Teachers' Corner

[Quijote]

[...]I only used dominant seventh chords so as to avoid that ambiguity. I think he falls for multiple choice trap during this exercise - "Oh, the last one was a major chord, so this next one can't be a major chord too..."

Sorry Chris, playing a dominant 7th hardly clarifies the problem for your student. Assuming C major for facility, we have two superimposed triads : a major one (C-E-G) and now a diminished one (E-G-B-flat). It's a special chord that of course has a "dominant degree function", but its "character" is ambiguous; there is (for young, inexperienced ears) something "dodgy" (not quite "right", so to speak) about this chord. It is then, for young ears, "dissonant", therefore not quite purely major, and not totally minor.

[Quijote]

There exist on the market some fairly correct pedagogical ear-traing methods for youngsters. Send me a PM if you wish and I'll provide the necessary details. They are in French, however!

[Chris]

Sorry Chris, playing a dominant 7th hardly clarifies the problem for your student. Assuming C major for facility, we have two superimposed triads : a major one (C-E-G) and now a diminished one (E-G-B-flat). It's a special chord that of course has a "dominant degree function", but its "character" is ambiguous; there is (for young, inexperienced ears) something "dodgy" (not quite "right", so to speak) about this chord. It is then, for young ears, "dissonant", therefore not quite purely major, and not totally minor.

Well, that's the point. Once he was good at distinguishing between major and minor triads, I wanted to introduce a third choice, something that didn't sound like either one of the other choices. And the thing is, he usually gets the first few right, no matter what they are, and then starts going wrong. Maybe he just gets bored with it. Though he does enjoy doing the exercises in his theory workbook.

[Peter]

Some further thoughts (and perhaps Headmaster and others can confirm this) : all too often with undergraduates, despite their respective levels as instrumental players, I find that some, when tackling a harmonization exercise, have no idea of what they are writing, in the sense that they have no idea of the "sound" of the notes they put to paper. It is, regrettably, far too high a minority, a bit like "painting by numbers", if I may put it that way.
It is a particular "beef" (= issue, complaint) I have with the University of Strasbourg. Most of the students I have are following a degree in Musicology. This is fine by me. But even for musicoloigists one would expect a level of musical "literacy" (or competence), and this aspect of "inner ear" is seriously lacking. In my group I also have students following a dual musicology and conservatoire degree, and there are no points for guessing which out of the two categories have the greater facility for inner ear imagination.
Hence a good part of my course today was spent in insisting on ways of developing one's inner ears. Some have this ability quite naturally, but it must not be forgotten that it can be developed.

Well no I can't confirm it because I don't teach undergraduates! I teach piano and music theory (privately and in school) from beginners up to grade 8 and occasionally beyond. I entirely agree though about the necessity for aural training and it forms the basis of my lessons right from the beginning. For a beginner in their first term I don't teach notation at all - I concentrate on developing the aural response to music. I teach them to sing, play and recognise intervals, transpose, scales (which they learn how to work out for themselves), chords and rote pieces - only after this preliminary work do I teach them the symbols. I use no piano tutors as I find most actually harmful and dreadfully dull - when I feel the student is ready I use a lot of folk song material, the Diller-Quaile series, although a bit dated provides excellent material.

[Quijote]

[...] I entirely agree though about the necessity for aural training and it forms the basis of my lessons right from the beginning. For a beginner in their first term I don't teach notation at all - I concentrate on developing the aural response to music. I teach them to sing, play and recognise intervals, transpose, scales (which they learn how to work out for themselves), chords and rote pieces - only after this preliminary work do I teach them the symbols. I use no piano tutors as I find most actually harmful and dreadfully dull - when I feel the student is ready I use a lot of folk song material, the Diller-Quaile series, although a bit dated provides excellent material.

I had forgotten how hard it is to teach instrumental beginners who have no basics in notational theory. That you concentrate from the outset on aural skills is admirable (and essential). The earlier one starts with demonstrating the written dot on the page with an actual sound the better.
I think you would be horrified by some of my 2nd year undergraduate students : one (a flautist) can barely read the bass clef. How on earth can I be expected to teach 4-part harmony if she cannot handle this clef? How can she be expected to "hear" what she writes if she almost has to "count on her fingers" these bass notes?
By the way, I failed this student last year, and she is repeating the course. My colleagues tell me she is equally dismal in dictation. Unfortunately, this student is an example of the French university system (see above, concerning "pre-selection").
Oh well, I get paid for this, so I soldier on ...

[Quijote]

Here's a fun idea for you, Headmaster, maybe one for your more advanced piano students: place them so that they can't see the keyboard; play any note, and then get them to come to the keyboard and play the same note. If they have perfect pitch, well, don't bother, but spank them if they get the wrong octave!

[Quijote]

I also have a reliable "One-note" ear taining manual with CD (not terribly exciting, but it works if repeatedly used, you can really measure improvement) : its method is simple : either use the CD (I don't, it's too impersonal) or you hammer out yourself the usual IV-V-I progression in any key, let's make it C for convenience) and then immediately play a single note (diatonic or chromatic) in any octave. The student has to (quickly) identify the note in relation to the progression you played. Again, if used on a regualr basis the student quickly picks up relative pitch recognition.
Do you have any personal ear training ideas for me to try? (A question for all of you, I really am open to interesting methodologies!)

[Quijote]

With the above method just mentioned, you could of course "double the interest", so to speak : hammer out the I-IV-V, then play an interval - the student has to either : identify both notes, or (if not so strong) identify the lower note and the interval the two notes create. From there you can build up chord complexes, but let's not go to extremes à la Ligeti (though that will be my test for Sorrano. Hah!).

[Peter]

Well as I said Philip I make aural a priority from lesson one - even a 6 year old I ask to sing a note, then the one above and the one below. They learn to play the intervals on the piano up to a 5th and to sing them. I also make them finger them in every combination - e.g a 2nd is fingered 1,2 - 2,3 - 3,4 - 4,5. They also practice this on different notes - one of my main gripes with most tutorials (aside from the dull material) is that they keep them with a thumb on middle C for about 6 months!! The number of pupils I've had from other teachers who simply read by numbers and think that 1 is middle C even after several years is unbelievable!

Rhythm is also top priority and they learn how to clap and count properly - I don't allow one two (no accenting) or one and two (as 3 separate words) - it is ONE two or ONEand two - again the number of pupils who can't count properly and consequently can't play rhythmically is legion. My heart often sinks when I have a pupil from another teacher because invariably even if they are advanced, the basics are all wrong and it is very frustrating for teacher and pupil alike to do something about it!

I've had grade 4 pupils with every single note written in pen by the teacher - even three middle C's in a row, each named! That to me isn't teaching but sheer laziness and stupidity. Of course that pupil's sight reading was non-existent and learning notes of a new piece was extremely hard at first - now he can do it without writing a single note name in, but sight reading, though improving is still poor as a direct result of his early bad training.

One side of the aural work though I do find hard to teach from grade 5 on is the historical recognition of the style and composer - many haven't a clue, which comes down not only to a lack of history but also not listening to music at all! I played an example of Bartok to a 14 year old - the answer given was Baroque and the composer suggested 'Batch'! The date proposed was 19th century. Help!!!!!!!!

[Quijote]

A bit like the example you gave some time ago about a certain German (but we claim him as British) composer whose name you prompted by looking at the door : Knob !
Knob's Water Music. Wonderful.

[Peter]

A bit like the example you gave some time ago about a certain German (but we claim him as British) composer whose name you prompted by looking at the door : Knob !
Knob's Water Music. Wonderful.

Yes, priceless - this pupil is doing GCSE music and no doubt will get an A grade!

[Sorrano]

With the above method just mentioned, you could of course "double the interest", so to speak : hammer out the I-IV-V, then play an interval - the student has to either : identify both notes, or (if not so strong) identify the lower note and the interval the two notes create. From there you can build up chord complexes, but let's not go to extremes à la Ligeti (though that will be my test for Sorrano. Hah!).

Lol!

[Sorrano]

Perhaps a problem with some of the students is the lack of ability to focus for very long. Music is not something that you just pick up in a few minutes and master. However, the age we live in is not conducive to long periods of concentration and learning. How often do we skip through a site (or even post on this forum) if it happens to be somewhat verbose? When I started practicing the piano again, after a long period of inactivity, I discovered that I had to relearn the art of focusing on one thing for a period of time. I think some of the issues teachers face are much deeper rooted than issues with a given subject.

[Peter]

Perhaps a problem with some of the students is the lack of ability to focus for very long. Music is not something that you just pick up in a few minutes and master. However, the age we live in is not conducive to long periods of concentration and learning. How often do we skip through a site (or even post on this forum) if it happens to be somewhat verbose? When I started practicing the piano again, after a long period of inactivity, I discovered that I had to relearn the art of focusing on one thing for a period of time. I think some of the issues teachers face are much deeper rooted than issues with a given subject.

I'm sure that's right Sorrano, but they're often not helped by their teachers (or their parents!) either! How can anyone have any enthusiasm for music when all they've done for 6 months is drum out one note after the other endlessly parrot fashion? If a child is properly enthused and motivated, then the whole learning process should be fun and rewarding.

[Preston]

Perhaps a problem with some of the students is the lack of ability to focus for very long. Music is not something that you just pick up in a few minutes and master. However, the age we live in is not conducive to long periods of concentration and learning. How often do we skip through a site (or even post on this forum) if it happens to be somewhat verbose? When I started practicing the piano again, after a long period of inactivity, I discovered that I had to relearn the art of focusing on one thing for a period of time. I think some of the issues teachers face are much deeper rooted than issues with a given subject.

Sorrano, that makes sense to me.

I'm sure that's right Sorrano, but they're often not helped by their teachers (or their parents!) either! How can anyone have any enthusiasm for music when all they've done for 6 months is drum out one note after the other endlessly parrot fashion? If a child is properly enthused and motivated, then the whole learning process should be fun and rewarding.

The best students, I imagine?, are the ones who have a deep passion for the music and, more importantly, have a good feeling for the music at hand. If you have a student without an ear it is much harder for them to appreciate and better yet learn about the music, it seems.