How Traditional Piano Lessons Cripple Our Children

[liszt-essence]

I'd be more receptive to the article if it was actually well-written; as it stands, I'm skeptical. I can't be bothered to take someone seriously if he/she doesn't even proof-read his/her article.

Example:

Um, hello? Sentence fragment, anyone?

Example 2:

I'm sorry, who is this "Playing piano" that you speak of? He sounds quite talented.

The whole thing is so clumsily written. UGH...

-moz

Sigh..

It's the content that is important man!

[keyofc]

Lenk,
With some of your analogies - one might sound as if they are talking about the road to Damascus - instead of Texas.

[lenkaolenka]

Lenk,
With some of your analogies - one might sound as if they are talking about the road to Damascus - instead of Texas.

keyofc,
I came to the forum with load of information and knowledge. I didn't only attack 'traditional' myths and beliefs – I explain exactly what is wrong with them, why and how to fix it.
More then that!
 I gave you a lot of information: articles, videos with students, free demo versions of software. What am I getting in return?
Absolutely immature replies of people, who is afraid to leave their 'comfort zone' and get out of the box. . 
It seems like many participants of the forum more interested in wasting time here snapping, then INVESTIGATING new ideas.

Simple example: I offered to download and try free demo version of Note duration game. It would take a minute-two to do so and learn something new. Instead of doing simple steps: download, investigate, compare and then criticize, many prefer express their 'beliefs'.

I don't believe in beliefs.   Before I said 'traditional methods of teaching music suck, because they fail many generation of musically illiterate people, I investigated. We could try to over smart each other in disputes for a long time, but before you investigate - whatever you say is irrelevant. Personal attacks won't help you. I am a scientist and only facts could get my attention.

[sarahlein]

Lenka,

I've been reading about your software and watching your video presentations. I've also downloaded some of your games and tried them out.

I must say, the idea of having the stuff vertical with 2 different colours for the left and right hand is not new to me. The advanges of presenting it like this has been discussed in the past several times in the forum. What was new, was to see it in a computer software program.

I do appreciate the importance of Solfegge and it's connection to ear trainning and to me that has always been included in what you call "Traditional way of teaching"

For some respected Forum members Hanon-like excercises are also included in the "Traditional methods" so to say that "Traditional methods" are no good that would mean that teaching such excercises is also outdated  and yet Hanon excercises are included in your way of teaching are they not? (this is not said to start a debate about Hanon- just to point that making definite statements about something without finding out how the term is understood and applied by other teachers is bound to produce offended replies.)

I'm a bit sceptical about using stickers for the piano keys. I've found out that students have no problem learning to find the individual keys using the black keys as a reference. Is the "sticker stage" that necessary? Can it be skiped?

I'm also curious to know what kind of beginner pieces does your program include?
How long does the beginner stage( on average) last?
How many pieces will the beginner student have worked on by that time?
To what level are the pieces learned?
How many are on performance level?
How does the playing apparatus look like by then? How well is it developed?

That's all for now. More perhaps after I've read your reply.
Thanks

[lenkaolenka]

Lenka,

I've been reading about your software and watching your video presentations. I've also downloaded some of your games and tried them out.

I must say, the idea of having the stuff vertical with 2 different colours for the left and right hand is not new to me. The advanges of presenting it like this has been discussed in the past several times in the forum. What was new, was to see it in a computer software program.

Well, the idea to visually connect vertical placement of music notation with horizontal layer of piano keys was running already for several centuries. We just built a bridge from vertical to traditional presentation and developed gradual steps for ear, muscles and eyesight development of beginners. Computer interactivity helped us to explain many things about staccato, legato, duration of notes etc with animation.

I do appreciate the importance of Solfegge and it's connection to ear trainning and to me that has always been included in what you call "Traditional way of teaching"

Unfortunately, in the USA majority of students are introduced to Solfeggio ( not Kodaly 'solfeggio' – it is completely different thing) too late – when they enter universities.

For some respected Forum members Hanon-like excercises are also included in the "Traditional methods" so to say that "Traditional methods" are no good that would mean that teaching such excercises is also outdated  and yet Hanon excercises are included in your way of teaching are they not? (this is not said to start a debate about Hanon- just to point that making definite statements about something without finding out how the term is understood and applied by other teachers is bound to produce offended replies.)

Oh, NO! I am not saying that traditional way is no good. I say: it ought to be improved. We didn't create anything out of space: we just added something what was previously overlooked . Yuri Rozum (www.yurirozum.com) , a pianist from Russia, stated in his letter about SM, that:
1.   The program 'Soft Mozart' does not conflict with classical approaches of music learning. In fact, this program is a 'missing link' of traditional music education filling the lack of visual support during the first steps of acquaintance with the space of piano keys and musical notation.
2.   Any use of 'Soft Mozart' system can substantially relieve the work of music teachers during the classes of piano, theory, or solfeggio. Because the computer takes care of the routine development of basic skills, it spares the teacher's time and energy for more complicated professional and artistic tasks.

-https://-https://www.softmozart.com/Site/discussion.php?discussion=97

The way Hannon, for example, presented in our method is also a little different. We start from Hannon from the very first lesson with students from 2+ year old. We have many different ways to work with these exercises to reach many different goals. Did you happen to see talk show, where I was teaching 6 year old girl to play piano in 15 minutes live? I started with all traditional exercises:

  ( be continued)

[lenkaolenka]

I'm a bit sceptical about using stickers for the piano keys. I've found out that students have no problem learning to find the individual keys using the black keys as a reference. Is the "sticker stage" that necessary? Can it be skiped?

Well, if I would be you, I would try with stickers and without and then would decide what is working better. Here some thoughts: if you drive in unfamiliar place and looking for particular street, how you prefer to do it: with street signs or without (by memorizing order of streets before you hit the road?) Playing piano for beginners is a big stress for coordination. It is also connected with moving in certain space. Muscles feel free when eyes SEE (not guess) where to go. The less we make mind 'think' and 'wonder'  – the healthier coordination development would be. When we drive a car and enter foggy road or need to be careful, we usually turn a radio off and ask the passengers to shut up.   

What is so uncomfortable for you about stickers and piano guides?

I'm also curious to know what kind of beginner pieces does your program include?

The very first month our beginners of all ages are learning 'Introductory songs' : Hot Cross Buns, French Song, Jingle Bells and Ode to Joy with shell chords in order to establish coordination of 10 fingers and both hands and to develop ear ability to hear Tonic, Subdominant and Dominant. After that we move on to James Bastien library and play Favorite Classics 1, Nursery Songs 1.
At the same time we also start sight-reading Favorite Classics Primer and Nursery Primer on black and white more traditional presentations.

How long does the beginner stage( on average) last?
How many pieces will the beginner student have worked on by that time?

It depends, what definition of 'beginner stage'. Is it Elementary level of notation?  Is it use of stickers? Is it ability to fluently read off sheet books? It is all individual. I had a 3 year old student, who started sight read and played Bach inventions after 10 month with SM – I have students, who even after 4 years still need visual support of computer. Bottom line here – the SM has no gaps – it is like set of tools for any sort and type of students with any sort of type of individual abilities and disabilities. 

To what level are the pieces learned?
How many are on performance level?

-https://-https://www.doremifasoft.com/songslibrary.html Look at this page. You may also listen to the pieces. We keep adding more and more pieces and supply educators during updates.

How does the playing apparatus look like by then? How well is it developed?

Besides the fact, that visual support give the muscles of beginners freedom and flexibility, our program has nothing to do with apparatus development. The pianist development of students is teacher's work. We didn't create a 'machine' to replace a teacher – it is just a tool to help teacher. 

But you may watch many students performing here and see how my students had been developed with SM ( all the performers on the page are SM students) -https://-https://www.doremifasoft.com/events.html

[vladimirdounin]

 Yes, 'old' system worked for centuries. Yes, we taught many great musicians and performers. But my concern is: musically illiterate masses. It is like in poor countries: no middle class.

Dear Lenka- Olenka,

This is exact and the most accurate wording for my and, I am sure, thousands of other musicians concern.

I am highly impressed with the idea itself and especially with its practical development and implementation.
I am sure that it this is a great break-through in Piano-teaching. My congratulations!

I share in full your opinion that the existing system of piano teaching cripples students (Before I said usually only that it does not TEACH but CHEAT the students and their parents). I invite you to have a look at my article “I am free – you are NOT! You are brainwashed – I am not” in “PERFORMANCE” and “AUDITION ROOM”. They are exactly on the same topic but from another point of view (with the same picture in vision).

However there is still a big problem: a lot of students reached high standards and marks but did not enjoy their playing as much as it was and is possible. It was the reason of their disappointment and dumping of music from their life. I have an effective and practically proved solution for this problem and it can be integrated easily into your computerized system of Piano teaching. If you could be interested I would be happy to submit as many information as you need, but basically everything is on this forum already in “Performance” and  “Audition Room”. ( “I am free”, “The best way to play “Fur Elise” etc.)

In two words it looks like:

" Right notes and timing do not make your
music beautiful and enjoyable yet. You
have to know about each note: which one
should be louder or softer?
Until now NO ONE BOOK or TEACHER
could answer this question because this
information was not available. Now
modern technologies can provide you
with a few simple and easy rules that
will improve your musicality (phrasing,
expression, dynamics etc.) dramatically,
instantly and forever.
In one lesson you can learn to perform
as beautifully as the best professionals
(the music that you are able to play, of
 course).

And this lesson is FREE.  Try it now!
Printed materials are also available.

 Vladimir: 416 – 321 5627.
E-mail:  vladimirdounin@yahoo.ca"

(quote from “The Wholenote” Magazine, Toronto, Canada

I realize that for the majority “it sounds too good to be true”. However, there is no risk to try it FREE, and everyone who tried could witness that it worked. To prevent usual question: how is it possible to do this in one lesson time? – My answer is that I can guarantee only the quality of the final performance. However, the quantity (will we do in this 60 minutes the whole piece/song, one page or only one bar) depends entirely on my student.

I will be very happy if you will react on my invitation to co-operation in a positive way.

With my best wishes to you, your students and readers in 2007,

Vladimir Dounin

PS  You have mentioned Krasnodar in your article. I can confirm that their innovative methods in Music Teaching were very impressive even in 1970 – 90. I always visited their Music college when I had my concerts in this city.
 V.D.