Comments for The 3-D Piano Method http://3-dpiano.com Mastering Piano by Mastering Your Body Mon, 20 Feb 2012 15:24:13 +0000 hourly 1 Comment on Incorporating Sight-Reading into Piano Lessons and Practice by 3-D Piano http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3913 3-D Piano Mon, 20 Feb 2012 15:24:13 +0000 http://3-dpiano.com/?p=513#comment-3913 Elizabeth, Yes, please feel free to share the article with anyone who you think may find it interesting! I also encourage you, and anyone else interested in our articles and piano pedagogy, to: * Sign up for our Soundpoint newsletter (form at the top of the website) * Check out our <a href="http://3-dpiano.com/soundpoint-archive/" rel="nofollow">Soundpoint archive</a> and share anything you like with your friends, colleagues, and students * Like us on <a href="http://www.facebook.com/pages/The-3-D-Piano-Method/119818488092951" rel="nofollow">Facebook</a>, as we'll post links to the content we publish Thanks for reading! Elizabeth,

Yes, please feel free to share the article with anyone who you think may find it interesting!

I also encourage you, and anyone else interested in our articles and piano pedagogy, to:

* Sign up for our Soundpoint newsletter (form at the top of the website)
* Check out our Soundpoint archive and share anything you like with your friends, colleagues, and students
* Like us on Facebook, as we’ll post links to the content we publish

Thanks for reading!

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Elizabeth Nelms http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3225 Elizabeth Nelms Sat, 28 Jan 2012 03:05:01 +0000 http://3-dpiano.com/?p=513#comment-3225 May I share your article with my music teacher friends? I am first a flutist, then a pianist. I taught myself to sightread at the piano and have worked hard as a teacher to get kids past the "stammer" stage. In our local student music festival, we offer sightreading as an option for earning points. Very few actually enter - perhaps because of their teachers' fears from college sightreading exams where quite difficult music was presented. We always choose music for the students that is two levels easier than their solo performance level. This is an important aspect because it helps build the student's confidence level. It is really hard for kids to learn to play through mistakes; so it is important that they learn their sightreading skills on easy music. May I share your article with my music teacher friends? I am first a flutist, then a pianist. I taught myself to sightread at the piano and have worked hard as a teacher to get kids past the “stammer” stage. In our local student music festival, we offer sightreading as an option for earning points. Very few actually enter – perhaps because of their teachers’ fears from college sightreading exams where quite difficult music was presented. We always choose music for the students that is two levels easier than their solo performance level. This is an important aspect because it helps build the student’s confidence level. It is really hard for kids to learn to play through mistakes; so it is important that they learn their sightreading skills on easy music.

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Fred Karpoff http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3223 Fred Karpoff Fri, 27 Jan 2012 21:37:36 +0000 http://3-dpiano.com/?p=513#comment-3223 Absolutely, Cheryl! Regular ensemble playing with another musician (including with the teacher, as you described) has countless benefits--and should probably be the subject of a future article. Thanks for highlighting this element in relation to reading and 'flow'. Absolutely, Cheryl! Regular ensemble playing with another musician (including with the teacher, as you described) has countless benefits–and should probably be the subject of a future article. Thanks for highlighting this element in relation to reading and ‘flow’.

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Fred Karpoff http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3222 Fred Karpoff Fri, 27 Jan 2012 21:29:51 +0000 http://3-dpiano.com/?p=513#comment-3222 Great point, Arno. I agree completely; if this element is not established (usually with a beginner) I will hold a score or magazine over the student's hands until it is. As sight-reading progresses with more difficult repertoire, it's possible that some pianists may integrate momentary glances at the hands (e.g., for jumps) without losing the pulse or any score details. Great point, Arno. I agree completely; if this element is not established (usually with a beginner) I will hold a score or magazine over the student’s hands until it is. As sight-reading progresses with more difficult repertoire, it’s possible that some pianists may integrate momentary glances at the hands (e.g., for jumps) without losing the pulse or any score details.

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Kelly Gaulke http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3221 Kelly Gaulke Fri, 27 Jan 2012 20:29:47 +0000 http://3-dpiano.com/?p=513#comment-3221 This is a very tricky topic. One should not jump to conclusions. Great care must be used and students must be given different samples. For example I can read something with alot of block chords such as the Chopin c minor polonaise quite well but sometimes can make no sense the first time at bat with certain classical period sonatinas. A student might do quite well with certain textures and be poor at others. Also I find slow movements of Haydn sonatas harder to read than a barrage of Liszt's diminished arpeggios, etc. This is a very tricky topic. One should not jump to conclusions. Great care must be used and students must be given different samples. For example I can read something with alot of block chords such as the Chopin c minor polonaise quite well but sometimes can make no sense the first time at bat with certain classical period sonatinas. A student might do quite well with certain textures and be poor at others. Also I find slow movements of Haydn sonatas harder to read than a barrage of Liszt’s diminished arpeggios, etc.

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Genie http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3220 Genie Fri, 27 Jan 2012 18:42:22 +0000 http://3-dpiano.com/?p=513#comment-3220 I totally agree! Sight reading skills are absolutely necessary if a student is to grow in confidence and in the joy of making music! I sometimes use books like "I Can Read Music" to be sure regular opportunities to sight read are included at the appropriate level for beginners. I do have students participate in Guild, Festival, etc., but never at a level that requires us to stop all other music and just practice toward events. It takes experience and care to choose event music that works well within the overall student's goals of making music over the course of a year -- and not not choose event music that is far to challenging -- thus tying up all practice and lesson time in order to just play for that event! I too, have gained may transfer students over the year who can't make it through easier material than they audition with because of this. Most of them relax, play with more accuracy and enjoyment down the road once they are given lots of variety of material at the correct level that has just enough 'push' to keep them focused and not bored. Thanks for the great article! I totally agree! Sight reading skills are absolutely necessary if a student is to grow in confidence and in the joy of making music! I sometimes use books like “I Can Read Music” to be sure regular opportunities to sight read are included at the appropriate level for beginners. I do have students participate in Guild, Festival, etc., but never at a level that requires us to stop all other music and just practice toward events. It takes experience and care to choose event music that works well within the overall student’s goals of making music over the course of a year — and not not choose event music that is far to challenging — thus tying up all practice and lesson time in order to just play for that event! I too, have gained may transfer students over the year who can’t make it through easier material than they audition with because of this. Most of them relax, play with more accuracy and enjoyment down the road once they are given lots of variety of material at the correct level that has just enough ‘push’ to keep them focused and not bored. Thanks for the great article!

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by John Peil http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3219 John Peil Fri, 27 Jan 2012 17:40:16 +0000 http://3-dpiano.com/?p=513#comment-3219 What a fantastic article! I especially appreciate the idea of using a sheet of paper to progressively push the student to move forward. Thank you also for the beginning and intermediate sources for teaching site reading. In my own career site reading has been THE most important skill to have. What a fantastic article! I especially appreciate the idea of using a sheet of paper to progressively push the student to move forward. Thank you also for the beginning and intermediate sources for teaching site reading. In my own career site reading has been THE most important skill to have.

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Cheryl Harris http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3218 Cheryl Harris Fri, 27 Jan 2012 17:31:41 +0000 http://3-dpiano.com/?p=513#comment-3218 Playing along with a student is another way to keep them moving and get the feel of going with the rhythm instead of dwelling on the notes. Band and orchestra students have this experience all the time. It is helpful to pianists too. Playing along with a student is another way to keep them moving and get the feel of going with the rhythm instead of dwelling on the notes. Band and orchestra students have this experience all the time. It is helpful to pianists too.

]]> Comment on Incorporating Sight-Reading into Piano Lessons and Practice by Arno Drucker http://3-dpiano.com/blog/2012/01/incorporating-sight-reading-into-piano-lessons-and-practice/#comment-3217 Arno Drucker Fri, 27 Jan 2012 17:24:53 +0000 http://3-dpiano.com/?p=513#comment-3217 The most important way to improve sight reading is to cover the student's hands so that their entire visual focus is always on the music. I invented a device that covers the entire keyboard while allowing the student's hands to function. When they can't look down and glance at the keys but focus only on the music your method of moving the paper will work fine but first - cover their hands. The most important way to improve sight reading is to cover the student’s hands so that their entire visual focus is always on the music. I invented a device that covers the entire keyboard while allowing the student’s hands to function. When they can’t look down and glance at the keys but focus only on the music your method of moving the paper will work fine but first – cover their hands.

]]> Comment on 3-D Piano wins 2011 Frances Clark Award by Otee http://3-dpiano.com/blog/2011/03/3-d-piano-wins-2011-frances-clark-award/#comment-2915 Otee Wed, 04 Jan 2012 21:17:50 +0000 http://test.3-dpiano.com/?p=103#comment-2915 Congratulations on the Frances Clark Keyboard Pedagogy Award. No doubt it took a lot of work and dedication on your part to accomplish this. I am sure your students have gain much in the process as well. I am curious what is taught regarding the use of chords, especially <a href="http://www.funwithpiano.com/" title="fun chords" rel="nofollow"> for those who would just like to play around with them. Keep up the great work! Congratulations on the Frances Clark Keyboard Pedagogy Award. No doubt it took a lot of work and dedication on your part to accomplish this. I am sure your students have gain much in the process as well. I am curious what is taught regarding the use of chords, especially for those who would just like to play around with them. Keep up the great work!

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