Piano World Home Page Forums Our Most Popular Forums Piano Teachers Forum Progress of a 5 year old shown at recital

I have been videotaping Rina's lessons since age 4. We began using Irina Gorin's Tales of a Musical Journey, for its focus on supple wrists, and expressive playing from the start.

http://arioso7.wordpress.com/2012/0...l-after-8-months-of-piano-lessons-video/

Thanks foe sharing the videos. She plays beautifully!
I'm wondering about the how she is seated. To me, she seems rather far away from the keyboard.
Any other opinions on seating?

I think she was well seated so her arms had ample room. She flows quite well in and out of the piano.

sorry...but I don't think she has talent. I could play beethoven's Piano Sonata No. 20 in G major 1st movement when I was 5. :L

And who are you?

I enjoy her dynamics very much, and her attention to tone. The wrists look very relaxed/flexible. Thanks for sharing!

In the view on the video, her arms look almost straight. I like to seat my students a little closer, so that they may use the whole key, even when playing white key melodies. They are then able to maintain a higher hand position (palm of hand above the keys).
The student had a lovely hand shape while playing the piece using a black key. Why not use that position when using only white keys?

On one hand, I agree the distance is a bit too far. On the other hand, as the child grows, this distance will work itself out, and she's not playing anything at the level where the distance could cause injury. But there are many things with young students that we have to allow for concessions as they are really just beginning to develop fine motor skills. Bench distance is a relatively easy thing to correct.

I am thinking that if an adult and a child are both sitting on the same bench, this may not indicate how the child sits when she is alone. Shirley?

Since you are writing in a teacher forum, where the aim is to discuss how to teach a student and give that student the skills she needs, in what way is your comment helpful toward that aim? If you think she has no talent, are you saying that her teacher should not teach her and she should quit - or are you saying that her teacher should do certain work with her (what kind do you recommend?). How does the repertoire that you played at age 5 help this teacher with this student? Are you involved because you are interested in teaching in the future?

A good point, but upon looking at the video again, the teacher is sitting in a chair next to the bench.

quite true, Key String...She plays on a console.. not on my grand in the studio.

Here are my thoughts about hand position.. as it relates to Rina and other students.

http://arioso7.wordpress.com/2012/0...ist-and-how-it-defies-convention-videos/

In the videos on your site, I see more than just wrist in Ena Bronstein's playing. Every part of the arm is involved, with no joint locked. Further, her whole body is engaged, she shifts her weight on the bench, and you see her left foot move from time to time as she balances there too. I tend to look for these things because of where I am in my own playing. I enjoyed the videos in your link.

I would be very concerned about the arm movements. How can a student create a smooth legato (and long legato lines) with so much arm movement?

well, of course, one plays with far more than wrist flexibility understood. One cannot separate the wrist from the relaxed arms, the upper body spectrum, elbows. etc. and my teaching videos emphasize this over and again. I spotlighted the wrist because there was tradition sadly that gave it no attention, or espoused a stiff hand position. Times have changed, and less injuries, hopefully ensued. Bronstein's playing is a wonderful model of all that I mentioned.. and same for Irina Morozova whose video is also included.

The Internet being what it is, someone might only notice the wrist and try to emulate only that which would also not be good. The videos you provided are a treasure for EVERYTHING they show, so I thought I'd point out what I saw. I actually think it is an important point that all of this works together as a unit, what do you think?

yes,, all working in harmony, for sure.

Thank you.

She plays so confidently, which is nice to see!

My only question would be one about the fingering... on the G-A-G with the 8th notes, did she use finger 5 for all three notes? Please don't think I'm criticizing your teaching... I'm just wondering if it would create a more successful legato in this 'Sad Frere Jacques' if she used 4-5-4-3-2-1 (stretching her thumb over the minor 3rd), and consequently set up a slightly 'better' fingering habit for long-term use?