Why are functional piano skills important for music majors?

Transcription

1 Why are functional piano skills important for music majors? What can be accomplished in a four-semester sequence? Dr. Toni James - 10 February

2 What is important for students? The most positive aspect of piano playing, for me, is being free to enjoy making music on a secondary instrument. Because I identify much more intimately with clarinet, and for good or ill, attach judgements about my own value and character to my performance as a clarinetist, it is often daunting to perform or even practice. Nobody expects me to become a pianist of any calibre, so my anxieties don t hinder my ability to enjoy music making. I think piano has been an important reminder that I do actually love what I do (210A student) I would love to be able to accompany my students in simple solo pieces so my studio could look forward to periodic recitals (110B student) Transfer students just need to know, what we will be tested on -it s a common assumption that if we ve taken piano at our community college, it ll automatically transfer (110B student) Playing chorale-style music. I think it s important skill since much of the kind of work I might get playing piano would be accompanying vocalists (at schools, in churches) (210A student) When I m standing in front of a group of players teaching a sectional, I have a hard time hearing and understanding harmony within the group. I think becoming more familiar with harmony will also help support my education in theory. If I am practising progressions in my hands and ears at the piano, I will have an experiential point of reference for the things I learn in theory class (210A student) 2

3 Theory is a little abstract for me. Practicing harmonisation at the piano is instructive of good voice-leading practices. If I can envision and feel in my hands the shapes of chords, I think voice leading will come more easily to me in written theory (110A student) I have a few private students on clarinet and for some of them, I am their first exposure to scales. When I ask them what a major scale is and describe it as a set of intervals, it is useful to have the keyboard to show them visual half-steps and whole steps. I also frequently use an acoustic piano to demonstrate the overtone series when describing intonation, phrasing and register changes on the clarinet (210B student) I would like to feel comfortable taking on younger beginning piano students who are brand new to music. It s a matter of ethics, I think, to make sure one is knowledgable in the subject they are teaching to children. Right now I don t feel knowledgable enough to charge families money for piano lessons and begin shaping the habits of young players (210A student) Summary of common themes Emphasis on employable skills Basic repertoire accompaniment Read open scores, choral music for rehearsal purposes Chord progressions, voice-leading, harmonisation Healthy efficient technique and ability to demonstrate theoretical concepts Joy of music making on a secondary instrument 3

4 Sample syllabus San Diego State University Class Piano 110A (Section 4) I am always doing that which I cannot do, in order that I may learn how to do it -(Pablo Picasso) Fall Semester/2016 M-232 T/TH am Instructor: Dr. Toni James Office no. 239 tjames@mail.sdsu.edu Office Hour: I. M 1-2pm or by appointment Class Piano 110A introduces functional keyboard skills to be expanded over the course of a foursemester sequence. 110A develops an efficient, healthy keyboard technique that will be applied in a variety of functional settings, providing practical applications of students growing knowledge of music theory and harmony. II. Aims As well as meeting requirements in several skill areas (see Specific Learning Outcomes), 110A will provide the best possible pianistic and musical foundation for students to continue their development as keyboardists beyond their studies at SDSU. Students in this course are considered pianists, not secondary pianists, with the goal that they begin to utilise piano as both a practical tool and conduit for their evolving musicianship. Students will have the opportunity to perform well-rehearsed exercises practised ahead of time but are also expected to apply skills learned to exercises given at sight. Therefore the 110A course will inspire students to think about ways the study of keyboard may be professionally useful on a day-to-day basis, as well as support other areas of their musical development. Specific Learning Outcomes: Keyboard technique finger builders : five-finger exercises utilising five tones of all major and minor scales; full octave major/minor scales, hands together Keyboard theory the grand staff, major and minor scales, rhythm and meter, reading intervals Chords major and minor triads in all positions, blocked, broken and arpeggiated; diminished and augmented triads; major, sub-dominant, dominant and minor seventh chords Chord Progressions I V7 I (in all major and minor keys, all inversions, resolving dominants with proper voice leading) I IV V7 I (in all major keys, from I in root position), Dorian i VII I (in various keys), using 6/4 chords, deceptive/plagal/phrygian cadences 4

5 Harmonisation of melodies with primary chords in major and minor keys using various accompaniment patterns, SATB chorale-style Improvisation using scales, chords and progressions learned Parallel and contrasting question and answer phrase structures (improvised in pentatonic, major, minor and dorian, with and without accompaniment), building ascending and descending sequences Pentatonic and bitonal improvisation Aleatoric improvisation 12-bar blues using various bass patterns Repertoire in various styles (classical, folk, jazz, contemporary) using different keys, meters and rhythmic/melodic patterns Sight-reading and transposition (melodies, eight measures or more, harmonised with primary chords and transposed to various keys) Open score chorale reading; single-line alto and tenor clef reading III. Assessment and Grading Procedures Students will display their ability in the aforementioned learning outcomes in the following assignments (detailed criteria and practice strategies will be posted on blackboard for each assignment). 15 weekly assignments (75% -this portion of a student s grade will be an average of their weekly grades over the course of the semester)* 1 Final Examination to occur during the last class of the semester (25%) *Please note: Weekly assignments will be given on either a Wednesday or Thursday, depending on the specific section in which a student is enrolled, due after the weekend, on the following Monday or Tuesday (i.e. one assignment per week). Due to time constraints in classes with large numbers of students testing, weekly assignments may sometimes be assessed in pairs or as a group, where appropriate. IV. Format and Procedures: A detailed outline of daily self-directed work and all assignments with due dates, will be posted on blackboard. Please note: This course is paperless. Blackboard is the authoritative source on course/ assignment scheduling. Refer to it continuously. You may use a device (e.g. ipad) to read posted material in class or you may print and bring a physical copy. The only absences excused are for illness or a school event/obligation. In both cases, a note/ to the instructor is required in advance, from the student (a doctor in the event of a prolonged absence) or SDSU Professor (detailing the conflict). Students will be permitted 2 unexcused absences after which, each unexcused absence will incur a 2% deduction from their final class grade. Students arriving after attendance has been taken will be considered tardy, constituting half an absence. V. My Assumptions Due to touring commitments/engagements that are an essential part of professional growth, the instructor may have to travel out of town. Therefore, it is essential that all students enrolled in this course maintain constant contact with blackboard, which is the resource used to post assignments/ videotaped instructional content, to be consumed in the event that coverage is not available. Clear instructions will be provided via blackboard and you are responsible for completing self-directed 5

6 work if necessary. Students are expected to contact the instructor immediately with queries/issues pertaining to the course/assignments. VI. Course Requirements 1. Attend all scheduled classes and participate fully in self-directed practice/activities. 2. (a) Required text: Contemporary Class Piano, 8th Edition (Elyse Mach, Oxford University Press) (b) Assignment sheets/additional exercises not found in the course text will be posted on blackboard VII. Academic Integrity Each student in this course is expected to abide by San Diego State University s policies regarding academic integrity: Any work submitted by a student in this course for academic credit will be the student's own work. For the purposes of this course, if a student is excused from class under the aforementioned circumstances -see Format and Procedures- they may opt to submit a video recording of any missed assignment. Videos made on iphone or laptop are adequate but the student should be visible as the pianist at all times (i.e. not just hands). VIII. Accommodations for students with disabilities If you are a student with a disability and believe you will need accommodations for this class, it is your responsibility to contact Student Disability Services at (619) To avoid any delay in the receipt of your accommodations, you should contact Student Disability Services as soon as possible. Please note that accommodations are not retroactive and that the instructor cannot provide accommodations based upon disability until receiving an accommodation letter from Student Disability Services. Your cooperation is appreciated. 6

7 Sample Proficiency Test 110A 1. Scales: full octave white and black key major/minor (harmonic and melodic) scales, hands together, quarter=100 (selected at random) 2. Triads in all inversions: all major and minor keys, in chromatic order, a whole note rest to get to the next key, hands together, quarter=90 3. Chord progressions (transposing): examples would be; I-IV-I-V-I cadence, all major keys, in chromatic order, a whole note for each chord, hands together, quarter=120 7

8 Major-augmented-minor-diminished-major cadence, all keys, in chromatic order, a whole note for each chord, hands together, quarter=90 8

9 4. Harmonisation: harmonising a melody with chord symbols using an appropriate left hand accompaniment pattern (alberti bass, broken chord, waltz bass etc.) 9

10 5. Sight-reading: approximately eight measures 10

11 6. Repertoire: equivalent to Steeplechase by Cornelius Gurlitt 11

12 110B overview Keyboard technique: exercises for finger independence/strength and legato (Hanon, Czerny, Liszt) Scales and arpeggios: all major, harmonic and melodic minor scales (two octaves, hands together); chromatic and Greek modes; all major and minor arpeggios (two octaves, hands together); arpeggio technique (two octaves) Chords: primary and secondary triads in major; primary and secondary triads in minor; diminished and augmented triads; 7th chords; various progressions played in all keys; secondary dominants, modulation and mutation Harmonisation and improvisation: harmonising melodies (using chords studied) in various accompaniment styles; Q & A improvisation with parallel and contrasting answers with accompaniments; free improvisation using 12-bar blues, pentatonic, dorian, bitonal and aleatoric frameworks Sight-reading easier keyboard literature Score-reading (transposing); open vocal scores in three and four part textures; alternative clef reading; parts for transposing instruments Performance of prepared repertoire: baroque, classical, romantic, 20th century (articulation, fingering, balance and stylistic interpretation); various forms; introduction to ornamentation 12

13 Sample Proficiency Test 110B 1. Scales: two-octave white and black key major/minor (harmonic and melodic) scales, hands together, in eighth notes, quarter=80 (selected at random) Arpeggios: two-octave white and black key major/minor arpeggios, hands together, in eighth notes, quarter=72 (selected at random) 2. Chord progressions (transposing): an example would be the I-iii-IV-ii6-I64-V7-I cadence (including secondary triads), all major keys, in chromatic order, hands together, quarter=120 13

14 3. Harmonisation: harmonising a melody with chord symbols using an appropriate left hand accompaniment pattern alberti bass, broken chord, waltz bass etc. (chord inversions and secondary triads) 14

15 4. Sight-reading: approximately eight measures (increased rhythmic complexity, accidentals) 15

16 5. Score reading: an example would be two-voice w/tenor clef 16

17 6. Repertoire: equivalent to Minuet in C by W. A. Mozart 17

18 210A overview Keyboard technique: various exercises for finger independence and legato Scales: all major, harmonic and melodic minor scales (two octaves, hands together, in eighth notes, quarter=108) diminished, chromatic, whole tone and selected modes (Dorian, Phrygian, Lydian and Mixolydian); two-octave arpeggios in all major and minor keys, hands together, in eighth notes, quarter=90 Chords: major and minor triads, all positions, 7th and 9th chords, altered chords, jazz chording Harmonisation of melodies (using chords studied) in various accompaniment styles; tonicization, chromatic harmony and harmonic modulation to closely related keys Chord Progressions: all primary and secondary chords as well as secondary dominants (various progressions played in all keys) Improvisation: using scales, chords and progressions learned Ornamentation: in various style periods, improvisation using ornaments Sight-reading and score reading: open score chorales and instrumental works requiring transposition, easier keyboard literature Score simplification/reduction and accompaniments Figured bass: 17th and 18th century style, an introduction Repertoire: baroque, classical, romantic (articulation, fingering balance and stylistic interpretation); binary and ternary forms 18

19 Sample Proficiency Test 210A 1. Scales: two-octave white and black key major/minor (harmonic and melodic) scales, hands together, in eighth notes, quarter=108 (selected at random) Arpeggios: two-octave white and black key major/minor arpeggios, hands together, in eighth notes, quarter=90 (selected at random) 2. Chord progressions (transposing): an example would be the I-vi-IV-ii-I64-V7-I cadence (including secondary triads w/descending scale in left hand), all major keys, in chromatic order, hands together, quarter=110 19

20 3. Harmonisation; examples would be: 7th and 9th chords, altered chords, jazz chording etc.: Keyboard style: 20

21 4. Coaching simplification: reducing the vocal and keyboard score to a melody and chords w/ correct inversions (arpeggiated as in the original) that can be performed using the right and left hands 21

22 5. Score reading: 22

23 6. Repertoire: equivalent to Bagatelle by R. Schumann 23

24 210B overview Technique: Various exercises to develop finger independence/strength, musical phrasing/ articulation and fluency transposing Scales and arpeggios: All major, harmonic and melodic minor scales and arpeggios, two octaves, hands together, in eighth notes (scales quarter=120, arpeggios quarter=100) diminished, chromatic and whole tone scales. Efficient practice techniques Chords: Major and minor triads, all positions, 7th and 9th chords, altered chords, jazz chording; harmonisation of melodies in various accompaniment styles, using chords studied Chord Progressions: All primary and secondary chords and secondary dominants in various progressions, modulatory progressions played in all keys Improvisation: using all scales, chords and progressions learned Ornamentation in various style periods, improvisation using ornaments Sight-reading and score reading: open score chorales, 4-voice instrumental works requiring transposition/clef reading, keyboard literature and simplification of more complex literature and accompaniments More advanced figured bass: 17th and 18th century style Repertoire: baroque, classical, romantic and contemporary styles, with focus on phrasing, expression, legato, articulation, fingering, balance and stylistic interpretation 24

25 Sample Proficiency Test 210B 1. Scales: two-octave white and black key major/minor (harmonic and melodic) scales, hands together, in eighth notes, quarter=120 (selected at random) Arpeggios: Arpeggios: two-octave white and black key major/minor arpeggios, hands together, in eighth notes, quarter=100 (selected at random) 2. Chord progressions (transposing); modulating examples, all keys, in chromatic order, hands together, quarter=110 25

26 3. Harmonisation in varied accompaniment styles 26

27 Un-chorded: 27

28 4. Reduction w/transposing melody 28

29 5. Score-reading; examples would be four-voice SATB, instrumental w/transposition, clef-reading etc. 29

30 6. Repertoire: equivalent to The Wild Rider by R. Schumann cont. 30

31 Placement Test Information A placement test usually lasts for 8-10 minutes. During that time the following (at the skill levels outlined above) is prioritised:- Technique sample: scales and arpeggios selected at random to be played at the designated tempi for each level Harmonisation sample: harmonising a lead sheet (melody with chord symbols indicated above the staff) Transposition sample: a given chord progression to be transposed chromatically or in circle of fifths order, fluently without hesitations Sight-reading sample: approximately 8 measures (as per the levels of difficulty outlined above) Score-reading sample: in two, three or four voices, with or without transposing instruments/ alternative clefs (as per the levels of difficult outlined above) Many students come prepared to perform a repertoire piece (requisite levels of difficulty given above) which is also helpful in determining skill level and overall pianism. Given time constraints it is impractical to hear everything in its entirety, so students may be stopped mid-performance. 31

32 Future and forward momentum During my presentation, I mentioned several key concerns shared by many of my fellow class piano coordinators:- Overall quality of the program Student engagement and success Functionality of skills learned Ensuring students have strategies for self-directed practice Maximising supervised practice opportunities Increasing the level of detail through one-on-one feedback Efficiently integrating TAs/other instructors teaching the course With the aforementioned in mind, I am authoring and digitising the four-semester class piano curriculum, developing interactive, instructional content which will be imparted via a new user interface. The redesigned curriculum aims to significantly and positively impact the areas of concern identified:- (1)Improved Student Time Management; instructional content to be consumed and revisited via a digital platform (2)Improved Student Success Outcomes; detailed one-on-one feedback from the instructor, both digitally using the new technology and via increased supervised practice opportunities the technology will create ( flipping the classroom to generate more supervised lab time) (3)Positive Impact on Incoming Students; available as an online resource, the four-semester curriculum or elements of it as desired, can be integrated at other institutions of higher-learning to support the large population of students transferring to SDSU from other institutions (4)Student Teaching Internships; the redesigned digital course presents an authoritative, unified curriculum into which student teaching assistants can be more effectively integrated for hands-on teaching experiences as part of pedagogy training and to ensure a high level of quality across the board (multiple TAs/instructors) (5)Along with enhanced student success and experience, the long-range benefits of this course redesign (increased TA involvement and positive impact on enrolment) may open up the possibility for me to expand keyboard course offerings in related areas in future -in both pedagogy and collaborative keyboard- with a view to creating new degree programs in those areas It is my hope that this is only the beginning of collaboration among all of us -thank you for the perspectives shared at our recent February forum. I sincerely look forward to working together for the benefit of our students. Toni 32