what repertoire and materials do you use for an intermediate student?

[ilovemusik]

is it a good to start to introduce hanon or czerny exercises?

[dan101]

I prefer Crammer and/or Brahms' exercises. The ones that you have mentioned are fine, although I personally find them to be a bit boring. Good luck.

[icilkovich]

any suggestion for first sonata to be given to intermediate students?

[hyrst]

I like to use Czerny studies and introduce Kuhkau, Clementi and Beethoven Sonatinas at intermediate level.

[icilkovich]

and after the sonatina?

Anyway, what do you focus to teach in sonatina? What comes first? the notes, the rhythm? or do you include the phrasing and everything as well?

[hyrst]

After these Sonatinas I progress to Mozart and Haydn - a few of the simpelr ones.

However, by this stage, we have worked through character pieces by Tchaikowsky, Greig, Burgmuller, etc.  MAny other things.

Teaching the Sonatinas, and all other works, I take students through as much of the early reading as they can take in at once.  This varies for each student.  For each section of reading, I simultaneously teach rhythm, technique, phrasing - all but tempo.  Although I don't always pick up the right movements for preventing problems, I think students benefit from learning things properly straight off rather than resolving already learnt problems.  Their practice time is spent becoming fluent and relaxed / automatic in the music in all these areas. 

[icilkovich]

This varies for each student.  For each section of reading, I simultaneously teach rhythm, technique, phrasing - all but tempo.

What do you mean with all but tempo? Is that mean you're teaching them in slow tempo? Or not meeting the required tempo? Or else?

What do you think should come first? Flowing playing in certain tempo, or details (such as phrasing, articulation, dynamic, etc) when the student learns one new piece? Flowing playing make the student get the big picture of the music and make it easier to teach them about the musical idea. But they will have to redo their learning when it comes about teaching the details.

[syncope]

What I'd do is start with the flow and if they have the big picture, fill in the details.

Studying details is easier then getting the big picture, because that has to do with musicality. (Details is just doing what the sheetmusic says, or what the teacher says or simple muscle training.) Details serve the purpose of the big picture. So first question: what is the big picture? And what can we do/how to play to get that?

If they start with thinking about the big picture as soon as they start with a new piece, in my experience mostly the idea comes easily, students have a general idea, like this piece is funny or very dramatic (and also where the most dramatic point is etc etc). If you've done all the details first, I noticed they are so emerged in every note apart they forget how they felt about the piece in general - or, worse, by the time they studied all the details, they're tired of the piece and don't want to think about what the big picture is anymore. What a waste
(This is talking about beginnen/intermediat students of course, not Conservatory or very musically gifted students)

So: first flow/big picture/telling the story, then details, I'd say

[hyrst]

What I mean is that I work bottom up at the same time as top down - big picture and details at the same time, alternating focus repeatedly.  The only thing  that doesn't matter is playing form beginning to end at specified tempo - or sometimes even constant tempo so long as the rhythm is developing. 

Whatever way you approach it, I think it is unavoidable to learn some errors.  For example,. learning a piece slowly can mean you don't learn the technique that will help you play at full tempo or that you don't perceive the right pattern for playing at full tempo. 

However, I think there must be something achievable to focus on each time something is played - and section practice must not be overlooked either.  When I introduce a piece, I play a little so the student can choose it - if choice is involved.  I have them read with some support form beginning to end (developing reading skills rather than playing by ear).  I then have them listen to a recording or play the piece for the student (aural skills now).  This provides the 'big picture'.  Then we read through and look at how each phrase is to be played (technqiues).  Next, how each phrase patterns or fits with other phrases, then sections (structure, theory, big picture).  This approach continues while learning the piece (big picture, notes, techniques, patterns, theory, harmonic and chord structure, big picture / fluency, technique, dynamics, and so on). 

I think that if the flow is looked at alone with intermediate students, they end up with flat hands, inexpressive playing and wondering why you are changing the way they are playing when they already have learnt the piece and can play it fast enough.  That's my experience, anyway.  They need to learn that more needs to be developed in the piece, that it all comes together like a jig-saw puzzle, so they have good listening habits for later grades.  IMO

The other benefit I find with this approach is that I can take most students through a lot more pieces, so they can learn a new piece at least every couple of weeks.  They begin to look for the techniques and patterns independently, importing what they have learnt from other pieces.  Although fewer pieces are brought to performance level with tempo, they experience a lot of music, a broad range of styles, periods, composers and techniques.  They begin to interpet things better with less assistance, which I think is vital for development towards later grades. 

The finest details, of course, only come when / if the student is polishing a piece for performance.  This is when the highest subtleties of expression and tempo are reviewed.  Most of my students can learn their pieces in a couple of weeks, but the finest details can take several weeks. 

[edvond]

Along with the classics, have you considered introducing some fun pieces that are brilliant and rewarding to play?  I find that the Intermediate student benefits a lot from the experience of performing these easier but brilliant pieces.
 
One of my favorites is the Toccata in f minor by Vandall.  It is not that well known yet it commands attention whenever my students play it for auditions.   Because it is so quickly learned, speed, bravura, and control can be taught very early on in the process.

The contemporary sound also prepares the ear for Khatchaturian, Poulenc, Kabalevsky and motivates the student to try something further outside the box.

It is an all time favorite of my students.