Comments for The 3-D Piano Method http://3-dpiano.com Mastering Piano by Mastering Your Body Thu, 22 Mar 2012 20:28:29 +0000 hourly 1 Comment on Metric Placement and Internal Rhythms by Greg James http://3-dpiano.com/blog/2012/03/piano-in-ensemble-metric-placement-and-internal-rhythms/#comment-4594 Greg James Thu, 22 Mar 2012 20:28:29 +0000 http://3-dpiano.com/?p=536#comment-4594 Your 'Chinese' example must be a hardser sell to Japanese students, since the entire basis of their language is one of equal stress to all syllables. (In fact, this is usually an error made by Westerners when speaking Japanese; we insert stresses, accents and 'lilt' where they shouldn't exist at all...) Nevertheless, Japanese is still rhythmic and the sense of rhythmic interest of course exists with the clever and subtle placement of the ebb-and-flow example you gave; it's just that it might be harder for them to learn rhythmic stressing on the basis of their language. Perhaps there is a reverse role here, in that Japanese students learn to speak slightly richer versions of foreign languages on account of their musical experiences? Your ‘Chinese’ example must be a hardser sell to Japanese students, since the entire basis of their language is one of equal stress to all syllables. (In fact, this is usually an error made by Westerners when speaking Japanese; we insert stresses, accents and ‘lilt’ where they shouldn’t exist at all…) Nevertheless, Japanese is still rhythmic and the sense of rhythmic interest of course exists with the clever and subtle placement of the ebb-and-flow example you gave; it’s just that it might be harder for them to learn rhythmic stressing on the basis of their language. Perhaps there is a reverse role here, in that Japanese students learn to speak slightly richer versions of foreign languages on account of their musical experiences?

]]> Comment on Metric Placement and Internal Rhythms by Elizabeth Drewett http://3-dpiano.com/blog/2012/03/piano-in-ensemble-metric-placement-and-internal-rhythms/#comment-4589 Elizabeth Drewett Thu, 22 Mar 2012 16:50:00 +0000 http://3-dpiano.com/?p=536#comment-4589 Great post. Your attention to the nuances of rhythm and melody are so informative, and I couldn't agree with you more. Our temptation as pianists is to play flat because the piano is a percussion instrument. But musical inflection is possible using the techniques you've suggest here. Bravo for offering this to other teachers! Great post. Your attention to the nuances of rhythm and melody are so informative, and I couldn’t agree with you more. Our temptation as pianists is to play flat because the piano is a percussion instrument. But musical inflection is possible using the techniques you’ve suggest here. Bravo for offering this to other teachers!

]]> Comment on The Inspiration of Leon Fleisher by Piano in Ensemble: Metric Placement and Internal Rhythms :: The 3-D Piano Method http://3-dpiano.com/blog/2011/10/the-inspiration-of-leon-fleisher/#comment-4582 Piano in Ensemble: Metric Placement and Internal Rhythms :: The 3-D Piano Method Thu, 22 Mar 2012 11:23:28 +0000 http://3-dpiano.com/?p=447#comment-4582 [...] a prototypical example of Leon Fleisher’s “secret of rhythmic playing” (discussed here, and in Soundpoint #5). The pianist’s rhythms provide an opportunity for both performers to [...] [...] a prototypical example of Leon Fleisher’s “secret of rhythmic playing” (discussed here, and in Soundpoint #5). The pianist’s rhythms provide an opportunity for both performers to [...]

]]> 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.

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