Teaching technical skills with ease

by Sharon Kaplan

Technique – ugh, say some teachers. Ugh, say some students. But I find teaching and playing technical scales rewarding, challenging and fun, and by trying to teach creatively, many of my students are  beginning to think so, too.

The requirements in the 2010 syllabus are structured much differently from the old and are helping me in my task. This syllabus will be printed in January, 2010 and testing from it will begin in the fall of 2010. However, I have been testing out the requirements on my students now. My challenge has been to make the segue between old and new without making it confusing for my students.

Most skills will be played in major/parallel minor sequence to solidify fingerings and have a sense of key

center. At level two, C G D will be tested and at level three, A, E, F. My students learn C, G, D, A, E and F at level two. That way, they will be secure with one-octave scales and are preparing ahead for the two-octave scales at the next level. However, for the month before an exam, I prepare them using the P. E. P. P. - Piano Examination Preparatory Packet at the correct level. This is the time I “teach to the test”.

I have found that teaching two-octave scales is easiest using the rhythm eighth note followed by sixteenths . As one student said, “sitting on that tonic note gives me a second to think.” Because it is rhythmic, it is also more fun. I also “borrow” rhythms from pieces or ask kids to make up a jazzy rhythm.

At level 4, students will play a mini-grand scale instead of contrary scales: Once again, I use different rhythms if there is a problem.

Another change in the technical requirements is that diminished chords and arpeggios are introduced before the Mm7. This is because we are trying to promote facility. The dim7 chords and arpeggios are symmetric, making them easier, and they are easier for a smaller hand. The extra year of physical growth should make the Mm7 easier for students to play well. I have been requiring my students to learn both, and it has been helpful.

I do not teach only the required keys. I work in fingering groups, circle of 5ths – anything. I focus on

the required keys and required manner of playing them when we begin to seriously prepare for the
exams, but by then it becomes a job of polishing what they already know.

Here are some “fun” patterns once a student has played in all keys. They are not on the exam, but will help to secure what is needed:

·        Scales: One student calls this the marathon scale – natural minor → harmonic minor → melodic minor → major → down 2 more notes of the major scale (played slowly) to the relative minor and then begin the pattern on that key. Student will cover 1/3 of the possible scales every day.

·        Chords (works for arpeggios, too) 1. Start on any key and play this sequence, either solid or broken: Mm7 → mm7 → half dim7 → dim 7 → down to next Mm7, etc.

·        In any key, 4/4 time, play either solid, broken, or in patterns I (root and 2 inversions) → IV (root and 2 inversions) →V (root and 2 inversions) →V7 (root and 3 inversions)  ending I (root if 4 note chords, I if using 3 note chords)

 This is only a sampling of ideas for teaching the technical skills found in the 2010 syllabus.