Requirements: longer paper outlining some teaching strategies for two contrasting pieces of high standard (appear. Grade 7 and above). Both musical and technical aspects should be addressed. 1800-2000 words This essay would be outlining the teaching strategies for two high standard contrasting pieces which are the Toccata by Ram Chattering which is a modern piece, as well as the Consolation by Franz List which is a romantic piece. The first piece I am going to focus on is Toccata.
I would explain to the student that the term usually means that the piece generally emphasize on the dexterity of the performer. Basically, this Toccata Is In the modern genre and is considered a Russian modern piece. Then I would move on to explain both of the musical terms found in this piece, namely narcissism? which means lively, fast and much accentuated and which means expressively in a moderate tempo. By doing so, the student would have a rough idea on the expectations of the listeners when this piece is played, as well as how this piece would sound like.
For the first few lessons, depending on the ability of the learner, would focus mainly on the rhythms in Toccata. This is because, rhythm and notes happen to be the main core of this piece. The student would be required to tap the rhythm of the left and right hand together, as though they are playing the piece with both hands but without notes. Different students will definitely face different problems when tapping the piece. I have taught some students and a number of them face the some common problems.
Therefore I have recorded where the problem Is found and how helped them overcome it in the following paragraphs. On the first page, bar number 5, students with a weak foundation in rhythm loud find It difficult to do it with both hands. Therefore I have taken the traditional approach to help them. First off, I would ask the student to Identify where the mall beat of the four crochets Is. As shown In the printed copy of the score, the lines marked show where the main beat is. Then I would ask the student to tap the beat with their right hand and the rhythm for the left hand.
For the first set of notes on the left hand, the pulse falls on the off beat then moves on to the beat itself on the second set of notes as shown on the score. When they have gotten used to the withy for the left hand, I would ask them to do the same for the right hand by tapping the beat on the left hand and tapping the rhythm for the right hand. Then ten students are expect EAI to co-relate Don urn Yates together. Another problem some students would face is on page 9 when there are 9 sets on notes played to one beat.
I would use the same method by asking them to identify the beat. However, rather than tapping out the rhythm, I would ask them to say it in terms of numbers instead. The reason is some students might have difficulty tapping nine set of notes to one beat because it would be really fast, therefore saying out loud is much more feasible. Last common problem will be on the first four bars of page 10, it consist of some rather tricky rhythms too as three semi quavers on the right hand is played against two on the left hand.
Rather than using the usual Freddy Jump? I would use Eve-rye The refers to the second semi quaver in the right hand, and the semi quaver that comes after it. By using this, it shows the student that these two notes have to be played one after another rather quickly, rather than played together. At the end of each lesson, the student will be asked to briefly glance through the piece and identify the notes which are out of their common knowledge as homework. Examples of notes out of their common knowledge for some students the chords located on the fourteenth bar on page 4.
After going through the basic rhythms of this piece, I would divide the first 8 pages of the score into 5 sections as shown on the score. From there, the student would be required to sight read one section per lesson. Personally, I do not support the method whereby some teachers expects the students to sight read the whole ice and then correct the students from there and the idea of learning the melody first then the expression. This is because, when the student is familiar with the melody, it is hard for some of them to add in the expressions to the set of melody encoded into their memory.
Therefore, I would rather divided the whole piece into sections and then ensure that the students learn each section specifically. The toccata has a wide range of dynamics ranging from soft to very loud. In this case, there are three different degrees of loudness. In order to ensure that the Hyannis are distinct, at the start of each lesson, the students will be required to play the same set of notes with different dynamics, for example, the C major scales from fortissimo to piano. I will briefly go through on how the students will be taught by using only parts of the Toccata.
For the first section, it is fairly simple. The students are required to notice the accented notes on the right hand and the crescendo starting on the end of the fifth bar. The second section, I would prefer an accent on first note of each beat marked on the score. By doing so, the beat is not lost when the pianist is playing. On the last bar of the second section, the B note which is circled in red on the score NAS to De accented slightly more tan ten rest as ten sound AT Tanat special note, have to be carried through the next bar which is the 3rd section which is in pianissimo.
Some students might have a difficulty on the last two bars of the page 3, when the student has to move their hands quickly to the right by two octaves. The students must be used to the movement as well as the position of the notes. Thus by placing the hands on top of the keys rather than playing it for a few times would be the solution. Another difficulty the students might face is the set of running notes on the last few bars on page 6. I would first introduce the new term, which is C,-1?0 and which means left hand and right hand respectively.
Then I would require the student to highlight the notes in play by left hand. The student will be asked to play the highlighted notes first then they will play backwards from the second last bar of page 6, which is a G sharp. This would enable them to use the left hand as a guide and see the pattern of semi tones and whole tones in the array of notes. This method would aid the student in memorizing quickly and the inning notes are therefore simplified into a simple pattern. Next, lets move on to the consolation by List in D flat major.
Unlike the Toccata, Consolation by List is more of an expressive and of a slower pace. Basically, most of this piece revolves around the same pattern with a slight moderation here and there. Most of the students face difficulties on the forth bar of page 8 due to the semi quavers. For four sets of semi-quavers, I would ask them to say Con-seer-VA- to-rim in which the refers to the 1st note of the beat and refers to each note on the right and left hand, as shown on the score. This would give the student the rough idea of the rhythm, and how both hands are played together.
The most challenging part of this piece is being able to bring out the expression and feeling of this piece. Peddling plays an important role in this. For example, on page 1, bar 2 onwards, the pianist has to ensure that the semi-brave can be heard as it goes onto the next bar, as it is tied. A suggestion would be that the pianist can do half peddling instead so that the sounds from the previous bar would be brought over. However, I would recommend the pianist to remove the tie on the ass note on bar 5 on the same page.
This is because, the sound of the semi-brave that is held by the pedal through 3 bars would be not so audible, and therefore, it is better for the pianist to play it again. However, the learner can choose to do it his or her way. The rhythm of this piece is fairly straightforward for the whole piece. Therefore rather than asking them to tap the rhythm, I would encourage them to sight read instead. I have also divided the piece into some sections as shown on the score. During can lesson, ten student wall De asked to slang read only can section, ether than the whole piece.
Their understanding of the first section is critical for them as it would be reflected on the rest of the piece as well. Unlike the Toccata, the student has to play with rather flat fingers to be able to bring out the cantabile side of the piece. Although some notes are labeled as staccato, it should be played slightly detached rather than the normal staccato we play. There are not many technical difficulties in this piece but in expression wise, one has to be able to make it distinct, example the difference between C,-1?0 and ensuring that it is not too sudden.
The pianist has to be aware of the meaning of the Italian terms written in this piece. Moreover, the students have to be aware that the melody is on the right hand due to the fact that some students tend to play the left hand louder than the right hand which is not advisable. These are some of the musical and technical aspects of these two pieces. Basically, the Toccata focuses mainly on the technical skills as well their ability in handling with expressions. On the other hand, List consolation is more of a romantic piece thus it focus on the ability to bring out the expressions in this piece.