easier-just in time for the holidays...music becomes a part of every day.
As my children were growing up holidays were special concert days instead of the regular practice. All the family would gather for the performance. It turned out that this became an event that evolved into making up a program to give out, getting out the video etc. So getting ready for the performance was important too.
Whether your child is doing make-up songs, Twinkles, or the Liszt Hungarian Rhapsody this is a wonderful way to acknowledge your child's efforts in a relatively pressure free situation. Grandparents usually can enjoy each little step and children enjoy playing for them because of this. If you are away at friends or family there may not be an adjustable bench and footstool, or even only a keyboard is available. Not to worry. Flexibility is good.
It is good to keep these occasions very relaxed and in the spirit of the holiday. The most important point is to really enjoy this time as it is and then your child will enjoy the attention, feel good about sharing their music, and want to do it again in the future.
If you are traveling away from home be sure to take the disc/listening. Long trips are perfect for extra listening, and a good chance to listen to the "Suzuki favorites" disc, or the Mozart Concerto.
This holiday I am very grateful for my wonderful students and parents!
Happy Thanksgiving.
Leah Brammer
Click here for link to the next Twinkle Lessons Blog
Friday, November 13, 2009
12_Twinkle Lessons - Fertilizing the roots
Dear Parents,
Dr. Kataoka said "The beginning is most important" (1) The sound/tone is being absorbed, physical movements are being imprinted, and the emotional habits are taking form. The mental construct forms the relationship between the physical condition, the emotional feeling and the aural sensibility.
In his book "Where Love is Deep" (2) Dr. Suzuki answers questions in an interview:
Dr. Suzuki's development of the Twinkle Variations for the beginning steps is a crucial part of the Suzuki method. By using an international folk song upon which he developed the variations containing the basics of tone production, Dr. Suzuki set out both a method and a philosophy of learning in the same piece.
Dr. Suzuki discusses the importance of the "preparation" habit (3). This preparation or "ready" allows the student to find the natural physical position, and to become ready inside by quieting the mind. Little by little this preparation time becomes shorter, and then immediate or instinctive. Ultimately when the student plays without stops, the concentration and body balance are learned from this practice of preparing for each note, and the fluency of playing becomes natural and without tension.
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.
If the student is engaged to listen for subtle differences in the sound and how their body works to produce the sound, they will be absorbed in the process. This is an an observation of what is happening rather than a judgment about whether they are right or wrong, In this way the child is naturally concentrating and a lot can be accomplished in a relatively short amount of time.
On the assignment:
finger numbers: Please continue even if it seems easy. Please do both hands. It needs to be repeated until it is 100% memorized without thought. This is the prerequisite to playing notes in a sequence as it develops the awareness of each fingers individual capacity.
Ready Position: This is getting easier now as the physical position is memorized and the mind can become still. It is a very good beginning to the practice.
Please continue.
Twinkle A -Sing the rhythm for your child to set a tempo if they are playing too fast and not hearing each note. Too slow is just as difficult as too fast, so experiment with this. Basically slightly slower than the recording at this point is probably good. You can also use the tempo from the video recording of the lesson.
Twinkle B: It is good to keep the long note practice. This is a listening practice. Notice when your child begins to have a relaxed hand after playing the note rather than continuing to push the key down with extra pressure. The sound will be better. Bring their awareness to this.
Twinkle C: This rhythm is slight more difficult than Twinkle A and is good for discrimination. Last week one of the students was mixing up the two rhythms when I began teaching Twinkle C.
So, please put the Twinkle recording on repeat. Clap the rhythms and name them "Twinkle A, Twinkle B, Twinkle C, Twinkle D or Twinkle Twinkle.
Following is a recording of Walter Giseking performing a set of Twinkle Variations written by Mozart that I have been listening to while writing this blog.
This recording is available through Amazon on the Recommended Recordings page of my website. It is in a box set and includes pieces from Book 7 including another set of variations written by Mozart in the Sonata K331.
Bibliography-
(1) Sensibility and Education - page 25
(2) Where Love is Deep-page 122 (out of print)
(3) The Suzuki Concept -page 44 (oriented more for violin study)
Click Here for link to the next Twinkle Lessons Blog
Dr. Kataoka said "The beginning is most important" (1) The sound/tone is being absorbed, physical movements are being imprinted, and the emotional habits are taking form. The mental construct forms the relationship between the physical condition, the emotional feeling and the aural sensibility.
In his book "Where Love is Deep" (2) Dr. Suzuki answers questions in an interview:
Hatano:So your aim is to bring the violin into children's lives and to foster their ability while letting them enjoy their lives.
Suzuki:Yes. And we always keep our eyes on the growing ability. Take sound for example. We watch the development of the child's sound: how his sound changes to finer sound, how refined his motion can be, how musical he can be.
Suppose we grow plants, we plant a seedling and watch it's root rather than it's leaves and branches. We watch the invisible expansion of it's root, water and fertilize the root. To foster what we can't see-- that is our aim. If we do that, a fine root can grow, though with few leaves, on a single teaching material and eventually it will become a larger tree. So, although we may use limited teaching materials, we aim at sturdy growth. If instead the basic stage is handled roughly, the growth may be smooth to a certain point, but then it will curve and stop after that, since the root is small.
Dr. Suzuki's development of the Twinkle Variations for the beginning steps is a crucial part of the Suzuki method. By using an international folk song upon which he developed the variations containing the basics of tone production, Dr. Suzuki set out both a method and a philosophy of learning in the same piece.
Dr. Suzuki discusses the importance of the "preparation" habit (3). This preparation or "ready" allows the student to find the natural physical position, and to become ready inside by quieting the mind. Little by little this preparation time becomes shorter, and then immediate or instinctive. Ultimately when the student plays without stops, the concentration and body balance are learned from this practice of preparing for each note, and the fluency of playing becomes natural and without tension.
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.
If the student is engaged to listen for subtle differences in the sound and how their body works to produce the sound, they will be absorbed in the process. This is an an observation of what is happening rather than a judgment about whether they are right or wrong, In this way the child is naturally concentrating and a lot can be accomplished in a relatively short amount of time.
On the assignment:
finger numbers: Please continue even if it seems easy. Please do both hands. It needs to be repeated until it is 100% memorized without thought. This is the prerequisite to playing notes in a sequence as it develops the awareness of each fingers individual capacity.
Ready Position: This is getting easier now as the physical position is memorized and the mind can become still. It is a very good beginning to the practice.
Please continue.
Twinkle A -Sing the rhythm for your child to set a tempo if they are playing too fast and not hearing each note. Too slow is just as difficult as too fast, so experiment with this. Basically slightly slower than the recording at this point is probably good. You can also use the tempo from the video recording of the lesson.
Twinkle B: It is good to keep the long note practice. This is a listening practice. Notice when your child begins to have a relaxed hand after playing the note rather than continuing to push the key down with extra pressure. The sound will be better. Bring their awareness to this.
Twinkle C: This rhythm is slight more difficult than Twinkle A and is good for discrimination. Last week one of the students was mixing up the two rhythms when I began teaching Twinkle C.
So, please put the Twinkle recording on repeat. Clap the rhythms and name them "Twinkle A, Twinkle B, Twinkle C, Twinkle D or Twinkle Twinkle.
Following is a recording of Walter Giseking performing a set of Twinkle Variations written by Mozart that I have been listening to while writing this blog.
This recording is available through Amazon on the Recommended Recordings page of my website. It is in a box set and includes pieces from Book 7 including another set of variations written by Mozart in the Sonata K331.
Bibliography-
(1) Sensibility and Education - page 25
(2) Where Love is Deep-page 122 (out of print)
(3) The Suzuki Concept -page 44 (oriented more for violin study)
Click Here for link to the next Twinkle Lessons Blog
Thursday, November 5, 2009
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
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
Wednesday, November 4, 2009
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:
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
Click here for link to the next Twinkle Lessons Blog
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
Click here for link to the next Twinkle Lessons Blog
Sunday, November 1, 2009
Exploring the Senses - touch/feel
When we think about the relative importance of touch in learning compared to the other senses we usually associate this difference as emotional. Touch is crucial. Blind people see in other ways. People that are deaf, adapt other forms of communication.
What about people that cannot feel? It's very destructive to the sense of self in relating to the outside world.
Is that bad? Well, no, not if you have a kinesthetic memory pattern that allows you to understand that reality without the actual physical experience. However in terms of initial physical imprinting for babies and young children it is probably the most important and the most directly related to intuition. This may seem in contrast to the idea that intuition happens outside of the physical dimension, but the embed formula has to be there through experience at some point.
In other words, babies feel. Children feel.
When does this become less important than what the mind thinks?
At about the point that a person has to cope with a difficulty that requires thinking.
In learning piano if a child can get direct learning through the awareness of touch in playing the piano to get different kinds of sounds they become very sensitive capable people. The sense of touch is the direct experience educator.
People can benefit greatly by developing the sense of touch and it's correlation to the hands as the communicator in addition to speaking. This develops direct ability at all kinds of computer/communication skills in addition to being in touch with the artistic value of making music.
Piano ability is life ability.
What about people that cannot feel? It's very destructive to the sense of self in relating to the outside world.
Is that bad? Well, no, not if you have a kinesthetic memory pattern that allows you to understand that reality without the actual physical experience. However in terms of initial physical imprinting for babies and young children it is probably the most important and the most directly related to intuition. This may seem in contrast to the idea that intuition happens outside of the physical dimension, but the embed formula has to be there through experience at some point.
In other words, babies feel. Children feel.
When does this become less important than what the mind thinks?
At about the point that a person has to cope with a difficulty that requires thinking.
In learning piano if a child can get direct learning through the awareness of touch in playing the piano to get different kinds of sounds they become very sensitive capable people. The sense of touch is the direct experience educator.
People can benefit greatly by developing the sense of touch and it's correlation to the hands as the communicator in addition to speaking. This develops direct ability at all kinds of computer/communication skills in addition to being in touch with the artistic value of making music.
Piano ability is life ability.
Exploring the Senses -Smell/Taste
Consider what you remember by smell, what it brings back in feeling and response to you.
How much did you learn about the world by the sense of smell?
Is it important to you now?
How important is it for learning?
Do we teach it?
Should we consider it a factor in education?
Is it part of a core education?
How much did you learn about the world by the sense of smell?
Is it important to you now?
How important is it for learning?
Do we teach it?
Should we consider it a factor in education?
Is it part of a core education?
Friday, October 23, 2009
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!
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!
9_Twinkle Lessons -focus with the ears
Dear Parents,
The bow is much better! The body balance is improving. The ready positions are becoming more still. We will continue to work on these -for about the next 10 years!
Developing ability continues in a spiral so that we always come back to the most basic points as we advance.
At the same time that this is true, we are now able to focus more attention on tone.
Think about what you do when you seek to hear something -you become still. This is a kind of "focusing" with the aural sense. So, this is the place we are now.
Dr. Kataoka says this to students in her writings about tone:
Again from Dr. Kataoka's writings:
You will begin to 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:
Of course this is true, but it is not just the brain that becomes smarter.
It is the heart.
Last week I posted a video of Andrew Loo from 2006 performing Bach Italian Concerto for his Level 8 graduation concert. I wrote at the top of that post that I remember his lesson with Dr. Kataoka on Dr. Suzuki's Allegro at the end of Book 1 before his level 1 graduation concert. As promised to Dr. Kataoka, he practiced his down-up spot 200X every day for about 2 weeks before the concert. When he played his tone was so beautiful that the sound filled the entire hall. This week I found this recording of his performance in my old 8mm tapes:
June 1998-Andrew Loo, performing Allegro by Dr. Suzuki for his Level 1 Graduation
On the assignment:
Please continue. Please help your child to have balance in the posture and in the hand without tension. Next, focus on the sound. Affirm when the sound is good without tension. Speak softly so that the sound of the piano becomes the focus and not your voice.
Thanks so much for this opportunity to teach your children!
Leah Brammer
*Three articles written by Dr. Kataoka about tone can be found in these online issues of Piano Basics:
Suzuki Piano Basics Foundation News -March/April 1998
Suzuki Piano Basics Foundation News - May-June 1998
Suzuki Piano Basics Foundation -July-August 1998
Click for link to the next Twinkle Lessons Blog
The bow is much better! The body balance is improving. The ready positions are becoming more still. We will continue to work on these -for about the next 10 years!
Developing ability continues in a spiral so that we always come back to the most basic points as we advance.
At the same time that this is true, we are now able to focus more attention on tone.
Think about what you do when you seek to hear something -you become still. This is a kind of "focusing" with the aural sense. So, this is the place we are now.
Dr. Kataoka says this to students in her writings about tone:
"Students, when you begin to study piano, you take a lesson in tone from your teacher each week. (Don't worry if you hear the same things repeated over and over!) Please become a person who can, after ten years, make the kind of musical tone to which you can give your whole mind and soul. If you acquire this ability, you can play pieces freely and enjoyably, and the people who hear you will be happy."It is interesting that the students know which is the good tone immediately when I ask them. So, they can already hear when the tone has tension in it, just as babies hear and respond to tension in a persons voice. How do we "teach" tone?
Again from Dr. Kataoka's writings:
"let us consider the matter of tone on the piano. With strings and wind instruments, and with respect to the human voice, sound may not continue unless we continue to breathe or to move the bow. Those musicians can actually maintain an interest in tone throughout their bodies because of this. How about piano tone? First we produce the sound (resulting in the initial "attack" if you will), and then we must do nothing but stay on the key in order to hold the sound. We really do not do anything. But in fact, just as with other instruments, we must listen intently to our sound as it is being sung, and breathe into it with our heart of hearts. However, it seems that it is not easy to find a teacher who teaches this from the very beginning. Consequently, most pianists think only of the initial attack as the tone of the instrument. This is a mistake. From the point of the attack, musical tone rings for a long time, gradually decreases, and dies out at the end. It is a most beautiful process when tone decreases and dies out. It is the essence of the beauty of piano tone. Please, pianists, enjoy beautiful tone."We have been listening for short sounds in Twinkle A. We are beginning to listen now for long sounds as we learn Twinkle B. The practice of playing one sound and listening until it stops is very useful. Once they put their whole attention in it they probably will hear the piano sound longer than you do.
You will begin to 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."Parents often want piano lessons for their child because it will make them "smarter".
and also:
"Beautiful Tone, Beautiful Heart"
Of course this is true, but it is not just the brain that becomes smarter.
It is the heart.
Last week I posted a video of Andrew Loo from 2006 performing Bach Italian Concerto for his Level 8 graduation concert. I wrote at the top of that post that I remember his lesson with Dr. Kataoka on Dr. Suzuki's Allegro at the end of Book 1 before his level 1 graduation concert. As promised to Dr. Kataoka, he practiced his down-up spot 200X every day for about 2 weeks before the concert. When he played his tone was so beautiful that the sound filled the entire hall. This week I found this recording of his performance in my old 8mm tapes:
June 1998-Andrew Loo, performing Allegro by Dr. Suzuki for his Level 1 Graduation
On the assignment:
Please continue. Please help your child to have balance in the posture and in the hand without tension. Next, focus on the sound. Affirm when the sound is good without tension. Speak softly so that the sound of the piano becomes the focus and not your voice.
Thanks so much for this opportunity to teach your children!
Leah Brammer
*Three articles written by Dr. Kataoka about tone can be found in these online issues of Piano Basics:
Suzuki Piano Basics Foundation News -March/April 1998
Suzuki Piano Basics Foundation News - May-June 1998
Suzuki Piano Basics Foundation -July-August 1998
Click for link to the next Twinkle Lessons Blog
Thursday, October 15, 2009
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
Click for link to the next Twinkle Lessons Blog
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
Click for link to the next Twinkle Lessons Blog
Thursday, October 8, 2009
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
Click for link to the next Twinkle Lessons Blog
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
Click for link to the next Twinkle Lessons Blog
Wednesday, October 7, 2009
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
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
Friday, October 2, 2009
6_Twinkle Lessons #5
Dear Parents,
I loved showing the children the bird nest from my yard and playing the two different Cuckoos for them. They will probably recognize when Cuckoo comes on the recording this week.
Here is a recording from 1994 when Kelsey, a 6 year old student of mine at the time who is now in college, traveled with me to Japan to study, homestay with a Japanese family, and perform Cuckoo and Chant Arabe from Book 1 in the 10 Piano Concert:
Here is a Youtube link to a recording of former student Lauren Schommer who now studies with Cathy Hargrave in Dallas Texas and is a senior in high school performing The Cuckoo from Book 6 for a graduation recording in my studio circa 2004:
Lauren Schommer performing The Cuckoo by Daquin
Here is another link to a recording of The Cuckoo performed by famous pianist/composer Sergei Rachmaninoff recorded in 1920:
Rachmaninoff performs The Cuckoo by Daquin
The recording is obviously very old, but the playing is so great it is worth it.
On the lessons:
The Listening: Identify which Twinkle is playing (A, B, C, D-Theme) on the disc as you are listening.
The Bow: Please work on balance at the end of the bow. They may be bowing too fast or going too low. It takes daily attention.
The Ready: All of the students ready positions were so much better this week! They can really do ready position well now especially with a little help. By practicing it many times they will be able to have good body balance and concentration immediately upon sitting at the piano without any tension, and without any help.
Twinkle: The Twinkle A rhythm on thumb is coming along. It is good to do only a few of these each day.
Finger Numbers: Please practice finger numbers in different ways. It is good to practice knowing the finger numbers by touch and not only by looking at the finger. So, have them close their eyes and say the finger number that you touch. When they can feel the specific finger on the note they are getting ready on they will not have to try to look down or hold the other fingers in a stiff way to see which finger is on the key.
Keyboard recognition: Have them find all the do's and the so's. It is good to do this standing up. If they like to play the notes while singing Do a deer this would also be good.
Main point: Practice and affirm what they can do.
This is nurturing with love.
Click to link for next Twinkle Lessons Blog
I loved showing the children the bird nest from my yard and playing the two different Cuckoos for them. They will probably recognize when Cuckoo comes on the recording this week.
Here is a recording from 1994 when Kelsey, a 6 year old student of mine at the time who is now in college, traveled with me to Japan to study, homestay with a Japanese family, and perform Cuckoo and Chant Arabe from Book 1 in the 10 Piano Concert:
Here is a Youtube link to a recording of former student Lauren Schommer who now studies with Cathy Hargrave in Dallas Texas and is a senior in high school performing The Cuckoo from Book 6 for a graduation recording in my studio circa 2004:
Lauren Schommer performing The Cuckoo by Daquin
Here is another link to a recording of The Cuckoo performed by famous pianist/composer Sergei Rachmaninoff recorded in 1920:
Rachmaninoff performs The Cuckoo by Daquin
The recording is obviously very old, but the playing is so great it is worth it.
On the lessons:
The Listening: Identify which Twinkle is playing (A, B, C, D-Theme) on the disc as you are listening.
The Bow: Please work on balance at the end of the bow. They may be bowing too fast or going too low. It takes daily attention.
The Ready: All of the students ready positions were so much better this week! They can really do ready position well now especially with a little help. By practicing it many times they will be able to have good body balance and concentration immediately upon sitting at the piano without any tension, and without any help.
Twinkle: The Twinkle A rhythm on thumb is coming along. It is good to do only a few of these each day.
Finger Numbers: Please practice finger numbers in different ways. It is good to practice knowing the finger numbers by touch and not only by looking at the finger. So, have them close their eyes and say the finger number that you touch. When they can feel the specific finger on the note they are getting ready on they will not have to try to look down or hold the other fingers in a stiff way to see which finger is on the key.
Keyboard recognition: Have them find all the do's and the so's. It is good to do this standing up. If they like to play the notes while singing Do a deer this would also be good.
Main point: Practice and affirm what they can do.
This is nurturing with love.
Click to link for next Twinkle Lessons Blog
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