July 29, 2011

How to Practise Successfully

By ms-ye

 

 Please note:  The following material was written by Martha Beth Lewis, Ph.D.

 

This is not brain surgery!

First of all, bear in mind that piano study isn’t brain surgery. Your patient isn’t going to die if you make an error. In fact, you can make as many errors as you like: they are gone instantaneously and you can try it again as many times as you wish. Be gentle with yourself. Piano study is not supposed to cause stress; it’s supposed to release it!

Don’t plan to walk on water.

Don’t expect to play perfectly. It very rarely happens, even to concert artists and recording stars who devote their entire lives to the study of piano performance! Even when you know a piece well, you’ll drop at least 5% of the notes. Don’t sweat it! Do the best you can and enjoy!

Divide your time

Divide your practice session into parts. I suggest something like 20% of your time on technique, 60% on literature, and the last 20% on fun. Don’t forget the fun! That’s why you’re taking lessons, right?!

Set practice goals.

Your practice sessions should have a goal. A small goal. If your goal is too large or too unfocused, you won’t reach it. “To improve” or “to play this movement better” are examples of such goals. “To fix measures 17-20” is a reasonable goal and one you can reach. When you set goals which are unobtainable in one practice session, you leave the piano feeling depressed and angry. Avoid this by making your goals small enough that you can reach them easily.

Is it chance or control?

I ask my students to continually ask themselves: is it chance or control? “Was it just good luck that I played that correctly or could I do it again whenever I want to?” Only the student knows the answer. Deep down inside, he cannot lie to himself!

Go for control!

This is especially pertinent when a student is trying to speed up a piece he has moderately well-learned. If he always aims at control, speed will develop naturally.

Build bridges.

Identify the exact place you are having a break-down and work systematically to fix it. Here is a technique I ask my students to use; I call it bridge-building.

The breakdown can be isolated to the elision between two notes. This is where you need to build your bridge. First check the fingering; write in what is missing, after making sure you aren’t breaking any of the basic rules of fingering. Now play between the two notes that are the problem spot, making sure your fingering is perfect each time. Once you have that mastered, add a note on either side of the problem. Next, go one note before and one note beyond. Continue to accrete in this fashion until you have the entire phrase learned. Another technique to use in the bridge-building stage is rhythms.

Now the tough part: putting it back in place.

This is tough because you now have to reduce your speed! Yes, when you put it back into context, you have to play more slowly than you can actually do the problem section. Play the phrase before the problem phrase and the phrase after it. Practice starting at different places in the preceding phrase; don’t become wed to only one starting place. After you are comfortable–is it chance or control?–add the phrases before and after, and so on until the problem phrase is back in the fabric of the piece.

Pick the three worst places.

When hunting for a place that needs work, I often tell my students to play through the piece one time and note the problem spots. *Small* problem spots! They are then to select the three worst ones and focus on those for the day’s practice. If they don’t get to all of them, fine; the other one or two will certainly be waiting there tomorrow!

Don’t Eat Hershey bars!

Ready for another analogy? Playing moderately-well-learned material to the exclusion of working on harder material is like eating Hershey bars. It feels good while you do it, but the effects can be harmful. Your problem is a lack of self-discipline. If you play only the parts you know well, you never get better on the parts you know less well. Then the known parts are even more fun to play and the unknown parts more painful. Train yourself to focus on the more difficult sections. Yeah, I know it’s hard.

Play at a practice tempo.

There’s a big difference between a practice tempo and a performance tempo! And there’s a gigantic temptation to select the latter during home practice, especially when playing a section you know pretty well or one that you’ve just conquered! Beware!

Playing at performance tempo before you can control the piece completely is counter- productive. You end up slopping through the music just to keep the speed up.

A practice tempo–engrave this on your forehead!–is the speed at which you can control the weakest section. It is a comfortable speed, not a frantic one. True, the sections you know better probably will be boring at this speed. This is why you need to focus on the less-well- known sections! Please–I beg you!–do not do this: start at the speed you can play the first part, slowing down when you come to the hard sections and speeding up at the easier parts. You do yourself great harm. You eat Hershey bars *and* you kid yourself that the piece is better-prepared than it really is.

Where to Start a Piece

The way pianists learn is typically the first section first. When they are fairly accomplished, they dive into the second section. The first section is still a lot more satisfying to play, however, so the second section is never learned as well as the first. The third section–save us!–is a disaster! The pianist “practices” by playing through the first section first and enjoying it, easing through the second section, perhaps taking second and third shots at trouble spots, and barely getting through the last section. Does this sound like you?

If so, I advise you to start to learn a new piece someplace other than the opening section. How about the middle section? Or the end? Composers typically pull out all the stops at the end of the piece; it’s harder than the beginning because it’s coming to a grand finale. Which leads us to…

The Lewis Down-Hill Method

This practice strategy says that you learn the most difficult portion of the piece first. Then the rest is down hill. If you can’t pick the most difficult section of a new piece, ask your teacher’s advice. Caution: The Down-Hill Method takes guts! Once you try it and are successful, however, I think you’ll be sold on the idea. It makes learning a new piece so much quicker!

Restarts

Kids do this all the time: if there’s a mistake in measure 8, they start again at the beginning. This is quite ineffective.

Another version: when a mistake is made, the pianist backs up just before the mistake a tries it again.

Don’t!

If necessary, throw your hands over your head to break yourself of this habit.

This reminds me of a colleague from my college days. It was her senior recital, and she made an error. Instead of playing on, she did just what she had done in the practice room: she went back and took another shot at it. Everyone in the audience–music majors and professors, for the most part–knew exactly why she did that: it was exactly the way she had practiced! Short-circuit this impulse to start over or you’ll surely practice in the restart!

Practice Dessert

After you’ve learned all sections of the piece pretty well, try this technique. Work on the worst spot (or three worst spots), and then reward yourself with a single play-through of the whole piece *but at a tempo in which you can completely control the hardest section.*

Why practice?

To learn your music well enough that you can play it to your satisfaction whenever you please!

      

Article taken from:

–  http://www.serve.com/marbeth/practice_techniques.html 

 

Copyright 2011, Martha Beth Lewis, Ph.D.  Used with permission.   marthabeth.com  Please contact her for permission to reproduce this material for your students or your site.  This material is   her property and may not be used without permission.  Thank you for honoring copyright.

Leave a comment | posted in How to Practise, Piano Learning

July 28, 2011

Awesome Piano Site by Martha Beth Lewis, Ph.D.

By ms-ye

Hi Everybody,

In case you have been reading the materials on my site, you would have noticed I have published quite a variety of them, and they were all written by Martha Beth Lewis, Ph.D, an internationally-acknowledged expert in the teaching of beginners and the business aspects of the private music studio.

There’s a wealth of information and great articles written by her for teachers, parents and children,  and your answers to music learning / music pedagogy might just be answered in her Q&A Pages.

Here is her site once again : http://www.marthabeth.com/piano.html 

I highly recommend you to check it out!

Leave a comment | posted in Uncategorized

December 31, 2010

Information about Specific Piano Brands

By ms-ye

 

Please note:  The following material was written by Martha Beth Lewis, Ph.D.

 

People ask me all the time about this piano or that one.  Here is what I think of certain pianos.  (If it’s not listed here, there’s a 98% chance I have never heard of it, let alone played it.)  Ok, here goes!

Aeolian:  This company owned many brands, among them:  Knabe, Mason-Hamlin, Chickering, George Steck, and H.F. Miller. (In fact, at one time they controlled over 40 brands!). All of these brands were made in the Aeolian factory.

Baldwin:  Good piano.  Many concert grands are Baldwins.  In general, you can’t go wrong with a Baldwin. Excellent quality up to 1970. Quality problems on some actions beginning after about 1970. Concerts grands of 7’0″ and 9’0″ had Renner actions and so were better quality. (A piano action is the moving parts inside.) Baldwin had various owners until it filed for bankrupcy. Gibson Guitar bought the assets in 2001 and is trying to focus on building a piano that lives up to the Baldwin tradition. Gibson’s Baldwins do seem to have better quality, but there is not much production by which to judge this, although production seems to be increasing lately. Other brands owned under the Baldwin “umbrella”: Wurlitzer, Cable, Chickering, Ellington, Howard, Kranick & Bach, Hamilton.

Bechstein:  This is a high-end instrument.  If I were buying a new piano for myself, I’d look at this one, as long as it were not a modern one.  German.  Bechstein recently bought by Samick.

Bluthner:  Good piano.  Can be expensive.  German.

Bosendorfer:  Another high-end instrument.  I’d look at this one, also. Bought jointly by Kimball (which now makes hotel and office furniture) and an Austrian bank (with Austrian government backing).  Last Austrian/Viennese piano company left, out of the hundreds in business in Vienna in the 1800s. Austrian.

Boston:  Very good piano.  This piano is made by Kawai.  It was designed by and is marketed by Steinway, but not made by them – – this is not clear in their advertising! I’d look at this one, too. A Boston is better than a standard Kawai because it is built in Kawai’s “better” factory. Uprights (44″-52″) and grands. American. 

Cable: Cable was one of the brands owned by Baldwin. Cable may be in current production, but if the company exists, the pianos would be made in China or Indonesia. Be careful about quality.

Chickering:  Excellent prior to 1960 and even better before 1932, but age of the instrument will be an issue in regards to condition. Quality declined after 1960. Rochester factory closed 1982 and Memphis factory in 1985. Names sold to various manufacturers. American. Chickering had no product between 1982-1985. The piano was made in the US by Wurlitzer from 1986-88. Baldwin purchased Wurlitzer in 1994 and produced Chickerings between 1994 and 2001. Baldwin went bankrupt in 2001, and Gibson Guitars purchased the company and all its associated brands. Chickerings are no longer being made.

Charles Walters: High quality. Hand made, excellent actions, beautiful cabinets. Primarily uprights, but now make a 6’5″ grand. I’d look at this piano seriously. American (built in Wisconsin).

Ellington: Part of the “Baldwin group” (now owned by Gibson). China. Be careful.

Estonia: Good piano.  Grands only.  Estonia.  (Note:  There are many piano company names emerging from the dust caused by the fall of the Soviet Union. For now (2006), avoid these.  The Belaruse, for example, is a horrible piano.  But it’s cheap!  Forget it. It’s the worst piano on the market.) Do not confuse these post-Soviet pianos with the Estonia, however! The Estonia is a very good piano because the Soviets left the factory alone, probably because Estonia was so far from Moscow and made few enough instruments that it was not worth the Soviet government’s effort to take over the factory. 

Falcone: Can be a good instrument. Sold trademark to Knabe (1983), but the company never did anything with it.

Faziolo:  Good piano.  Also on the high end.  Italian.

Grotrian:  Good piano, generally speaking.  Also on the high end.  German.

Howard: Once owned the Baldwin; owned by Gibson. Quality varies.

Ibach: German Piano. Very high end

Kawai:  I like this piano a lot.  Very good piano. Make sure you know which factory manufactured the one that interests you. You want the “good factory.” Japanese.

Knabe:  Knabe product is medium quality and price now. Bought by American Piano (1908), then Aeolian (1932). Aeolian’s Baltimore factory closed about 1932, and production moved to Aeolian’s plant in New York. It was sold when Aeolian went into backruptcy (1982). Falcone bought the tradmark in 1983, but there was no production and no Knabe factory of any kind. Company then sold to Bernard Greer (1989), and factory and no production. Then it was bought by MSR/Burgett (1996). (MSR – – Music Systems Research – – is the maker of PianoDisc, a computer product that can transform an acoustic piano into a player piano.) There was no Knabe production between 1982 and 1996. Starting in 1996, Knabe then produced by Young Chang (Korea). It was sold (~2000) to Samick (Korea). The current Knabe product is medium in quality and price. Korean. Also see comments under Chickering. Kimball:  Ok to not-very-ok.  American.  Kimble is now making office and hotel furniture.  They also are partial owners of Bosendorfer.

Kohler and Campbell:  Ok.  Company makes pianos under its own name, but also makes house brands (as for Schaffer and Sons).  American/etc./ask.

Kranich & Bach: Not-so-ok to poor (the current production). This company, established in 1864, was bought by Aeolian in 1932. Quality is good thru the 1950s (America) but has declined precipitously since. Production contiuned in Aeolian’s plant in Memphis until Aeolian’s bankruptcy (1982). Wurlitzer bought the company (1985) and sold it to Baldwin (1995). When Baldwin went bankrupt, it was part of the package bought by Gibson. China. Mason and Hamlin:  Ok to good.  See comments under Chickering. Mason was sold to Falcone in 1983 (America), then to Bernard Greer in 1989 (America), then to Premier possibly in 1993 (America), and went bankrupt in 1995. Purchased by 1996 Music Systems Research (maker of PianoDisc; Sacramento, CA). Factory presently in Haverhill, MA. Current Mason & Hamlin pianos are excellent quality and are sold by Colton Piano Company (chain in Northern CA ). American.

Petrof:  Good piano.  Czech.

Pleyel:  Good piano.  Rare. This piano is an antique, so you really need a technician to evaluate it for you. French.

Samick: Often a stencil brand.  Ask.  Ok to medium quality. Can’t last more than 5 yrs in my opinion.  Korean.

Schimmel:  Very good piano. German.

Steinway:  This is many people’s dream piano.  German/American.  Bought by CBS, who put no money into the business and squeezed out as much money as possible from its reputation.  Then bought by Selmer (the brass instrument company). We don’t know much about quality of the Steinway instrument under the Selmer regime. If you want an “authentic Steinway,” you’ll have to buy an older model. Ask your tech for details. Steinway makes uprights (45″ and 52″), as well as grands.

Sohmer:  Pianos made by the original factory are good.  Bought by Pratt-Read (makers of piano actions – – that’s the moving parts inside) and then sold to a player piano company.  There is no longer a Sohmer factory.  Currently (2006), there is a lawsuit brought against a Chinese firm that is using a name that has Sohmer in it (Sohmer and Company). American.

Story and Clark:  Stencil brand.  Some pianos come from Asia; ask.  Ok.  American.

Yamaha:  Holds value well, even uprights.  Bright treble.  Japanese.

Young-Chang.  German technicians help set up this company.  Good piano.  Korean. Sold to Samick, the quality went down, and Young-Chang is now in bankruptcy.

Young-Chang. Started in 1956 by the Kim brothers (Jai-sup, Young, and Chang) to assemble Yahamas for the South Korean market. Spun off in 1975. Sold to Samick, but the sale was not approved by Korean goverment and fell through. Young-Chang is now in bankruptcy. 

Weinberg:  Light touch. Bright Treble after a few years (about 5yrs) Korean

Wilhelm Tell:  Ensemble in Shanghai.  Parts from Switzerland.  

Wurlitzer:  Ok to not-so-ok piano.  Now made by Baldwin. Baldwin bought Wurlitzer in 1985. Wurlitzer, in turn, had bought Chickering (1983), Kranich & Bach (1985), and Cable (1985). Wurlitzers are now made in China (though there may be a few made in the US by Baldwin [Gibson]).

 

( Article taken from:  http://www.serve.com/marbeth/piano_brands.html )

 

Copyright 2011, Martha Beth Lewis, Ph.D.  Used with permission.   marthabeth.com  Please contact her for permission to reproduce this material for your students or your site.  This material is   her property and may not be used without permission.  Thank you for honoring copyright.

Leave a comment | posted in Choosing a Piano, Piano

December 31, 2010

Is it Damaging to Start Lessons on an Electronic Keyboard?

By ms-ye

 

Please note:  The following material was written by Martha Beth Lewis, Ph.D.

 

Short answer: no. Not to -start-. Not for a month or two.

And now for the long answer! First of all, what do you mean by electronic keyboard? Is this a digital piano (such as a Korg, Roland, or Yamaha)? Or is it a synthesizer (such as a Casio)? (Note: Yamaha makes both!) These are two different animals; what makes them different is how the sound is formed.

Usually when people say “electronic keyboard,” they are talking about a synthesizer (“synth”). Other names: portable keyboard, digital keyboard, or keyboard.

The prime reason not to purchase a real piano is cost. A real piano is most expensive. A digital piano is in the middle range, and a synth is quite a bit less.

Space is another a consideration.

Some families don’t want to buy a piano until they are sure that piano lessons are going to “take” on the child. An electronic may be easier to sell, they say. If it’s not possible to sell it, then the child can still fiddle around on it and perhaps rekindle interest in lessons at a later date.

Another reason to purchase a synth – – or a digital – – is the MIDI port. If you want to be able to hook up your computer to this keyboard, you need a MIDI port.

More and more commonly, some people want to buy an electronic instrument because of the “earphone” option (they live in an apartment building, they can practice only late at night when the rest of the family is sleeping, etc.)

Of all these reasons to not buy a real piano, cost is the overriding factor in 90% of the cases.

How are the three instruments different?

In a piano, the sound is produced by a felt-padded hammer hitting a string under tension. The piano really is a percussion instrument.

In a synth, the least expensive keyboard under discussion here, the sound is produced artificially by manipulating waveforms.

A digital piano is an instrument in which real piano sounds have been “sampled” (captured electronically) and used to create the digital piano sounds. The digital piano sounds better than a synth, but it still sounds artificial – – and not like a “real piano” – – no matter what the salespeople tell you.

And they will lean on you pretty heavily since a cheaper item is easier to sell, which means they’re more likely to make the sale (and commission)if they tout something less expensive than a real piano: a digital piano or a synth. People make decisions based on what they know and the criteria that are important to them, and since price is an important factor for almost everyone, the saleperson has the best shot with a synth or a digital.

A digital piano is much more expensive than a synth.

It generally takes more floor space but does have an earphone jack. A MIDI plug is not standard, so if you want one, ask (and expect to pay extra for it).

Ok, so yes, something electronic (a synth) to start is just fine. It will serve the beginner well in learning where the notes are located vis-à-vis the printed page and a host of other tasks the beginner must complete.

What a synth will -not- teach is piano touch. Even one with “weighted keys” and ones that “feel just like a piano” (per the salesperson). There just isn’t a substitute for a “real” piano. For a child beginner, you need to make the investment in a piano after about six months; two to three months for an adult.

Even a digital piano won’t do the job of simulating true piano touch, in all honesty.

 

( Article taken from:  http://www.serve.com/marbeth/electronic_keyboard.html )

 

Copyright 2011, Martha Beth Lewis, Ph.D.  Used with permission.   marthabeth.com  Please contact her for permission to reproduce this material for your students or your site.  This material is   her property and may not be used without permission.  Thank you for honoring copyright.

Leave a comment | posted in Choosing a Piano, Frequently Asked Questions, Piano Learning

December 31, 2010

Renting or buying a piano

By ms-ye

 

Please note:  The following material was written by Martha Beth Lewis, Ph.D.

 

The cost of purchasing a piano is the primary incentive to rent. In fact, it is the most common reason to rent, especially for a beginning student.

Note, however, that there will be other expenses beyond the monthly fee. You will have piano moving charges, either lump sum at the beginning of the lease or amortized over the life of the contract. An initial tuning may be included at no charge, but you doubtless will have to pay for your own tunings, even if the first one is paid by the dealer (well, actually, you pay that, too–it’s just a hidden cost).

Another advantage is that a rental is temporary. If you end up with a piano you don’t like, you aren’t stuck with it.

Disadvantages

Depending on the way the rental agreement is written, your rental fee (all or part) is money spent with no tangible property to show for it. Some rental contracts allow your fee to apply to any piano in the showroom. Others, only to the instrument placed in your home. Make sure you know which you are agreeing to! Some dealers do straight rentals–your fee applies to nothing but monthly usage.

Generally rent-to-buy arrangements have higher monthly fees than strictly rental agreements. Usually a dealer who does rent-to-buy does not do strictly rental.

I’d like to discuss rent-to-buy-this-instrument-only, as it is something I don’t recommend. In this situation, the dealer is essentially choosing your piano for you! Avoid this kind of rent-to-buy unless the rental instrument -is- the very one you’d choose to acquire. (The dealer may have some ulterior motive for pushing one type of piano over another–such as a manufacturer’s promotion that will net him an extra- attractive commission–and that might influence which piano he selects for you.) A far better solution, in my opinion, is finding a dealer who will allow the rental fees to apply to any piano in the showroom. That way you know he has no particular ax to grind.

Other disadvantages of renting are the unsightly case (high likely) and unpleasant tone quality (maybe). Strictly rental pianos tend to be beat up and bordering on klunkerism, although they should play. A reputable dealer will not rent an instrument which is not in 100% playable condition, although the action might not be what it should be or the instrument might be in dire need of regulation and voicing. (The dealer isn’t going to sink a lot of money into maintaining these instruments, after all.)

A third thing to consider is that should you find an instrument you want to buy, you may lose money when you break the contract.

(Note: Make sure the instrument you looked at in the showroom is the same one which is delivered to your home.)

Advantages of Buying a Piano

Your money goes toward an asset. If necessary, you can sell it to recover some of your investment.

When you buy, you are able to select exactly what you want. (This might not be what you’d select if money were no object, but you have a choice based on what you wish to pay and how much room you have.)

Don’t discount pride of ownership. The student may feel more committed to study and practice more diligently if he has his -own- piano, not a “borrowed” one.

A new piano is going to be in better shape than a rented one. The pedals are going to work, etc. A beginner should not have to fight the instrument as well as learn to play it!! (And any more advanced student will be frustrated playing a poor instrument at home.)

Disadvantages

Again, it’s high cost. Or, the high cost of getting what you really want.

If the student does not continue in study, the family is left with a perhaps-unhappy reminder of an activity that did not bring the satisfaction hoped for. There is the hassle of selling the instrument or, if the family decides to keep it, there will be continued maintenance on the investment. If the family is transferred, special moving fees will apply.

Many people decide to buy an instrument after renting for a while or after deciding that an electronic instrument is no longer appropriate. Other folks elect to begin study with a real piano.

Having decided to buy a piano, the next question is whether to buy a new one or a used one.

This is such a personal decision! It’s a lot like buying stereo speakers!

Cost

The bottom line of a piano purchase usually is cost. Most used pianos are less expensive than most new ones.

What’s involved in setting the price for a piano?

  • how good the inside parts are (the inside mechanism is called the “action”)
  • how ornate the cabinetry is
  • the name of the brand (for a new piano, you are shouldering part of the annual marketing costs in your purchase price)
  • for a new piano, the dealer’s costs
  • for a piano, new or used, from a commercial concern: how much it costs to deliver the piano to you (if not charged as a separate fee)

When you go shopping for a new instrument, you will find many pianos with incredibly beautiful cases! The finish is so glossy it’s like a mirror! Wow! (Reality check: Think about rubbing away smudges on a constant basis.)

The mystery to solve is whether the inside of this fantastic-looking piano is as nice as the outside. Usually it isn’t if the price seems “reasonable.”

You pay for what you get – – and what you want, musically, is a good action. What you want aesthetically is a personal decision. It will be sitting in your home, after all!

A New Piano

A new piano has all the benefits of a new item of any kind. It has not been used, however “gently.” It has a full warranty. The casework should be in perfect condition.

A Used Piano

A used piano usually doesn’t have a warranty, although some dealers will give a limited and short-time warranty. If you buy from a private party, consider the piano “as is.”

There may be extra repair and maintenance costs with a used instrument, especially one that is being sold to “clear the decks” by a private party. Suppose the child of the house quit lessons. Do you think the parents will continue to pay to maintain the piano in tip-top shape until they sell it? (I have an excellent bridge I’d like to sell you!)

The casework of a used piano probably will have some dents and scratches. Is this a problem? How much would it cost to have the damage repaired?

If you find a used piano with wonderful action, its casework might not match your décor. Is this a deal-breaker for you?

If you find a used piano with good action and a seductive price, how much would it cost you to have the case refinished? (Also ask yourself how the case got to be so forlorn, yet the insides are still ok? Really ok?) How long would case refinishing take? Figure about $500 per foot (for a grand piano); probably about $3000 minimum. Use a real piano refinisher, not a furniture refinisher. (Horror stories abound about furniture refinishers and do-it-yourselfers who varnished the soundboard “to make it look prettier.”) Ask a tech for a referral.

Are delivery charges to and from included the refinisher? Do you have to arrange pick-up and delivery yourself?

With -any- used piano, whether from a dealer or a private party, I -most strongly- advise you to pay a registered piano technician to look over the instrument. This will cost you $50-$100. Not only can the tech advise you of any worn parts that will need repair immediately or x years down the road, but she can advise you whether the price asked is too high, reasonable, or a real bargain.

Those who wish an antique will need to buy a used instrument.

Those who wish a certain brand of instrument but cannot afford a new one will be able to purchase an older one for less. Pianos are like cars; their value plummets as soon as they leave the showroom.

Any Piano

Whether it’s new or used, the piano will have to be tuned when it arrives at your home. You should let it “settle” a week or two; usually it will take you that long to get an appointment with a tech.

A dealer may include an initial tuning in the purchase price, whether the instrument is new or used. How much would a tech charge you? Ask the dealer the cost of the tuning and who will do it. It may be better for you to subtract that amount from the purchase price and substitute your own maintenance.

We would expect a new piano to be in “perfect working order” on the showroom floor, but this is not always the case. Sometimes the factory takes a shortcut (which results in a lower price to the dealer, and, we hope, the customer) by omitting regulation, voicing, and other fine adjustments. Ask whether this piano has been regulated and voiced, when, and by whom.

How can you tell for sure you’re getting the truth about a piano? You call in a registered piano technician for an independent survey.

The dealer probably will not like this. Before you sign the purchase contract, after all the finances are worked out and you have pen in hand, tell the dealer you will have your tech come in and take a look. If this cancels the deal, you know you are losing something you would rather not have had. (The dealer may tell you the in-house tech will inspect the piano, but this is not a substitute for an unbiased opinion. Besides, you don’t know the real credentials of this person and whether there is a scratch-my-back situation at work.)

Similarly, if the dealer implies or states outright that someone else is interested in this piano and that you should close the deal or risk losing the instrument, walk. Don’t be pressured. If the dealer had another buyer, do you think he’d wait around and let you make an offer on the piano?!

A new piano is a -large- expenditure. You usually could buy a car for the same money!

Don’t purchase a piano without outside confirmation that the instrument is worth what is being asked.

Contact your tech in advance so he knows that you will be calling with this request. Don’t make the purchasing decision and then call a tech for an appointment. It might be several weeks before he can fit you in the schedule, especially if you’re just somebody out of the blue! If you are presently taking lessons, speak with your teacher about his tech. The teacher can pave the way for you by contacting the tech and telling her that you would like to engage her to look over an instrument you are considering.

Sound

How does the piano sound? This is where the stereo speaker analogy comes in. Some pianos have a bright treble. Some a booming bass. Some have both. What do you like? What kind of literature do you like (and therefore will be playing a lot of)?

In what room will the piano be placed? Does the room have hardwood floors with no (or small) rugs? Is the room heavily draped and furnished with overstuffed sofas and chairs? The home environment impacts brightness. An instrument with a bright treble in the showroom may be too bright (to the point of tinny shrillness) in a room with very little upholstery, drapery, and carpet to absorb sound.

Play the instrument, using the literature you like best. Play the same piece on a number of instruments. Lid-up on all of them, so it’s apples-to-apples.

If the musician is a child, ask the dealer to perform some of the child’s pieces on each instrument you are considering. Naturally, you’ll want your child to play, too, but if the child plays all the songs on all the instruments before you, you’ll be there all day! Therefore, let the child play a couple of songs on one or two instruments, and then let the dealer take over so you can listen carefully to the sound when the performer is “neutral.”

Size

Don’t disregard size! You don’t want the piano to arrive and not fit where you planned it to go! Get the rough dimensions of the piano(s) you are looking at, and make a life-sized template from newspaper. Move furniture around and see how best to position your new toy! (Make the grand a plain rectangle, unless you particularly want to cut out the bentside.) A grand takes more room than an upright, but those who purchase grands anyway decide that the improved tone is more than a fair trade-off.

Just because the piano is a grand, though, doesn’t mean its tone is superior to all uprights! Excellent uprights are head and shoulders (tone, action, etc.) above mediocre grands.

A “parlor grand” is usually not as good a choice as a good-quality upright because size of the parlor grand virtually precludes a rich sound.

“Old Klunkers”

Many times people give serious consideration to buying what is called “an old klunker.” This is a piano that looks pretty awful on the outside (damage to the case, broken or cracked key surfaces, etc.) and most certainly is out of tune when first viewed. Naturally, an old klunker is much cheaper than a piano that looks better, even if the more attractive one is also out of tune.

The main problem with old klunkers is that the insides are in just as wretched a condition as the outsides.

Therefore, an old klunker may cost so much to repair that it is not cost effective for you to buy it.

And certainly after you have it, if you decide to unload it (even after some investment in repairing it), it will be difficult for you to get your initial purchase price out of it, let alone the money you’ve put into it trying to get it into playable condition. Do not expect much on a trade in from a piano dealer. The dealer will not be able even to rent it out, and it’s highly unlikely that any parts will be useable enough for the dealer to tear it down for parts. Don’t be surprised at all if the dealer refuses to take it in trade-in. Then you will have to pay to have it carted off.

From a student’s point of view, playing on an old klunker is an exercise in frustration. Some of the keys don’t sound. Some of the notes dip a different amount than others. Some of the keys are cracked. Some keys stick. The pedals work sporadically. In sum, this piano is unsafe at any speed! Parents reason that they don’t know if their child will “like” piano study and thus do not want to invest in an expensive instrument until they have a feel for the child’s interest.

This is false economy! They’re going to pay for lessons, take time from other activities to get the child to the lessons and help at home, and, with a klunker, they’re going to give the child an instrument to learn on that is guaranteed to make the child angry and upset! A beginner doesn’t even know which end of the piano to blow into; such a child is lightyears away from having the patience to sit at the instrument and learn how to work around its idiosyncracies! An old klunker is -not- a good choice for a beginner! Rent, instead.

In the final analysis, I’d advise that you stay away from an old klunker. If you do find an “ugly duckling” that you think may have a decent action, get a registered tech in to take a look at it before you get out your checkbook. If in doubt, sleep on the decision.

In a Nutshell

In the end, you should buy the best piano you can stretch to afford, whether it’s new or used. And have a tech check it out before you sign the cheque.

 

( Article taken from:  http://www.serve.com/marbeth/rent_or_buy.html )

 

Copyright 2011, Martha Beth Lewis, Ph.D.  Used with permission.   marthabeth.com  Please contact her for permission to reproduce this material for your students or your site.  This material is   her property and may not be used without permission.  Thank you for honoring copyright.

 

Leave a comment | posted in Choosing a Piano, Frequently Asked Questions, Piano Learning

December 31, 2010

Choosing A Piano

By ms-ye

 

Please note:  The following material was written by Martha Beth Lewis, Ph.D.

 

Here are some general thoughts on piano brands:  which ones are good, which ones to stay away from.  Please note that these are my personal opinions.  Instruments from the same manufacturer differ from year to year, and within a given year!  In the same way some cars are just lemons. It also may make a difference in which factory the instrument was made.  Sometimes a company (Yamaha, Kawai) has factories of different “qualities,” so piano quality is affected by the factory made the particular piano you are looking at/seeking.

German-sounding names are often chosen by non-German manufacturers because Germany has such a good reputation for piano-building, at least in the past.  Just because it’s a German name doesn’t mean it was made in Germany or by German expatriates or at a factory founded outside of Germany by Germans.  Inquire. 

As of this date (2006), Chinese pianos are usually of inferior quality.  A decade or two ago, this was true of Korean pianos and Japanese pianos before that, so expect Chinese instruments to improve in quality.  The Russians also are making pianos now.  I wouldn’t expect good quality from them [yet?], so buy a Russian/former Soviet Union country piano very cautiously.

Stencil brand pianos (sometimes called store brands) are common in the US.  These are like the house brands at a grocery store.  A piano store (usually a nation-wide or at least a regional piano company) buys these from a factory and puts a name on it. Therefore, many “different brands” of pianos – – at varying price points – – are actually from the same factory. And could, in fact, be the same model except for the brand name!

Also note that some factories buy parts from all over the world.  An American company can buy German actions (that’s the “guts” of the piano).  Sometimes a company with a good reputation farms out its manufacturing process to a country with cheaper labor rates.  For example, Pratt-Read, which makes actions, moved their factory to Mexico, with disastrous results because the labor was unskilled (and sometimes didn’t show up for work!).  You can find Chinese parts in non-Chinese instruments. And, in a curious turn-around, some Japanese pianos are manufactured in America and Europe!

Similarly, sometimes a piano factory sold its brand name to another piano maker, usually an Asian company.

With the serial number (and name) of a piano you are examining or thinking of purchasing, your tech should be able to furnish you with exact information about where the piano was made and when, whether this date was before the company was sold and/or acquired new manufacturing equipment, what kinds of parts were used and where those were manufactured, and so forth. 

I’ll say again that you need a tech to examine any used instrument. Don’t agree to buy a piano on your first visit to a dealership unless you love it and everything about it, including the price, AND you have taken your tech along. 

Types and Sizes

There are only two kinds of pianos – – grands, uprights – – but there are several sizes in these general categories.

Grands:

  • “parlor” (sometimes called “petite”):  4’5″ to 5’5″
  • “baby”:  5’0″ to 6’5″
  • “medium” (sometimes called “parlor,” “living room,” or “medium studio”): 5’6″ to 6’5″
  • “semi-concert” (sometimes called “professional”): 6’6″ to 8’0″.
  • “concert”: 8’9″ to 10’2″. Most concert grands are 9′ in length

Uprights: 

  • spinet: 35″ to 39″ in height
  • consoles: 40″ to 44″ (those 39″ to 40″ are sometimes called “consolettes;” and “consoles” 40″ to 43″)
  • studio:  45″ to 47″
  • professional (sometimes called “full size”): 48″ to 52″ (Note: Prior to 1930, some uprights soared to 60″ in height.)

A “square grand” (built ~1700-1900) is always an antique piano.  “Birdcages” (~1840-1940) often are, too. Be careful with these!  You may be buying a lot of repair! (Ask your technician….) 

What You’re Looking For

Remember that you are looking primarily at the touch (a function of the action) and sound (bright treble? lots of bass?). 

Sound is a personal preference (I personally like a low bass and medium-firm touch, but this is only my opinion!)  Evaluating a piano’s sound is a lot like buying stereo speakers.  What sounds good to you? 

If the action is too light, it’s hard to control dynamics [loud and soft].  Also, the hand doesn’t build up much strength so that when the player sits before a piano with a firmer action, playing is quite difficult.  Pianists are prisoners of the instruments they are given (though Vladimir Horowitz toured with his own instrument and technician!).  We are not like violinists. Their violin is the same, no matter whether they are playing it in a ditch or in a concert hall.

Casework is important, but make sure the insides (action) are good.  Don’t be fooled by a gorgeous piece of furniture with inferior action….. 

…..unless you just want something upon which to perch sterling picture frames.  I am sure you’ve seen the “interior decor” magazines with a beautiful piano, lid down, in front of a window (ack!), and covered with framed pictures and a voluptuous of arrangement of roses and cost more!!! Presumably, you are reading this file because you want a piano to use!

Also know that pianos depreciate rapidly – – some more than others.  Any brand’s cheapest model is its worst piano.  Go up a level.

A piano is an investment that lasts a lifetime.  Get the best one you can stretch to afford.

An expensive brand’s upright might not be as good as another brand’s grand or vice versa.

A grand will have better tone than an upright, generally speaking, though one manufacturer’s grands will not sound as good as another manufacturer’s uprights.

A used piano should be considered seriously.  Bear in mind, however, that used pianos are a law unto themselves. Do not fail to ask your tech to physically examine any used piano you are considering! 

Pianos are as individual as children!

There you have it.  These are my opinions only.  Please do some homework before you buy! 

And remember that a beginner needs the best piano you can stretch to get her. You wouldn’t give her a bicycle with one flat tire when she’s learning how to ride it. Beginners need the fewest impediments possible!

 

( Article taken from:  http://www.serve.com/marbeth/piano_brands.html )

 

Copyright 2011, Martha Beth Lewis, Ph.D.  Used with permission.   marthabeth.com  Please contact her for permission to reproduce this material for your students or your site.  This material is   her property and may not be used without permission.  Thank you for honoring copyright.

 

Leave a comment | posted in Choosing a Piano, Frequently Asked Questions, Piano

December 31, 2010

Tips for Adult Piano Students

By ms-ye

 

Please note:  The following material was taken from  http://pianoeducation.org/pnotlife.html#Adult .

 

 Most adult students are taking lessons because they want to enrich their lives, attain a personal goal, or perhaps fulfill a long-held dream. A lot of students do it for rest, relaxation and therapy from a stressful job. The result is that most adult students are highly motivated to learn. Your teacher should function in the role of a guide and support system as you discover which form of learning is best for you, and which music you might enjoy playing. If your teacher’s methods and your way of learning don’t fully mesh, don’t give up. Simply find a teacher who works better for you.

 The most important tip for adult students is to be patient with yourself. Give yourself the time to learn things and don’t get too frustrated if these skills do not come as fast as the kid’s do. The finger coordination is not that of 5 yr. olds and it will take a bit longer for this to settle in. Most particularly, don’t expect to learn as fast as your 7 year old child; that expectation is unrealistic. Your advantage is the maturity to focus well on the task at hand and really to understand the musical language of the piece you are playing. Hence, chances are you will enjoy it more, even if your technique is slower to develop.

 My advice to adults for practice techniques is much the same as that we would give for children. Here, you have an advantage in that you are probably more focused and motivated than the average child student. It’s best to try to practice when the kids are not around, so that you avoid interruption.

 Learning to play piano is more than just playing the notes. There can be no better way to begin to speak to “language of music”, as opposed simply to knowing the vocabulary, than to immerse yourself in it. If you are working on a piece, try to listen to a recording of it. You will gain the benefit of the understanding of a professional musician, as well as develop additional insight into how you perceive and might play the music. It is much easier to develop a feel for the music when you don’t have to worry about playing all the notes correctly.

 

( Article taken from:  http://pianoeducation.org/pnotlife.html#Adult )

 

Leave a comment | posted in Adult Piano Learning, Piano Learning

December 31, 2010

Is an inexpensive or less-experienced (or no-experienced) teacher “ok” for a beginner?

By ms-ye

 

Please note:  The following material was written by Martha Beth Lewis, Ph.D.

 

Not really.

In fact, no, not at all.

Why?

In a nutshell, an experienced teacher will give you more value for your dollar, even if you have to pay more.

Think back. Were you not thrilled when your child got “the best” kindergarten teacher? (Or, conversely, wishing your child had gotten the best one?) In fact, you may have jumped through hoops and even visited the principal to make sure your child had the best one.

Why? Because you knew that the teacher would give your child the best foundation skills. That teacher would make your child love going to school. That teacher would acquaint your child with his innate curiosity and explore ways to enhance that but to channel his natural enthusiasm and phyical energy.

An experienced teacher, by definition, has dealt with a variety of children and a variety of problems and knows how to address each.

Probably the teacher has better academic credentials (a master’s degree or a special certificate in early childhood development).

As in all else, you get what you pay for. Of course, there may be superb teachers who, for some reason, are way under-priced. Usually, however, the superb teachers know it and can command a fee commensurate with their skill, experience, and credentials.

If you think a teacher sounds wonderful but is shockingly expensive, do this.

  • Ask for references! And call them! Ask these people why they are willing to pay this teacher’s high fee. Were they initially unsure about paying that much? What changed their minds?
  • Ask the teacher bluntly, “Why do you charge so much?”
  • And the corollary, “Why are you worth more than a teacher who charges less?”
  • Ask how many students the teacher has. This tells you how many people are willing to pay this amount of money for piano lessons.
  • How many children your child’s age does the teacher have? (This and the following questions help you understand how well your child is likely to “fit” in this teacher’s program.
  • How many beginners? Beginners your child’s age?)
  • If your child has a learning disability or some other special need, how many students like this has the teacher taught? How many beginners like this has the teacher taught? Child beginners?

I am often asked whether X credentials are ok to “just teach beginners.” Usually this question is from someone who has “played piano for several years as a child/in sec school” and who doesn’t have a music degree or even any college-level music study. Although usually not stated, my belief is that the motivation to teach is probably to supplement the family income with a job that can be left the moment something more lucrative comes along. Or, it’s something the person can do “while the children are young and at home.” Or, that it’s easy to do and requires little if any investment in training, etc.

I don’t know where the idea came from that un- or poorly-trained teachers are acceptable teachers for beginners or that it’s perfectly ok for beginners to receive sub-standard teaching.

The opposite is true! Beginners need the best teachers and teaching available.

I advise these prospective teachers to teach only at the intermediate level. Those students already have an understanding of how to read notes, count, etc. A teacher who is learning on-the-job will not have to deal with these basics and can concentrate on perfecting the students’ music skills. I also advise those who write me questions like this to begin private piano study right away with a competent, experienced teacher and to pursue a degree and proper training in music.

My hunch is that some people who want to teach only beginners are not confident in their own ability to play and feel that beginner-level study is the only level they can teach without being “found out.” Obviously, someone who can’t play well enough to play a Beethoven sonata will be unable to teach a student who is ready to study this level literature. Any teacher who cannot play intermediate-level music should not be teaching – – for any level and at any price!

These people don’t set out to do a beginner damage, of course. It’s just that they do not know they are not properly equipped to teach novices. I applaud those who write and ask for advice on training. For every one of these, however, there are hundreds who are clueless that they need training and are putting beginners at risk by their own lack of knowledge.

90% of the time that beginners end up with inadequately-prepared and inexperienced teachers – – stick with the experienced teacher until there is a good foundation laid (at least one year, if at all possible) and then change if need be.

Please interview as many teachers as you can find, as this will give you good data with which to make your decision. Take your time and do this thoroughly! This is your child you are entrusting! Maybe the expensive teacher truly is superior to the others. (Maybe not!) Maybe you can find someone who is nearly as good but far less expensive.

For your child’s sake, please don’t choose based on price.

Thank you for giving your child the wonderful gift of music! Your child will thank you for it forever.

Although these remarks are aimed at child beginners, the basic concepts apply equally to teen and adult beginners.

 

(  Article taken from:  http://www.serve.com/marbeth/beginners_teacher.html )

 

Copyright 2011, Martha Beth Lewis, Ph.D.  Used with permission.   marthabeth.com  Please contact her for permission to reproduce this material for your students or your site.  This material is   her property and may not be used without permission.  Thank you for honoring copyright.

Leave a comment | posted in Choosing a Music Teacher, Frequently Asked Questions

December 31, 2010

Choosing a Music Teacher

By ms-ye

 

Please note:  The following material was taken from http://pianoeducation.org/pnolearn.html#Choosing .

 

Where do you start?

The process of choosing a music teacher is similar to that of choosing a physician, attorney, accountant or other professional. All these professionals provide services tailored to your individual needs; convenience and cost are not the sole deciding factors in their selection. Selecting a music teacher should be no different.

When choosing a music teacher, you should evaluate a prospective teacher’s credentials.

Make an Informed Decision

Before investing in music lessons for yourself or your children, consider the significant role music teachers play in making music study a rewarding and life-enriching experience. Making a careful and informed selection of a music teacher helps to insure that your investment in music lessons yields the highest possible returns.

 Base your selection on compatibility of goals and personalities, a feeling of trust and, most importantly, the qualifications and abilities of the professional to meet your individual needs. In your search for a qualified music teacher, this means:

  • Get recommendations, attend studio recitals and arrange to audit a lesson.
  • Set up interviews with prospective teachers to discuss studio policies, requirements for daily practice and performance opportunities.
  • Ask about short- and long-term objectives, instructional materials and if the teacher uses a particular teaching method.

Talking With Your Piano Teacher

At your initial interview with your prospective teacher, take the time to establish an open door of communication. Read carefully through all copies of the studio policy and other important written information that you may receive from the teacher. If you have any questions, take the time before lessons begin to talk to the teacher about the questions. Once you or your child have started lessons, you should feel free to bring any concerns you may have to the teacher’s attention. We think you’ll find that the overwhelming majority of teachers will be receptive to and appreciative of your concerns.

 As in any interpersonal relationship, there will be times when you may become concerned about your or your child’s progress or just want to talk with the teacher about the overall course of lessons. This is normal and healthy. As long as you approach this with the teacher in a non-confrontational, constructive manner and follow a few basic guidelines, we think you’ll find the experience to be a good one.

 Since it is difficult for both you and the teacher to find the time during a busy day of lessons to talk at any length, it is always best to call the teacher and make an appointment to discuss matters at a mutually convenient time. Think through in advance what matters you want to broach with the teacher. Bring some notes to the interview if they will help you keep on track. You may want to tell the teacher what matters you wish to discuss when you set up the appointment. The teacher can then prepare whatever materials (progress records, grades, etc.) are needed for the talk so that your time is not wasted. Whether you or your child is the student, you’ll find it much easier to communicate about lessons without a child being present.

 At your meeting with the teacher, by all means, try to maintain the conversation on a professional and, as much as possible, dispassionate level. Avoid attacks on the integrity or judgment of the teacher. You can generally trust that the years of teaching experience that your teacher has established are helpful in knowing what is best for the student. Keep in mind that each teacher teaches in his or her own unique way and in response to their perception of the individual needs of their students. A good teacher will approach each and every private student as a unique person and will tailor their lessons according to each student’s abilities, capabilities and aspirations. Try to avoid comparisons between what your child is doing relative to the progress of a friend’s child. To the extent that you have specific concerns, state them as specifically as you can, listen carefully to the teacher’s response, and continue to ask follow-up questions as necessary. Just as you should not try to intimidate the teacher, you should not let the teacher intimidate you from getting answers and/or action regarding your concerns.

 Conversely, a call from the teacher should not be seen as an indictment of you or your child. You should congratulate yourself on your wise choice of teacher when the teacher is committed enough to call you concerning a lack of progress of the student or sharing in the joy of the progress of a good student. Work with such a teacher to resolve problems and to encourage further effort on the part of a student who is doing well.

 Sometimes you or the teacher will find that a certain teaching situation is not working. For example, the parent might want their child to learn 4-5 tunes per week, without much emphasis on technique, theory, and note reading. If the teacher is not comfortable with this goal, then you should simply suggest that a different teacher might work out better for the student. Not all teachers are right for all students and good teachers know and accept this fact of life. There is no need to go through a litany of complaints, admonishments or attacks to “justify” your position. Most teachers will make a concerted effort to help you find a better teaching/learning situation for the student. Sometimes, students just lose interest. There is nothing wrong with calmly telling a teacher that a student is no longer interested in studying; it happens all the time, but communicating this properly will end the teaching relationship on a positive note, without unnecessary rancor.

 Teachers put a lot of time and energy into the student’s lessons. Both you and the teacher want the same thing: to make you or your child’s lessons a positive experience. With just a little effort, the teacher, student and parent triangle can be a very healthy and happy one.

 

( Article taken from:  http://pianoeducation.org/pnolearn.html#Choosing )

 

Leave a comment | posted in Choosing a Music Teacher, Parental Roles in Music Learning

December 31, 2010

My Kid Wants to Quit Piano!?!?

By ms-ye

 

Please note:  The following material was taken from http://pianoeducation.org/pnotchld.html#Quit%20Piano .

 

It’s very common for kids, usually about the time they reach the secondary school years, to begin to temporarily lose interest in their piano lessons. If they are allowed to quit lessons, they usually regret it in later years. It is possible to get your children through this difficult period without having them make a decision they may later wish they hadn’t made and for which their young age and limited experience ill prepares them. We firmly believe that, while kids say they know what they want at  Sec and JC School levels, they really don’t know exactly what they will be missing by quitting the study of the piano. We have had many adult students who kick themselves for having quit and now realize the folly of their choice made as teenagers.

One thing that often works well in keeping kids in piano lessons is a tit-for-tat agreement to continue lessons in exchange for some privilege or reward (sometimes known as “positive reinforcement”, sometimes known as a “bribe”!). Such rewards need not be monetary or material. For example, a possible “contract” might be allowing your daughter to get her ears pierced in return for her continuing piano lessons for 3 more years. Similarly, you can reward good lessons and participation in recitals and contests, irrespective of whether your child won.

Many teachers will also help this process by rewarding students with special things.  Whatever reward system you choose, make it clear to your child that this must be a good faith agreement between you, the parents, and your child. Regular practice and attendance at lessons are every bit as important to the child’s fulfillment of the contract as your allowing the privilege. For this to work, the child has to know that if they “welch” on their end of the contract, you will not trust them in similar situations in the future and they will lose those privileges they might otherwise have gained. Such an arrangement not only helps keep your child in piano lessons, but also builds character and responsibility for their future.

Despite your best efforts, your child may refuse to cooperate. Should you force the child to continue lessons? Every situation is individual, so we can’t tell you what to do here. However, in this event, careful consultation with the child’s teacher is called for. The teacher may be able to rebuild interest by changing repertoire, using computer teaching tools, setting up opportunities for playing in groups with other children the same age, or other incentives based on the teacher’s knowledge of your child. Simply allowing the child to quit lessons is usually not the best way to handle a resolutely uncooperative child. Such a decision should only be taken as a last resort and involve extensive consultation with the teacher.

Finally, a word just for you parents: hang in there, it’s worth it! Give yourself a pat on the back that you recognize and are dealing with the issue. Chances are your children will thank you when they get a little older for encouraging them to stay in lessons.

 

( Article is taken from:  http://pianoeducation.org/pnotchld.html#Quit%20Piano )

 

Leave a comment | posted in Frequently Asked Questions, Parental Roles in Music Learning, Piano Learning