Tag Archives: piano teacher

A Brief History of Group Piano Teaching

Around this time last year, we presented a short history of the piano, tracing its most rudimentary origins as far back as the monochord in ancient Greece. Many piano historians, however, will point to Bartolemo Cristofri’s invention of the pianoforte as being the most prominent relative to the modern piano. But the evolution of the piano is only one part of why it remains an extremely popular instrument across the globe today. Throughout history piano teachers have spread the knowledge and love for the instrument, through one-on-one instruction as well as children’s music studio classes and programs.

Played Mostly by Women, yet Dictated by Men

In the early 1770s, keyboard instruments such as the harpsichord were played mostly by women and girls who were fortunate enough to come from wealthy families. As the pianoforte began to take over from the harpsichord, this population of talented women evolved along with the technical and commercial advances in the instrument. However, as was with most things in society at the time, men dominated the most lucrative aspects of music. Men were almost exclusively the only concert pianists, and as women were not allowed to attend university, men were considered the only suitable teachers and scholars for most subject matter of the time.  

The Earliest Piano Teaching Methods

In earliest days of piano instruction, the most prevalent method of teaching was the master/apprentice model. It is as such that Carl Czerny, a pupil of Beethoven, was the first to conceive and create an entire library of teaching pieces for piano based on numbering the fingers and creating exercises based on that numbering. In the mid to late 1800s, several other great piano teachers emerged, with somewhat different schools of thought to deal with the emerging trends in musical pieces but based on the “classic” or “old school” approach developed by Czerny. As the popularity of the piano grew and the need for more piano teachers rose, women began to teach piano. In fact, by 1861, it appears that sixty percent of all piano teachers in London were female.

The Emergence of Group Piano Teaching

 As the demand for piano instruction increased, teachers recognized the potential of teaching in groups. In the early 1800s, German Musician Johann Bernhardt Logier began instructing piano classes in groups. Often containing up to 30 students, these classes ranged from beginners to the more advanced. Educators from America and Europe attended Logier’s classes and then introduced group piano teaching to their own countries. Many famous nineteenth century pianists taught in a group class setting, including Liszt, Chopin, and Clara Schumann. It is believed that the first group piano classes in America can be traced to girls’ schools in the Southern United States. As the United States led the world in piano production in the early nineteen hundreds, elementary school group programs grew tremendously. Unfortunately, due to the depression, World War II, and the invention of the radio, school group piano programs suffered a serious decline.

The Electric Piano and the Internet

The introduction of the electric piano created a new opportunity for piano teachers and group classes. Because of their relatively small size and weight, teaching group piano became much more cost efficient. As with most industries, the Internet has had a substantial impact in how music instruction is distributed and marketed. While there are thousands of options to learn piano online, most professional musicians will point to the importance of in-person instruction for pianists (and other instruments) at all levels. As children’s group piano classes continue to be offered in person, the importance of that teacher pupil relationship is reminiscent of the very first piano teaching model of master and apprentice. 

A Brief History and Evolution of the Piano

In teaching young children piano, children’s music educators will find it helpful to explain the origins and history of the instrument they are playing. Knowing the  evolutionary story behind the piano helps children learn about cultural traditions and historical events. The history of the piano is interesting because it can be classified as both a stringed instrument as well as a percussion instrument, while even having an element of wind instruments. While its invention is most often attributed to one man, Bartolomeo Cristofori, the pianos evolution can be traced as far back as ancient Greece around 500 BC. The monochord, or kanon in Greek, consisted of one metal string was stretched over a hollow body of wood called a resonator.  While sometimes used for music, the monochord was more often used by scientists to study sound. Being long enough to divide into different sections and placed over the body in various ways, it was useful in that it demonstrated different chords in a visible way. The monochord was often used for tuning other instruments, even all the way through the 19th century, and also helped singers to learn pitch.

Not being satisfied with just one single string, inventors and scientists soon added more strings to create polychord instruments that contained two or more separate sounded strings. Over time, polychords started appearing both with a bridge (a device that supports the strings and transmits the vibration to another structural component) and without a bridge. With use of a bridge, several notes on a polychord could be played together in combination, whereas without a bridge, the notes were commonly played separately.

Over time the Polychords evolved through a series of instruments into the harpsichord and clavichord, both which used a keyboard to direct the plucking or striking of the strings. The history of instruments being played with keyboards originated from the pipe organ, where bursts of air are sent through different sized pipes to make sounds. So, it could be argued that the piano is actually a wind instrument as well!

When considering whether the strings of an instrument are plucked or struck, another ancestor of the piano deserves honorable mention. Still played today, the hammer Dulcimer is a bridgeless polychord instrument that uses small hammers to strike the strings. Originating in the East, the Dulcimer spread to Europe in the 11th century. Unlike the Harpsichord that was limited in volume and strength because the strings were plucked, the hammered clavichord allowed the player a greater level of range and expression. The clavichord became very popular during the Renaissance period of the 14th century, and used a brass rod called a tangent to strike the strings. It provided the ability for the strings to vibrate for as long as the keys were depressed. While an improvement, the clavichord still did not provide the level of volume that many players and composers desired.

Around the turn of the 18th century, Bartolomeo Cristofori, a gifted maker of keyboard instruments including the harpsichord, created the pianoforte, which in Italian means both loud and soft. Cristofori’s invention provided a mechanism that released the hammer from the string right after pressing the key, allowing the strings to vibrate longer and the player to strike them at different strengths. First considered a feminine instrument, the pianoforte was very expensive and primarily used by the wealthy. Women who played it were considered good prospects for marriage. However, these very progressive female pianists inspired many compositions by composers such as Hayden, Mozert and Beethhoven, all of whom played the pianoforte. As a sign of the times, men were the only concert pianists, but these composers started the piano down a path of global popularity.

Other than the addition of 34 strings and improved materials, Cristofori’s design of the pianoforte is not very different than today’s modern grand piano. Space requirements and technology have given rise to other modern versions such as the upright piano, but the fundamental elements remain the same.

While children’s piano teachers may consider this explanation of the evolution of the piano to be too far advanced to interest children, what will capture their attention and imagination is that a piano is inspired by of all three types of instruments at the same time – strings, percussion, and wind.  A keyboard originating from a wind instrument controls percussive hammers to strike a range of strings. Early childhood music educators can use this explanation to provide context to many of the concepts and techniques of playing the piano.

The Science Behind the Benefits of Childhood Piano Lessons

Piano teachers and children’s music educators don’t need to be reminded of how beneficial piano lessons are for childhood development. Many of the benefits can be easily seen in the classroom, from increased self-esteem to enhanced social skills. Researchers have long studied the effect of piano lessons on childhood development, finding many cognitive benefits that may not be so obvious to the occasional observer. Here are three of the science backed benefits of learning piano in childhood.

  1. The Mozart Effect on Spatial Reasoning – In a controversial 1993 study, a researcher named FH Rauscher claimed that after listening to two Mozart piano sonatas for 10 minutes, subjects exhibited improved spatial reasoning skills (such as paper folding and cutting procedures, or stacking blocks in a predetermined sequence).  This effect, dubbed the Mozart Effect, opened the door to a multitude of cognitive studies on various subjects including adult humans and rats. Many of these experiments showed the increased spatial reasoning for only a short duration. However, in 1999 the long-terms effects were studied in three to four year old pre-school children who were given keyboard music lessons for six months. When subjected to spatial temporal reasoning tests afterward, the children showed thirty percent better performance than children who had not had piano training.       
  • Music Lessons Increase IQ and Executive Function – In a research article published in Frontiers in Neuroscience, three researchers studied one hundred and forty-seven primary school children with an average age of 6.5 years. They were divided into three groups – one music intervention groups, one active visual arts group, and a no arts control group. The researchers found that in the musical intervention group, children not only performed better in visual spatial memory tasks, but also showed increased testing scores on inhibition, planning, and verbal intelligence. The researchers’ conclusion was that the study indicated a positive effect of long-term music education on cognitive abilities. Through magnetic resonance imaging and neuropsychological testing, another research project showed higher activation of areas of the brain typically associated with Executive Functioning, such as the prefrontal cortex, in child musicians. They attribute it to the extended attention, working memory, and inhibition of playing piano or singing. 
  • Piano Lessons Build and Enhance Language Skills – Two researchers from MITs McGovern Institute for Brain Research published a paper in Proceedings of the National Academy of Sciences that concluded that early exposure to piano practice enhances the processing of sounds in language. As kids ears become trained to distinguish between different tones from the hundreds of internal strings of a piano, they also get better at discriminating subtle differences between spoken words. For the study, seventy-four Mandarin-Speaking kindergarteners were divided into three groups – one that took 45-minute piano lessons every week, the second had reading instruction for the same duration, and the third had neither. After six months, the researchers found that children who took the piano lessons were specifically better at spoken words that differentiated by only one consonant than the other two groups. Consonants require a bit more precision to distinguish than vowels, especially in Mandarin speakers where the language relies heavily on differences in tone. The results of this study were so remarkable that the school in Beijing where the research was conducted continued to offer piano lessons to students after the experiment ended.

Teachers of early childhood music education have always understood the benefits that piano lessons provide to healthy child development. And through years of structured research and publication, scientists have shown substantial evidence that music education and piano lessons enhance spatial reasoning, executive function, IQ, and language skills in children.

How Early Childhood Music Classes Prepare Children to Learn Piano

Part 3 – Through SPIRIT and THE FAMILY

Many early childhood music programs take a very concentrated approach to teaching piano keyboard, focusing mainly on technique and notation. While these methods are competent in teaching piano skills, many do not take a holistic approach to teaching “the whole child” a true love of music and the instrument. The first two installments on How Early Childhood Music Classes Prepare Children to Learn Piano have focused on the Body and Mind. But taking educating the whole child a step further, more encompassing teaching programs also focus on the important aspects of SPIRIT and FAMILY.

How SPIRIT Influences Children’s Understanding of Piano Instruction

From the earliest ages across almost every culture, music has been practiced as an expression of the soul. Good music instructors understand this, and wish to cultivate a comfort level in their piano students so that they may better express their deepest musical thoughts.

Through music and other arts, children gain a sense of meaning and belonging as they experience beauty, joy, wonder, and order. Music has the power to influence a child’s inner world holistically by helping to bridge body, mind, and spirit in one place. Children gain joy and a sense of belonging when they sing and dance with peers and family. When adults join in the music making, a bond develops that extends this understanding to new dimensions and allows the musical spirit to thrive.

The most successful childhood music programs not only lay a solid foundation of basic skills and technique, but more importantly allows children’s love of music to deepen. Through singing and dancing and musical games, children have opportunities to laugh and play together. And as they repeat the same songs and games over and over again with both peers and adults, they grow to love them even more. Just as most of us enjoy singing familiar holiday carols and songs, children delight in repeating the songs they know. Teaching that sense of belonging in both peer and mixed age groups provides strong encouragement of further exploration on a musical instrument such as the piano keyboard.

FAMILY Support Encourages Children’s Success in Learning Piano

Parents and teachers alike understand that a supportive family is very important to children to succeed. Many young parents today who grew up with more passive electronic entertainment such as television and computer games often do not have a base of familiar childhood music that provides a greater sense of belonging to family and peer groups. Early childhood music programs that involve caregiver participation in class not only provide a means of belonging for the child, but for the adults as well. And as music is rekindled in their spirits, these adults can share and influence music in their children’s lives.

Families that share music, whether through singing and dancing together, going to concerts, or simply listening to music together reinforce the importance of music in children’s lives. When provided with such a supportive environment, they are further encouraged to explore creativity through musical stimulation. By participation in childhood music classes and helping with practice routines at home, parents reinforces the appreciation of the process, effort, and discipline needed to learn a musical instrument such as piano. Active family involvement in music making creates a foundation for successful learning in the future.

While technique, listening, and notation reading are extremely important in the process for learning any new musical instrument, other factors also influence how successful a child will be. Learning to love music and an instrument are inspired by a sense of belonging to the music in a holistic way. Nurturing the musical spirit and having a supportive family are highly important in how the child will apply technique to musical creativity on an instrument.

This commentary is based on the article The Well-Prepared Beginner: Prepared in Body, Mind, Spirit, and Family by Lorna Heyge, Ph. D. Dr. Heyge is a pioneer in childhood music instruction, as well as a piano teacher of many years.

How Early Childhood Music Classes Prepare Children to Learn Piano

Part 2 – Through THE MIND

Children’s piano instructors understand that a strong foundation in music from the earliest ages will help improve student’s progress and understanding of the keyboard later in childhood. We began by exploring how movement and the body influence this early instrumental preparation. As we continue to delve into how various areas of influence in early music education grooms children for the piano, or any musical instrument, we reveal how it prepares the MIND. 

Early Childhood Music Education Prepares the Mind for Piano Lessons

Is there a purpose to learning an instrument or reading music if a child has not first absorbed musical thoughts? For a very long time, expressive body movement was not linked to higher brain function in formal education. Until as recently as 1995, researchers and educators limited the health benefits of movement and exercise solely to the body rather than the brain. Now it is clear that movement is not separate from higher brain function or development, and that expressive movement combines body functioning with affective areas of the brain such as imagination. These neural connections can be seen in language, literacy, and dominance of ear.

  • Learning Musical Language through Songs and Singing – It is easy to understand that children would not be asked to speak a language they have not heard, nor read a language they cannot speak. It stands to reason that there should be no exception for listening to and “speaking the language of music” before learning an instrument. Asking a child to read and sing or play a song on an instrument before they have ever heard it would not give it meaning of familiarity and affinity. This could be one reason why so many young piano students learn to play only “notes” instead of expressing musical ideas. The large repertoire of songs children have sung with friends and family as well as in the early childhood education classroom equips them with a musical language that will eventually allow them to better learn and play an instrument such as piano.
  • Childhood Music Education Provides Foundation in Music Literacy – Through moving and singing children gain a multitude of experience with rhythmic patterns and steady beat, as well as tonal patterns and home tone. Just as a child learning to read looks for familiar patterns in words and sentences, so do they seek rhythmic and tonal patterns in music. This familiarity with musical motifs enable children to better express musical ideas, as their literacy brings harmony to mind and spirit. The ability to better grasp the patterns and language of a musical instrument is also influenced by dominance of ear.
Listening and Singing melodic patterns during a Musikgarten class.
Listening and Singing melodic patterns during a Musikgarten class.
  •  Listening Skills and Dominant of Ear in Learning Piano – Children who have participated in early music education have learned to be led musically by their ears. Piano teachers discover that they have better listening skills and aural preparation, allowing the eye to more easily recognize what the ear already knows. As one of the first senses to develop in the womb, the ear is dominant in early childhood as children learn language and familiar sounds. Discriminatory listening skills develop as they attune to important sounds in the environment, such as a mothers voice. Early childhood education programs promote these aural insights by teaching children to focus tentatively on a sound source while imitating sounds vocally. Understanding slight distinctions in sound is a vital foundation for all learning.

The ear, arguably the most vital sensory channel to most children’s learning, is the linchpin for Listening, speaking/singing, and balanced/coordinated movement. It is no wonder that early childhood music education is so vitally important in learning an instrument such as piano since music links the ear, the voice, and the body.

This commentary is based on the article The Well-Prepared Beginner: Prepared in Body, Mind, Spirit, and Family by Lorna Heyge, Ph. D. Dr. Heyge is a pioneer in childhood music instruction, as well as a piano teacher of many years.

How Singing Helps to Learn Piano

Many of us have memories of piano teachers that used metronomes meticulously, or in some cases beat on the edge of the piano with a ruler as we struggled to play in time. While some of their methods may seem old-fashioned today, there was a very important underlying purpose of teaching time and meter. However, many early childhood music programs today understand that singing and movement not only naturally teaches beat, but also a myriad of other benefits to childhood development. In this second installment on our series about Music Literacy and the keyboard, we explore how for these and other reasons singing prepares children for learning to play keyboard.

Learning Piano Through Familiar Songs

Singing helps children to develop a repertoire of familiar songs. Children enjoy singing, and the more they sing the more they want to sing. As they progress to learning the keyboard, both the love of singing and having a good foundation of songs allows for greater success – because they want to play the song that is so familiar.

Singing Helps with Beat, Meter, Tonality, and Patterns

There is an abundance of research and publications that demonstrate how singing helps children with literacy, and that includes music literacy at the keyboard. There are several ways in which singing helps children be more successful learning the piano:

  • From the very earliest stages of childhood babies listen and often echo their caregivers’ song patterns, providing initial steps to music literacy.
  • Just as your old piano teacher may have done, tapping the beat while singing helps foster beat confidence.
  • Simple body movements, such as rocking from side to side helps establish a basis for understanding meter – like a human metronome!
  • Inviting children to sing the resting tone at the end of songs help to create an understanding of tonality.
Children enjoying a drumming and singing activity during a Musikgarten group piano class.
Children enjoying a drumming and singing activity during a Musikgarten group piano class.

Teaching Songs through Vocal Quality Nourishes Children’s Music Sensitivity

Children’s Music Teachers pay particular attention to their own voices in order to help children to develop a sensitivity for musical keys, tones, and pitches. Several ways that teachers ensure vocal quality are:

  • Singing mostly without music, so that the vocal quality is the focus
  • Singing clearly, but also lightly so as not to dominate the singing of the group
  • Listening to ones voice for proper intonation, so that the song model is tonality exact
  • Pitching songs in the range in which they are suggested
  • Modeling good singing posture, even when sitting

Singing with vocal quality offers an excellent opportunity for children’s music teachers to model expressive musicianship. Establishing a relationship between familiar songs that children can sing and what they will play on the keyboard allows them to echo the melodic and rhythmic patterns which make up each song. This allows them to eventually figure out how to play their favorite songs, which is well exemplified by the Montessori approach of self-learning. The child’s ear becomes the “self-correcting instrument,” guiding the hands what to play.

Singing familiar songs throughout early childhood helps to provide a strong foundation for the understanding of beat, meter, tones, and patterns. And with the five-finger position provided on a keyboard allows children to move more easily to tetrachord and scale positions. Because their playing originates from a familiarity of songs and singing,  as a result they more easily translate and play the songs in many keys.

Much of the content for this post was based on the introduction to Music Makers: at the Keyboard, childhood music curriculum developed by Musikgarten.

Music Literacy and the Second Stage of Child Development

Merriam-Webster first defines literacy as simply “the ability to read and write,” but a second definition expands that to “knowledge that relates to a specified subject.” This is an important distinction, especially when considering childhood music literacy. In our next series of articles, we will explore how music literacy applies to the second stage of child development, specifically in playing the piano and instrument instruction. While most children’s music programs focus on music and movement in the first stages of development, many fall short of continuing the progress in the second stage of child development necessary to achieve music literacy.  

The Second Stage of Childhood Development

Developmental biologist Jean Piaget established the theory of phases of normal intellectual development from infancy through childhood. The second stage, which Paiget terms Concrete Operational, is where children’s thinking becomes less on themselves and more on their awareness of external events. Some experts argue that development is actually continuous, but Piaget did agree that the depending on the child, the age ranges could vary slightly. While Piaget defines the second stage of childhood development being from ages 7 to 11 years, our focus in this series of articles will focus on the 6 to 9-year-old child.

Ready to Face and Decipher New Challenges

From ages 6 to 9 years, the child has begun a new phase of development both physically and cognitively. They are eager to face fresh challenges and have a growing aptitude for the refined movement needed to play an instrument. Their sensory motor functions have been well-integrated over the last six years, and serve as a good foundation for abstract learning. They are starting to not be satisfied merely with knowing the name of an object, but having the desire to know the how and why of things. One result is that the child’s mind is now interested in symbols, patterns, and codes to explore. This in turn helps to develop an appetite for improvisation and cooperative learning with other children.

Children Love to be Part of a Group 

Beginning in the second stage of development, and sometimes earlier, children are self-aware and ready to become part of a group, especially with peers. A peer group setting becomes a place where the child can begin to learn rules, push limits, and test ideas. This important stage of identity has the benefit of teaching important social skills of how to work with others in teams.

Groups are considered very useful for learning things, as questions can be asked and addressed from different perspectives. This is why nearly all children’s education programs use group activities in the learning process. This is no different for childhood music programs. Children love being with and making music with others. The desire to contribute to the group requires deep concentration and absorption while teaching valuable lessons in cooperative learning.

Music Literacy through Children’s Group Keyboard Lessons

Learning the keyboard provides children with the cognitive challenges and group dynamic that they desire. Music literacy applied to piano playing is much more than reading and recognizing notation or finding the correct keys, but also gives meaning to those notes in a way that allows for composition and improvisation. It is a child’s desire to communicate that motivates them to further develop a deep relationship with the aural and written art of music. This aural approach to music literacy becomes the foundation which provides the child a delightful transition to the world of music notation and understanding. This aural-to-visual method of literacy allows children to understand and appreciate music in terms of its tonality, meter, and style, while further refining their ability to listen.

In our next installments, we will explore specifically how discovering the keyboard in a group setting can be very different from the mechanical drills and rote learning that traditional piano learning imposed.    

Much of the content for this post was based on the introduction to Music Makers: at the Keyboard, childhood music curriculum developed by Musikgarten.

The Science of Music: How to Prepare Children to Enjoy Practicing

The series The Neuroscience of Music*  shows parents and music teachers ways in which early childhood music education can help impact the development of children. This second set of the Wish List series focuses more specifically on a parent’s School Skills Wish List. The topic of the third installment of this set is how to get children to enjoy practicing.

From infancy to about the age of 6, children have a unique window of opportunity to learn how to, and enjoy practicing things. Dee Joy Coulter, a nationally recognized Neuroscience educator, explains that during these few years, a child’s enjoyment of repetition is strong. Parents can help them to practice naturally by providing fun activities that they can eventually master. However, this satisfaction must come from within in order to develop a lifelong habit, warns Coulter, so parents must resist praise, blame or pressure during these activities.

Below are ways that parents and early childhood music educators can use music to help children learn to develop self-discipline to succeed at school, work, athletics, and the arts.

How to introduce the idea of practicing to infants and toddlers

  • In learning basic coordination and language, infants must practice and learn the nuances of their senses in a pleasing way. They are wired to mirror everything they see, and this is highly rewarding to them. Parents and early childhood music teachers can help with imitation games with clapping and pointing to things with exaggerated facial expressions, and they will naturally follow and copy.
  • In the earliest stages of infancy to toddlerhood, parents can perform simple songs and movement games to teach motor skills and instill a familiarity. After a few weeks of repetition, leave a particular game for a few weeks and come back to it. This allows the infant or toddler time to anchor the movements and memory in their system. When the game is brought back, the predictability that goes with recognition and the control that goes with increased physical mastery are very powerful incentives for practicing.

How to teach preschoolers to begin focusing on how to practice

  • Research suggests that poor learners don’t know how to handle the failures of new learning, and so tend to abandon challenges right away for fear of failure. On the other hand, those that excel in tasks and challenges tend to have a passion for practice and truly enjoy the experience – much like the capacity of children’s minds in the first stages of life.
  • Share enjoyable music activities with your preschooler before introducing an instrument. By first instilling a love of music in children before asking them to focus on an instrument helps to ensure that they will enjoy practicing due to its relationship to something they already love.
  • The teaching practice of spiraling, or a pattern of dropping an activity for a period and then spiraling back to it, allows new skills to seat more deeply than constant practice. Childhood music programs  will use this practice along with the process of scaffolding to allow children to learn on their own and provide help at the appropriate times. This approach to creating the basis for more advanced learning is important for advancement in musical skills, mathematics, science and foreign language learning.

Music can be an important tool for preparing infants and toddlers for a lifetime of learning enjoyment. Games that encourage mimicking help to develop a love for practicing from the earliest stages of infancy. By leaving and returning back to activities, children will learn to think and accept new concepts on their own while having pleasure in practicing. This will not only serve them well in music, but also in academics.

*Musikgarten Delivers: The Neuroscience of Music collection by Dr. Dee Coulter is available for $10 in the Product Catalog section of our Teacher Portal. Username and password are required. You may also contact Musikgarten at 800-216-6864 to purchase.

Teaching Toddlers to Piano: When Seeds Start To Produce Flowers

If you imagine yourself to be a gardener, you will have to learn to wait and wait for the day when  those tiny seeds you planted last April will finally flower into their full glory. So goes the musical development of the children in our music classes. We welcome in the new family with infants in their arms and encourage music making through singing, rocking, dancing and playing sticks.  Of course the baby mouths that stick, eagerly working on that emerging molar. We let the parents know this is a first step in the music literacy development, exploration, and the child will soon find the sound, play with the sound, copying the beat, and keeping a steady beat. We sing and ask parents to sing along in whatever key they can find and feel a seed of joy in our hearts when the toddlers begin to sing along, first in snatches and then slowly joining us for the whole song.

We relish the moment when a child comes back with their first “bah” or “bam” and secretly jump up and down when their response is in tune, and, oh, the quality of that first voice. And when a child in your classroom NEVER responds with a bam or bah you find yourself nervously reminding your parents how this is a process based program. But you, the teacher, wonder when or if you will ever see that flower bloom. Patience is the key and making sure all those little things that happen are acknowledged and appreciated.

Let’s go back a few years to one of my Cycles classes. A mother arrives with twin girl and boy, Ayla and Acer, and a baby in tow. The twins hide behind mom and very rarely do I see their faces. Mom reassures me the boy is very musical, but I am not allowed even a glimpse of this in my classes. We go through the year and Mom brings the children weekly without fail.  I know she plays the music at home and participates fully in my classroom. The boy moves into Music Makers and the girl into ballet class at the same time as his music class. Sigh! Mom comes week after week with both, drops off the boy and DRAGS the young ballet dancer out of my studio. The boy is still very shy but shines his sweet eyes on me sometimes when I am looking. When Music Makers: Around the World begins, the girl joyfully rejoins the class, still very shy but I hear her beginning to sing with a sweet quiet voice as she joins all our musical activities.

Ayla Acer and Trekker - May blog

Fast forward to this year; Music Makers: Piano. Both children are now singing in tune, keeping awesome steady beats and playing their keyboards like there is no tomorrow. The “baby”, now a preschooler, is still hiding behind mom in his music class but I have heard him singing in the background when his siblings send me recordings of their music making at home.

Let’s hear a bit from the mother, Jennifer, about the experience:

As a homeschooling family, we find outside enrichment to be very valuable. I suppose our Musikgarten journey began even before our home school journey – when our oldest (twins) were 2 1/2. We went in search of some sort of musical training for our particularly eager son, who was obsessed with guitars. Through a local music store, we found Ellen. At first, I would say we found classes to be fun but did not see how this would foster our budding musician’s creativity or bring along his less-eager and very shy twin sister. In fact, both children (and especially now our third child) were pretty reluctant to take part in many of the activities. We continued on, only partially (if at all) understanding what was happening.

And then we moved into piano instruction. We were amazed!! Both children grew by leaps and bounds – our son was constantly at the piano creating, and our daughter even started to love playing and getting creative! And I was surprised at what I was learning too! Now all 3 children are in, and enjoying the program. I can only imagine what great surprises may be in store as we continue!

Jennifer did not give up on her children. Instead she kept music a big part of their home life.  She provided instruments for the children to explore at home and invested in a keyboard that has become a center for playing the piano all day long.

I bet in your piano classes you usually don’t have time to hear all the pieces the children have been exploring at home. It can get discouraging when it feels as if they only know two pieces – Listen for Bells, and Mouse Mousie. This year, I found it useful to have my parents send me home recordings of their  children’s playing. This has been an eye opening experience as a teacher. For the shy student, this is the ideal place to express their pieces from a place of comfort. Ayla never wanted to share her pieces during piano sharing time.  Yet when Mom sent videos of her playing at home I was surprised and pleased to hear how comfortable she felt playing the piano, heard her entire repertoire (which included every piece we did in class) and even got to hear her improvisations.

With home recordings you can :

  • Hear their entire repertoire
  • Make little suggestions in terms of sound production
  • Give positive feedback, which they love to hear
  • Observe their home bench height and distance from the keyboard
  • Remind the parents to get their pianos tuned

Listen to Acer and Ayla’s latest recordings.

Acer – Green Gravel in two keys

Ayla – Follow Me with improvisation

I hope you can hear how all the little things we do with the children in those early classes finally bloom in a myriad of ways when they are ready to place the music in their hearts onto the piano.  My garden is blooming!

Confessions of a Piano Teacher

It’s a new year and a new beginning for our blogger, Ellen Johansen.  She will be adding her insights, tips and suggestions each month.  But first let us introduce her:

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My name is Ellen Johansen and I have a passion for teaching music to young children.  It is my belief that music is one of the most valuable gifts we can share with others; the kind of gift where both the receiver and the giver benefit.  Being a Musikgarten teacher, I get to facilitate and develop this gift of music with children and their parents with the hope that they will continue music in their family lives and in their future.

I began teaching piano when I was 16 and I am reluctant to talk about it 🙂

I had no idea what I was doing but I did discover that teaching music was fascinating.  In my twenties after studying the art of piano pedagogy in college, teaching became an important source of income. I drove from home to home, sometimes wondering if I was teaching music or providing an expensive babysitting service.

As I developed my home studio and continued to study piano pedagogy, an annoying and enduring question rose, “How do children really learn to read music?” I scrambled to collect every possible method book, theory and ear training workbooks thinking they would somehow answer this basic question. Yet there seemed to be a disconnection from the printed pages of these books to the sound I wished for my students to learn. The joy I wanted them to experience with discovering and creating a musical sound was missing.

Why were my students so squirmy on the bench? They seemed un-interested in my attempts to help them see a half step compared to a whole step.  Even though they could name those dots on the page with letter names, why did they seemed no closer to reading music fluently?  I found myself blaming it on not enough daily practice.  Or maybe I wasn’t following the method books correctly. The children coming for piano lessons could not sing in tune or keep a steady beat. This concerned me greatly.

As I began to raise my own family I recalled all the hours I spent singing with my own family as I was growing up. My Great grandfather was an organ builder, my grandmother was a piano teacher during the depression and my mother and her sisters learned to play the piano and sing.  Music was part of my every day as a young child. My mother played the piano and sang every night as I fell asleep and my siblings sang songs and played all sorts of musical games children like to sing and play.  We sang and played in the car, we sang and played around the house, we sang at campfires on the beach, we sang in school and at scout meetings, we sang weekly in church and in Sunday school, and we sang and played with our neighborhood friends in the backyard.  But the children walking into my studio were growing up in a different culture, where music was performed on the radio or TV and children attended playdates instead of knocking on a neighbor’s door.

Then I found an ad about teaching early childhood music and movement classes in my studio.  Maybe this source could help me answer this question.  I met Lorna Heyge and everything changed.

I completed every training session offered in early childhood music, and then I taught as many classes as I could book in my music studio. It has now been over 20 years that I have taught the Musikgarten curriculum and this wonderful teacher’s resource has been the ongoing wellsping of appropriate and passionate sequential musical activities that lead the children in my classes towards musical literacy.  But it wasn’t without many missteps and musical mishaps before learning how to incorporate this aural and joyful approach to my classroom.

Today I run a successful, independent music studio on the East End of Long Island and offer all levels of the Musikgarten program, from toddlers through keyboard classes. Most of my Musikgarten graduates continue into piano studies.  I now have the experience of witnessing many of my Musikgarten graduates go on to study other instruments as well as composition. They enter college with music in their hearts and as part of their course load.  One student of mine, who started in a toddler music class, is graduating from High School this year and will be giving a concert of piano music including Debussy’s Arabesque and Gershwin’s Preludes.  He is a great example of the Musikgarten graduate who is the literate musician I always dreamed of teaching; he thinks and plays musically, can hear what he sees and sees what he hears.  It all started with that first question: “How do children really learn to read music?”

I hope my experience and insights into this marvelous curriculum will help you find your answers to your teaching questions.