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Changes coming to GED test adult learning math

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John Baldlanguage and literacy

My friend from university was persuasive. Come and house sit for us for a week. Lovely countryside, nice pubs. True enough, but...a dog to look after, so we couldnt go too r. There was a piano, and in the stool some beginners music. Easy tunes - one note in the bass, usually, and a melody. Id iled at more things than you could count in music, beginning with the guitar. My teacher, whom I met when Id just started teaching myself, was a brilliant player who has now made a niche for himself in jazz, but he could never explain to my why the guitar was strung as it is, and I could never get the hang of why the same note could be all over the place on the fretboard, depending on what string you were playing. On the piano, a C was a C was a C, always in the same place, before two black notes. To move up, you moved up, not sideways, and likewise to move down. My efforts were by no means good, but at least I knew what I was trying to do. I slowly moved through the book.

One tip he recently gave me is that, if I find something hard to read, say an awkward chord, I should pause slightly before playing it, rather than snatch at it. Ive passed this on to my reading pupils.

But not too much more speed. Learning involves the formation of networks in the brain which organise, control and use our knowledge, skills and understanding in more ways than we can fully understand. Memory is crucial, and not only what is formally recognised as memory. It is behind what the Germans call Fingerspitzengefuhl, which depends on such intimate knowledge of something that the finest adjustments can be made so quickly that they appear instinctive, though they are in ct second nature rather than first.

I suspect that talent in music is used to refer to the ability to develop such control very quickly, and I. alas, am rather slow. I earn my living as a linguist and literacy teacher, and this slowness, according to my piano teacher, Patrick Hemmerle, has helped me to understand other peoples problems, and so develop solutions to them. I learned French slowly too, having to take the book home and study each day over the Easter holidays in order to get to first base in the language. I had similar patterns of learning with German and Spanish, though with similar results. Definitely, and with perhaps too much regret, the tortoise rather than the hare.

(He did say, though, on my second lesson, that my right hand phrasing was trs bien, which is about the highest praise given in French academic circles. This has taken a lot of work to relax the hand, which was tense because I was worried about hitting wrong notes. It was knowing exactly what the right notes were and being able to hit them that removed the tension. This took time. My wonderful French teacher, Frances Holmes, told me that he had never been able to lose the tension in his hands, despite reaching a high level on the piano. Its in my character, he said, and his character was one of extreme conscientiousness and meticulousness.)

Another great North-Easterner, Sir Bobby Charlton, used to say that a footballer is as good as his last match. Sir Toms last before the installation was a brilliant Knight and Dame concert with Dame Felicity Lott and wonderful pianist Eugene Asti at the Wigmore Hall. Highlights were a stunning September Song, Dame Felicitys Bewitched, and a hilarious I remember it well. A couple of years ago, Sir Tom forgot one of his lines in this, and got a laugh by reading from the pianists score. He and Flotte played the idea for all it was worth this time, beginning with a fluff on the first line and a schoolmistressly Lets start again, and continuing with subtle variations that had everyone in stitches, Free insurance info including a Spanish flourish from Dame Felicity in which she managed to look as if she were lling apart. Sir Tom maintained to the end that it wasnt deliberate.

Patricks technique for learning by heart is interesting - you practise two bars at a time, over and over until you can play them from memory. Then two more. On these pieces I found it very hard to learn more than four bars a day, max, and sometimes just two. But eight days, sixteen bars, and I didnt forget what I was learning.

Pieces - Beethovens Pathetique, slow movement, one of the glories of the world. V hard to place hands at first, then v hard to read. Still not sure of all the chords and harmonies, but I find it essential to understand them in order to play it.Still not clear to me how one chord moves to another, but sounding a little bit like Beethoven now, so encouraging. Also La Mer (Trenet) and A Nightingale sang in Berkely Square, from sheet music, and found both v hard. Patrick says the latter is as hard as Schubert. Patrick is unusual as an artist in that he admits to finding piano playing hard work. He has just been made an Associate of Trinity Hall, info on insurance Cambridge, and is broadcasting on French radio. Get to see him if you can - he is world class, and Im still not sure how he finds the patience to teach me.

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Following his acclaimed series of concerts in Cambridge colleges, Partrick Hemmerle has produced a CD of his lyrical and powerful interpretations of Bach preludes, Chopin ballades, Brahms and Albeniz. The sound quality is not quite what Phillips manage for Mitsuko Uchida, but the playing is world class, perhaps particularly in the Chopin, and a friend to whom I gave a copy says it has the feel of a live performance. 10 + pp from Patrick Hemmerle at 11 Porson Court, Cambridge CB2 8ER. Patrick has a few slots available for pupils - if you would like to be taught, or have your child taught, by a first-prize winner at the Paris Conservatoire, with a string of international prizes and concerts to his name, contact Patrick on 01223 . Patrick is a great teacher as well as a great player - humorous, clear, kind and thoughtful, with excellent and economical ideas on practice. Just as long as he can still fit me in...

Liking or not liking the pieces is almost irrelevant - Im not sure Martin, in what Mr Hemmerle described as his Protestant austerity, would have wanted his music to be liked. Even the Chopin, for all its ecstatic moments, reflects the dark side of life, including Chopins own life, in a way that is not always enjoyable, and may not be intended to be so. As performance, however, Mr Hemmerles is high art, and this was reflected, for once, in high denomination notes in the retiring collection. Chapeaux bas, mesdames et messieurs...

The soniatina is in two main sections. The first is irly brisk all the way through (and I played it too briskly to start with). The second is a rondo, starting quickly and with some awkward fingering, then with a delightful slow section that I found even more difficult, and a return to the brisk part. I found the key to being able to play the whole piece lay in beginning to see how much of it was composed of split-up chords. Once I could see these, I was not quite so stuck picking out one note at a time. The awkward fingering involved a kind of toggling on a higher and lower F, and, as a clumsy soul, it took me weeks to build up the necessary co-ordination.John Baldlanguage and literacy I still have an idea that a lot of this piece involves toggling between chords, and not just adding decoration. Patrick said I didnt need to understand all of teh notes and chords to be able to play it. Im not sure. Maybe most people dont, but if I dont fully understand something, whatever it is, I cant learn. More on this later.

The happiest university event Ive ever attended took place at Durham last Tuesday, when the baritone Sir Thomas Allen was installed as Chancellor of Durham University. Sir Thomas is much more than a vourite son - he embodies all that is best in the North-East, and the University was celebrating the whole of its society as much as it was honouring him.

Its been a long time since the last update. Yesterday and this morning, I played from memory a Schubert impromptu, a Beethoven sontina, A Nightingale Sang in Berkeley Square, and Solfegetto by a younger Bach. In other words, progress. A few wrong notes, which I correct, but I now think Im winning, and have got past something like the tipping point that exists in reading teaching, where a child suddenly finds they know enough to use what they know to work out what they dont.

My new teacher is Patrick Hammerle, 1st prize winner at the Paris Conservatoire in 2005. Patrick is a brilliant young pianist and an equally brilliant teacher, combining patience, a sense of humour and sensitive match of his teaching to what I need to learn. Patrick is developing a solo career as an international concert pianist, and has space for more pupils. I recommend him most highly. For more details, email Patrick on

This concert consisted of Frank Martins Eight Preludes (1947-8), Chopins 24 precludes, and as encores, Glucks Melodia (arr Scambati) and the final movement of Beethovens Tempest sonata. Every element, from Martins seismic base chords to the most delicate lyricism in the Chopin and Gluck, to the pace of the Beethoven, was brought out impeccable technique and timing, combined with studied passion. Other pianists are more mous than Patrick (for the present) but it is simply not possible to play this music better.

Patrick has me play a scale a day, four octaves, first with left hand, then right, then together. He usually moves the scale on each lesson, wants me to make my fingers work hard and not press too much with wrist. Roger Wards recommendation of a complete set of arpeggios each day has been useful. Patrick says Im good at arpeggios, but the truth may just be that Ive practised them a lot.

Ive always found Bachs Goldberg Variations difficult, no, impossible to listen to with any enjoyment. Ive heard the most mous recordings, including Glenn Goulds, and felt put upon by the sheer weight of the music, its complexity, and the difficulty musicians have in playing it.

But I was also understanding a bit more. The Schubert was a huge task. I had to build up each chord one note at a time, and it was excruciating. Add to that that I didnt much like it, at least the way I played it, and neither did my wife. Holding down one bass note while playing another was equally difficult. Patrick sat beside me on one lesson, and must have said lift your thumb twenty times before I understood that it was just my thumb I had to lift, and not the other finger as well. The second part of the impromptu had big, angry chords - Schubert had every right to be angry - and again, I had to put each of them together one note at a time, with some complicated harmonies. Je vous prie, concentrez-vous, said Patrick. So I did. Again and again and again. At least there was no way I could play this piece too quickly - the challenge was to play it at all. Patrick played it for me, and I liked it better, which helped. But I was taken to the limit of my persevernce, over several weeks, and was very close to giving up. An American inventor, Edison, apparently said that most people give up when they are close to success. I didnt believe it. But then I went back one week and played the first part of the impromptu from memory. Not well, you understand, but from memory. Patrick was surprised. Then the second part, some weeks later. This will take you some more time, I think, till you become comfortable with it. And so it has.

Cambridge is blessed with some of the finest classical piano music in Europe in the person of Patrick Hemmerle, first prize winner at the Paris Conservatoire in 2002, and now, in his early thirties, showing a maturity of interpretation, delicacy and power that bring out the full meaning of pianoforte.

How have I got there (or thereabouts...)? My two teachers, first Roger Ward, and later Patrick Hemmerle, have had the patience and understanding that characterises the finest teachers. Roger in particular helped me through the phase during which I had to read and understand one note at a time, and went at it pig-headedly, the determination leading to progress, but very slow progress, held back by my tendency to try to play things at final tempo as soon as Id worked out the notes, and getting frustrated as a result. Patrick has also told me more often than I can count to play more slowly, and Ive now just about managed it. The change came about as I was looking bleak ilure in the ce, and simply could not afford to il - Ive tried and iled too often at music in the past, with guitar and accordion, and time has now run out.

The Siloti arrangment of Bachs B minor prelude (here by Emil Gilels) is a case in point. It has variations on chords in the left hand that usually involve a stretch, as the chords either dont begin with their root note, or have an extension at the top beyond the octave. So we need to know the whole chord and the notes in it in order to understand what we are trying to do. Then there is usually just one step change between phrases, but this entails another change in a recurring pattern in the right hand. Why does one pattern fit and another not? Patrick then says, as always perfectly correctly, that I need to anticipate these changes, though I have started to do this. We can only anticipate something if we know its coming, or likely to come. So, even more thorough knowledge - we need to know what we are doing, what we are about to do, and how to move from one to the other.

Similary the sonatina. This is apparently a common piece for children to learn at about the age of 11 or 12. I found it very difficult too at first. I told Roger I was doing it, and he thought it was a good piece for me to build flow and evenness. He also liked the Schubert, which he saw more as a touch piece. Whenever I could, I put the Beethoven to the end of a practice session, and so skipped it. Patrick was not pleased. Hed picked this piece carefully for me. Once again, I was enjoined to concentrate, and, as soon as I could stagger through the first page, to learn it by heart.

In other words, for me to play anything, I have to know it, as the French say, like the inside of my pocket. So, I suspect, does everyone else. Its the path to this knowledge that causes the problem. The Siloti doesnt sound too bad, though. I wonder if Mr Gilels takes it just a shade more quickly than Id like to...?

At the end of our house-sit, we went home via Bath. A young man in the piano shop showed me a Clavinova, which, he said, was good for beginners and would cost around 800. The Clavinova has a slightly different touch from the piano. but only slightly, and has realistically weighted keys. It was better than the Yamaha upright in my friends house. As it was too expensive to deliver from Bath, I bought one through the Internet for around the same price - model D120, three pedals and lots of extra voices - two types of jazz piano, jazz organ, two nice harpsichords, vibraphone, two church organs, built-in metronome and demonstration pieces. Also a headset, essential to an adult beginner who doesnt wish to be thrown out of the house. Not only people are disturbed by wrong notes - our Dalmatian used to howl to high heaven when I played the accordion, and did so too when I started the piano. Im pleased to say he now howls less.

Guardian reviewer claims to have likedMark-Anthony Turnages three-minute Canon Fever, the tuneless and discordant cacophany that some Radio 3 executive used to spoil the first concert of the Prom season. Truly awful, worthy of Harrison Birtwhistle, and, thank goodness, short at 3 minutes. We switched the radio off and back on again for Elgar. I suspect most of the country did too. This kind of noise is to music as Damien Hirst is to art. Its purpose is to prevent audiences from enjoying the music too much, and it fully succeeds. No wonder that the Guardian did not open comments on this piece. What I dont understand is how and why people with obvious musical abilities write things like this when they could be writing music.

So, Joanna Macgregors lightness, speed, tone and above all her consummate understanding are a revelation. Letting Bach breatheis a particular challenge in these pieces, and Ms Macgregor achieves this from the first bars, replacing the tension that comes through most performances with peace. She matches pace, tone and technique flawlessly to the widely varying demands of each movement, realising each as a distinct work of art and as part of the whole. It never flags, is never too st, above all never boring. Bach said he wanted to set free the soul of the musician. This is the result.

Thomas Allen and the North-East

Learning Piano as an Adult learning piano adult

When an adult is learning to play the piano, they are doing so in order to apply their knowledge. For example, they probably aspire to play at church or in a small band they are not learning just for the sake of learning something new. So, they will come to the lessons with a goal and expectations.

Overall, Online Education an adult piano student will be easier to teach than a child. They come with a motivation unmatched by younger students and a determination to learn as quickly as they can. They will commit to practice and will most likely reach weekly and monthly goals set by the teacher with no problems.

While young learners can adapt to a learning environment, adults generally feel uncomfortable taking lessons in someone elses home. For that reason, they will generally hire a tutor to come to their home to teach so that they have the comfort level and attention for learning.

Adult piano learners are cautious and overly critical of themselves. They want to be able to do things right the first time and will often question the teacher about specific areas of music before even performing it. It is as if they are saying Im not sure about this part, so if I mess up, Ive given you warning. Adults dont like to be embarrassed and will preempt it whenever possible. For this reason, the music and teaching method needs to respond to the adult learners need for detail and affirmation.

Adults tend to assume independence and take part in the process of developing instruction as well as taking an active role in the evaluation of their performance. They work at their own pace and expect their results to reflect their experience. That is why the best way for an adult to learn iLearning Piano as an Adult learning piano adults by one-on-one study rather than in a classroom environment.

Remember being a child and your parents forcing you to take piano lessons and practice? Then you gave it up as soon as you were old enough because it was hard. Now, you are wishing you had stuck with it. Well, one is never too old to learn (or relearn) the piano. However, Free insurance info adults approach learning differently than children.

Because some adults believe they are too old to learn, they will look to lessons with apprehension and fear. So it is important that the teacher create a pleasant and comfortable environment for the adult student. And adults need just as much encouragement as children when learning piano.

Education Information

Curious and Useful Math adult learning math

Mathematics can be a difficult subject to learn.  In todays day and age, calculators, computers and other electronic devices allow solving math problems to be done with just a press of a button.  Real math involves a pen and , as well as some hard work. 

Math Games and Puzzles The mathematic activities will keep your children entertained for hours.  This website uses PDF files, so make sure you have Adobe Reader.

All throughout grade school, you are taught not only the fundamentals of math, but advanced and sometimes mind-boggling theories and equations.  To avoid getting too in depth with mathematics, here are a few tips and tricks when dealing with fundamental math:

Multiplication Tips Make learning fun again with these but helpful multiplication tricks for kids.

Division Help Having trouble with those long-division problems?  They wont be a problem anymore, once you have read this web page.

No matter how many tips, tricks, and ideas you have for math, sometimes mathematics is still not fun.  For that stubborn math student,legal advice online. here are a few educational games and activities to make math entertaining:

Squaring Tips A brief article about squaring in mathematics.  The entire website is very resourceful.  You can even make an account and participate with your own helpful ideas.

Math Games This educational website is a vorite with teachers and kids a like.  Offering educational games on every subject, kids will love learning.

Fun with Calendars Who would have thought you could learn algebra by studying the days, weeks and months!

Calendar Math and the Solar System These lessons incorporate science as well as math, to explore how the days and months relate to the Earths rotation cycle in the Solar System.

Kids Division Tips If your youngster is struggling with division, this website offers division help for grade-school children.

Three Tricks for Squaring Numbers Extremely useful tips that will have you squaring numbers with ease and in no time!

Mrs. Nelsons Calendar Math Extremely basic and , calendar math is often used as the starting point for introducing children to math.  Basic skills such as number patterns, Education Information calculating periods of times, and multiply days, weeks and months are a common exercise.

Math is a subject that takes time, patience, and hard work to learn.  If your children are struggling with becoming successful math students, take some time to show them math tips and tricks that can make learning fun again. 

Multiplication Steps Geared towards a 3 rd grade level, these multiplication tricks will have your kids memorizing the multiplication tables in no time.

Calendrical Calculations This book, written by Nachum DershowitzCurious and Useful Math adult learning math and Edward M Reingold, explores the concepts of algorithms by using the miliar calendar.

The Calendar A great reference page that breaks down the length of time of calendars into decimals and numbers to easily use in algebra.

Learning mathematics is important.  Math is used in everyday experiences.  When you go to the store, can you make change?  What about adding the cost of sales tax?  Do you know how much money to leave your waitress as a tip?  If youre redecorating your home, do you know how much square feet of flooring you will need?  Lets ce it:  Real life involves math. 

Adult Piano Lessons adult piano learning

If youre learning adult piano lessons, it can be rewarding for both teacher and student. Playing piano as an adult is a good way to relieve stress listening to music is a good stress reliever, info on insurance so playing it works even better. Many adults think that its impossible to learn to play the piano, but this isnt true. There are a few things to keep in mind when deciding to learn.

Fill out the form below for free instant access to exclusive bonus video lessons that teach piano scales, licks, chords, fingering, accidentals, and much more!

In that vein, make time every day to practice. If youre taking adult piano lessons, its going to take a commitment of your time and energy to become skilled, like anything else. If you happen to have piano practice as a low priority, Insurance knowledge odds are youll not practice as often as you should and be disappointed by the results, ie poor playing. Half an hour per day is enough time to play the piano and practice.

Take some time to figure out what style you really want to play maybe classical piano not for you and you want to try rock piano,Online Education. blues piano or jazz piano. Some people dont even really want to learn to read music but just improvise chords and learn to play basic melodies. Try to find adult piano lessons that will give you what youre looking for. Theres bound to be a teacher that can give you lessons in what you want to learn, as long as youre willing to put forth the effort.

You may also want to consider purchasing some piano lessons DVDs or piano videos. These can be extremely valuable if you do not wish to leave your home for lessons. If not just for the convenience they are also a great resource to compliment your ce-to-ce instruction as you can go over your teachers last lesson as many times as you need.

First, find a good piano teacher. A good teacher of adult piano lessons will be passionate and really love what they do for its own sake, not just for the money. Make sure that the teacher is experienced at teaching adults, because childrens and adults learning styles are quite different. The studio would likely be aimed at a younger group and youd feel rather out of place. So do be sure to pick someone who has taught adults to play the piano.

When youre learning adult piano tutorials, its easy to forget that youre a student and need to listen to your teacher. Being an adult, youre used to figuring things out on your own, but this is likely an entirely new skill set. So listen to those who know more about it than you do. Its no shame to be a beginner we all have to start someplace, and your teacher will help you in your musical development. Even if you dont understand why your teachers asking you to do things a certain way, remember that theyre the knowledgeable one, and the teacher for a reason. This applies to any learned discipline. Think about it: if you were already knowledgeable in piano, why would you be taking lessons in the first place?

Finally, be patient. Learning piano from adult piano lessons can take longer for the results to show, simply because of the newness of it. Its like learning a new language or a martial art or somethinAdult Piano Lessons adult piano learningg similar; it takes practice to become skilled and to notice your growth. And try to have fun with it just because youre not playing the Fifth Symphony by Beethoven doesnt mean youre not really a piano player. Remembering to be patient with yourself and willing to accept instruction will help you to become a better piano player and person.

Learn more about adult piano lessons by visiting the main page of PianoLessons.com, or by browsing through some of our other piano lesson articles that weve posted on this web site.

Making Music at the Piano Learning Strategies for Adult Students

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Beginners can make music at the piano and play musically even during the earliest phases of piano study, and this books shows how. Written for early-level adult piano students of any age, the book enables students to play gratifying music while continuing to develop their skills steadily, whether they are working in a private studio or in a piano class environment. Throughout, the book features numerous Concepts to Consider (focusing on conceptual learning) and Activities to Explore (which build on the Concepts and emphasize ways to strengthen the kinesthetic aspects of learning). The author discusses nearly every aspect encountered by the beginner, from appropriate goals and good playing habits to the basics of how people learn and how the piano works. She provides a hands-on explanation of the characteristics of music playing and suggests specific strategies for using practice time effectively and for developing rhythmic security and technical control of sound. For students who to play as well as practice, this book is the ideal guide.

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Encyclopedia of the Piano (Music - Reference) (Garland Reference Library of the Humanities) by Robert Palmieri on page 59

Making Music at the Piano: Learning Strategies for Adult Students is a must-read for any adult who is beginning, resuming, or considering taking piano lessons. It is also important reading for piano teachers. Based on decades of experience as a university piano teacher and performer, Dr. Maris offers numerous tips and insights on the process of learning to play the piano as an adult. The book covers many diverse topics including: characteristics of adult learners, rehearsal strategies, evaluating mistakes, the role of the body in piano playing, and dealing with common pitlls (e.g., I sound so awful I dont like to hear myself play). With warmth and a sense of humor, Dr. Maris convincing makes the case that adult piano students can learn to play sensitively, with musicality, AND have a great deal of fun in the process. Dont miss this book!

Although the book is aimed at adult students, it is also one to run out and buy if you are a professional pianist, teacher of any age group, or the parent of a child who is having lessons Piano This is a book what will recharge and refresh any musician, and encourage the exploration of a new and highly rewarding hobby Piano Maris presents a feast of positive images, designed to encourage optimum performance of mental and physical dexterity Piano

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I am an adult beginner and found that this book provided an excellent adjunct to my lessons. I read and re-read many sections as it moved me along the difficulties inherent in learning as an adult. When I practiced (just me and my piano without the encouraging presence of my teacher), this book frequently got me over the I cant learn this hurdle. Making Music at the Piano helped me examine my goals, analyze my practice problems, and prepared me for a group class that was my first time playing before others. Most of all, I relied on it to provide the voices of other learners talking about their challenges, successes and tips. I continue to refer to this book and highly recommend it.

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Barbara English Maris must have seen it all in her teaching career and as a result has produced a very informative piece of work with a holistic approach -- beyond the mere piano playing -- to Making Music at the Piano. Amongst the many sources I have quizzed, this is the book I can strongly recommend to any adult beginning or returning to the piano.

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Barbara English Maris is Professor Emerita of The Catholic UnMaking Music at the Piano Learning Strategies for Adult Studentsiversity of America. Dr. Maris directed CUAs graduate degree programs in Piano Pedagogy and taught piano performance and pedagogy students from six continents. She has worked with music students of all ages and stages (pre-school through retirement years--beginning to professional levels).

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Have you ever started something completely new? Maybe you wanted to build your new house; or you wanted to play the piano? In either case -- and because it is new to you -- you need to gather a lot of relevant information, understand the cts (conceptual learning) and utilise a physical skill (kinaesthetic learning) to arrive at your set destination, your goals. Making Music at the Piano provides you with most of the relevant information you will need to learn about music as well as developing learning strategies suitable for the adult learner.

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Men, Women and Pianos: A Social History (Dover Books on Music) by Arthur Loesser on page 59, and Back Matter

The blurb on the back cover of Barbara English Maris book is true to its words. Adults require a different learning strategy; adults like you have questions that you either think are too early to discuss with your teacher or you dont dare asking. When I started learning the piano I was wondering why I had my tune down pad at home, and at the studio it fell to pieces. You will find the answer in this book. Is the gym philosophy No Pain, no Gain applicable to piano training? Absolutely not, as you will learn in this book. In particular when you begin learning the piano -- at least for me -- I had almost an endless number of questions, such as set-up of the environment, what is loud, what is soft, what to practice, Free legal information in which order; Which exercises to do, etc. When I started with piano lessons, I did a lot of research; in particular regarding body posture, finger, hand, wrist, and arm movements. Good research produces a lot of good information, but is also overwhelming for starting a new activity or project and can even be an inhibitor to start in an organised shion. This book will bring a structured approach to your Making Music at the Piano. I dont know where to start with the highlights in order to promote this book, because there are simply too many.

Adult Piano Lessons adult piano learning

You may also want to consider purchasing some piano lessons DVDs or piano videos. These can be extremely valuable if you do not wish to leave your home for lessons. If not just for the convenience they are also a great resource to compliment your ce-to-ce instruction as you can go over your teachers last lesson as many times as you need.

Fill out the form below for free instant access to exclusive bonus video lessons that teach piano scales, licks, chords, fingering, Legal Consultant online accidentals, and much more!

First, find a good piano teacher. A good teacher of adult piano lessons will be passionate and really love what they do for its own sakAdult Piano Lessons adult piano learninge, not just for the money. Make sure that the teacher is experienced at teaching adults, because childrens and adults learning styles are quite different. The studio would likely be aimed at a younger group and youd feel rather out of place. So do be sure to pick someone who has taught adults to play the piano.

In that vein, make time every day to practice. If youre taking adult piano lessons, its going to take a commitment of your time and energy to become skilled, like anything else. If you happen to have piano practice as a low priority, info on insurance odds are youll not practice as often as you should and be disappointed by the results, ie poor playing. Half an hour per day is enough time to play the piano and practice.

When youre learning adult piano tutorials, its easy to forget that youre a student and need to listen to your teacher. Being an adult, youre used to figuring things out on your own, but this is likely an entirely new skill set. So listen to those who know more about it than you do. Its no shame to be a beginner we all have to start someplace, and your teacher will help you in your musical development. Even if you dont understand why your teachers asking you to do things a certain way, remember that theyre the knowledgeable one, and the teacher for a reason. This applies to any learned discipline. Think about it: if you were already knowledgeable in piano, why would you be taking lessons in the first place?

Learn more about adult piano lessons by visiting the main page of PianoLessons.com, or by browsing through some of our other piano lesson articles that weve posted on this web site.

If youre learning adult piano lessons, it can be rewarding for both teacher and student. Playing piano as an adult is a good way to relieve stress listening to music is a good stress reliever, so playing it works even better. Many adults think that its impossible to learn to play the piano, but this isnt true. There are a few things to keep in mind when deciding to learn.

Take some time to figure out what style you really want to play maybe classical piano not for you and you want to try rock piano, blues piano or jazz piano. Some people dont even really want to learn to read music but just improvise chords and learn to play basic melodies. Try to find adult piano lessons that will give you what youre looking for. Theres bound to be a teacher that can give you lessons in what you want to learn, as long as youre willing to put forth the effort.

Finally, be patient. Learning piano from adult piano lessons can take longer for the results to show, simply because of the newness of it. Its like learning a new language or a martial art or something similar; it takes practice to become skilled and to notice your growth. And try to have fun with it just because youre not playing the Fifth Symphony by Beethoven doesnt mean youre not really a piano player. Remembering to be patient with yourself and willing to accept instruction will help you to become a better piano player and person.

adult piano learning Making Music at the Piano Learning Strategies for Adult Students

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Barbara English Maris is Professor Emerita of The Catholic University of America. Dr. Maris directeadult piano learning Making Music at the Piano Learning Strategies for Adult Studentsd CUAs graduate degree programs in Piano Pedagogy and taught piano performance and pedagogy students from six continents. She has worked with music students of all ages and stages (pre-school through retirement years--beginning to professional levels).

Have you ever started something completely new? Maybe you wanted to build your new house; or you wanted to play the piano? In either case -- and because it is new to you -- you need to gather a lot of relevant information, understand the cts (conceptual learning) and utilise a physical skill (kinaesthetic learning) to arrive at your set destination, your goals. Making Music at the Piano provides you with most of the relevant information you will need to learn about music as well as developing learning strategies suitable for the adult learner.

Encyclopedia of the Piano (Music - Reference) (Garland Reference Library of the Humanities) by Robert Palmieri on page 59

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Making Music at the Piano: Learning Strategies for Adult Students is a must-read for any adult who is beginning, resuming, or considering taking piano lessons. It is also important reading for piano teachers. Based on decades of experience as a university piano teacher and performer, Dr. Maris offers numerous tips and insights on the process of learning to play the piano as an adult. The book covers many diverse topics including: characteristics of adult learners, rehearsal strategies, evaluating mistakes, the role of the body in piano playing, and dealing with common pitlls (e.g., I sound so awful I dont like to hear myself play). With warmth and a sense of humor, Dr. Maris convincing makes the case that adult piano students can learn to play sensitively, Insurance knowledge with musicality, AND have a great deal of fun in the process. Dont miss this book!

Men, Women and Pianos: A Social History (Dover Books on Music) by Arthur Loesser on page 59, and Back Matter

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I am an adult beginner and found that this book provided an excellent adjunct to my lessons. I read and re-read many sections as it moved me along the difficulties inherent in learning as an adult. When I practiced (just me and my piano without the encouraging presence of my teacher), this book frequently got me over the I cant learn this hurdle. Making Music at the Piano helped me examine my goals, analyze my practice problems, and prepared me for a group class that was my first time playing before others. Most of all, I relied on it to provide the voices of other learners talking about their challenges, successes and tips. I continue to refer to this book and highly recommend it.

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Beginners can make music at the piano and play musically even during the earliest phases of piano study, and this books shows how. Written for early-level adult piano students of any age, the book enables students to play gratifying music while continuing to develop their skills steadily, whether they are working in a private studio or in a piano class environment. Throughout,Education Information. the book features numerous Concepts to Consider (focusing on conceptual learning) and Activities to Explore (which build on the Concepts and emphasize ways to strengthen the kinesthetic aspects of learning). The author discusses nearly every aspect encountered by the beginner, from appropriate goals and good playing habits to the basics of how people learn and how the piano works. She provides a hands-on explanation of the characteristics of music playing and suggests specific strategies for using practice time effectively and for developing rhythmic security and technical control of sound. For students who to play as well as practice, this book is the ideal guide.

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Although the book is aimed at adult students, it is also one to run out and buy if you are a professional pianist, teacher of any age group, or the parent of a child who is having lessons Piano This is a book what will recharge and refresh any musician, and encourage the exploration of a new and highly rewarding hobby Piano Maris presents a feast of positive images, designed to encourage optimum performance of mental and physical dexterity Piano

The blurb on the back cover of Barbara English Maris book is true to its words. Adults require a different learning strategy; adults like you have questions that you either think are too early to discuss with your teacher or you dont dare asking. When I started learning the piano I was wondering why I had my tune down pad at home, and at the studio it fell to pieces. You will find the answer in this book. Is the gym philosophy No Pain, no Gain applicable to piano training? Absolutely not, as you will learn in this book. In particular when you begin learning the piano -- at least for me -- I had almost an endless number of questions, such as set-up of the environment, what is loud, what is soft, what to practice, in which order; Which exercises to do, etc. When I started with piano lessons, I did a lot of research; in particular regarding body posture, finger, hand, wrist, and arm movements. Good research produces a lot of good information, but is also overwhelming for starting a new activity or project and can even be an inhibitor to start in an organised shion. This book will bring a structured approach to your Making Music at the Piano. I dont know where to start with the highlights in order to promote this book, because there are simply too many.

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Barbara English Maris must have seen it all in her teaching career and as a result has produced a very informative piece of work with a holistic approach -- beyond the mere piano playing -- to Making Music at the Piano. Amongst the many sources I have quizzed, this is the book I can strongly recommend to any adult beginning or returning to the piano.

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learning piano adult Learning Piano as an Adult

Remember being a child and your parents forcing you to take piano lessons and practice? Then you gave it up as soon as you were old enough because it was hard. Now, you are wishing you had stuck with it. Well, one is never too old to learn (or relearn) the piano. However, adults approach learning differently than children.

Overall, an adult piano student will be easier to teach than a child. They come with a motivation unmatched by younger students and a determination to learn as quickly as they can. They will commit to practice and will most likely reach weekly and monthly goals set by the teacher with no problems.

When an adult is learning to play the piano, they are doing so in order to apply their knowledge. For example, they probably aspire to play at church or in a small band they are not learning just for the sake of learning something new. So, they will come to the lessons with a goal and expectations.

While young learners can adapt to a learning environment,Insurance knowledge. adults generally feel uncomfortable taking lessons in someone elses home. For that reason, they will generally hire a tutor to come to their home to teach so that they have the comfort level and attention for learning.

Because some adults believe they are too old to learn, they will look to lessons with apprehension and fear. So it is important that the teacher create a pleasant and comfortable environment for the adult student. And adults needlearning piano adult Learning Piano as an Adult just as much encouragement as children when learning piano.

Adult piano learners are cautious and overly critical of themselves. They want to be able to do things right the first time and will often question the teacher about specific areas of music before even performing it. It is as if they are saying Im not sure about this part, so if I mess up,info on insurance. Ive given you warning. Adults dont like to be embarrassed and will preempt it whenever possible. For this reason, the music and teaching method needs to respond to the adult learners need for detail and affirmation.

Adults tend to assume independence and take part in the process of developing instruction as well as taking an active role in the evaluation of their performance. They work at their own pace and expect their results to reflect their experience. That is why the best way for an adult to learn is by one-on-one study rather than in a classroom environment.

adult piano learning Adult Piano Learning

Im too old (young) to take lessons.

 

Take the suggestions from your teacher seriously. After long years of training and teaching experience, chances are your teachers suggestions will prove successful, education fund if followed.

Set aside a specific time each day for your work at the piano and stick to the schedule. If you are a morning person, practice in the morning. Avoiding or delaying getting to the piano will just make you run out of time.

Read biographies of composers, performing artists and conductors. Also, rent movies that are related to the lives of musicians. There are so many wonderful movies and books readily available, that really no one has the excuse not to know more about the composers, their lives and music. If you cant find the time to read books, classical CDs and records usually have useful and interesting information about the composer, the musical structure and ideas expressed, and the performers in the recording.

An hour of practice a day is just a suggestion.

Above all, dont simply repeat mistakes. Use practice to work out mistakes, not to reinforce them by continually repeating them. When you repeat mistakes, they are just that much more difficult to get rid of later.

Taking Lessons

I couldnt come to the lesson (or practice the piano), because I had a (football, baseball, basketball, soccer, track, hockey, college education lacrosse, etc.) (practice, game)

Although they wouldnt work for free themselves, many parents, in particular, think that extra time spent preparing a child for a contest or concert should be given free by the teacher. The average piano teacher probably has in excess of thirty students and each one deserves the best the teacher can give. If you need or want extra time from your teacher, Russian And British Languages Are Extremely Wealthy And Sophisticated, And For That Reason, To Be Able To Properly Transl expect to pay for the time.

When practicing, make sure that the environment is free from distractions and noise. Turn off the TV, put the answering machine on, and give yourself a quiet environment to work.

My child has a digital keyboard, so he doesnt need an acoustic piano.

While it is possible to start children on piano too young to gain maximum benefit from lessons, most children can benefit from lessons at early ages. On one of our Tips for Parents and Students pages, youll find some helpful hints about how to measure your childs physical and mental development to determine if they are ready for lessons. The requirements are very easy to meet for most kids. Older students have some considerable advantages over children in terms of both focus and motivation, even if they have lost some of the flexibility that characterized their younger years. So long as an older student has the time and desire to learn, he can start at just about any age.

Please note:  The following material was taken from - 

 

 

The Teacher

 Most adult students are taking lessons because they want to enrich their lives, attain a personal goal, or perhaps fulfill a long-held dream. A lot of students do it for rest, relaxation and therapy from a stressful job. The result is that most adult students are highly motivated to learn. Your teacher should function in the role of a guide and support system as you discover which form of learning is best for you, and which music you might enjoy playing. If your teachers methods and your way of learning dont fully mesh, dont give up. Simply find a teacher who works better for you.

 

 

Practicing

 

Since lessons are paid for, the teacher should give any amount of unpaid time for free.

My piano teacher must be getting rich, because the hourly lesson rate is higher than my hourly rate.

 

( Article taken from:  

Its my second lesson. I want to play the Maple Leaf Rag

My kid should have excellent piano skills in 6 months of lessons.

Piano teachers hear this one often. Imagine what a sports coach would say if his teams took this view. Playing piano is a skill and, as such, must be constantly refined and developed. You simply cant learn by only practicing just before the lesson.

( Article taken from:

Somehow my children will find time for lessons and practice, even though they are scheduled with activities every day of the week.

Please note:  The following material was taken from 

If possible, participate in concerts and recitals at your teachers studio, even if only to audit. So much can be learned by performing yourself and listening to others perform.

Its okay to start lessons without a commitment to them.

Many people take lessons because they would like to be able to play some particular work or genre of music. Its not surprising that they might want to play works that are well beyond their level of training and capability. Keep in mind the ct that you are taking lessons from a teacher because he or she knows more about piano than you do. The teacher probably knows whats best for your training, especially in the first year. Its perfectly fine to tell your teacher that you have an interest in some work or works and ask if they could be worked into your lesson program, as feasible. In the end, though, youre probably best served by following the teachers program of training and repertoire.

Leave a comment posted in Adult Piano Learning, Frequently Asked Questions, Parental Roles in Music Learning, Piano Learning, Piano Lessons

Please note:  The following material was taken from  

Practicing needs are different for each student, but a good starting goal is 30 minutes a day. You may wish to split the time up into 15 minutes in the morning and 15 minutes in the afternoon. As you advance, you may wish to set musical goals for yourself instead of a specific time limit. For example, you might decide to practice one day until you have learned the notes of a piece at a slow tempo. Make the most of your practice time by focusing on the hardest things to play.

Most people dont consider that they get benefits (health insurance, paid vacation, retirement plan, etc.) for free as a part of their compensation package, while most piano teachers must pay for those same benefits out of their hourly fee. Since typical company benefits run anywhere from half the nominal salary to equal the salary (or more), the real (fully-loaded) compensation is much higher than the amount people think of as salary. Considered in that light, most teachers fees are quite low, 2013-1-24 下午10:29:59 especially when you consider that the majority of teachers have degrees and/or other advanced training.

Parental Role

HOW OFTEN AND HOW LONG SHOULD I PRACTICE?

Unlike studying for tests or exams, piano practice cannot be crammed in at the last minute or day before the lesson. Plan the time to do practice every day.

Digital keyboards, especially top-of-the-line ones, have become remarkably good at reproducing much of the sound and some of the feel of the acoustic piano. Although individual teachers have their own, often strong, feelings on this subject, its ir to say that most feel that a good digital keyboard is fine to start lessons on. Indeed, digital keyboards now outsell acoustic pianos by a substantial margin worldwide and especially in the U.S. That said, no knowledgeable pianist would argue that a digital keyboard is the best way of learning to play the acoustic piano. Probably no later than the end of the first year of lessons, you should plan on getting an acoustic piano. As I have discussed numerous times all over The Piano Education Page, the digital keyboard is best seen as a separate instrument with different capabilities, which, by good fortune, can serve as a stand-in for a short period of time for an acoustic piano. Students should learn how to play both instruments for their own separate qualities and attributes.

 The most important tip for adult students is to be patient with yourself. Give yourself the time to learn things and dont get too frustrated if these skills do not come as st as the kids do. The finger coordination is not that of 5 yr. olds and it will take a bit longer for this to settle in. Most particularly, dont expect to learn as st as your 7 year old child; that expectation is unrealistic. Your advantage is the maturity to focus well on the task at hand and really to understand the musical language of the piece you are playing. Hence, chances are you will enjoy it more, even if your technique is slower to develop.

adult piano learning Adult Piano LearningMany people dont realize that lessons undertaken without commitment almost always lead to ilure. Lessons take real time and involvement on the part of teachers, students and parents. A new student should assume that, to be successful, he will have to devote just as much time to practice and lessons as he would give to a school team sport. Just as with a sport, playing piano requires both knowledge and skill. You can get the knowledge by study, but can get the skill only by practice.

Talent at the piano is real, but, as in so many other areas of human endeavor, greatly overrated. If you are committed to learning piano and are willing to do the regular (i.e. daily) practice that building skill requires, you will learn to play to a considerable degree, irrespective of the level of your native talent. As with so many other skills, playing the piano requires hard work and inspiration in about a ten to one (or higher) ratio, respectively.

Given the amount of time (not to mention psychological) commitment needed to be successful in learning to play the piano (see above), an overly scheduled child or adult student will find it difficult to be successful learning piano for sheer lack of time. Consider if you really have the time to commit at least an hour per day to effective practice.

 

You can learn ster and easier if you do a few things. These suggestions are not time-consuming and easily carried out if you schedule time for them in your day on a regular basis. The most important thing to remember about practice is that its not the amount of time you spend, but how well you use the time that counts. If you practice several hours a day and simply repeat the same mistakes each time through, you have not practiced effectively.

 My advice to adults for practice techniques is much the same as that we would give for children. Here, you have an advantage in that you are probably more focused and motivated than the average child student. Its best to try to practice when the kids are not around, so that you avoid interruption.

Ill wait to practice until just before the next lesson.

Dont try to learn a piece all at once; take it in sections and practice a section until you can do it without mistakes three times through. Then move on to the next section.

The teacher must be iling if the child isnt progress at an acceptable rate.

Sometimes, parents come into a piano studio having heard the many play in a day claims out there. Some cant understand why their child isnt ready for a concert tour after 6 months of lessons. Unfortunately, you cant really learn to play piano using any play in a day approach. Often, this approach does more harm than good. You might be able to master a single tune to a small degree, but you wont have learned much to carry over to the next one.

Leave a comment posted in Adult Piano Learning, Frequently Asked Questions, How to Practise, Parental Roles in Music Learning, Piano Learning

 

You can either practice or you can practice. Too many people think that, if an hour of practice is required, that a half hour is almost as good and that half hour can be spent watching TV while practicing. Real practice requires both mental and physical devotion, in which you dont simply repeat mistakes, but correct them before proceeding on. One expert pianist I know says that you should practice a problem area until you can do right ten times for every time you do it wrong. Its not the amount of time you spend, but how well you use the time that counts. If you practice several hours a day and simply repeat the same mistakes each time through, you have not practiced effectively. For some good tips about how to practice effectively, see our article, Suggested Practice Techniques. In passing, allow me to note that ilure of the student to practice properly and adequately is the single biggest item that piano teachers note as contributing to the ilure of lessons.

Playing piano is all about talent; you have it or you dont.

Learning a new piece of music is hard work. Reward yourself after a good practice session by playing a miliar and vorite work just for the fun of it. Think of this as the dessert after meal.

I hope that understanding some of the common misconceptions about piano and lessons will help parents and students make the most of their lesson experience, without being burdened by misconceptions and misapprehensions which hold back their progress as pianists. This listing is not all-inclusive. You or your child can be a pianist, if youre willing to devote time and work to it.

Some people feel its okay not to show up for a lesson and not to give notice, but expect immediate scheduling of a free makeup lesson. Others think that they can use their piano teacher as an unpaid baby sitter by leaving their child unsupervised at the piano studio for an hour or two after the scheduled end of the lesson. People should remember that the teacher teaches more students than just their children. If he/she has to watch over students left past lesson times or has to wait for a student who never arrives, he cant give full attention to other students. In effect, those who leave their children at the studio past the scheduled end of the lesson are stealing the teachers time and attention from the next student.

Remember the value of taking a section slowly, sure that you play all the notes correctly and that you count through difficult sections. Worry about playing to tempo when you have the notes and the rhythm right.

Take the time to read your assignment book. The specific assignments and practice suggestions are intended to assist in practice.

Its Up to You!

Paying for the lessons is all the piano parent must do.

The teacher has plenty of free time to give me or my child.

Obtain a musical dictionary. The dictionary will give the meaning of the Italian terms (for example, Allegro vivace or Molto espressivo) which are used in the score to indicate how the piece of music should be played and how it should sound. Youll find your playing of the music will improve ster if you understand how the composer meant the music to sound in the first place.

Piano teachers hear these statements so often that its practically impossible to list all the variations. In the end, they all come down to students and parents placing a higher priority on these alternative activities than on piano. All of us must make decisions everyday about how we will use our time. However, we can hardly hold a school teacher responsible for our ilure to learn (and the resulting F grade) if we dont attend class regularly or do any of the homework. The same is true for piano. The difference is that youre wasting your own money, not just that of the taxpayers, if you take that view with regard to piano lessons.

 

Learning piano is a lot more than just being able to plunk out a few tunes. If youre going to carry any skills over to other music, no matter the type, youll need to learn how to:  read music, adopt basic posture and technique, follow melodic and harmonic lines in each hand simultaneously, finger chords, practice properly and much, much more. Most people take lessons to help them learn to play most anything that might come along, not because they are interested in a particular genre. Would you be happy if, after taking lessons, you could only play a few tunes from a given type of music?

Starting Lessons

In rare cases, it may be the teachers ult if your child isnt progressing. Before you conclude that you need to change teachers though, take a look at whether you and your child have been serious about lessons. Are you practicing correctly and frequently enough? Are you attending all scheduled lessons? Are you rewarding accomplishment at the piano with as much praise as you would accomplishment on the athletic field? Is learning piano a priority or just another part of a busy day?

Just as parental involvement is important to a childs success in school, his/her success in piano lessons will require support from the parents. The teacher will provide information, technique and encouragement. However, remember that the teacher only sees the student for 30 to 60 minutes per week, while the parents spend most of the non-school hours with him. If the parents dont see to it that their children practice and attend lessons regularly, the teachers effort will likely be for naught, no matter what her skills as a teacher. Even more helpful to lesson success is regular interest and encouragement of their children from parents. For more specific tips about how you can help your child succeed in lessons, see our Being a Supportive Parent of a Piano Student section of our Tips for Parents and Students pages.

 Learning to play piano is more than just playing the notes. There can be no better way to begin to speak to language of music, as opposed simply to knowing the vocabulary, than to immerse yourself in it. If you are working on a piece, try to listen to a recording of it. You will gain the benefit of the understanding of a professional musician, as well as develop additional insight into how you perceive and might play the music. It is much easier to develop a feel for the music when you dont have to worry about playing all the notes correctly.

Attend as many recitals and concerts as possible. Given the large number of musical organizations sponsoring concerts there is ample opportunity to hear music. The more music that you hear, the more of an idea of the musical concepts you can get.

A very valuable way of knowing whether youve learned a piece is to learn it well enough that you can play either hand independently starting at any place in the music. When you can do that, you can begin to work on being musical with the piece.

You only need lessons if you want to play the classics.