The moment your child starts conventional piano lessons, they are put into a “straitjacket” of curriculum. They will go from page to page in a standard text series, finally, theoretically, reaching the last book in the series, and therefore be ready and able to read music.
That is, if the kids ever get to the last book, because statistics are against them. 9 out of 10 kids will never make it, and it is not because they are stupid, lazy or unsuited to the piano.
Kids may benefit from a stratified, unbending method in reading and math, but the nature of music requires a much more free approach.
Look at the statistics.
- 10 out of 10 kids learn to read.
- 10 out of 10 kids can do simple math.
- 9 out of 10 kids quit piano.
What’s wrong with these numbers? Why do kids fail at piano? Is it that piano is so difficult, or the kids are untalented and lazy?
No, it’s the method of teaching. Rigid teaching works in math and reading, not in music.
So what is a strategy for kid’s piano that will work, will produce success figures better than 10%?
I would call it “freestyle” kid’s piano and here is how it works.
As prelude, I use all the old standards textbooks and carry them with me to every lesson in case there is something useful to which we can refer.
The essence of freestyle is that I do not walk in the lesson room expecting anything. I see what the child is doing, how they are feeling, find out what they might like to do. Maybe there is a song they have heard (this happens every day) and want to learn.
I treat them like a fellow musician, not a robot student-slave.
Of course I know what the starting skills of piano are, and reading music, and look for opportunities to introduce them in a fun way.
But at first, I want the child to make music, no matter how simply.
I’d rather have a child play Twinkle, Twinkle with their index finger at their first lesson, by eye and memorized, than slog through page 1 of a text that will require 15 minutes of explanations, and then put the child in a semi-coma repeating some absurd exercise that is clearly “fake music.”
Back to “freestyle.”
We then learn a dozen songs this way, by number and eye and ear, and finally I point out that using the index finger alone is slowing them down.
Why not use two index fingers? Then, after a while, why not use the third finger, right next to the index?
At this point kids will go wild with trying different fingerings, most likely avoiding the fourth and fifth fingers which are instinctively weak.
When the smoke clears, I choose a song like Mary Had A Litttle Lamb, or Beethoven’s Ninth, in which all the fingers move to the adjacent finger, easy to understand.
Most kids get the idea of five fingers in a row. This facility may have taken five lessons.
But guess what? Now the child is ready to attempt page 1 of the standard text. Look what it took: five weeks of preparation.
What our “freestyle” approach has taught them is that:
- We’re concerned with the first five white keys.
- We use the five fingers in a row.
With those two skills in hand, you may be readier to read music, but it is really still too soon.
You need to embark on a separate study of reading music, which all your previous explorations “by number” will support, even make possible.
But before that study of rreading music, you need to spend all the time having fun, learning “precursor skills” that will make reading music easier when you get to it.
Without reading music, the child needs to first learn about fingering, chords, playing with both hands, and the general geography of the keyboard.
Kids don’t quit piano because they are lazy or stupid, they quit because they are very poorly prepared for a solid diet of reading music.
Copyright 2017 Walden Pond Press