By Stewart Gordon
Simply as musical etudes specialize in the improvement of abilities and tackle the technical difficulties encountered in keyboard literature, the "etudes" in Stewart Gordon's new publication additionally concentrate on rules which arrange piano academics for assembly the issues encountered in piano appearing and instructing. This significant new assortment at the piano teacher's paintings opens with an evaluation of the function of the piano instructor, and is going directly to discover numerous varieties of scholars and the problem every one offers: the reasonably gifted, yet bold, pupil; the overdue newbie; the surprisingly talented. Drawing on thirty years of educating and appearing, Gordon then deliver clean rules to endure at the often-discussed components of inner-hearing, pulse law, improvisation, sight-reading, and collaborative tune making. There are sections on functionality systems, memorizing, pedalling, and ancient functionality practices; a carefully-balanced attention of the position of the piano scholar and instructor; and life like seems to be on the difficulties dealing with the career at the present time, the dynamics of a acting occupation, and the phases by which musicians' careers frequently move. Designed to open up new avenues of inquiry, to impress dialogue and artistic pondering, and to problem and inspire scholars, those essays may be important interpreting for all critical piano scholars and lecturers.
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Extra info for Etudes for Piano Teachers: Reflections on the Teacher's Art
And what are the other manifestations of the profession? The collaborative music making, the improvising, the accompanying for dancers, the recording, the entertaining, the arranging, the scholarly research? This work is all work which pianists, as musicians, do as part of their professional life, and many of them work efficiently, happily, without a great sense of frustration or failure. They do so because they were able as maturing adults to face realities, and as a result to expand horizons.
One can learn to improvise a little, or play some Gershwin or even a little boogie-woogie or blues. This icing can often ease the way into a performance of Mozart or Chopin or Debussy, thus demonstrating what one really does play well and selling at the same time. The important thing is to meet an audience and play for it, rather than to cower or back off because of feeling unprepared or uncomfortable with the dynamics of communication. Yes, one has to be prepared actually to get through a piece.
Such observations are rife with exceptions and tend not to extend the full measure of appreciation for the reading gift. ) Incorporating sight reading as a regular part of instruction at the beginning levels will go a long way toward strengthening reading skills for all students, whether highly gifted in this direction or not. Such happy circumstances, however, are not always the case, and as teachers we often encounter students who do not read well. Some of these students do not have much aptitude for the process and have been allowed to grow well beyond beginning stages by working around this deficiency.