Category - Playing by Ear

Off-the-bench interview with Thomas Hoops: Music Learning Theory Specialist

Last summer I signed up to hear Thomas Hoops speak at Rockley’s Music in Lakewood, Colorado. He was so fascinating that I took notes (which is unusual for me!) and I immediately introduced myself after his presentation because I wanted to learn more from him.

Thomas was happy to set up a Google Hangout so I could easily share with you what he so eagerly likes to share BUT, technology issues got in the way. That didn’t stop us as he does not live far from me so we met up in my studio and recorded the video below. 

In the post, you’ll find minute marks of where Thomas discusses specific elements of the highly esteemed Music Learning Theory. Like all good conversations, we had an agenda but, we got off on tangents occasionally so I pinpointed highlights.

I recommend that you take the time to watch the interview as his ideas and purpose for off-bench activities are GOLDEN!

-Leila

0:00 Thomas’ opening remarks include some great quotes.

When we are born, we are a fresh hard drive.

We are pliable up to age nine.

Focus on aptitude first rather than achievement.

Music Learning Theory is a sequence, not a method.

2:30 Steps of acquiring a language like music should be similar to learning a language.

  1. Listening
  2. Imitating
  3. Speaking
  4. Reading
  5. Writing

3:53 Music Learning Theory (MLT) of Edwin Gordon is based on sequence and audiation–thinking musically.

4:50 First step in the sequence of MLT: Oral/Aural = We say something and we repeat it to build a familiar vocabulary.

5:21 Talking parents into music learning theory can take time but they eventually get it.

6:00 Begin with using neutral syllables.

6:40 Second step: Verbal association.

Put it in your body and never forget. – Piaget

MLT uses a moveable Do.

7:30 What if I don’t use solfege?

[I started using solfege in my teaching in a way that feels natural to me and I look forward to sharing how I’m doing it with you soon!]

8:30 Another step of MLT: Partial Synthesis

9:00 Discrimination learning is crucial! It’s knowing what something is and what something isn’t.

9:50 Start every lesson from scratch. A must-read is Robert Duke’s book entitled Intelligent Music Making.

[Full disclosure: All links to the manipulatives listed below are provided with an affiliate code.]

11:00 Concepts like steady beat and balance are action nouns.

11:50 Next step: Symbolic Association: assigning signs and symbols

12:40 Get kids to sing by using puppets and the magic of play.

Everything I do is purposeful.

We learn through play.

14:30 What is a concept vs skill?

A concept is a steady beat, playing rhythms is a skill.

16:30 Here’s an excellent activity to move rhythm onto the keys combined with a singing exercise.

18:00 How can an exercise ball be useful in piano lessons?

19:45 Sing this song while bouncing on the ball: “Fish Alive.”

22:40 Many don’t want to sing but, once you do, it will force you to listen.

23: 50 Introduce tunes only on white keys which leads to the language of tonality.

25:00 The MLT approach is key to improvisation.

26:00 Can this approach still be used even if we are not MLT specialists?

26:40 Learn clever ways to use bean bags to develop body awareness and balance.

29:00 Sing an ostinato while moving arm with a bean bag.

30:00 Check out this cool ear training idea as it provides a chance to audiate without having to perform.

31:00 Here’s another neat trick to get kiddos to repeat activities.

32:00 Bungee cords-these are cool! Ideal for experiencing bound vs flow.


35:00 Scarves – Ideal for experiencing continuous fluid movement and free flow. Good for doing something and engaging the brain at the same time.

39:20 Use a Mystery Bottle to heighten listening skills.

40:45  Learn how play dough can test finger skills.

41:00 Get a Zippety Do Dolly to teach finger skills.

42:00 Wrapping up

Learn more about Edwin Gordon and the Music Learning Theory here.

Learn about how I incorporated MLT with the help of some BEETS here.

 

 

 


Thomas Hoops has over 25 years’ experience in the piano studio and has refined a method to keep the drive alive and the work fun. Hoops holds a B.A. in Music and M.M. in Music Education. He has won many awards and scholarships and is certified by the Gordon Institute for Music Learning (GIML) in Elementary Music level I. Thomas is a member of Music Teacher’s National Association (MTNA) along with state (CSMTA) and local (AMTA) affiliations. Thomas is in demand as a presenter and speaker on his unique approach to music learning. He also has experience with solo performance, rock/blues band, studio recording and sound engineering, and composition. An accomplished pianist, Thomas plays and teaches in all musical styles.

Is it cheating to teach a piece by rote?

Some may say that teaching a piece by rote cheats a student out of developing reading skills. I say teaching by rote is anything but cheating!

Keep reading and watch a recent Facebook live video to learn why and how I do it. 

Can you teach a Baroque piece by rote?

Since many 88pianokeys.me readers are Going Baroque this fall, I recently made a Facebook live video of how I like to teach “Musette” by rote. In the video you’ll learn why I believe teaching pattern pieces like “Musette” by rote is so important to developing student skills. I’ve added a few more reasons below.

What are the benefits of teaching a piece by rote?

The process…

Builds students’ confidence which leads to success which leads to progress which leads to pianists who stick to the bench.

Boosts confidence in playing skills because the “middle man” or the page is removed and students aren’t trapped in the middle of the piano reading from a limited amount of notes in the grand staff. They can explore the entire range of the piano which provides an exciting and more satisfying sound–especially when the pedal is added!

Elevates playing skills as a rote piece is usually more difficult and sounds more complex than what students can read.

Connects the theory students learn and puts it into action which reinforces and solidifies concepts.

Aids in memorization skills as students are required to remember the feel and the sound of patterns instead of relying on visual cues.

Develops ear skills. If you want to balance eye ear skills, teaching by rote is the perfect opportunity to do so.

Acknowledges the learning styles of students who may find reading a music score much more difficult than learning by ear. This may be the key to unlocking success for those usually stumped by the grand staff.

Enhances reading skills. YES! I firmly believe this is true if you teach by rote and IF you also refer to the score as students learn the piece. They’ll see the shapes and patterns on the grand staff. In addition, this is a great time to master locations of favorite notes like Deep Blue C, Cow C, Middle C, Face C and Cloud C. Watch the video to see what I mean.

Highlights from the video

An easy way to incorporate rote teaching is by assigning everyone in the studio to learn a pattern piece every year–one that is easy to learn because of repetition and patterns based on chords.

Relate patterns in the rote piece to patterns the students already know–like five-finger patterns and chords.

Use words to master rhythms. For the first line of Musette:

Mom, what’s for dinner?

Mom, what’s for dinner?

can be answered with :

Chicken soup and a grilled cheese sandwich

BBQ chicken with some coleslaw

Meatball, spaghetti with some red sauce

Tacos with cheese and guacamole.

For line three, use these words to match the rhythm:

Hurry up , hurry up, it’s so late

I just want some dinner and some ice cream!

Record yourself or students playing the piece correctly so they can listen to it at home.

There will be rhythmic gaps between sections. To eliminate gaps:

Learn the notes without leaps, then add the leap.

Use sticky notes to isolate large hand shifts and repeat over and over

Learn the pattern in the RH and then teach the LH the same pattern.

Lock in a steady beat and eliminate all gaps between measures with a rockin’ beat from a device or Clavinova.

To catch all the other tricks I use to teach Musette, check out the video!

Books I like to use for Baroque and Classical literature:

Keith Snell’s Essential Keyboard Repertoire

Faber’s The Developing Artist Series

If you do like hanging out on Facebook and enjoy talking all things pedagogy, join my group Piano Pedagogy On and Off the Bench. It’s where I house all my Facebook live videos and offer an environment of discussion and encouragement (no venting, whining or feuding here!)

-Leila

PS If you cannot see the video below, please email me at lviss@me.com and I’ll send you the file.

What are your favorite pieces to teach by rote?

-Leila


PS! Check out Andrea West’s spectacular graphic designs for Fall events in your studio! I cannot pick a favorite.

Check out all the designs and GET yours HERE.

-Leila

Our next webinar will save you time and give you NEW resources!

Why make a point of joining us Monday morning (September 25th)  for our next 88 Creative Keys Webinar Workshop? How can this be worth your time when there’s a million other things to do?

I’ll save you time by getting right to the point. You’ll gain:

Insight into the journey of a classically trained pianist crossing over to the world of playing by ear and how you can do the same.

Tools for integrating contemporary styles into classical and traditional tunes. Ex: how can inspiration from John Mayer spruce up an old hymn?

A brand NEW resource to develop sight-reading chords and chord symbols made for group or private lessons.

An innovative method for employing the most popular chord progressions tabulated by the developers of Hooktheory.

A small but powerful gift for your students packed with essentials for learning theory and composition.

Hot apps that tantalize AND teach.

A top-notch, in-depth  review of triads, 7th chords and their symbols.

Permission to teach by rote before reading, the tricks to teaching by rote and suggestions for rote pieces.

Steps to building ear skills when the eyes want to take over.

A frame of mind to help you play and teach with a well-balanced approach.

It takes time and energy to gear up for creative-based teaching and playing. It takes more than just pushing a POWER button to get those gears turning efficiently.

The good news? Bradley Sowash and I believe your time can be cut in half by the productive study of chords and putting them to work! 

We promise to charge up your teaching and your playing for the year to come.

Register NOW so you can plug in and join us Monday, September 25, 2017.

-Leila

Do Simple Better

As teachers, it’s our job to make things clear. This often requires introducing new concepts by breaking them up into bite-sized nuggets that can be quickly understood. We must make the seemingly difficult appear simple.

I recently stumbled upon this quote by Joe Maddon, the manager who led the Cubs to their first World Series title in over 100 years:

“Do simple better.”

It got me asking: what would Maddon’s challenge look like on the piano bench?

I came up with four examples of doing SIMPLE better and labelled them:

  • Expand then extract
  • Play then say
  • Explore then explain
  • Lead then let go

The video below (click here if you can’t see it) expands on these four items. Read the article found here and then watch the video.

Make sure to READ MORE so you can learn about a fantastic idea for your next piano party or studio event…

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Can you carve out a career by ear?

Jake Mirow is one of those students you don’t forget. Don’t get me wrong, I treasure all my current and former students but Jake was different. In fact, that’s how Jake came to my studio, because his mom and dad knew he was different and that he needed something different.

What does different mean? Jake has an uncanny ability to play by ear with style and flair. The best way to explain it? He’s hard-wired differently than most.

Example? After seeing the movie Sherlock Holmes starring Robert Downey in 2009, Jake returned to his lesson and played a jaw-dropping medley of the soundtrack. It’s like his ears have a photographic memory?!?

Mmm….what does a classically trained pianist trying to get over her own fear of improvising do with a student like Jake? Read More

Register NOW for the 88 Creative Keys 2017 Workshop

Take a moment to check out the video below –you’ll learn what we’re cooking up this summer at 88 Creative Keys and get a chuckle, too.

Here we go!

The 88 Creative Keys 2017 Workshop Registration is open. If you’ve been thinking about attending, this is the year to commit. 

The first ten registrants get an extra discount–they are going fast (I mean SUPER fast) so press that blue button below.

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Need more info before you commit? Here are some answers to the questions you may have. Read More

Essentials for the Worship Team Pianist

Equipping a student with reading and memorizing skills may develop a capable pianist but, nowadays those limited skills aren’t going to cut it. Most pianists are or will be called upon to play beyond the score and read chord charts and play with bands or worship teams. Preparing for this position requires good ears, knowledge of chords and a willingness to collaborate.

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Drew Collins

In our next 88 Creative Keys Webinar, we (Bradley Sowash and me, Leila Viss) are excited to have Drew Collins join us. He’s spent over twenty years leading worship and training worship leaders and musicians. This past summer, I invited Drew to a worship team workshop for my students and found Drew’s ideas so worthwhile that we decided to feature him in our next webinar: “Essentials for the Worship Team Pianist.”

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Drew sharing words of wisdom at my summer studio workshop.

Drew Collins has spent twenty years leading worship and training worship leaders and musicians. He earned his B.A. in Music from the University of Northern Colorado and his M.A. in Ministry Leadership from Crown College. A singer, songwriter, and liturgist, he lives with his wife and daughter in Denver, CO. I have the pleasure of being on staff  with Drew at South Suburban Christian Church, in Littleton, Colorado.

In the first portion of the webinar, Drew and I will discuss:

  • The three roles of a worship team pianist.
  • The latest tech tools used by most worship teams.
  • Tips on how to build required skills.
  • What worship leaders expect of a pianist.
  • Common mistakes pianists make when playing with a band.
  • Characteristics of a strong worship team pianist.
  • Some tricks of the trade.

Bradley Sowash

In the next portion, Bradley will cover:

  • What to play when unrehearsed background music is needed.
  • Heighten your awareness of thinking and playing in musical layers.
  • Tips for pianists about feeling the groove in a band.
  • Improvising and/or arranging a traditional hymn for contemporary worship.

Don’t miss this workshop! Even if your students don’t play in a worship band, with this webinar you’ll be able to coach those who may wish to play in a “garage band.” You’ll find all the ideas we feature in the webinar will crossover to any band experience. Your students will thank you. Bonus: it may give you the skills you need to play in a band yourself!

-Leila

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Rhythm Produce Winner, A Sale and Teaching Tips

Thank you for entering to win Rhythm Produce.

AUDREY, you won!

As I only have a first name and if your name is Audrey, you won’t know it’s you until I email you with your free copy of Rhythm Produce.

Good news: If your name is not Audrey (or it is and you didn’t win) it’s on sale for $6! Using a systematic approach to teaching rhythm with fruits and veggies is working in my studio and I believe it will in yours as well.

Click on the BEET to buy it now as the deal won’t stay fresh for long.

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In case you missed, it don’t forget to download Black Cat Strut. I’m so pleased to see how popular this improvisation jumpstart is.

If you play it alone or with your students, I’d love to hear about your experience. It’s not easy to move players off page–it takes determination!

Black Cat Teaching Tips

If you have apprehensive students who shy away from creating at the keys here are some tips:

Play a pattern on white keys (CDE GA) and ask students to learn and copy it by ear.

Allow students to use that pattern in the right hand while you play the left hand part.

Next, invite students to add a Black Key Slide of their choice to the pattern.

Suddenly, they’ve created something new!

Or, if students are rambling, encourage them to choose one pattern they created and stick with it. Ask them to play it over and over and then add a new Black Key Slide or change one note. This will help to bring a more cohesive sound to improvisation that seems to wander.

Model for your students ALL the time which means you need to practice, too!

Click on the BLACK CAT to learn more about this CATchy improvisation jumpstart that’s purrfect for October or really any time.

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Black Cat Strut: A Cool Improvisation for All Ages

Improvising can be a little scary.

It’s even scarier when both hands are required!

Here’s an accessible improvisation that offers tasks for both hands. While the left hand stays pretty simple it still sounds black-cat cool. With the suggested tips, the right hand will get the opportunity to strut its stuff.

By the way, inspiration for this pattern occurred when Bradley Sowash casually mentioned the opening two chords during an online group improv lesson. Check out his line up of courses here.

Improvising doesn’t always sound so good.silhouette-1314467_1280

Black Cat Strut is guaranteed to sound pleasing to anyone at any level because both hands play something appealing and it’s in minor!

You (try it yourself!) and your students will have even more opportunity to sound like a pro as I’ve created a chart in iReal Pro that provides an instant backup band. It’s included in the free download. (To download the chart you need to tap on the link on the device that has iReal Pro installed. Let me know if you have any trouble.)

This looks too hard for beginners.

Black Cat Strut is suited for anyone at any level because both hands play separately–at least at the first level. In fact, there’s no need to play hands together at all and that’s the beauty of this jumpstart.

When introducing the pattern, divide and conquer each part by playing one hand yourself, while your student plays the other.

Better yet, divide and conquer in a group lesson. Ask one or more to play the left hand part and assign others to create right hand patterns. You’ll have all kinds of cool cats improvising together!

Check out this video that shows snippets of improvisers of all levels and ages strutting their chops.

How do you teach this?

All of my students learned the pattern by ear. I provided no visuals for them and repeatedly modeled snippets for them to echo.

I gave them step by step instructions, adding more ideas as they became more confident with the catpatterns.

If you notice in the video, fingering is a personal choice for the sake of building a safety net for young improvisers. If given too many things to think about, students might give up.

The beauty of this simple yet sophisticated jumpstart is that you can continue to build on it for those who are comfortable with improvising.

The instruction steps are included in the free download. I highly recommend teaching the patterns by ear and/or by rote as much as possible. That way this will become a memorized, back-pocket pattern that players can enjoy for a lifetime.

What does the free PDF download include?

  • A colorful, black kitty-cat visual of the keys required for the right hand.
  • The pattern broken down into three skill levels with sequential steps on how to teach them.
  • Grand staff notation of all parts.

At any level, this exercise is guaranteed to sound purrfect! -Leila

GET BLACK CAT STRUT HERE


Enter you first name and email address for your free download

Jumpstart improvisation in your studio!



Did you sign up to win free Rhythm Produce cards? It really does produce strong rhythm readers. I use fruit and veggies every day. The winner will be announced October 21, 2016 so sign up by clicking the apple below.

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88 Creative Keys is hosting its next webinar on November 14, 2016. It targets an essential for anyone who wants to be creative at the keys: CHORDS! Click on the boot below to sign up.

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Wynn-Anne Rossi’s Timeless Tips on Composition

Wynn-Anne Rossi and I first met at an MTAC (Music Teachers Association of California) conference years ago. I attended one of her Alfred showcases and was so impressed with her poised yet lively presentation of her latest pieces. She even danced the tango for us!

Wynn-Anne and I connected during the conference and enjoyed comparing notes about technology and creativity and the importance they both hold in our studios.

It was wonderful to see Wynn-Anne and her success as an Alfred composer featured in a recent blog at JW Pepper.  My students have been head-over-heels about her Musica Latina series of books. I’m so thankful Wynn-Anne pointed me to this post as JW Pepper also includes videos of Wynn-Anne and her experience as a composer and teacher of composition.

In the blog post (read the full article here) it states:

Wynn-Anne Rossi is particularly passionate about teaching composition to young musicians. She feels that one of her greatest talents is the ability to simplify complex ideas to a single “grain,” thus allowing any level learner to understand them. This was the inspiration behind the “Counterpoints” in her Creative Composition Toolbox series. Rossi believes that anyone can learn to write music if given the freedom to find their own voice.

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