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I really got the message this week when I was working with the metronome with a beginning student who is in her 2nd month of piano lessons.

We were talking about tempos some being slow and some being fast and some being like walking or jogging in her music. I brought down my metronome (wood box) and showed her how to operate it and we explored the settings listening to them be steady clicks.

Then when she was ready to play the next song, I put the metronome on so she could check her beats against the metronome as being steady and accurately counted.

She finished and I said "That was very good listening and matching on your part, and you played very carefully and very steadily. Good for you!"

She looked very relieved to hear that, and then, she jumped up, reached for the metronome, and the cover and inserted the pins into the base to close it up, and put it back on the piano top in efficient motions. A very decisive and important message was being sent as she looked me in the eye as though saying emphatically "I've had enough of that. Let's do something else."

Effective communication from an 8 year old that a little bit of metronome work goes a long way.

I think that students should be encouraged to "tell" their teacher what they are experiencing as they have a voice in the piano lesson too.

Betty

This is sage advice, Betty, but also difficult. How will a student know whether she is being impertinent, and when it is acceptable. "I don't like working with the metronome" when a teacher believes it important to work with the metronome would not seem an accepted response. Do studnets always know how they are feeling, or is the body language a give away that is apparent to the teacher before it is so for the student herself? What an astute observation, by the way.

Thanks keystring,

During piano lessons I really want their comments about relevant things either about the music or about themselves. Not all students want to disclose and can be pretty passive and withholding as to "owning" their thoughts and emotions.

If a student were to go overboard with their actions or verbal responses it would be a big surprize to me, as one of the things I try to give them opportunities to tell me things into place for them. They get invited to participate through casual questions I ask.

Some are too chattery and can be consumed or lose focus in their thoughts. This is an opportunity to help them to keep their responses simple and to the point.

I enjoyed her response. If there had been any response of anger or frustration I would have participated differently to end the metronome introduction because I want to keep an open door for it's use and effectiveness, and I would not want to leave her fuming. But, that was not really the picture. We were finished with that activity.

I am keen on observation - and when a student is having an internal problem - it can be heard and seen in their playing as well in their posture, facial expression, energy level.

I'm not afraid to go there - although I have read some responses before from posters who think this is invasive and falls within the category of psychotherapy. I think of it as supplying awareness and information and I very much hope that it helps them by experiencing it, but my focus on doing these things is to understand the student better and to make considerations about his or her individuality.

Working with things like this takes time. A reminder about what you see in lessons, is just because it happens once, does not mean it is a habit.

I think teaching at this level is a new dimension, but I would certainly understand if teachers and clients did not recognize the value or importance of the interactions and what they mean.

Betty

Remember a previous discussion on metronomes, I posted a picture of a "Cat" metronome, which sits on my piano. Most of my younger students are quite intrigue and anxious to experiment with it.

By the bye, I frequently use my pencil clicking on the piano arm as I verbally count or have them verbally count. They are used to the sound of clicking long before we actually start use of the metronome.

Your young lady is rather assertive. I predict an interesting future for her. Perhaps in politics.

John,

1) How does one get a "cat" metronome - or a picture of one? Does it come in orange? My cat is loved by my students and he gets lots of attention from them. Think how influential a "cat" metronome might be! You are so on to something!

2) I can hear your pencil clicking in Olympia from here in Puyallup, John! Or, is that your computer keyboard?

3) I love your comment: "Your young lady is rather assertive. I predict an interesting future for her. Perhaps in politics."
Mind you, not a word was spoken.

In pursuit of the steady beat....

Betty

Meow

That's adorable! Since I own two cats who love to listen to my students' lessons, this would be quite fitting to have!

John,
I know you posted information about that before, but is there a website that one could buy such a metronome?

Betty,
I think you did the right thing, but perhaps you'll have to also rethink your approach with it next time with this student. Perhaps she might like a drum sound better than the metronome clicking? Just a thought.

Thanks Morodiene,

We did do some drumming after that and she really had a good time imitating me, and then she led, and I imitated her drumming. We were having fun. There has to be some fun at times and it always helps to have another trick up your sleeve. That by the way, was her introduction to the metronome. I will give her the privilege of opening it, setting it and closing it next time. I plan to use it only when vital. As John, says, we can do the same by pencil thumping or hands clapping.

Betty

Betty,
you had finished with the metronome, so she probably thought it would not be considered "too" open from her to close it herself.

Or perhaps she is a tactile person, she shows that she cares for an object by closing it and putting it at its place.

But if you had th eimpression that she did not like the metronome (and who does? ) probably an element of "I hope the bally thing does not come out too soon" was there.

Did you ask her directly why she put the metronome back into place and if it she did not like it?
Methinks, this would have sent the signal that with you she can communicate openly instead of sending "messages".... if she is a bright girl and has acted that way, I'd say this is a form of non verbal communication which probably works by her at home, but I bet she would be glad to change if given the possibility...

Try a google search for Wittner Piccolo Cat and you'll get a bunch of sites.

Here's one: http://www.metronomes.net/WitAnimals.htm

I happened to purchase mine at Shar Music many years ago. I don't see it in their current catalog.

Thank you for your concern Innominato!

She is tidy and likes to look around the livingroom to see musical art and books around. She looks at them like an experiences art gallery visitor with her hands behind her back, and leaning leaning forward to get a better look.
We've only had 6 lessons together, starting in January and 2 other young girls 7-8 years old started at the same time. They are keeping me busy noticing how they do things, then there are 2 other girls the same age one a transfer student with a year of lessons, and a student who started in August. Then a parent, and her son and daughter starting last May. It's very interesting to notice individual difference and cooperating within a family. I respect these families for wanting music lessons for their children.

I am not concerned about her because her Mom is attending lessons for the first 10 weeks or so until the daughter gets established with me. It seemed ok with the mother too, because she gave a big grin with her eyes rolled to the ceiling, when I gave her a wink.

I want my clients to feel comfortable with the environment and the things that we do in lesson - the parent is able to be more in tune with the child while guiding the practicing at home with interest and positive support.

Thanks for sharing your views I am always learning things here at PWF because people participate in a helpful way.

And, John, thanks so much for the elaboration on the cat metronome. I can see why he gets used - he poses no threat and he doesn't look "mechanical". It would be a "Can I use the metronome?" Not "I don't want to!" at least with the younger first timers.

Betty

Isn’t it amazing how adults gang up in concert around a subject like the metronome ... with lots of gushing whimsy about cat prototypes and don’t for a moment register the full import of the affront to the the young pupil’s sense of joie de vivre.

The metronome represents a time-prison to shackle a slavish tempo ... and quite out of keeping with the dreamy imaginings of youth .

IMHO the metronome should only be used to explain differences in musical tempo.

Beethoven is probably still turning over in his grave at the very thought of having sponsored Maelzel’s ghastly invention ... but then Beethoven was deaf and wouldn’t have heard the monotonous click-clack.

Thanks for the shining example which you so fondly presented Betty ... let’s hope others registered as you did ... "what was not said".

From Scholes

"To practise to a metronome (unless for some quite special purpose)is unnecessary and harmful. The instrument should normally be used only in order to realize the speed at which a composition in intended to be taken. Beyond that one’s mental metronome should suffice".

The metronome represents a time-prison to shackle a slavish tempo ... and quite out of keeping with the dreamy imaginings of youth.

Someone should have told Chopin, who not only kept a metronome on his piano, but practiced with a metronome, and who insisted his students practice with a metronome. What an ignoramus he.

Next we’ll be hearing that Chopin’s music follows a strict tempo ... no sir ... the genius pioneered the subtleties of "rubato".

While the Romantic composers/performers used rubato, some sparingly, some overdosing on it, the practice didn't originate with them. JC Bach mentions it in his writings. I suspect it goes back for as long as human history. Remember that strictly speaking rubato occurs within a measure, not a tempo change over several measures. For example, a measure with a half-note followed by a quarter note might be played as if the half note was really 9/16th long and the quarter note 3/16th but the whole measure continues the overall pulse.

We owe our knowledge of Chopin's use and belief in the metronome to his students, especially Mukuli. Unless you have a CD/DVD of Chopin at the piano proving otherwise, I guess we'll have to depend on these sources for his performance, practice and teaching habits.

You are trying to pull the wool John,

Betty picked up on the unspoken repugnance of a child shackled by the monotonous clack of a metronome ... the reactionary quickness to help pack the debilitating torture away, spoke volumes .

A salutary warning to all to use the metronome only to demonstrate differences in musical tempo.

I think that is the point. The metronome is not music in itself. It is not an instrument. No one would sit there and want to listen to it. It is a tool used for the purpose of fixing rhythmic issues in a given piece or section (after which can be played without the metronome and with rubato), increasing tempo, and getting an idea of the composer's intended speed of a piece. These are good things, but I do not think anyone here thinks it is musical to play like a metronome. You are making an assumption that is not warranted, btb. To quote CPE Bach, "Play from the soul, not like a caged bird."

If you agree with the quote from Scholes, then we're on the same page Morodiene... thank you for
the CPE Bach ... strangely, whenever I hear his music (somehow lacking the bold counterpoint and imaginative harmonies of Dad) ... my gut feel wishes he could have come out of the shadows and respectfully amounted to more than a hill of beans ... always reminds me of a "caged bird".

No wool, btb; perhaps, as a non-teacher, you do not realize how utterly unrhythmic most students are, and how few of us can internalize a pulse and maintain it with any precision.

Most young students cannot maintain a steady pulse over 8 or 12 measures. When the notes are easy, tempo increases, as they become difficult, they decrease.

My favorite little quip to students is that p doesn't mean pokey and f doesn't mean faster. Which is what most students do as dynamics change. It's human nature. Excitement, as expressed in changing dynamics generally elicits a change in tempo.

Even students with years of lessons under their belts have problems. One example that leaps out is the Mozart K545 Sonate Facile. I have yet to hear a student play the recapitulation at the same tempo they played the exposition. Why, because their scale technique is weak and the runs slow them down. They are stunned when I put the metronome on and they check themselves.

Even very advanced students have problems. I was reviewing some masterclasses on video this week, and in one, the graduate student was performing the Chopin 4th Ballade. Subtly, but surely, the tempo increased from beginning to end, as the musical excitement mounted. The master teacher had the student play a few measures towards then end, then asked her to play the beginning at that tempo. Naturally, the student was stunned, having no idea that she had increased the tempo by perhaps 20% or more as the piece unfolded.

Bottom line, the metronome is our friend, not enemy (properly used, of course).

By the way, I know who Chopin is, but who is Scholes? Is that Paul or Percy?