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Recapitulation

On purpose we did not speak about methodology. Methodology is something very “personal”
and furthermore there are many good ways to teach the piano. Most good teachers have
developed their own “vision” on methodology and the danger to “confuse” would be too big.
However that does not mean that in a LEVEL 2 or 3 we could not address specific issues of
important piano methods as a “documentary” course.

However, it is obvious that one of the important elements of teaching the piano is to develop a
“technique”. The more consequent it is done from the very beginning, the more chance you
have to develop a “good” technique.

Whatever methodology you use, your students will always profit from a “correct position” at
the piano. What does that mean? To sit comfortably for instance, at the right height, with a
foot bench for little children, a straight back but without being tense, with the feeling of the
weight down to earth and in the middle before the keyboard.

Also the position of the hand is very important. As natural as possible (a little bit “rounded”)
with the hand, wrist and arm in a balanced position.

And there is the movement of the fingers which should be as natural as possible without
“pushing” or “tension”

The most important is to be “consequent” on the technical aspects from the very beginning
but always in a relaxed way.

Let me immediately warn for the danger to “over-concentrate” on the technical side with
children, in particular with little children. The “first” contact of children with piano playing
should be “playful” and stimulate their eagerness to “learn on”…Therefore it is most
important that quickly they can play little tunes. Preferably melodies that they can “sing” first.

There we come already to a point where it may be very interesting that “you” can produce
nice short pieces, “especially” made for your little student. Think of the story of the teacher,
talking with his 6-years old beginning pupil and discovering that she had a dog that she
dearly loved. So he asked her: “what is the name of your dog?” The child enthusiastically
said: “Grumpy”. Then the teacher suggested: “shall we make a little song for Grumpy?” And
so they did. The mother told the teacher afterwards that the child was singing it before her dog
many times. Sometimes only singing sometimes only playing and sometimes both. You may
be sure that she really “knew” it… She even teased the dog. When he was sleeping in his
basket she would “silently” (inside) sing the song and when she came to the last note would
scream it aloud… You can imagine the reaction of the dog…

Three months after beginning the piano lessons she was playing a “real” little piano piece
with the title Walking with Grumpy. It was made by her teacher on the little tune that she
played in the first lessons. She knew the melody already so well that she could quickly
memorize the piece. Without even being aware of it, the child, when singing “silently” to
tease the dog, was doing one of the most important things in playing an instrument; she was
“imagining” the tune “inside” before “performing” it. Be aware that one can only play well on
an instrument what one can hear first inside. The development of the “inner-hearing” is
crucially important and to reach that aim the Kodály method is an excellent tool.

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It is just a little example but there are many applications to be used in this way. Just one more
example, a little bit more in the technical sphere. A pupil had great difficulty with the
“syncopated” RH in Schumann’s piece no 10 from the Album for the Youth: The Joyful
Peasant. So the teacher wrote for him some “special exercises” based on the various
difficulties with the instruction: before studying the piece do each exercise 10 times from very
slow to the tempo of the piece. With great attention for rhythmical accuracy. (Of course the
teacher did not use these “difficult” words but gave examples. He even let the child listen to
his watch to show how something was “ticking” regularly…)

An important ability to develop from the very beginning is: to learn your pupils to “think”
before playing. If you succeed in that intention, they will have an enormous advantage in their
further development. But we all know that little children may not yet have the “discipline” to
follow your instructions. Therefore it is so important that you can present your requests in a
“playful” way. For instance: you could take a little melody as the “basis”. Then “change”
some notes (with accidentals or different rhythm, etc.) and let the children find “what is
different”. Before they play the “variation” they have to tell you so that they are “aware” of
the differences “before” playing.

These kind of exercises is also excellent to train the memory, something that has to begin in
the early stages. You can continue these exercises on a more progressed level until the pupil
has “developed” the discipline to “think” before playing. When you let your imagination flow
and do these things, then always keep it “logical”. It must be easy for your pupils to
understand and playful to do.

Pay great attention to “specific” technical difficulties For instance “the thumb under”. Too
often little attention (sometimes no attention at all) is given to that “complex” feature of piano
playing. Yet it is so important to develop it correctly from the very beginning. You can find
many good examples also in video’s on YouTube about the best ways to “pass the thumb
underneath”, something that may even require attention with very advanced students. There is
a Hungarian pianist who explains it beautifully. Although it is in German one can understand
most of it through the examples. His name is László Gyimesi. He often speaks about the
Russian pianist Heinrich Neuhaus who wrote extensively about piano technique. But working
with little children requires that you can find a playful way to do these kind of exercises.

At one point (depending on the talent and motivation of the pupil) you will have to begin with
scale study. Always do it in a logical way and do not exaggerate the time you spend on pure
technical things. The most important is to do it “correctly”. It is much more important to have
a good and “smooth” thumb under passing than to play the scales fast. If all movements are in
place, velocity will gradually develop. Let me immediately add that your students should
never be asked to “perform” pieces for which they do not yet have the appropriate technique.
Of course, you may want to introduce a new piece to “upgrade” the technique. That is
perfectly all right. But do not put it on a concert program as long as the student does not feel
completely at ease with the “upgraded” challenge.

I cannot repeat enough that exercises and studies in general should never become an “aim”.
But your students will have great profit of a solid technique. “How” much you can do depends
totally on the kind of student. I have seen children who “loved” the Hanon exercises...and
could even play these “musically”... Never “force” it. Playing the piano, making music in
general, should “always” be a joy.

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There are many more aspects of piano playing to talk about: tone quality, legato, staccato,
pedal use, the F-clef, etc. I am sure that I am not telling you something that you do not know
yourself. On another occasion we can perhaps exchange ideas and discover something that we
have not yet thought of before.

You probably know that Zoltán Kodály said that a child’s music education should begin with
his own “musical mother tongue”. (folk songs and dances). The idea is that a child could learn
music like it learns language. Starting from Zoltán Kodály’s vision the “ideal” music
education would be that a child can use the same songs and plays that it has learned in the
classroom for the “beginning stages” of playing an instrument. There are two important topics
in that sentence: “IDEAL” and “BEGINNING STAGES”. How “much” you can follow the
principle and how “long” is depending on the kind of student. But even a little bit of the
connection between the general education in the classroom and the “link” that Kodály
suggests could make a big difference. If you can, try to make these links with using materials
from the general classroom (little children songs and plays for instance) as the basis for short
piano pieces. If the children can SING it already they will play it much quicker and, even
more important, much better. And motivate composers, that you may know, to make good
materials for you if they are interested. These composers may also want to use the same
“basic” materials for bigger piano pieces that can be used in the intermediate and upper levels.
“It would make the circle completely round…”

Another interesting possibility is to use thematic material from songs that the children know
and sing to make “original compositions” in different styles. For instance using the “same”
thematic material in a piece in Baroque style, Classical style, Romantic style, Impressionism,
Modernism… If it is meant for children than preferably with a “title”.

About Zoltán Kodály

Kodály’s composition activities can be divided into two almost equal periods. The dividing
line being around 1924-‘25 following the creation of his Psalmus Hungaricus.

The second part of his composition career was almost entirely dedicated to writing for
children and youngsters. Pieces that could serve in the process of music education.

However, it is very important to understand that these pieces written for children and
youngsters are “compositions” not just “exercises”. They are tools that can be used for music
educational purposes but at the same time beautiful artistic creations.

We can only hope that many contemporary composers will follow Kodály’s example.