Piano Tuned!

The piano was tuned today.  I don't know exactly when it was last tune, but suffice it to say it has not been tuned since we moved here (four years ago).  It sounds SO much better! I actually practiced today just because I was enjoying the sound of it. 

The piano was sharp--I could hear that the second the guy played A440.  Woah.  The upper ranges were pretty bad, but the lower parts weren't too off. 

The dog did not love the tuner.  He tried howling a few times, but I managed to shush him.  Then he went outside for a while, and I think he liked the quiet out there so much that he stayed out there a long time. 

I pointed out one key that had a real twang to it, and I heard the tuner working that one quite a bit.  He pointed out at the end that it's more a product of the design of the piano than anything else.  It's right where the strings change and the pads change, too, so that's why it has that ring to it.  He calmed it down a bit, but it's been bothering me since 1976, so I suppose I should be used to it by now. 

Now I won't be embarrassed when my students play on it for lessons.  It was well worth the $95, and I don't know why I didn't do it sooner!

Why I Do What I Do

Recently, the parent of a potential new student asked me several questions about my piano teaching philosophy.  It was fun to articulate it:

     I am happy to answer your questions and write about piano lessons. I've been teaching piano lessons on and off (mostly on) since I've been in college back in the late 80's.  My piano teacher owned her own music store, sold pianos, and had about 30 teachers working for her.  One night a week, I taught about six or eight lessons, and I was fortunate to have the resources of her music store (and her!) at my fingertips.  Since I moved to Fredericksburg fifteen years ago, I have

been teaching young students to play, and hopefully love, the piano.  

     Most of my current students have been with me for more than three years.  You might know the name Jessica *** from FA.  I gave her piano lessons for many years, before the demands of her high school schedule became too much for her to keep up with weekly lessons. Jess is an amazing young musician and has diverse interests and abilities, but if you were to ask her or her parents, they'd say that the strong foundation she had at the piano with me enabled her to pursue voice, drama, and other creative interests.

     Every young person is different--they all respond to different approaches, different kinds of music, and they all learn and progress differently.  I am experienced enough to know what confuses them, and I am usually successful in explaining things in ways they can understand.  For some students, they can learn the rhythm of eighth notes by hearing "pea-nut-but-ter-pea-nut-but-ter" in their heads.  Others do better by counting "one-and-two-and-three-and-four-and," and others simply have that internal rhythm that perfectly subdivides the beat. We celebrate every little success, and luckily, there are many of them when learning to play the piano.

     This time of year, students are generally excited about practicing because of the addition of Christmas carols to their repertoire.  They enjoy playing songs that are familiar to them, and to that end, I try balance what the students need to play (to advance) and what they like to play (to get better).  Sometimes, the same song can accomplish both objectives.  Other times, I guide the students through what they need to know while giving them free choice to play what they enjoy.  One of my middle school students is working through the soundtrack of Twilight--this is not music I love, but she does, and she has been able to play these harder songs because she knows what they sound like and she enjoys them.

     Generally, I have two recitals a year, which are held in conjunction with another music teacher with a small studio like mine.  In the recent past, our recitals were held at a local Baptist church in their sanctuary, but we've also held them elsewhere.  We usually have a holiday recital in the beginning of December and a spring recital in early May.  It is not mandatory for students to memorize their pieces, but I encourage my students to do so.  For some students in their first recital, or those who are extra anxious, using their music helps them feel successful--which is the goal of any performance.

     For some piano students, I've had to set up sticker charts or practice logs to help them stay on top of their weekly assignments.  Most students, however, do not need these extrinsic measures to encourage them to practice.  One of my students, when she completed a song she'd been working on for several weeks, wanted nothing more than to play it for her classroom teacher. That teacher and I set up a Skype session where she could watch the student via our laptops, offering immediate feedback and positive comments.  I encourage my students to play for each other at the beginning or end of their lessons, as one student arrives and one is finishing up.  Often, I play duets with the students, or set up duets with students of similar abilities. Students keep a notebook along with their piano books where I write their lesson for the week: usually (based on age and how long a student has been studying) a scale, chords and cadences, arpeggios, finger exercises, theory, and a list of the pieces to practice with notes to help the students remember what they need to work on.

     I'm am not just a 'methods book' kind of piano teacher.  While a methods book gives us a systematic, leveled experience, it, by itself, is not enough.  Students need ear training, technique, theory, and supplemental pieces to round out their musical experience.  Many of these components to the study of piano are accomplished through play and games.  Sometimes, we watch a video of a famous piece being performed on my computer, other times, we close the piano lid and tap rhythms.  Sometimes, we take turns looking away from the keyboard and then trying to locate a particular note just by hearing it.  Just as I am not a 'methods book' only teacher, I am not a 'practice-to-the-minute' kind of teacher, either.  Instead of a specific amount of time spent practicing each day, what is more important are the number of exposures students get to the music.  For example, practicing once a week for two hours will not yield the same results as practicing six days a week for fifteen minutes each.

     I am a teacher by trade, teaching elementary school library in the public schools.  Teaching piano is a natural extension of my teaching day, and teaching young people to make music is a relaxing and fulfilling end to my work day.  When I was growing up, there were times that I wanted to quit studying the piano, but my parents always managed to talk me into sticking with it.  I am so glad! All those years of practice, recitals, competitions, and yes, money were very well spent.  I am paying forward the love and dedication of my parents and teachers with a new generation of young musicians.

     You are to be commended for allowing your child to study piano--it is both a sacrifice of time and money.  Hopefully, the rewards for your child and you will be both quickly realized and long-standing.  Thank you for asking good questions, too, about finding a piano teacher.  It was fun for me to articulate what I do and why I do it!