Some thoughts after following your links of 'Favorite Websites' topic

[lenkaolenka]

Sometimes I take advantage of doubts' benefit and thoroughly attend all of the links, that you post here and that you use as a source of information for teaching music and recommend to others. After opening page after page I want to exclaim only one thing
ARE YOU SERIOUSE OR IT IS SOME SORT OF JOKE?

Most of those sites are not teaching anything. They created some sort of retarded ways to teach music with dry drills with no understanding of music system and no reasoning. It seems like people stacked in 'training animals' stage.

I said it many times and have to repeat again: music notation is too abstract for unprepared human mind. The drills that majority of you use to combat this issue – is nothing, but your ignorance and lack of respect to your students. Drills are not only way to teach students. There are many more intelligent and productive ways.

to be continued

[ptmidwest]

So what are your thoughts, really?

[hyrst]

Lenka,

The links shared are public - pretty much free of charge.  Therefore, they are not going to be the best things available - things that are free rarely are! 

I would love to buy equipment and software that did a better job - but I find it difficult enough, as a single mother, to pay the loan for my piano and raise my family on my income.  I know I am not the only person who has a life like this! 

Do you not agree that  it is better for teachers to find other supportive and creative means, even if they are not the best, to supplement learning?  If they cannot afford something else, should they not use the resources they can find?  Do you not think that the fact that these links have been found point to a group of teachers who are willing to give up their personal time and effort in order to find resources for the sake of their students? 

Can you please explain the theory behind the idea that the human mind is unprepared for music notation?  I would be very interested.  As a teacher with a Masters in Literacy, I would have assumed that reading music was very similar to reading and writing other languages, combined with maths.  I have been invited to write a PhD on this topic (literacy deveopment), and am interested  in associations with music - since I have chosen now to teach piano rather than English.  It would be interesting to look at the theory and research you have with music and compare the findings with literacy.  (If there is a lot of info, you are welcome to write personally - and any effort would not be under-appreciated.)

Also, with the understanding that probably many of us cannot afford the system you have developed, maybe you could share instead the ideas that you have found helpful in teaching - not where the old system fails, but the things that could be explored in our own teaching.  I would like to learn any "intelligent and productive ways"  to teach - but the principles are the useful things, as there is no way I could consider purchasing anything.  I simply cannot afford anything.

[lenkaolenka]

Lenka,

The links shared are public - pretty much free of charge.  Therefore, they are not going to be the best things available - things that are free rarely are! 

The 'things' are not free! Most of the links, that  I went to, offer these tiny demos and ask for money to buy. But if the approach is not good, any dollar invested is wasted any way! In fact, all the low effective method books, that most of piano teachers use, are very expensive, because they work only with couple of students – the rest quit playing on the second/third or even first year. Publishers get your and your students' money from the first year books and care less about teachers' income. By statistics they sale books in following proportion: for 100 books of a first year – 10 books of second and 1 of third.   

I would love to buy equipment and software that did a better job - but I find it difficult enough, as a single mother, to pay the loan for my piano and raise my family on my income.  I know I am not the only person who has a life like this! 

I was a single mom and an immigrant with poor language skills. I know where are you coming from! But you can buy a pretty good computer for your studio on ebay for less then $150 (shipping included), keyboard to teach young pre-scholars cost less then $100. If you spend a little more to buy a laptop, you may take keyboard+laptop to different day care centers and teach students there, when your children in school. Our software, for example, not only for free for teachers, but also support teachers monetarily in two ways: due to its effectiveness our teachers have more business and also they are in title to rebates, when their students buy the software for home practice.

Do you not agree that  it is better for teachers to find other supportive and creative means, even if they are not the best, to supplement learning?  If they cannot afford something else, should they not use the resources they can find?  Do you not think that the fact that these links have been found point to a group of teachers who are willing to give up their personal time and effort in order to find resources for the sake of their students? 

I think, that music teachers deserve better sources and they are available. But in order to differentiate effective ways from ineffective ways, they need to educate themselves and do not get fooled by people with financial interests.   

[lenkaolenka]

Can you please explain the theory behind the idea that the human mind is unprepared for music notation?  I would be very interested.  As a teacher with a Masters in Literacy, I would have assumed that reading music was very similar to reading and writing other languages, combined with maths.  I have been invited to write a PhD on this topic (literacy deveopment), and am interested  in associations with music - since I have chosen now to teach piano rather than English.  It would be interesting to look at the theory and research you have with music and compare the findings with literacy.  (If there is a lot of info, you are welcome to write personally - and any effort would not be under-appreciated.)

I have articles about the matter. You are welcome to read them! In these articles I compared learning of music with language. I think, it would be interesting for you to read.
https://www.emusicguides.com/info/Music-Education/Why-can-t-Jenny-play-the-piano--Part-1.html
https://www.emusicguides.com/info/Music-Education/How-Traditional-Piano-Lessons-Cripple-Our-Children.html

Also, with the understanding that probably many of us cannot afford the system you have developed,

I think, you can not afford do not have the system, that I developed.

maybe you could share instead the ideas that you have found helpful in teaching - not where the old system fails, but the things that could be explored in our own teaching.  I would like to learn any "intelligent and productive ways"  to teach - but the principles are the useful things, as there is no way I could consider purchasing anything.  I simply cannot afford anything.

I would try to explain the system with words, videos and demos.

[hyrst]

Hi,
I read your links.  It looks like the system you have developed is very much like the way someone else here discussed their method of note teaching a few months ago (Except you have integrated it into computer software, whereas she used more manual means) - with the colours and lines on the side and everything, from what I could make of it.  (There was a discussion on methods of teaching reading several months ago.  Have you read the threads?  They were excellent.)

I know a number of us use some very interesting and creative methods in this area - I was quite inspired by the earlier discussion.  I use very kinaesthetic methods and a lot of colour when I teach - especially the beginners, but all levels I use colour and patterns.  90% of my students (of 5 years +) are past the basic reading stage within 2 months. 

I can see that the principles of your system could be supportive.  Do you ever have problems with students making transitions from the vertical to horizontal lines or the thick lines to normal thin lines?

Is there more to your system beyond the early note recognition?  How do you approach intermediate learners?

I didn't find very much about the relationship between learning language and learning music.  There was a paragraph or two, but do you have any research or anything like that?

Did you mean that your software is free?  (BTW, I really do mean that financially I am stretched - I have invested what I can into my studio and all I need to do to be professional and efficient, with quality instruments and music scores, but we don't even have bedroom furniture! I am investing in the present in the hope that the not too distant future will be better - but I am still getting on my feet and have to be very selective.) 

[lenkaolenka]

Hi,
I read your links.  It looks like the system you have developed is very much like the way someone else here discussed their method of note teaching a few months ago (Except you have integrated it into computer software, whereas she used more manual means) - with the colours and lines on the side and everything, from what I could make of it.  (There was a discussion on methods of teaching reading several months ago.  Have you read the threads?  They were excellent.)

I found a thread today. It is very interesting, indeed! Here is the link: https://www.pianostreet.com/smf/index.php/topic,21022.0.html
MAYLA is describing her ways of teaching students. I was in exactly that point at my research about 6-7 years ago before Soft Mozart. Later I would like to analyze  the approach, all the pro and con of it.

I know a number of us use some very interesting and creative methods in this area - I was quite inspired by the earlier discussion.  I use very kinaesthetic methods and a lot of colour when I teach - especially the beginners, but all levels I use colour and patterns.  90% of my students (of 5 years +) are past the basic reading stage within 2 months. 

Our job is supposed to be creative. But I learned a very valuable lesson in life: without knowledge and proper education many of us end up creating the same bicycle over and over again and this is why we have many 'creative ways', but still unable to teach entire nation to be musically literate.

I can see that the principles of your system could be supportive.  Do you ever have problems with students making transitions from the vertical to horizontal lines or the thick lines to normal thin lines?

No, I didn't, because I developed gradual ways from vertical to horizontal, very logical and veru strong way. Our system doesn't leave students in the middle of nowhere and take responsibility of every step of their development.

Is there more to your system beyond the early note recognition?  How do you approach intermediate learners?

The system covers practically all the learning, from elementary to university level. The students, who already fluently read music have to play complicated pieces on the 5 and 6th presentations ( equal to regular sheet music), pick up chords by ear, write music dictations and have ear training challenges.

I didn't find very much about the relationship between learning language and learning music.  There was a paragraph or two, but do you have any research or anything like that?

Did you read both of the articles? Well, it is part of training. If we start it, I would explain it to you. Or maybe later I will do it in this thread. English is my problem. I write books and articles in Russian, but very slow when it goes to English.

Did you mean that your software is free?  (BTW, I really do mean that financially I am stretched - I have invested what I can into my studio and all I need to do to be professional and efficient, with quality instruments and music scores, but we don't even have bedroom furniture! I am investing in the present in the hope that the not too distant future will be better - but I am still getting on my feet and have to be very selective.) 

Well, usually our teachers pay about $50 a year for the full version of program. Then they have 25% from all the boxes they sale for home practice (students and their parents are willing to have SM, because it is essential tool for home practice – learning and memorizing pieces, theory practice etc). We are talking about $30-$75 for teachers every time (the amount is about to change for greater, because we are planning to increase the price of software for regular users – the previous price was introductory) . On the top of that our teachers have more students, the students do not quit piano as much, because effective ways help to keep class. Also, the tool helps teachers to concentrate on more professional work instead of drilling on every note. I think, we created something, that can change life of millions of teachers and students for better.

[lenkaolenka]

I start by having them memorize what I call the "musical phone number" (and before this, they have already learned all the names of the white notes and how to find each of them on the piano).  I have them repeat after me each letter in sequence until they have said aloud the entire 7 letters :

G  -- G
GB -- GB
GBD -- GBD
GBD F -- GBD F
GBD FA -- GBD FA
GBD FAC -- GBD FAC
GBD FACE -- GBD FACE


The next aim is to say this from memory (it can be done almost immediately after they learn it, for most people).

The next aim is to be able to say this backwards.

And the final aim is to be able to say this backwards or forwards, starting from anywhere within the sequence and arriving back to where one started, all from memory.  For example, I may have them start at "A" and tell them to go backwards : AFDBGEC

This is first post of MAYLA in this topic. What she calls 'musical phone number' – in fact is a Music Alphabet. MAYLA discovered 2 very important facts about music learning:
1.   Students ought to know order of music notes like they know their own names
2.   Students ought to know order of music notes in forward and backward direction

Every student should know the order of numbers, months, letters of Alphabet. The same in music! This is only drill that every student has to go through. We also have to keep in our minds, that in music language we have some unique features:
A)   Forward and backward orders of music notes are equally important
B)   Due to the fact, that we have different keys and can practically start from each note – 7 orders of Music Alphabet are equally essential
C)   Music notes are placed note-by-note, in one note and in two notes (the rest is variations)

I just have to point, that EVERY TEACHER IN THE USA (CANADA, UK AND OTHER 'ALPHABET' COUNTRIES HAVE TO KNOW BOTH MUSIC LANGUAGES E_Q_U_A_L_L_Y – SOLFEGGIO AND ALPHABET THE WAY ANY RUSSIAN MUSICIAN KNOW THEM. It is very hard to speak about advantages and disadvantages of these languages with half educated music teachers. For beginners learning with Solfeggio is extremely important. The Alphabet order of music notes should be presented later, when students learn theory, harmony and counterpoint.

Letters represent abstract images. They apply to abstract understanding of humans and trying to translate abstract sounds with abstract symbols ( it is like to play tennis on rollerblades). Solfeggio syllables are applying to human's voice and speech memory. Speech memory is the one of the most established skill of every human. For ANY learner to memorize LA FA RE TI SOL MI DO is much easier then AFDBGEC.

Here the three main Music Alphabets. Students have to say any circle from 1-1, 2-2, 3-3, 4-4, 5-5, 6-6, 7-7 forward and backwards in 14-25 seconds.

When they can do it, they would be really familiar with piano keys and music notes lay out

We use interactive computer software to build this skill to memorize this three orders of Music Alphabet on the fly. We also use sounds to get ear training of Music Alphabet

[lenkaolenka]

MAYLA further wrote https://www.pianostreet.com/smf/index.php/topic,21022.0.html:

  This single musical phone number will eventually allow them to read any note on the entire Grand Staff, both lines and spaces alike, and even ledger lines !  And I do start with the entire Grand Staff as thee staff.  I do not separate out into "treble clef" and "bass clef" (I also do not teach the clefs as "treble" and "bass" but as "G clef" and "F clef").

   

She again has point! Grand Staff is a whole system. If any student know Music Alphabet forward and backwards and remember all the 4 Dos (C ) they can figure out any note anywhere on the Grand Staff.

One thing many music teachers underestimate – is a power of established skills. If any of you buy new cel phone, no one is hurrying to read instructions! You better try to push all the buttons instead. It happens, because humans established skills before reasoning. TO UNDERSTAND and MEMORIZE  the order of keys and notes  - is not the same as TO SEE it. Otherwise, nobody would even bother to place street signs – people would memorize order of the street instead.

Knowing the Music Alphabet and Music system HELP to understand them, but labels help to SEE it and take pressure off mind in order to concentrate on building skills.

We use in SM Solfeggio AND Alphabet languages, but here is a page from book with my article published by Moscow conservatory - they use Solfeggio
Do - Door
Re- Rain
Mi- Mirror
Fa - Farm
So - Sault
La-Ladder
Ti - Tea

[lenkaolenka]

After that MAYLA describes how she place music sheet vertically in order for students to identify music notes with piano keys

Then I pull out a big foam board with a Grand Staff on it and starting at the bottom of the staff, we name all of the lines up to the top (with a red line drawn in for middle C -- In this photo, it's difficult to see the "middle c" red line in the middle of the staff, but it's there.) :



Then I bring out another big foam board with a staff drawn on it, and I set that on the back of the piano keys.  This shows them how the staff relates to the piano :

The idea to place music sheet sideways is not new and many really talented and famous teachers were using it in order to provide instant link between keys and notation. One of this teachers is Eloise Restad. She was named 'best piano teacher in America'. She wrote a book 'Soprano on her head' https://www.amazon.com/Soprano-Her-Head-Right-Side-Up-Performances/dp/0911226214 where she described her teaching secrets brilliantly.

However, what many teachers couldn't do – is to develop step-by-step gradual way for students from vertical to traditional horizontal music reading. The vertical placement was very helpful for many students to UNDERSTAND music notation, but it didn't solve problem of fluent music reading for ALL the students. Honestly, it is impossible without computer element of learning. Interactivity, animation and computer graphics could do a miracle with any type of students and teach masses how to read music with ease. 

Will be continued...

[hyrst]

Thank you for all the work you have put into explaining this.

[sarahlein]

lenka,
please, do continue.
I'm finding this most interesting and less "pushy" than other posts of yours in other threads.
 I think I'll stick around to read on. 

[lenkaolenka]

After that MAYLA describes a game, which teaches students the basic skill to apply names of notes to lines and spaces of Grand Staff. Here what she writes:

 

Then we play some games aimed at engraining the tools to find the names of the notes (and it REALLY works !).  One of the favorites is one that I have just started with them.  I made a spinner that has all of the letters of the musical alphabet on it, and bought a magnet/white board on which I drew a permanent grand staff :



They spin and whichever letter it lands on, we find that letter in line notes (we start with line notes and when those are mastered, we go to space notes) and then we place a magnet on that line (I have found that using these magnets works much better than having the student draw the notes in because it is much more precise and takes way less time -- especially for the little ones who are just learning how to do any of this stuff (including writing and drawing)).

 

The most interesting observation is: 'I have found that using these magnets works much better than having the student draw the notes in because it is much more precise and takes way less time'. She figure out on the practical rule of thumb, which any teacher ought to know: if you build one skill, you can not do it wile building another. One skill at a time, ladies and gentlemen!

Now imagine, if instead of magnet and boards you have computer and use all the graphics and animation and (!!!) SOUNDS, how effective, fun and productive the process, described by MAYLA is going to be!

We developed this software. The name of the game is Fruit lines. At first, player apply Music Alphabet to piano keys, after that – to music notation. You may play this game in Alphabet and Solfeggio languages. To switch you need to press A for Alphabet and I for Italian ( Solfeggio). I would recommend to download the free demo of the game, play it in BOTH languages and see for yourself, how skills, described by MAYLA, could be also developed.
-https://-https://www.doremifasoft.com/fruitlines.html

PS. We also have game, that teaches Music Alphabet. The link to the game is here:
-https://-https://www.doremifasoft.com/notealphabet.html
I also created Music Alphabet song . It could help everyone to learn order of the music notes just by singing it. But we didn't release the CD yet and have no demo currently. So, I guess in future I would share the CD with you!

[Bob]

If you're talking about teaching music like a language -- building up the musical vocabulary, making sure they can fluently read and hear things -- I'm all for that.  

I think Lenka has a software program that fills in the gap between keyboard layout and music notation, along with solfege ear training.  That's my impression at least.  I haven't read through all the posts.

The thing that I found out which was disappointing is that a lot of student don't want to learn that comprehensively.  I would like to teach them more theory and solfege so they can read things more like a language.  But if they want the traditional 30 minute lesson a week and want to play pieces for enjoyment or for achievement, they may not be interested in spending the amount of effort and time it takes to study music more comprehensively, like a language.  I think most people are taking piano lessons for enjoyment of some type and aren't really willing to invest the time it takes to learn music like that.  Later on as a student progresses, they might though.  And then there are students that will do the full learning, but I just don't see a lot of them.  For me at least, I've found I'm stuck teaching toward the traditional way because it what people will pay lessons for.  They want that (somewhat) immediate reward of being able to play a piece of music, not necessarily understanding, reading, or hearing everything they play.  I can still touch on those areas and then see if the student is the type that wants to know more in those areas.  I do the theory with students, but if I do too much and they aren't playing enough pieces or making enough progress, then it's a problem.

[lenkaolenka]

If you're talking about teaching music like a language -- building up the musical vocabulary, making sure they can fluently read and hear things -- I'm all for that. 

I think Lenka has a software program that fills in the gap between keyboard layout and music notation, along with solfege ear training.  That's my impression at least.  I haven't read through all the posts.

Yes, indeed. Also this software develops coordination, piano technique, teaching how to play music pieces, teaching how to memorize them, training eye-sight to read music notation like we read books and training all the essential skills for theory.

The thing that I found out which was disappointing is that a lot of student don't want to learn that comprehensively.  I would like to teach them more theory and solfege so they can read things more like a language.  But if they want the traditional 30 minute lesson a week and want to play pieces for enjoyment or for achievement, they may not be interested in spending the amount of effort and time it takes to study music more comprehensively, like a language. 

It depends, how we present theory. You can be a spammer and offer theory when our students' minds busy with building essential skills – or we can create a motivation, when students are begging you for more information. We developed ways of teaching with no spam.

  I think most people are taking piano lessons for enjoyment of some type and aren't really willing to invest the time it takes to learn music like that.  Later on as a student progresses, they might though.  And then there are students that will do the full learning, but I just don't see a lot of them.

I think, as a teacher, we have to lead the students and make enjoyable everything that could be useful for them in future. Tom Sawyer made fence painting quite enjoyable for his pals. But with traditional (not Soft Mozart ways) of teaching the process of learning is so slow, that it is really choice of survival – to give theory exercise or not to give. Been there – done that.  In my class with Soft Mozart students are playing so many pieces. Sometimes they are happy to switch for theory games for a change )))

 

For me at least, I've found I'm stuck teaching toward the traditional way because it what people will pay lessons for.

I disagree. People pay not for your ways, which you chose to teach them. They pay for the results of chosen ways. If they successfully learn to play piano and read music, they would be happy. You goal ( on another hand) to find the most effective ways of teaching your students regardless of the students' musical inborn talents.

They want that (somewhat) immediate reward of being able to play a piece of music, not necessarily understanding, reading, or hearing everything they play.

It is very NATURAL desire! You know, that human brain has 2 hemispheres?  Right part of our brain (responsible for left part of our body, by the way) is our feelings, emotions, perceptions etc. – human use this part of the brain for survival, hunting and such other activities. Left part of our brain had developed later with development of right hand and responsible for logic and reasoning. This is why all the humans first develop ability to see, to hear, to touch, to move and then to reason. It is time for music educators to except this rule and live with it! ))))

  I can still touch on those areas and then see if the student is the type that wants to know more in those areas.  I do the theory with students, but if I do too much and they aren't playing enough pieces or making enough progress, then it's a problem.

Well, this is essential part of the game called 'traditional piano lessons'. Dear Bob, you are your own boss. But if I would be you, I would do my homework and if some better ways would exist, I would not waste my life and career on slow and painful ways.

[lenkaolenka]

https://www.pianostreet.com/smf/index.php/topic,21022.0.html :

  We also start memorizing "landmark notes" -- G2, F3, G4, F5.   They know the bottom line of the Grand Staff because that's how the "musical phone number" begins, and then they know the "F" line up from that because the "F clef" reminds us with its two dots where that line is.  They know the "G" line in the treble clef area because the "G clef" reminds us, and they learn the top line "F" as it follows a recognizable pattern of GFGF.   I also have them learn "middle c" as a landmark note at this stage :



It's amazing to me how quickly they start to find their way around the staff at this point.  And they love it, too !  .

FIND their way around is the key ward in MAYLA'S description. FIND – it means 'look for' first. But In Soft Mozart program the students even don't have to 'look for' – they simply SEE. The way anyone SEE names of the streets while driving. You drive once, twice – voila! You already KNOW the way.

In fact, the 'traditional ways' of teaching students – way, when we make them think while they build basic skills, way, when we make them memorize and reason without ability to SEE – is the most cruel, inhuman and unnatural way in teaching, which I know. Nobody EVER takes a toddler, who just learned how to stand on his feet, cover his/her eyes and make him/her memorize, how many steps from love seat to sofa. Piano teachers do! 

PHYSIOLOGICAL RULE OF THUMB: when we develop ANY motor skills of human, we have involve VISION in process. Without vision muscles could be crippled big time. By making students THINK during the process of building skills, we could damage their development for the rest of their lives. 

[lenkaolenka]

Then, we continue integrating how this all fits into relating the staff to the piano.  For this I play another game with them where I hide flashcards in various places around the room.  We start with flashcards that only have line notes on them, and I leave the second big foam board up on the piano while we play this game.  They have to find the cards one at a time (and we often incorporate a game of "hot and cold" into the finding process (they LOVE this)), and first they name the note, but then they find exactly where it is on the piano using the big foam board as a reference.

From this quote of MAYLA'S description I would emphasize on the phrase
'We start with flashcards that only have line notes on them'
Here MAYLA intuitively came to understanding to a very important and essential for music reading fact, that music notes are placed ON LINES or ON SPACES. For many students that fact is like a visual stumbling block: they see E and G and play E and F. Why is that? There are 2 different reasons:
1.   They confuse music notation with reading books. In books any space is a BREAK between lines. Therefore, they subconsciously treat spaces in music as a break between lines.
2.   The visual difference between line and space notes is so subtle ( the same circles with line or with no line inside), that beginners just unable to SEE difference on the fly.

MAYLA went intelligent way by separating space and line notes in learning process to deal with one group at a time. Some music educators spend great deal of the time to EXPLAIN the difference between space and line notes. Soft Mozart making it plain and simple: we colored all the line notes red and called them 'girls' and all the space notes – blue and called them 'boys'. It helped the eyesight of beginners to catch the difference instantly with no words and thinking.

[lenkaolenka]

On top of this, I will give them sheets to take home that ask them to name the line notes on the staff.  I used to do this without any supplement games, and it took WAY longer for them to learn what they are doing.  The games cut everything down into a fraction of the time.  I also start to have them read music that focuses on line notes and we go through the music together, highlighting the "landmark notes" in specific colors.

Here is another founding of MAYLA. Read this again: 'and we go through the music together, highlighting the "landmark notes" in specific colors'. I will explain more about highlighting in music. For some unknown reason we have rule: learning piano suppose to be a struggle. Guys, it reminds me of Victorian age, when the rule was: married women have no right to have orgasm in sex. What is that?
We have to except fact, that the music notes look the same and piano keys are not better then notes and deal with it! Drills are not much help! Students have rights to have orgasm  to SEE the notes and keys when they learn to play piano and read! Every note and every key has outstanding features: they are on line or on space, they are on CERTAIN LINE and on CERTAIN SPACE, and yes! – They have one of 7 names! Highlight these features for students, let them also highlight them and you would be amazed, how mach unnecessary pressure would leave your classroom forever! 

[lenkaolenka]

In the next post MAYLA said golden words. Any piano teacher has to remember them and try to follow in teaching process. Here they are:
https://www.pianostreet.com/smf/index.php/topic,21022.0.html

My primary goal is to get the indivual finding their way around the staff and piano, and seeing how the two relate, as fast and as efficiently as possible, no matter what age they are.

Why is it so essential? Because when students still struggle with finding keys to corresponding music notes and music notes to corresponding keys, they are not free to learn anything else! One task at a time, remember?

When you STRUGGLE to learn to drive a car, you unable to enjoy the view behind windows.

This is why you put BIG RED NUMBER 3 over the note ( meaning, that student have to play it with the third finger) – and the student 'ignores' it. He/she is too busy to connect notes with keys. How many nerves and frustrations you would save by simply excepting this rule of psychology of building skills! 

[hyrst]

I can see a lot of sense in this approach at this stage - plenty to think about.  Thanks for taking the time to really explain the concepts, Lenka.

I think there are still different types of learners, though - this system would be very suited to visual-intuitive learners  in particular - and these are also the ones who struggle with the verbal, 'logical' teaching methods (such as those used in normal schools) and they are often more creative / expressive (so when they have some security in music they are often very good).

Strange as it seems, even to me as a teacher, there are actually students (like Bob said), who want to learn / expect to learn from method books and traditional drills.  For example, I have a 10 year old who started last February.  She is now on level 5 of the Faber Adventure Series.  I have tried to supplement her learning with other peices and acitivities - but she has explicitly told me not to do it!  She knows her own mind and her current goal is to finish the books.  She has said that then she will allow me to find her other music to play!  (She even came to me having, by herself, invented mneumonics for the notes - an approach I avoid.)

Also, I have found that nearly all my students don't care what music they are playing - they don't have any more interest in particular pieces than in studies and method pieces, again much to my surprise - they are satisfied that they are playing anything.  I only have two students who are different: both have a lot of music at home - popular and classical - and want to play things they know - one of these plays popular and classical, the other just wanted to learn Fur Elise (which we have done). 

It has frequently surprised me that students love to play lesson pieces - but that is my learnt bias, as I don't see many of them as 'music' but as exercises and learning tools.  I often want to teach other things and the students don't focus on them - they want the method books, although not as much as the ten year old insists.  I guess it gives them a sense of progress because they can 'measure' they have gone so far.   They also have no better idea what Bach's Minuets are (for example) than they have of 'The Clockwork Mouse' from the lesson book - only I Know!

But I also have a couple of learners who I am trying to find  ways around their stalled learning - they can read notes and intervals but struggle to coordinate this with playing the keys.  I can see that Lenka's system might support these students  pass this stage. 

Still, whether or not we like it as teachers, apparently there is a perception about how lessons should operate - maybe because many parents, who have children start lessons, learnt when they were children using old methods (it is sad how many parents say they wanted to learn but didn't like it and they are amazed that their kids are enjoying lessons and practicing of their own motivation - perhaps there is a lot that has changed, but I wouldn't dream of repetitious and punishing approaches, so maybe it's that). 

I guess that it is a different 'market' of students who would learn using software - perhaps a market not bound by preconceptions or one that is actually looking for a different approach.  So, if a teacher used software as a primary teaching tool, the prospective students would need to be aware - prepared with their own comparative set-up so students can practice - and the software would have to be the centre of any advertising by the teacher.

But, there must be manual means of using these principles, and others, to improve students' grasp of concepts - especially for visual and kinaesthetic learners.  There must be a way to incoporate better understandings of learning processes into the curriculum without contradicting the students' expectations or requiring specific layout of materials by students.  This is why I was so impressed and inspired by m1469's work.

[lenkaolenka]

I can see a lot of sense in this approach at this stage - plenty to think about.  Thanks for taking the time to really explain the concepts, Lenka.

You are welcome! The pleasure is mine!

I think there are still different types of learners, though - this system would be very suited to visual-intuitive learners  in particular - and these are also the ones who struggle with the verbal, 'logical' teaching methods (such as those used in normal schools) and they are often more creative / expressive (so when they have some security in music they are often very good).

You brought learning in regular school out, but no any school would consider teaching people how to read, write or count, if they can't focus their eyes or just are in process of learning how to speak. Any person who comes to our piano class falls into this category – category of 'students with special needs' regardless of age. It happens, because NO INDIVIDUAL EVER HAD DEVELOPED SKILLS TO KEEP FOCUS ON MULTIPLE LINES OF MUSIC STAFF AND NO ONE EVER COORDINATED 10 FINGERS OF BOTH HANDS ON PIANO BEFORE.  To build skills to coordinate fingers and hands by sight-reading is much more effective with interactive visual hints and music sounds, then with reasoning and explanations for 100% of all types of learners. 

Reading music notation is closer to navigation. No words or even the best most genius explanation would be able to replace training, which involves all the established senses such as visual, audio perception and power of touch. Otherwise, we would also teach pilots 'old traditional ways' to ride airplanes and only prodigies would be able to make it. Imagine, how expensive air tickets would be this way!

With the intelligent 'machinery device' any student would build fundamental skills 1000 faster. Talented would do it in couple of days ( instead of couple of months) – average and below average would never get lost. It is just smarter way of teaching – that's all!.   

[lenkaolenka]

Strange as it seems, even to me as a teacher, there are actually students (like Bob said), who want to learn / expect to learn from method books and traditional drills.  For example, I have a 10 year old who started last February.  She is now on level 5 of the Faber Adventure Series.  I have tried to supplement her learning with other peices and acitivities - but she has explicitly told me not to do it!  She knows her own mind and her current goal is to finish the books.  She has said that then she will allow me to find her other music to play!  (She even came to me having, by herself, invented mneumonics for the notes - an approach I avoid.)

The student, which you have described likes to be control and craves for structure. When we teach piano traditionally, we sometimes do not realize, that our students sometimes have no clue, how they are progressing. By playing the same piece over and over again they can't say difference between one performance and another. Ability to see your mistakes and to see ways how to fix them is vitally important for any learning. This is why interactive ways are the most effective!

No imagine, that a student has ability to see his/her own mistakes with help of interactive computer program. He/she plays a piece ( part of a piece, right or left or both hands of a piece) and after that see, that he made 3 mistakes and 45 seconds delay of perfect timing. What this student would do? Start again and again and again 'till he/she gets the perfect score.

[lenkaolenka]

 

Also, I have found that nearly all my students don't care what music they are playing - they don't have any more interest in particular pieces than in studies and method pieces, again much to my surprise - they are satisfied that they are playing anything.  I only have two students who are different: both have a lot of music at home - popular and classical - and want to play things they know - one of these plays popular and classical, the other just wanted to learn Fur Elise (which we have done).

Unfortunately, due to the fact, that we live in musically illiterate world, when majority of our students are mostly exposed to primitive genres of music (songs, music in movies etc) and the fact, that with traditional ways of teaching they have to struggle to build basic skills we have this problem. The solution is – to use effective systems to teach students to sight-read and play  A LOT OF MUSIC without mastering pieces to build their music mind the sooner – the better.

It has frequently surprised me that students love to play lesson pieces - but that is my learnt bias, as I don't see many of them as 'music' but as exercises and learning tools.  I often want to teach other things and the students don't focus on them - they want the method books, although not as much as the ten year old insists.  I guess it gives them a sense of progress because they can 'measure' they have gone so far.   They also have no better idea what Bach's Minuets are (for example) than they have of 'The Clockwork Mouse' from the lesson book - only I Know!

' I guess it gives them a sense of progress because they can 'measure' they have gone so far.' YOU GOT IT!

But I also have a couple of learners who I am trying to find  ways around their stalled learning - they can read notes and intervals but struggle to coordinate this with playing the keys.  I can see that Lenka's system might support these students  pass this stage.

Well, piano playing has 2 equally important problems: coordination development and sight-reading. The Soft Mozart is a tool to find a healthy individual balance for students of any type. If the students struggle with coordination, we give him more visual support in reading and the opposite. Before SM no any teacher could have this opportunity. The traditional ways are too rigid and inflexible with tools.

[lenkaolenka]

 

Still, whether or not we like it as teachers, apparently there is a perception about how lessons should operate - maybe because many parents, who have children start lessons, learnt when they were children using old methods (it is sad how many parents say they wanted to learn but didn't like it and they are amazed that their kids are enjoying lessons and practicing of their own motivation - perhaps there is a lot that has changed, but I wouldn't dream of repetitious and punishing approaches, so maybe it's that). 

Parents are the greatest allies of more fun and effective approaches indeed! Even professional pianists as parents!

I happened to meet with world famous concert pianist Yuri Rozum – national artist of Russia. His daughter didn't want to learn play piano. So, after presentation of Soft Mozart he got the program and now the girl successfully learning. No parent wants the children to struggle and hate learning.

I guess that it is a different 'market' of students who would learn using software - perhaps a market not bound by preconceptions or one that is actually looking for a different approach.  So, if a teacher used software as a primary teaching tool, the prospective students would need to be aware - prepared with their own comparative set-up so students can practice - and the software would have to be the centre of any advertising by the teacher.

The effectiveness of studding music with SM is so obvious and it is spreading so fast ( we don't advertise), that I see traditional and low effective ways of teaching out the market very soon. People won't invest in something, that takes forever and does not guarantee results.

But, there must be manual means of using these principles, and others, to improve students' grasp of concepts - especially for visual and kinaesthetic learners.  There must be a way to incoporate better understandings of learning processes into the curriculum without contradicting the students' expectations or requiring specific layout of materials by students.  This is why I was so impressed and inspired by m1469's work.

Well, students have no contradictions when they come to learn piano. All what they want is– to learn music pieces and learn how to read with fun and enjoyment. ALL STUDENTS IN THE WORLD LIKE TO STADY ANYTHING NEW, WHEN THEY C_A_N DO IT. Otherwise, they quit. We have to remember one thing: it is not about us – music teachers – any more! It is all about THEM. Our duty is to give them education better , faster and more effectively

Thank you very much for your thoughtful comments! I enjoy communicating with you!

[hyrst]

Thank you.