88 Keys to Mastering the Piano was created as a resource for the author's younger pre-college students to present the following pedagogical objectives in a motivating, creative, and child-friendly format:
- an intervallic/landmark, non-position approach to reading
- focus on development of strong rhythmic skills
- healthy, coordinate technic based upon modern ergonomics and Taubman Approach
- music theory and notation
- rote pieces
- improvisation and composition exercises
- ear-training
- wide range of musical styles
- music appreciation
Things you will not see in this method:
- thumbs share middle c positions
- fixed positions, 5-finger positions
- positions or motions which cause tension, fatigue, technical limitation, pain, injury
- finger isolation or independence exercises
- photos encouraging students to curl the fingers as if holding a ball
- directives to develop finger independence and "finger strength"
- note naming approach to reading
- directives to shape with the wrist or bring a limb part to the extreme range of motion
Some of the things you will see in 88 Keys to Mastering the Piano:
- landmark and intervallic reading approach not based upon positions
- overall learning approach based not only upon reading but also by doing
- video examples and photographs
- creative compositions with mp3 and teacher accompaniments
- wide range of compositional styles
- creative supplemental activities in the accompanying Piano Exploration books
- detailed explanations of each new concept
- a systematic approach to developing an effortless virtuosity at the piano and master a piano technic that involves no tension or fatigue -- a technic that is as natural as talking and walking
- unity of finger, hand, forearm
- natural and healthy finger shape
- proper alignment, posture, balance
- motions at the keyboard which allow student to maintain proper alignment such as:
- in and out
- forearm rotation
- single rotation
- double rotation
- shaping
- walking hand and arm
- interdependence of the hands
- mid-range of motion
- minimum effort for maximum result
- torso shift and balance
- cognitive grouping
- how to play repeated notes
- fingering to avoid stretching, crowding, twisting, and other unhealthy motions
- how to choreograph the score
- how to play octaves and chords in speed without fatigue
- how to play scales and arpeggios with brilliance, speed, and ease
- how to play bound intervals
- creative approach to listening and connecting motion with sound
- ear-training
- music appreciation and listening examples
- how to listen
- how to produce a beautiful tone with incredible tonal control
- pedaling techniques
- how to execute leaps that don't miss
- pedal techniques
- how to have a 4th finger which is just as strong as every other finger
- how to play octaves and chords with ease and in speed
- how to play scales and arpeggios with ease and in speed
- an approach that conveys the nature of rhythm, the backbone of music, as a physical sensation
Over the past 40 years of teaching piano the author has used just about every piano method book available. The resources have been invaluable and have improved from decade to decade. While no single approach has fulfilled every item on her pedagogical wish list, a combination of utilizing multiple methods at the same time with a given student, along with supplemental materials has been sufficient.
However, over the past 3 decades, the author's understanding of the pathway to virtuosity has evolved both with regard to her own playing and her teaching. With her intensive study of the Taubman Approach, the author has a new understanding of how pianists develop a tension-free, healthy virtuosity at the piano by observing important principles of ergonomic motion.
A method for children was needed that addressed not only the important components of musicianship (i.e. reading, theory, ear-training) but also how to achieve an effortless virtuosity at the piano and master a piano technic that involves no tension or fatigue -- a technic that is as natural as talking and walking. The method needed to address artistry at the piano, from the start. In addition to learning how to hear and listen to music, the way a pianist sits and moves at the keyboard affects the sound they will produce, tonal control, expression, and artistry. It is important to connect movement with sound. The method needed to introduce contrapuntal textures early on. Most piano methods do not address this enough or at all, which is one reason Bach Inventions are so incredibly challenging for students once introduced. The method needed to be geared toward students and parents of the 21st century with enough resources (videos, photographs, detailed directives, fun activities, Apps)
for home practice and progress and a pace suitable for the busy lives of students and their parents.
Gravity --- it's not just a good idea, it's the law!
The field of ergonomics has boomed in recent decades with the computer era, and shifted from the focus on productivity (industrial revolution) to the health and comfort of the human by improving working conditions and eliminating the causes of musculoskeletal disorders. We have learned so much in recent years about healthy and efficient motion. So why are pianists and piano teachers still clinging onto outdated information which was introduced in the 18th and 19th centuries?
For example, many method books published today still include directives to "curl the fingers beyond their natural curve as if holding a ball or bubble." Yet we now know that curling the tips of the fingers like this activates the long flexors and causes tension in the fingers, hands, and arms. We now know that movement is healthiest and most efficient when in the mid-range, yet pianists are often still encouraged to move a limb part to the extreme range, such as when dropping the wrist too low for 2-note slurs, or with ulnar and radial deviation when twisting the hand to the right or left away from the direction of the forearm. We now know that co-contraction caused by fixating the hand into a "position" and by isolating the finger motion from the hand and forearm motion causes tremendous tension and is detrimental to a healthy, effortless, and virtuosic piano technic. Yet these directives are still being included in method books.
There is a reason that there are so many injured musicians today. Some studies suggest that 86% of orchestral players are injured and that the rate is much higher for pianists. The author has helped rehabilitate injured musicians for the past 2 decades by incorporating healthy principles of ergonomic motion and The Taubman Approach into their playing. She herself recovered from a debilitating injury using these same principles after studying with Edna Golandsky in New York City. Many of these concert pianists and college professors the author helped had been dealing with pain and debilitating playing-related injuries like carpal tunnel, focal dystonia, and tendonitis for years. The injuries were affecting their livelihood and the basic ability to live life. Tying shoes, typing, writing, doing laundry or cooking ... all these things are affected when it is impossible to use your hands successfully.
It was the way these pianists played that caused the injuries. They had been taught using traditional teachings which have been used for 100s of years. And, for 100s of years, pianists have suffered from injury. However, ALL of these playing related injuries could have been avoided. In the 21st century, with advancements in the field of ergonomics, an Inevitable acceptance of pain and injury does not have to be the norm for musicians. "No pain is your gain" is a false and dangerous motto. Instead, the motto should be "no pain is your gain."
Why is the 'thumb share middle C' approach avoided in 88 Keys to Mastering the Piano? This popular approach, found in many piano methods, divides the melodic lines between the hands with thumbs lined-up with and always playing middle C. This position, with the hands directly in front of the body, and the thumbs trying to "line-up" with the keys, can cause the student to "twist" the hand away from the direction of the forearm. This misalignment causes tension and makes it difficult to move the fingers, hand, and forearm with ease and in speed. Twisting at the wrist (ulnar and radial deviation) can also cause very painful ganglion cysts and other injuries.
Why are 5-finger positions' avoided in 88 Keys to Mastering the Piano? Typically method books use the "thumbs share Middle c" or "5-finger positions" in the beginning to provide keyboard anchoring points. They seemingly make it easier for the student at the start, yet they set the student up ultimately for failure as he or she advances as their technic will be limited, as well reading skills, and listening and interpretive skills.
These "positions"
- Encourage students to stretch their fingers apart from each other as each finger lines up on a specific key before playing. Stretching the fingers apart from each other beyond their natural distance, as they are when hanging freely at the side, is a major source of tension and technical limitation
- Limit reading development. It is important that students develop the ability from the start to not associate one particular finger (i.e. only the thumb plays middle c) with one particular key. In 88 Keys to Mastering the Piano the student is given ownership of the entire keyboard. The very first unit introduces the full spectrum of the keyboard topography. Interspersed throughout the method book are rote pieces which utilize a wide-range of the keyboard. This is important for the development of a coordinate technic as well as listening skills and motivation.
- Limit artistic development
What is Piano Technic?
Piano technic is the study of motion. It is not the study of how to build muscles, strength, and endurance.
As Dorothy Taubman observed, talented young children are often able to play enormous literature -- Chopin, Rachmaninoff, Liszt -- without an adult's strength. If pianists would simply learn the proper way of playing which observes important principles of modern ergonomics, then they would have an effortless technic. Piano playing should be as natural as walking or talking. A pianist should be able to go right to the piano and play, without feeling the need to "warm-up" even if they have not bee at the instrument for days, weeks, or months.
"Unfortunately, the idea that developing a strong technique requires long, hard, athletic training is held in spite of the fact that child prodigies emerge with stunning techniques without those many years of practice, while most [pianists] usually do not that kind of virtuosity even after years of practice. Training for endurance also implies that fatigue is the inevitable price of a virtuoso technique and one must therefore be trained to endure the fatigue."
--- Dorothy Taubman
By observing several important "laws" of physics, anatomy, and motion., this is possible for anyone. Not just prodigies.
There are 2 main principles of coordinate motion:
1) that all the parts of the body are being used at their best mechanical advantage
2) that we always use the minimum effort for the maximum result.
Sometimes pianists think that there are as many different approaches to piano technic as there are pianists. However, even though we may look very different from each other on the outside, and have unique spirits and personalities, when it comes to movement in general our bodies are all governed by very definite laws of motion. These laws are universal and they are based on the way the human body is build and moves, the way the piano functions, and laws of motion involving things like gravity, inertia, equilibrium, mass, and momentum.
Whether we are male or female, from Egypt or China, we are ALL BUILT THE SAME. Assuming there is no physical handicap, we have the same bone structure, muscles, ligaments, and nervous system, and when we play in awkward positions, or when we use the wrong muscles, or isolate the hand or fingers, or move our limb parts beyond the mid-range of motion, then we'll experience tension, which causes fatigue, which causes pain and possible injury.
Did you know that there are 39 muscles located JUST in the forearm and hand? And when you play a really difficult piano piece you are using ALL these muscles MANY TIMES each second! For example, if you are playing a passage of 16th notes (very fast notes) at Quarter = 120, then you're articulating 8 notes per second! At this speed, relaxation is simply not an option -- there's no time to relax! So pianists simply do not have time to mess around using the wrong muscles, the wrong way, at the wrong time.
Pianists do not have time for tension. Pianists do not have time for relaxation, either. A healthy, coordinate piano technic is neither about tension nor relaxation. It is neither extreme.
A healthy, coordinate piano technic is neither about tension nor relaxation. It is neither extreme.
88 Keys to Mastering the Piano guides students in ways to move so that there is no tension from which they need to relax in the first place. When the finger, hand, and forearm are balanced together there is no sense of having to press at the bottom of the key in order to stay on the keyboard, nor is there a sense of holding in the shoulders, arms, or wrists. There is no need to relax after playing a note because no tension is required to play a note.
Our bodies are made to move. Our creative spirits long to express. It is only a lack of knowledge that keeps us from developing our talents and our realizing dreams. While the author is happy to have helped to put music back into the lives of these once injured musicians, her true passion lies in teaching children. 88 Keys to Mastering the Piano is the author's contribution to future generations of children to help break this cycle, helping future pianists to avoid eventual pain, injury, and technical limitation ... at the piano, and subsequently in life.
These principles of coordinate, healthy motion can also be applied to every day activities such as typing, or using a tablet or smart phone.
That is why the motto "virtuosity at the piano and in life" is mentioned on the cover page of each book. The tools of healthy, ergonomic motion just happen to also be the tools of virtuosity. It's a win win!
Our bodies are made to move. Our creative spirits long to express. It is only a lack of knowledge that keeps us from developing our talents and our realizing dreams. While the author is happy to have helped to put music back into the lives of these once injured musicians, her true passion lies in teaching children. 88 Keys to Mastering the Piano is the author's contribution to future generations of children to help break this cycle, helping future pianists to avoid eventual pain, injury, and technical limitation ... at the piano, and subsequently in life.
These principles of coordinate, healthy motion can also be applied to every day activities such as typing, or using a tablet or smart phone.
That is why the motto "virtuosity at the piano and in life" is mentioned on the cover page of each book. The tools of healthy, ergonomic motion just happen to also be the tools of virtuosity. It's a win win!
Rhythm as a Verb:
Rhythm is perhaps the most important pillar of both technic and music performance.
Dalcroze's theory that "The primacy of music is rhythm and movement" is a principle that the author of 88 Keys to Mastering the Piano has found to be true over her 30+ years of teaching. In fact, she has found that rhythmic exercises, such as dividing the beat into duple and triple subdivisions, is one of the most invaluable tools in assessing musical aptitude and "talent" during the initial interview of a beginning student.
Rhythm is an activity, not a thing.
In ancient times the word "rhythm" was used as a verb. For example "I will rhythm these notes" or "I will rhythm these harmonies." As the ancient Greek writer Aristoxenus explained, to 'rhythm' something was to give it an organization, a shape, a form, and a distinctive life.
---"Dance and the Music of J.S. Bach" by Meredith Little and Natalie Jenne
The primary focus of Book 1 88 Keys to Mastering the Piano is to develop the student's "body instrument" and a strong sense of rhythm so that he or she will be able to eventually rhythm the notes and interact more successful with the piano instrument. Throughout the series, even beyond Book 1, the curriculum includes separate pages and activities specifically dedicated to rhythmic development while also encouraging imagination and aural sensitivity.
Music Reading:
Staff reading is not introduced until Book 2 affording the student numerous repetitions of experiencing strong, pure kinesthetic interactions of body, mind, and sound.
The improvisations and composition exercises interspersed throughout the series afford the student an opportunity for expression. Rote pieces are also interspersed throughout the series which afford students the opportunity to create sounds and music performance beyond their current reading skill set, providing motivation and musical satisfaction.
Learning to read music is a complex, multi-dimensional endeavor. It takes time yet, when taught using landmarks, intervals, and relationships of patterns, it is a relatively simple process and obtainable by every student. The approach used in 88 Keys to Mastering the Piano ensures the development of strong reading skills. Additionally, it influences the student’s ability to ultimately play with fluidity, and artistry.
How?
Music reading involves seeing symbols on the page or computer screen and then conveying the symbols to the brain which, in turn, sends physical signals to the body to realize the sound. As the student learns to read music the "musical mind" is being connected to the "musical ear." Music reading is a tool that turns notation into music. Music notation should be something that reminds the student of something that is already known and owned by the the body.
In the early days of method books, students were expected to memorize the basics before even being allowed to play the instrument. The emphasis was placed on learning by reading, versus learning by rote and listening and it was felt that this approach would ultimately lead to a more worthwhile music experience.
While it is inevitably true that students will enjoy a greater sense of accomplishment, motivation, and independence, once proficient reading skills are developed, it is essential not to overlook the important contribution of audiation.
How a student is taught to read will directly impact a student's eventual ability to play musically, with expression, and artistry. Will it be a notey performance which ultimately "sounds" like the visual markings on the page, or will it be a "musical" performance with phrases that breathe and flow?
Thus the author has found that the actual approach to learning to read music reading can influence a student's ultimate sound, along with other factors such as ear-training, quality of instrument (acoustic piano versus digital keyboard), listening skills, theory understanding, imagination and freedom of creativity.
Learning to read music while focusing on intervals and patterns, as is presented in 88 Keys to Mastering the Piano, helps to develop aural imagery in the relationship of sounds resulting in a greater sense of musical flow intervallic and pattern approach to learning how to read music helps to develop aural imagery in the relationship of sounds.
Learning how to read music with a note-naming approach typically results in a more “note” sound as the playing retells the note-for-note learning process. “The symbols system of the domain [must not be] taught in isolation of perception." (Davidson, Scripp, and Welsh, 1988, p. 73).
Audiation is building the auditory memory while music notation is not present. There are essentially two instruments being developed:
These 2 instruments should be developed simultaneously. Too often the 1st instrument is never developed leaving the 2nd instrument to be played mechanically and unmusically. If the student's audiation is not engaged from the earliest lessons, the student may end up perceiving music as more of a visual art than an aural art. In order for a student to ultimately develop a musicianship and a piano technic which afford "musical", expressive, and artistic playing, both instruments must be developed and work together.
88 Keys to Mastering the Piano acknowledges the difference between music reading and note naming. True music reading engages interval recognition, patterns, relationships among notes etc. versus simply note spelling which focuses solely on naming each single note. As students progress throughout the course of the series, they will learn to physically navigate, scan groupings and patterns of notes as they develop a vocabulary.
Conclusion:
88 Keys to Mastering the Piano includes numerous resources to allow the student of the 21st century to thrive and progress. Many students today have working parents as well as incredible demands on their own time with extra curricular activities, The interactive and engaging curriculum helps students and parents during home practice. Parents want to understand what their child is learning which is why 88 Keys to Mastering the Piano is very systematic and transparent. The teacher pages in the accompanying Teacher Booklet are invaluable resources for the parents as well as the teachers to know how to help students during home practice sessions.
It is the author's hope that this series will afford more and more pianists the tools to succeed and enjoy a long lifetime of music making. It is the author's hope that this series will bring the joy of music into lives around the world and help piano students succeed, from the first lesson to the last, even when they have moved beyond the method books to the wonderful world of endless repertoire from Bach, to Beethoven, Brubeck, to Bartok or the Blues. It is the author's hope that this method series will help break the cycle of pianists suffering from fatigue, pain, limitation, and injury and that future generations of pianists will understand that no pain is their gain!
Our bodies are made to move. Our creative spirits long to express. It is only a lack of knowledge that keeps us from developing our talents and our realizing dreams. Enjoy the process of learning as you embark upon this amazing adventure!
Rhythm is perhaps the most important pillar of both technic and music performance.
Dalcroze's theory that "The primacy of music is rhythm and movement" is a principle that the author of 88 Keys to Mastering the Piano has found to be true over her 30+ years of teaching. In fact, she has found that rhythmic exercises, such as dividing the beat into duple and triple subdivisions, is one of the most invaluable tools in assessing musical aptitude and "talent" during the initial interview of a beginning student.
Rhythm is an activity, not a thing.
In ancient times the word "rhythm" was used as a verb. For example "I will rhythm these notes" or "I will rhythm these harmonies." As the ancient Greek writer Aristoxenus explained, to 'rhythm' something was to give it an organization, a shape, a form, and a distinctive life.
---"Dance and the Music of J.S. Bach" by Meredith Little and Natalie Jenne
The primary focus of Book 1 88 Keys to Mastering the Piano is to develop the student's "body instrument" and a strong sense of rhythm so that he or she will be able to eventually rhythm the notes and interact more successful with the piano instrument. Throughout the series, even beyond Book 1, the curriculum includes separate pages and activities specifically dedicated to rhythmic development while also encouraging imagination and aural sensitivity.
Music Reading:
Staff reading is not introduced until Book 2 affording the student numerous repetitions of experiencing strong, pure kinesthetic interactions of body, mind, and sound.
The improvisations and composition exercises interspersed throughout the series afford the student an opportunity for expression. Rote pieces are also interspersed throughout the series which afford students the opportunity to create sounds and music performance beyond their current reading skill set, providing motivation and musical satisfaction.
Learning to read music is a complex, multi-dimensional endeavor. It takes time yet, when taught using landmarks, intervals, and relationships of patterns, it is a relatively simple process and obtainable by every student. The approach used in 88 Keys to Mastering the Piano ensures the development of strong reading skills. Additionally, it influences the student’s ability to ultimately play with fluidity, and artistry.
How?
Music reading involves seeing symbols on the page or computer screen and then conveying the symbols to the brain which, in turn, sends physical signals to the body to realize the sound. As the student learns to read music the "musical mind" is being connected to the "musical ear." Music reading is a tool that turns notation into music. Music notation should be something that reminds the student of something that is already known and owned by the the body.
In the early days of method books, students were expected to memorize the basics before even being allowed to play the instrument. The emphasis was placed on learning by reading, versus learning by rote and listening and it was felt that this approach would ultimately lead to a more worthwhile music experience.
While it is inevitably true that students will enjoy a greater sense of accomplishment, motivation, and independence, once proficient reading skills are developed, it is essential not to overlook the important contribution of audiation.
How a student is taught to read will directly impact a student's eventual ability to play musically, with expression, and artistry. Will it be a notey performance which ultimately "sounds" like the visual markings on the page, or will it be a "musical" performance with phrases that breathe and flow?
Thus the author has found that the actual approach to learning to read music reading can influence a student's ultimate sound, along with other factors such as ear-training, quality of instrument (acoustic piano versus digital keyboard), listening skills, theory understanding, imagination and freedom of creativity.
Learning to read music while focusing on intervals and patterns, as is presented in 88 Keys to Mastering the Piano, helps to develop aural imagery in the relationship of sounds resulting in a greater sense of musical flow intervallic and pattern approach to learning how to read music helps to develop aural imagery in the relationship of sounds.
Learning how to read music with a note-naming approach typically results in a more “note” sound as the playing retells the note-for-note learning process. “The symbols system of the domain [must not be] taught in isolation of perception." (Davidson, Scripp, and Welsh, 1988, p. 73).
Audiation is building the auditory memory while music notation is not present. There are essentially two instruments being developed:
- the instrument in the head (audiation instrument)
- the instrument in the hands (executive skill instrument)
These 2 instruments should be developed simultaneously. Too often the 1st instrument is never developed leaving the 2nd instrument to be played mechanically and unmusically. If the student's audiation is not engaged from the earliest lessons, the student may end up perceiving music as more of a visual art than an aural art. In order for a student to ultimately develop a musicianship and a piano technic which afford "musical", expressive, and artistic playing, both instruments must be developed and work together.
88 Keys to Mastering the Piano acknowledges the difference between music reading and note naming. True music reading engages interval recognition, patterns, relationships among notes etc. versus simply note spelling which focuses solely on naming each single note. As students progress throughout the course of the series, they will learn to physically navigate, scan groupings and patterns of notes as they develop a vocabulary.
Conclusion:
88 Keys to Mastering the Piano includes numerous resources to allow the student of the 21st century to thrive and progress. Many students today have working parents as well as incredible demands on their own time with extra curricular activities, The interactive and engaging curriculum helps students and parents during home practice. Parents want to understand what their child is learning which is why 88 Keys to Mastering the Piano is very systematic and transparent. The teacher pages in the accompanying Teacher Booklet are invaluable resources for the parents as well as the teachers to know how to help students during home practice sessions.
It is the author's hope that this series will afford more and more pianists the tools to succeed and enjoy a long lifetime of music making. It is the author's hope that this series will bring the joy of music into lives around the world and help piano students succeed, from the first lesson to the last, even when they have moved beyond the method books to the wonderful world of endless repertoire from Bach, to Beethoven, Brubeck, to Bartok or the Blues. It is the author's hope that this method series will help break the cycle of pianists suffering from fatigue, pain, limitation, and injury and that future generations of pianists will understand that no pain is their gain!
Our bodies are made to move. Our creative spirits long to express. It is only a lack of knowledge that keeps us from developing our talents and our realizing dreams. Enjoy the process of learning as you embark upon this amazing adventure!