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piano skills for student teachersDate: January 11, 2010
Hi everyone,
I will be teaching a college undergraduate music education course called "Keyboard in the Classroom." There is no previous syllabus for this course, and this course meets once per week for 80 minutes. The students taking this class will have passed their piano proficiency, and can be a mix of vocal and instrumental music ed majors. I would like this class to be practical for the students, giving them a range of topics/presentations/assignments that they will really use. I have a range of topics I'd like to cover, inclusive of skills needed for elementary general music through high school choral music, but would like to know:
Many thanks for your help!
Best wishes,
Trish Joyce
Founder and Artistic Director
New Jersey Youth Chorus Replies (14): Threaded | Chronological
Stephen Stomps on January 12, 2010 7:38am
Trish,
For more than thirty years of teaching, this has proved the greatest failing in the training of student teachers; singers especially. Worese yet have been the replies tomy concerns by the colleges which foist there charges into the teaching community.
I have had student teachers show up ready to wow me with memorized Beethoven sonatas who are not able to rehearse from a chorale octavo. Not even
a single part let alone the sop, alto, tenor, bass parts and their various cominations with at least an approximation of the accompaniment or even the four parts
alone.
I asked a current student about the piano skills she was learning in college and her reply was, "Oh, we got a list of pieces to learn and to come back with them learned. If we had any trouble, the instructor would help us." Given the recent crop, that seems not to be enough. Another told me that they learn to "comp" and "boomchick". And the colleges told me that their teachers would teach the choirs to sing by ear and have a wonderful time doing it or some such drivvle.
This all underlined my belief that if a singer does not have keyboard skills going in, they are not going to have keyboard skills coming out. But, Beethoven sonatas and Bach inventions, valuable in themselves, certainly, if there is now facility in dealing with a choral score or, God Help Them, a band score they are all going to be amazed when they hear what the piece entails as they learn from recordings and teach from recordings.
S
John Howell on January 12, 2010 7:13pm
When Stephen wrote, "that if a singer does not have keyboard skills going in, they are not going to have keyboard skills coming out," he spoke sooth!
Speaking from the college side of this equation, I fully agree that we should insist on acceptable keyboard skills as a PREREQUISITE to acceptance as a music major, whether music education or any other music major. it is an essential tool skill.
We should, but we can't. It's that simple. Debating WHY we can't could be an interesting but futile discussion. I'm talking about kids starting keyboard lessons when they're still in elementary school, at a time when they're not even beginning to think in terms of careers or even college majors. At a time when without parental pressure and/or encouragement they simply might never think of wanting piano lessons. Is high school to late to start? Probably. Is middle school? Maybe, depending on the kid.
So we offer "Keyboard Proficiency" as a remedial course, even though we can't call it that and the credits don't count toward graduation. But it doesn't help much. There are "readiness periods" for all kinds of learning (just ask your friendly local psychologist), and Freshman year in college is much too late, just as it is for the acquisition of fluent foreign language skills. Or ear training, for that matter.
And all our students, including music ed students, DO pass their keyboard proficiency requirements, although some put it off until as late as possible (which means they learn even less!). But all that means is that the requirements have been dumbed down to where our students CAN pass them.
In contrast, my sister-in-law DID study piano from an early age, and earned money through high school by accompanying ballet classes, which means that she could (and can) read anything and fake anything. Me? I satisfied my undergrad proficiency by taking lessons from my mother durng the summer through a junior college, and my grad proficiency by taking lessons and playing a jury (Bb major scale, my choice; how's that for daring?!!!!). But I'm not a pianist.
I'd love to have anyone's ideas about what's a good way to change the system. I sure don't have any!
All the best,
John
on January 12, 2010 7:50am
Trish,
I haven't taught music ed. students at the college level, but speaking as a vocal music teacher, these are some things that may be helpful to them:
~ Playing warm-ups, ascending or descending chromatically; its one thing to play a warm-up in C-Major, its a different thing to play it in C#/Db Major!
~ Reading and playing open scores
~ Transposing; this is especially helpful for middle school where range can be an issue
~ If they haven't had arranging experience in other classes, this might be a helpful assignment as well.
Good luck!
Lori Evenhouse
Parker Junior High School
Flossmoor, Illinois
on January 12, 2010 11:12am
Hi, Trish!
I agree with what's been posted so far, especially with Tammi's very practical list. (Playing from open score with the tenor part in treble clef may be WAY beyond some of these kids; it's way beyond ME!)
And that's the problem. Passing piano proficiency requirements does NOT a keyboard player make! And I am the best example of that!! I have always been a doubler on many instruments, but keyboard is not one of them! Starting remedial piano classes as a college Freshman (and that's exactly what they are, no matter what they're called) simply will NOT turn someone into a functional pianist. For that, you have to start lessons by at least the age of 7!!!
But in case this might be helpful, our Music Ed professor feels very strongly that student teachers must AT LEAST be able to comp in the middle of the keyboard to provide a simple but useable accompaniment, rather than trying to learn to play Schubert Lieder accompaniments. (If you aren't familiar with the term, "comping" means understanding the harmonies as they develop and playing those harmonies as they lie under your fingers rather than trying to play multiple lines at once.) Of course he himself is a jazz pianist from way back, so his thinking is very different from that of our piano faculty on a very practical level.
Then there is the attitude of some of our supervising teachers in the public schools, who come down VERY hard on any student teachers who do not have full piano proficiency. Of course those particular supervising teachers happen to be excellent pianists themselves, with undergraduate concentrations in piano performance!
I might also mention that my late wife, who DID study piano with excellent teachers from the age of 7 or earlier and played quite well, lost that ability after her first round of cancer treatments. (Some of the chemo used destroys nerves in the extremities, and you have to re-learn how to use them.) But she had Level 3 Kodály certification and taught her youth choir from behind the piano, but without pounding out their parts, an approach that I strongly recommend!! Teach a kid to read music and she'll never again have to fish for the notes!!!
All the best,
John
on January 12, 2010 11:27am
Trish,
When I student taught a few years ago, I really found the challange in the general music classroom was the actual act of teaching AND playing. I think it would be helpful if they had to teach some lessons while using the piano so they can get the feel for it. Sounds like a great class!
Joe Park
on January 12, 2010 2:08pm
Trish-
As a recent college graduage with less-than-mediocre piano skills and whose first job was accompanist-free, I will share with you "what I wish I would have been forced to do in college in a piano class!" For demographic purposes, I have taught previously full-time middle school, and currently K-12 vocal music.
1. 5 note scales, tonic triad arpeggiations, octave scales, and I-IV-V7 progressions, chromatically ascending and descending (this will allow them to provide their students with vocal warm-ups/exercises).
2. Playing 2 parts at a time (open score, condensed, etc.). I don't think more than that is necessary for a rehearsal setting; their classes need to be singing more without the help of the piano than with (see #6 below).
3. Transposing simple melodies (My Country Tis of Thee will surely be used sometime for an audition; can they play it in any key?). I use this skill quite a bit in elementary, and fairly often at the middle level (for those changing voices, Lori!).
4. FAKING! The piano skill I have developed the most having had to play for my own classes is faking an accompaniment so students can begin to hear what the song will sort of sound like once the hired concert accompanist comes in. Reading chord symbols, playing a simple "boom-chick" if it fits, playing the bass line, playing interludes, etc. all help students go beyond hearing their part on the piano and becoming more independent singers.
5. For the last two years, I have forced myself to accompany one song on each concert (despite having a hired accompanist for the rest). Song selection is important (I chose songs with simply piano accompaniments!). Your students could accompany your class, a solo, or a local school group!
6. I don't know if this is the appropriate class for such a topic (perhaps more of a choral techniques/conducting topic), but students should learn to rehearse a group without piano, even in the notes-learning stages. The piano is a tool that can help students learn notes, but should not be the singular vehicle for that end, nor should it be the model for their students' singing. Often the voice is a better choice than the piano to fix parts. Choirs are not at a disadvantage if their director does not play well, as long as the director is smart about how and when they choose to use the instrument.
I hope this is helpful! Great topic!
Samuel Barrett
K-12 Vocal Music Teacher
Madison, KS
on January 12, 2010 2:43pm
Something I didn't develop until after I graduated undergrad was the ability to "improvise" and to continue on w/energy even if I've fumbled some notes. It might be helpful to have them playing accompaniments to songs (and even singling along?) while others in the class are being distracting..... just an idea!
Enjoy
on January 12, 2010 3:23pm
Trish:
I've had a number of student teachers in the past couple years with varying levels of classroom piano skills. Here are the things that I feel are most important for them to know. It may help to know that I am in a HS choral classroom (no general music). 1. Play warm-ups that are appropriate to the literature that is going to be rehearsed (in all 12 major and minor keys).
2. Be able to play individual vocal lines correctly. Two at a time is even better. . .
3. Be able to play one part (or two) while singing another.
4. Be able to run a sectional or rehearsal from behind the piano (with any luck they'll have to do this seldom in their own classroom, but it happens way to often to ignore).
The skill that I've found to be lacking most is the ability to actually listen to the choir while playing something on the piano. Usually the student teacher will play a part or even accompaniment with little to no concentration on what the choir is actually doing. Separating your hands and the piano timbre from what the choir is doing is difficult but necessary if the choir is going to ever improve.
I also think it would be great if you would include some information for them as to how to work with accompanists. This is not always an easy thing to do (especially for someone who has never been an accompanist). You may want to highlight the differences between working with a pro accompanist and also training a student to be an accompanist. There was an article in one of the MENC journals a few years ago (~5) about how to train a student accompanist that was brilliant. I am looking for it as I type and will send the information to you as soon as I find it.
Sounds like a useful class!! Tammi Alderman
on January 12, 2010 7:08pm
I agree with all the comments so far, but I what consider of greatest importance is "piano geography." Piano geography is the ability to play the piano and look at the students. That means the fingers naturally feel the white and black notes and know where to go without even the slightest thought and never looking at the keyboard beyond the initial glance. The fingers anticipate where musical lines will go and they just go.
More often than not student teachers are so concerned about playing the correct notes that they forget to look up to check out the level of student behavior and participation. Students notice when the teacher is looking and when he/she is not looking, then they decide their level of participation. Without the ability to observe and monitor the entire entire ensemble consistently, a teacher limits his/her ability to accurately assess students. This is true for elementary, middle, and high school.
Keyboard geography is developed (for those who haven't played since they were 7 years of age) by spending an inordinate amount of time playing the individual vocal lines and working through the accompaniment (or a reasonable facsimile.) While the fingers are playing, the teacher must diagnose, assess, and even encourage. It's multi-tasking at its very best.
Good luck,
Eric Anthony
Parkway West High School
Ballwin, MO
on January 13, 2010 2:40pm
I agree with Eric. The majority of vocal music teachers are in smaller schools that do not have a full-time accompanist. It is essential that a teacher can play and check student participation at the same time. You also need to be able to direct with your head, eyes, mouth etc. while playing. Playing 1 or 2 parts while helping to sing another is also often needed. You also have to listen while you are playing to work on the overall musicianship. (How many hats must a teacher wear during one rehearsal?) It is also valuable to play well enough to make "part recordings" for the students for various festivals, contests etc. that all other students may not be participating in.
Good luck,
Shannon Quinn
Paris RII School District
Paris, MO
on January 13, 2010 1:43pm
Matt Falker has produced one of the best DVDs to assist teachers and their students with piano skills need to accompany choirs.
You can find this DVD by going to www.smpjazz.com (Sound Music Publications.) It is the most friendly, comprehensive and informational DVD on the market today.
Cheers,
Frank
Ciao
on January 14, 2010 2:19pm
I believe that the use of midi technology can be of invaluable help for student teachers/directors with less than ideal piano skills. Programs like Finale can be invaluable for score study and for helping choirs learn their parts quickly and accurately. I agree completely with the concern that there is little or no musicality from the piano using this method, but likewise, there is no musicality from a struggling pianist.
While it is time consuming to prepare the program to play the piece, proper score study and preparation takes time and energy. Additional benefits to using the computer are assured note and rhythm accuracy, being able to change the timbre of the voice parts so a struggling section can more easily recognize their part, as well as remove more and more of the “help” as students are ready for it. The preparation of rehearsal tracks for sectionals or individual practice takes only moments – so simple the students could make the CD’s themselves. The largest benefit, in my eyes, is that the director can now be in with the singers evaluating students where they are in the room, able to help with their own voice when needed and move on. This is virtually impossible while being stuck behind the piano keyboard. Can the computer replace a good pianist? Never. But can a computer help an otherwise good teacher do their job even better? Absolutely!
on January 15, 2010 11:55pm
I think these skills are very important.
To be able to improvise.
To be able to read and play the chord symbols or lead sheet.
To be able to find suitable chords to melodies quickly using piano.
To be able to play the transposed score.
To be able to play from the full orchestral score, or choral score.
on February 2, 2010 8:44am
I teach high school choir and have a few piano students. Much to say:
1. There are less young people studying piano than say twenty years ago. Twenty years ago I typically had a pool of at least 2 or 3 capable high school students who could accompany.
2. There have been many comments about the need for people to start piano at a young age. I agree. I presently have two high school students who transferred to me this year. For the first time, they are learning:
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