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Sorry about the hiatus, but the semester has ended, so let the writing resume! I remember some years ago being told by my mother that when children ask “why,” it’s not a real question. When they ask “Why do I have to eat my vegetables?”, it’s not because they desire information regarding the health benefits of peas, . . . → Read More: WHY? I do this thing every now and then where I practice with a metronome but put the metronome across the room – 10 feet away or so. It feels very different than having it right on the piano, and I think it’s because of how it changes the way you listen. When the metronome is far away, . . . → Read More: Quick Metronome Idea It occurs to me that I’m occasionally guilty of telling students they need to use a metronome without having taught them how to use one. It’s the musical equivalent of handing someone a chainsaw and expecting them to cut down a tree. Pretend for a moment that you’ve never used a chainsaw. Now imagine that someone walks . . . → Read More: Here, Have a Chainsaw! Back in my idealistic student days, there was something of a movement going on in pedagogy where teachers were defining “piano” as “quiet” instead of “soft.” The idea made good academic sense – forte meant loud, and the opposite of loud is quiet, so we started using “loud” and “quiet” instead of “loud” and “soft.” I’m changing . . . → Read More: Toilet Paper Dynamics Here’s an exercise I use to help speed up Alberti bass figures: First, sit so that the C above middle C is directly in front of you. Second, turn your body to the right so that you’re facing the top C on the keyboard. Third, practice this, using 5131 5131 for your fingering: Doing this simple exercise can help students . . . → Read More: The Augmented Alberti Exercise |
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