|
Welcome to the Piano World Piano Forums Over 3 million posts about pianos, digital pianos, and all types of keyboard instruments. Over 100,000 members from around the world.
Join the World's Largest Community of Piano Lovers
(it's free)
It's Fun to Play the Piano ... Please Pass It On!
|
|
65 members (BWV846, Animisha, benkeys, Anglagard44, brdwyguy, amc252, 15 invisible),
2,282
guests, and
418
robots. |
Key:
Admin,
Global Mod,
Mod
|
|
|
Joined: Mar 2014
Posts: 32
Full Member
|
Full Member
Joined: Mar 2014
Posts: 32 |
After my teacher's vacation, Labor Day and my vacation, I haven't moved on much this month. I'm in Book 2 working on the Mysterious Casbah and the Flight. Also working on Cm, Fm and Gm Pentascales. Aside from the lesson books, I'm working on a piece by Diabelli and the Bach Minuet, BMV App 114, the first in the book First Lessons in Bach. Still staying busy.
Roland HP504
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
Nice to hear from you all. I'm about 1/5 of the way through all of the Level 3A books. The three performance pieces I've worked on so far have been lots of fun and somewhat challenging.
Allegretto by Diabelli has been a particular challenge, as the left/right hand independence is a bit harder than I've experienced before.
BTW: The Mysterious Casbah was one of my favorites in Level 2. However, I needed to use the metronome to fully gain and keep control of the timing, which was getting away from me.
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Apr 2014
Posts: 141
Full Member
|
Full Member
Joined: Apr 2014
Posts: 141 |
Still here, although not in Faber anymore. I switched to the Grade 3 RCM Celebration Series few months ago after completing Faber AIO 2 book. I have repertoire, etudes and technique books and usually get something to work on from each one. I assume they are similar to the different Faber books you are using. I like that all the pieces are in their original forms, even though they require considerably more effort to learn. Aside from the assignments, I try to do some sight reading every day. I've got a bunch of books for this long time ago and, based on my pace, they will probably keep me busy for another few years .
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
rpw;
Nice to hear from you. Sounds like you are making great progress.
In addition to Faber I am also beginning to work on pieces from the Festival Collection By Helen Marlais. All the pieces are in their original form, but are ability-appropriate for me.
Continued success!
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Jun 2014
Posts: 157
Full Member
|
Full Member
Joined: Jun 2014
Posts: 157 |
I'm here but barely alive. Actually, I have been fighting a horrible cold for a couple of weeks. My DD's teacher understandably has no sick student policy so I haven't started my piano lessons yet but I have been practicing!
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
Best wishes! Hope you feel better real soon and get back in there....
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Mar 2014
Posts: 100
Full Member
|
Full Member
Joined: Mar 2014
Posts: 100 |
Finally have got past "Coffee House Boogie" in AiO2. What I found funny was I totally nailed it at my lesson - I did much better than I do at home in practice. This is weird because usually I choke up at lessons. Anyway, I think its because at the lesson I was using a freshly regulated grand, and at home I have a 100 year old piano that has some action issues that make playing "piano" (i.e. quietly) very hard. There are a lot of dynamic changes in that piece and I had been trying so hard at home to make it sound right without a lot of success. But when I did it on the right piano, no problem. I feel like my piano is like the weight you put on a baseball bat when you are warming up to go to the plate, now Don
Piano: 1905 Heintzman Upright Time in: 3 years! Wow!
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
Congrats on your lesson.
I'm wondering if it may be possible to have a RPT regulate your action for a reasonable price.
The action on my grand is a bit heavier than my teachers, but only to a small extent.
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Mar 2014
Posts: 100
Full Member
|
Full Member
Joined: Mar 2014
Posts: 100 |
I've had my piano tuned only once since it is a new addition to the family (last spring), before that I used a digital (btw, this old piano was free although moving it wasn't cheap).
The technician looked it over, said I didn't do too bad for a free piano, but he explained why the keys were difficult to get to work with a light touch - he blamed it on felt compression at the fulcrum of the key. He explained it like "the keys are like a marble balanced on the top of a hill, you just need to touch them to make the marble roll down. your keys are like the marble is a bit on the far side of the hill, you need to push the marble up the hill before it starts rolling down. that is why it feels like it does".
He said next time I get a tuning for another $100-$150 he can do a cleaning of the action (blow out the dust, etc) and try to see what he could do about the issue. But he also says that it doesn't make sense to do too much work on that piano. It would be too expensive, and I'd be better off looking for a new one.
So I just struggle along... its not that bad. I really like the sound, the price was right, and this key heaviness is the only issue that I notice.
Piano: 1905 Heintzman Upright Time in: 3 years! Wow!
|
|
|
|
Joined: Jan 2012
Posts: 226
Full Member
|
Full Member
Joined: Jan 2012
Posts: 226 |
It looks like I might not be a part of this discussion much longer. Went to my first lesson with a brand new teacher and she is very knowledgable and kind but she is completely against Faber and that makes me so distressed.i love this series because it has been so easy to follow and the gradations are minor and I like the fact that itbis a series. But what can I do,change teacher's until I find one who will use Faber?i'm just worried about my study being all over the map. For my next lesson I was given one piece from the performance book,just to learn something cold for her.but it is out of sequence and really out of my range right now.i hate the idea of having to jump around,it's what another teacher did and I couldn't keep up. Oh well,have to see what will happen next week.
|
|
|
|
Joined: Jun 2009
Posts: 513
500 Post Club Member
|
500 Post Club Member
Joined: Jun 2009
Posts: 513 |
It looks like I might not be a part of this discussion much longer. Went to my first lesson with a brand new teacher and she is very knowledgable and kind but she is completely against Faber and that makes me so distressed.i love this series because it has been so easy to follow and the gradations are minor and I like the fact that itbis a series. Did your new teacher clarify why she is against the Faber series? The saying goes "Everyone is entitled to their opinion" but opinions should be backed up by logical reasons.
|
|
|
|
Joined: Jan 2012
Posts: 226
Full Member
|
Full Member
Joined: Jan 2012
Posts: 226 |
She did give several reasons one of which was that she thought they don't do enough work with the left hand.i just thought that at this beginner's stage they concentrate on the right hand for good reason,it is probably easier.but she didn't give a lot of other reasons and I am lost at sea. She pulled two pieces randomly from the book and one of them feels above my level although it is coming together a bit.i told someone my concern who has a great deal of experience with music and he said you go to lessons for the teacher and not the book.i liked the book because it offers a consecutive series. Now I just feel likei don't know what I am doing.
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
Hi Alans;
I'm not quite sure I agree with the teacher as far as the first two levels, as the left hand does get some nice workouts, albeit not too difficult.
However, now that I'm level 3A I can tell you more complicated left hand patterns are being introduced. They are tough enough to master as is, I hate to think of trying to learn this earlier in the series.
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Feb 2012
Posts: 4,048
4000 Post Club Member
|
4000 Post Club Member
Joined: Feb 2012
Posts: 4,048 |
Went to my first lesson with a brand new teacher and she is very knowledgable and kind but she is completely against Faber and that makes me so distressed. ...She pulled two pieces randomly from the book and one of them feels above my level although it is coming together a bit...Now I just feel likei don't know what I am doing. What you're doing is missing your comfort blanket. Your teacher doesn't need a method book because she can see what's needed and what's not. You can tackle more advanced pieces because she can show you more things while you're learning them. It may feel slower for each piece but you'll be stronger faster by not having to spend time on pieces that teach you only one small thing at a time. You'll be learning at your own rate instead of that of the slowest learner (that the method books must cater for). There is absolutely no harm continuing with the Faber series on your own but at a slower rate and as a separate part of your practise, and one more geared to reading, perhaps, than learning. Think of it more as part of your technical section along with your scales and sight reading instead of as part of your repertoire. Give it a little time and see how much better you get and how much faster in the not too distant future.
Richard
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
Your teacher doesn't need a method book because she can see what's needed and what's not. You can tackle more advanced pieces because she can show you more things while you're learning them. It may feel slower for each piece but you'll be stronger faster by not having to spend time on pieces that teach you only one small thing at a time. You'll be learning at your own rate instead of that of the slowest learner (that the method books must cater for).
There is absolutely no harm continuing with the Faber series on your own but at a slower rate and as a separate part of your practise, and one more geared to reading, perhaps, than learning. Think of it more as part of your technical section along with your scales and sight reading instead of as part of your repertoire.
Give it a little time and see how much better you get and how much faster in the not too distant future. Not sure if you have the timeline right. I got the impression that the teacher voiced opposition to Faber BEFORE any evaluation took place. Now if that determination was made AFTER fully evaluating alans, then that is quite a different story. Alans, please elaborate.
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
I am not aware of all of the different method books out there, but I have studied with two of them (Alfred's 25 years ago, and Faber for the past year). In these two cases, both were designed I think to teach baseline skills, up to a point. In Faber's case, that point is completed at Piano Adventures Level 5, which gets you to the Intermediate level based on the research I've done in the past year. Beyond that, well, I'm hoping to find out some day...
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Jan 2012
Posts: 226
Full Member
|
Full Member
Joined: Jan 2012
Posts: 226 |
My teacher evaluated the book before hearing me play from it. She just doesn't care for the series and I don't know how well she knows it. But she is an extremely advanced player.i feel more positive today and I'm going to take Richard's advice and depending on how much she assigns at my next lesson I will comtinue with Faber on my own. He is right it has become my security blanket and I feel lost without it.i just hope a good substitute is suggested at my second lesson this week.
|
|
|
|
Joined: Feb 2012
Posts: 4,048
4000 Post Club Member
|
4000 Post Club Member
Joined: Feb 2012
Posts: 4,048 |
Not sure if you have the timeline right. I don't need the timeline. The point is that a teacher doesn't need a method book at all because they can evaluate technique quickly enough anyway. There's a whole raft of material for a knowledgeable teacher not to have to touch a method book. The European tradition is repertoire based, not method based. Methods developed in the US where the burgeoning piano industry needed more customers than could be satisfied by teachers. Glad to see you more positive, alans.
Richard
|
|
|
|
Joined: Apr 2014
Posts: 2,182
2000 Post Club Member
|
OP
2000 Post Club Member
Joined: Apr 2014
Posts: 2,182 |
Not sure if you have the timeline right. I don't need the timeline. The point is that a teacher doesn't need a method book at all because they can evaluate technique quickly enough anyway. It appears that for this teacher (who I certainly do not know) it doesn't matter what the student knows or not, she flat out does not believe in methods books, period. I know there are some teachers here in lower Delaware that teach in a similar way. What I care about most, is the position alans was in. If I had to find a different teacher, and the first thing she/he did was look at the twelve+ Faber books I have worked in over the past 14 months and basically threw them in the trash can, I would sure be concerned. Now if it turns that for students like alans and his teacher there are better ways of methodically teaching the many skills required to advance in piano, great. I wish alans all the best! But now that I have taking lessons for 14 months, I have a better perspective of things. There have probably been over 50+ specific technical skills that I have had to learn. In my case, the order in which these skills were presented in the Faber books, together with countless hours of instruction from my teacher have worked very well for me. Now that I am moving into a combination of Faber Level 3A pieces plus a repertoire book of her choosing, the ratio seems to be shifting to a 50/50 mix. Hopefully by the end of this year I'll have a beter feeling of how this is working for me.
Yamaha C2X | Yamaha M500-F Groucho Marx: "Those are my principles, and if you don't like them... well, I have others." Curriculum: Faber Developing Artist (Book 3) Current: German Dance in D Major (Haydn) (OF); Melody (Schumann) (OF)
|
|
|
|
Joined: Feb 2012
Posts: 4,048
4000 Post Club Member
|
4000 Post Club Member
Joined: Feb 2012
Posts: 4,048 |
It appears that for this teacher (who I certainly do not know) it doesn't matter what the student knows or not, she flat out does not believe in methods books, period. I cannot think of a better recommendation for a teacher! I would certainly look askance at any teacher that offered me a method book. But flat out not believing in a method book is a strong statement in this context and makes a very black and white reading of a grey area. The teacher may have used Faber enough times in the past to know that for her teaching it doesn't offer the most effective path, especially for an adult. Teachers aren't trying to make money by extending the time taken to learn the instrument. Teaching is a vocation and they struggle to bring each student up to his own individual potential in an optimal time frame. Honestly, method books are better geared to younger children who are closer to a learning norm, walking by two, talking by four, reading and writing by six, et cetera. Once we're at the teen years our learning potentials differ more widely and more unevenly and our talents and leanings are more individual. At this stage methods are more a case of holding you back to a recognised norm and a prescribed pace than pushing you forward to your potential in a path suited to your talents. It is highly unlikely that any method book will satisfy a good teacher who knows the repertoire and the available material for approaching it. The Suzuki school, for example, has a series of books using progressive pieces but all you get in those books are the pieces. The method is not the pieces but the approach to them - and that doesn't come in a book. The material is unimportant (though there are better pieces to learn than others). The most important thing in making progress on the piano is not what you play and learn but HOW you play and learn. The material is secondary. With a teacher you get a hand crafted approach to making music. With a method book you get generic path along progressively harder material (not geared to the strengths and weaknesses of the player but of the population as a whole in the experience of the authors) and not a clue as to how to learn it effectively other than meeting certain requirements before moving on. For many, the requirements may be none other than getting most of the notes right most of the time. For a beginner this is a really slow method of progress because getting notes right is not a matter of diligence in their practise (though that does help) it's a matter of experience and confidence with the instrument over time. The right notes do matter but they're not as important as shaping a phrase and approaching a piece. A book can't describe concepts that an inexperienced beginner will not understand without a few years playing experience but a good teacher can demonstrate them in person and pass on the benefits of that experience in an instant. At the end of the day we want to look at a score, hear it in our heads and play it with expression and passion. We want to realise the curious and simultaneous mix that music has of pleasure and pain, of joy and sadness, of impaired but idiosyncratic beauty. This doesn't come by working through harder and harder pieces but by choosing pieces the teacher knows well enough to deliver these qualities and by showing the student how to look for them and how to bring them out while covering increasing technical demands.
Richard
|
|
|
Forums43
Topics223,403
Posts3,349,419
Members111,636
|
Most Online15,252 Mar 21st, 2010
|
|
|
|
|
|