Funny Forum Quotes

As a kid, I took lessons from an ancient woman whose house smelled perpetually of onions and celery and who whacked my fingers with a ruler when I didn't keep them curved.

I've never heard of a piano making sounds when not being played. I would be calling the dealer asap if I were in your shoes.

Is it OK to use WD-40 on a squeaky sustaining pedal?

Frankly, I have no idea what is inside these units and what to look for to distinguish one from the other. So what we are presently left with is a confusing mess that has me thinking maybe a pair of saxophones for the boys would be easier (and cheaper).

I want to know, if you have 12 hours a day to practice piano how you are going to use it?

I don't think buying an antique piano with ivory keys causes elephants to be slaughtered.

For information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.

Suzuki and the Art of Piano

The Suzuki Method is most often found in violin, viola, cello, flute, guitar, and bass lessons for students four and up. Also called the "Mother Tongue" method, Suzuki instruction is modeled on the way children learn to speak their native tongue. The method’s philosophy is founded on the belief that talent is nurtured by a child’s environment. The instruction, which encourages active parental involvement, aims to envelop the entire family unit.

Key program components that differ from traditional instruction usually includes significant parental involvement, daily listening, and regular group lessons in addition to weekly private lessons.

Suzuki tonalization, a word coined in violin training, is similar to vocalization in vocal training. The idea is to teach the student to produce good tone and to use musical expression. Students are given ear training and imitation of musical sound on the instrument.

Many people, with little knowledge of Suzuki, seek a piano teacher who will train in the Suzuki Method. What they don't realize, however, is that there is little difference between this Japanese approach and the typical training of a pianist under any other method. Ear training is a vital component of learning the piano as is involving the student in listening to music, listening to and imitating the teacher, and hearing the songs he learns to play on the keyboard, as well as reading notes.

The difference seems to lie in the distinctly Japanese idea of community and group learning. As we all know, American culture historically leans toward individualism and Japanese culture leans toward group activity.

As a musician myself, I would rather coach a child to hear himself and play with expression from his own sense of artistry, rather than conforming to a group ideal.

For more information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.

Construction of Simple Themes

Introduction to Antecedent of the Period. Only a small number of all classical themes can be classified as periods. Romantic composers use even fewer of them. But, learning about writing periods is a great way to become familiar with many technical problems.

The construction of the beginning determines the construction of the continuation. The period differs from the sentence in postponement of the repetion. The first phrase is not repeated immediately, but is united with more remote (contrasting) motive-forms, to constitute the first half of the period, the antecedent. After this contrast repetition cannot be postponed any longer without having a poor effect on comprehensibility. So, the second half, the consequent, is constructed as a repetition of the antecedent.

In composing periods, it is useful to use eight measures divided into antecedent and consequent of four measures each by a caesura in the fourth measure. This caesura, a type of musical punctuation comparable to a comma or semicolon, is carried out in both melody and harmony.

In most cases the antecedent ends on V, usually approached through a half or full cadence, but sometimes through an interchange of I and V. Antecedents that end on I are also possible.

The consequent usually ends on I, V or III (major or minor) with a full cadence. Although the consequent should be in part a repetition of the antecedent, the cadence, at least, will have to be different, even if it leads to the same degree. Generally, one or two measure of the beginning will be retained, sometimes with more or less variation.

For more information about piano lessons NJ, contact Barbara Ehrlich Piano Studio.