Transcript Practice
Practice How can parents help? By Sue Bishop Copyright 2007 Gavin Morrison: Practice is “our chance to commune privately with our voice/instrument” Paul Harris and Richard Crozier in The Music Teacher’s Companion: • • • • • • An active, creative and thoughtful approach The central purpose of practice is to progress To solve problems To develop and broaden musicality To think about the music Pupils……take responsibility for their own improvement and development What skills can parents offer? • Enthusiasm and encouragement – Ms Tchakarova: “Encouragement is essential. It’s all meant to be fun!” • Knowledge of their child • Organisational skills • The ability to take a long term view The practice environment • A warm, quiet space • Equipment: music stand; instrument stand; pencil; metronome; CD player/cassette recorder Time Management • Gavin Morrison: “Pupils should aim to practice every day. 5 or 6 days a week will get results. 3 days’ practice is falling to a dangerously low level if progress and , therefore, enthusiasm are to be maintained.” How to Practise • “An active, creative and thoughtful approach” (Harris and Crozier) • Encourage your child to have a shortened version of practice for a busy day • Be aware of trouble shooting strategies • Use the teacher as a resource A Typical Practice • Warm-up • Scales with improvisation on one scale • Study – not necessarily the whole piece • Pieces - ditto • An old favourite General tips • Play through the whole piece when first starting • • • • it to get an overall picture Be aware of time signature and key signature Be aware of the character and mood of the piece. What makes it feel this way: speed; key; articulation Encourage your child to be aware of structure Identify trouble spots. Use your pencil Read Before Retiring • Unbolt the window locks • Kick down sill • Jump! Trouble shooting • Which bit was tricky? • Why? • What can you do about it? Reading the notes • Music is written on the stave or above and • • • below on ledger lines. Movement from note to note has three possibilities: repetition; stepwise; or jumps. Encourage your child to identify the notes. Check your child is really looking at the notes Strategies to help: say the notes and finger them; encourage your child to write down the notes; play games (how many Gs in this piece/find me an A etc); use a ready reckoner; use mnemonic aids Ready Reckoner Notes in the Treble Clef Sharps and Flats Technical Problems • Identify the problem and mark. Maybe it’s just 2 • • • • • • notes, maybe a whole run. Play that bit slowly. Play it with different rhythms. Play it backwards; then forwards and backwards. Gradually increase the speed. Repetition is the key to success. Learn a piece at the speed of the trickiest passage and then speed up. The Importance of Scales • Each piece of Western music (except some • • • contemporary music) is based on at least one scale so encourage your child to identify and play the scale and arpeggio before playing the piece. Look out for parts of scales and arpeggios in the piece. Scales help with sight-reading and they develop finger technique. To learn scales, play them using different rhythms and articulations. Use a scales checklist. Scales checklist Rhythm • Ask your child to explain the time signature and • • • the note lengths and to write in the beats on the music Count aloud and clap. Play-along CDs can help. Always count a bar in before you start and keep counting. Play with a steady beat (either clap the beat or use a metronome)