Category Archives: Adult Piano

Information related to and about adult piano students.

July 2019 Newsletter | The Lake Shore Music Studio

Newsletter for Parents, Students, and Friends of The Lake Shore Music Studio, Piano Lessons for All Ages, Chicago.

Summer is in full bloom at LSMS!
It is such a joy to look out on the beautiful plaza and step out between piano lessons for a bit of summer air or a casual chat with a Sandburg Village neighbor or an occasional surprise visit from an old friend.

Thanks Becky K. and other friends of LSMS for donations of music. Your contributions included some of our favorite collections including those Star Wars themes that keep surfacing!

 
SUMMER B TERM CONTINUES THIS WEEK

Summer C Term begins July 22.

Remember, we have piano lessons available through August 17, 2019.  Set up your own personal schedule around your vacation needs. This is a good time to pass the word to interested friends to schedule a visit to the studio to get included into the fall schedule.


TEACHER TRAINING

One of my favorite things about summer is teaching other piano teachers about the Robert Pace Piano Method. 

I am offering Music for Moppets/Kinder-Keyboard training July 16-18, 2019 and Level Two Pace Piano July 20-22.  Please pass the word to any piano teachers who might like to know about these.

Using the ducks to illustrate steps and skips in music notation and drawing melody patterns on the Moppets Book Back.

LAST CALL FOR MUSICALS CAMP

Please let me know if you are interested in our Exploring Musicals Camp (August 12-16, 2019). We will close registration soon.


GRANT PARK MUSIC FESTIVAL

There is a wonderful line-up of classical offerings by the Chicago Grant Park Symphony Wed. and Fri. 6:30 and Sat. 7:30 through August 17 at the Pritzker Pavillion in Millennium Park. 

You can choose to sit in the seats for an up-close music experience or pack a picnic and blanket and enjoy lawn seating. 

The expectation is that people will refrain from talking during the concert but if you are bothered by a little friendly chatter in the picnic section go for the seats up front.

Learn more at www.grantparkmusicfestival.com/the-music/2019-season

WIZARD OF OZ MANY WAYS

Do you love the Wizard of Oz as I do? Here are some great ways to experience it this summer.

Shakespeare Theatre’s “Wizard of Oz” children’s production runs through August 25, 2019.

Attending the play will be included as a field trip as part of our Musicals Camp. If you don’t attend camp make plans to see it anyway.

This Wed. July 10, at 8:00 pm in Pritzker Pavillion, see the original movie with the Grant Park Symphony performing the score live.

Notice: They check bags upon entry, so try to go a little early to make sure you get through the security and settle in.

I always enjoy when my route takes me by our city’s own tribute to the Wizard of Oz – the endearing statues of the Tin Man, Lion, Scarecrow, and Dorothy, in Oz Park at Lincoln and Webster.  

Did you know author L. Frank Baum lived in Chicago when he wrote the “Wizard of Oz” books?


Photos by Reno Lovison

Here is a video of a few of our adult piano students performing the Carol Matz arrangement of “If I Only Had a Brain” at our recent recital party.

Enjoy LSMS Director, Julie Lovison playing “Over the Rainbow” on one of the Pianos in the Park at Make Music Chicago Day in Washington Square Park.

Music Man is playing through August 11 at Goodman Theatre.

I hope you can make time to see this wonderful classic musical, that is one of my favorites, full of cute kids, beautiful singing, fun dialog, funny scenes, and great dancing.  

BEACH FUN and Brush Up on your Note Names

Draw a staff in the wet sand, put stones or shells on individual notes.  Then play a game like “Who can name the note the fastest?”

Draw the EGBDF lines and FACE spaces (or GBDFA and ACEG for Bass Clef). Practice making steps and skips on the staff with stones or shells.

Take a picture and send it to me.

Enjoy your summer.
Best Wishes,
Julie

Julie Lovison, Director, The Lake Shore Music Studio, 1460 N. Sandburg Terrace, Chicago, IL  60610 Phone: 312-335-8426

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Creative Summer Piano Groupings

Sandburg PagodaCreative Summer Piano Groupings
Summer scheduling at The Lake Shore Music Studio is a patchwork. The schedule changes week by week, with students weaving in and out according to their family’s vacations, camps and other special projects. Summer brings a different tone to lessons. First, it seems that the students who stick around for summer are more motivated and interested generally in music than those who take the summer off. Secondly, new students arrive for whom summer is the time they have chosen to begin something new and exciting (music!) in their life. Third, students are much more relaxed and free in their minds away from the hectic pace of the school year activities. Fourth, just coming in shorts and sandals makes everything seem more relaxed (for teacher and student!)

As a group teacher, I have to be a little more general in my groupings. Students from several classes may join together, or I may do more groupings across ages or levels. For example I grouped two sisters together with their respective classmates. They were about a year apart in levels.  The older sister delighted in being the teacher and the younger ones couldn’t wait to see what was on the horizon for them.  By “teaching” it crystalized the material for the older one and made her proud of her accomplishments.
I did a similar grouping for another brother and sister combo. It made it easier for the parents to only come once a week. Let’s face it – they all need reinforcement in the same general things – note name recognition, rhythm and counting, and keeping their finger technique up to speed. For note names, games like Crazy 8ths, Spoons, Around the World or Bean Bag Grand Staff toss, or Bingo are the most often begged for games.
Sight reading for animals is another activity students enjoy. Each student finds an appropriate sight reading book, and collects a stuffed animal (for the day, they go back in the bin when the lesson is over!) for each song completed.
Duets are another great way to work across levels. Besides a wealth of fun easy duet collections to choose from, like Margaret Goldston’s Duets for Bear Lovers (Steps in the Forest is the favorite and easiest piece) most easy piano books have a teacher duet below. Some are a little more difficult, but some are simple I and V chords that an older sibling can master.
In July we typically focus on jazz, and the 12 bar blues gets a big workout. This is so easy to teach level one students, and you can expand in complexity from there. This gives a good jump on learning songs to be ready for our CAMTA jazz festival which seems to come up so quickly in November. Betsy Hannah’s Real Blues book presents the blues simply and offers a cool combo CD to play along with. Students like it when I play a walking bass and chords but they LOVE playing with the combo – (to their ears, that is the real deal.)
In another grouping situation, I had an adorable brand new 8 year old student so motivated to learn, she is coming 4 times a week. Her good friend came to the studio with a year or so of previous experience elsewhere. Although I began them individually, after a few lessons, I found common ground for them to work together, tic tac toe for reading small step and skip patterns, drawing a grand staff, improvising in various styles on the pentatonic scale (black keys) and the 12 bar blues, and transposing. These were concepts that the second student had not encountered in her previous study. Being good friends, they were thrilled to be able to work together.
In some cases an individual lesson format for students who have been faltering on a steady practice helps zoom in on and firm up basic skills that have been keeping them from making optimal progress during the year. I suggested twice a week lessons to a student whose total concept of “practice” is picking out songs by ear and now we get at least two solid days of reinforcement.
Adult students are another category of exciting summer students. For some this is their time to start something they always wanted to do. Summer shorter terms gives them that option to try it out.Others are snowbirds who will live in Florida or Arizona in the winter. This is a great opportunity to coordinate with colleagues in other states for reciprocal referrals (if you don’t want to do skype lessons with them directly.)
Some have a particular mission. For example, I have been delighting in helping a student become aware of the circle of fifths chord structure, and how she can apply it consciously to work out chords for songs she has been doing by ear for years. She is amazed, and absolutely thrilled that she can consciously put the chords she already knows into the songs according to the circle. Georgia and Autumn in New York are two of her favorites. I find the Hal Leonard Easy Thirties Fake Book a great place to find great standard songs that exemplify the ii V I or vi ii V I progressions.
For me, summertime is a golden time for lessons. What are your favorite summer projects?

Our “Funny” Clock

Our “Funny” Clock

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“I can’t read that clock,” exclaims a seven year old students in dismay about our clock on the studio wall.  “Why does it have letters instead of numbers?” They want to know. After they figure it out, it’s like being part of a secret club or breaking a mysterious code.

We love our “circle of fifths” clock.  The circle of fifths helps us understand the basic structure of musical composition that has been in use in so called western music from the early 1700s through the present time.

In our circle of 5ths clock, C is at the top.  Counting five notes in order up the scale CDEFG brings you to G  likewise GABCD brings you to D etc.  Each key is 5 notes up from the previous one.  Since we are using scale notes, the fifth note of B scale takes us  to F# (A/K/A G flat) from F# we work our way back by 5ths up to C.

The circle represents many things to us, most importantly how scales are interrelated, and how chords follow a downward path of 5ths to resolution.  In a simple example, a song ending in the key of C would always have a G chord (or G7) immediately preceeding it. Further it likely would go from D to G to C, or even further down the circle, from E minor to A minor to D minor to G to C.  If the song were in the key of G, it would always need to end in D7 then come home to G.  300 years of conditioning have caused our ears to expect this resolution.  As an example, think through Happy Birthday to You, but stop directly before the end of the song, on TO.. and notice the gravitational pulled toward YOU. It almost seems impossible to stop at “TO”.
Our students begin learning the first five notes of all 12  scales (which lay under 5 fingers comfortably), and they learn that every scale follows the same pattern of construction.  From these scales we can change one note, and easily learn all 12 minor scales, as well as all 24 major and minor chords by playing only fingers 1 – 3 and 5; immediate transfer of learning from one concept to another. This is one of the unique aspects of the teaching approach we use. Students learn that we can transpose a song into any other key thus experiencing early the thrill of having the song “sound right” no matter what key they choose.

Being able to transpose a song into other keys is one of the primary skills of a competent keyboard musician because it allows him or her to accommodate the music according to the needs of other instruments and particularly singers who often need to change the key to accommodate their vocal range. This is a fundamental aspect of comprehensive musicianship and why what we teach is more than simply piano lessons. It is our goal that LSMS students be able to play music, not just play songs.

We learn to read and write key signatures.  We learn a simple chord formula for applying the two important chords to a song (“when your melody uses notes 1 – 3 or 5, use the One chord, when it falls on scale degrees  2 or 4, use the Five chord”.  Later, we fill in all 8 notes of each major and minor scale, learning additional chords and how to apply them to the other scale notes of the melody, and become familiar with other positions of the basic chords (inversions); more complex types of chords and applications of the chord formula.

Building this solid understanding of musical construction one step at a time makes music more accessible to students in many ways. First, they know how to  interpret more intuitively (for example a “home: chord might be accented , or have a slight hesitation or ritard, a “five” chord might imply acceleration or crescendo) ; how to memorize more confidently and sight read more easily by knowing what chords will be involved in the piece; how to read chord charts or fake books; how to appreciate the structure of the piece and be in on the thrill of anticipating the expected sound and satisfaction of arrival; how to transfer the concepts that are so easy to see in the piano’s linear layout to other instruments which are not so visually obvious; how to compose their own pieces or apply accompaniments to music.

Next time you stop in, if you still can’t read the clock, ask your child. But don’t worry–there are little tiny numbers on the side if you need help.

Ear Tunes

100_5319by Julie Lovison 

Why is a big ear hanging on our wall in the studio?  This reproduction of Michaelangelo’s David’s Ear sculpture is a fun way to bring focus to a favorite activity at LSMS – finding “ear tunes.”   Ear Tunes is a term coined by us to represent a song that one has found strictly by ear – in other words trying various notes until your ear finds the right keys for a tune.    Often students will bring in an ear tune of a song from the radio, a song from music class at school, or choir or church, or the ever popular Ode to Joy or Happy Birthday.  We write them down on our Ear Tunes of the Week chart to give other students ideas for songs to try to find.

We actively encourage students to use their ears to find songs  – Music is experienced and enjoyed with the ears. Therefore, the better your ears can discriminate the sounds the more rich your experience of music will be and the easier time you will have playing piano.

In the words of our mentor, Dr. Robert Pace, we want to develop “The ear that sees and the eye that hears.”  That means, when you hear music, you form a mental image of the notes going up or down, and when you see printed music, you can hear the music playing in your head..

Some people naturally begin with an ability to play by ear well.   Others may have a good relative sense of some notes’ relation to others. We find our students can improve this skill to a large extent through practice.

How do we develop this?  We begin on a simple concept.  Beginning with a 3 note range (we use 3 triplet black keys) –we develop the ability to hear whether the notes go up, down or repeat.  Once this is secure, we add discriminating between a step (an adjacent key) or a skip (skipping over one key, making a larger interval between the first and second.) Once success within a 3 note range is achieved, this can be expanded to 5 finger positions (a range of five notes, and then to an 8 note scale.)

Some songs are easier because the intervals are smaller, and they stay within the 8 notes of the scale.

Others meander more and are more difficult.

Here are some “ear tunes”  to try, to begin developing your ear.

3 note range (use three triplet notes or CDE) 

Mary Had a little lamb on CDE *Hint – it starts by going down , not up (so play EDC or High Middle Low first)

Hot Cross Buns (also begins going down)

5 note range (CDEFG)

Ode to Joy  (begin on E)

Alouette

6 note range

Twinkle Twinkle

Frere Jacques

Pentatonic (black keys only)

Amazing grace

Old MacDonald

Those Were the Days (from All in the Family, by Charles Strouse)

The Farmer in the Dell

Other popular starter ear tunes

Lean on Me

Happy Birthday

If you insist on beginning with Take Me out to the Ballgame or Star Spangled Banner

remember, you were warned, some songs are more complicated.

Metronomes

by Julie Lovison

Little kids love them, older students want to throw them against the wall and are sure they are conspiring against them.   Just what is a metronome? 

Metronomes are devices that keep a steady beat.  The first metronome was invented, according to the Harvard Dictionary of Music,  in 1812 by  Dietrich Nikolaus Winkel but named after Johannes Maelzel, who took the idea and popularized it.  Beethoven was the first to publish suggested metronome numbers as a guide to correct  tempi for his pieces.   A metronome marking of 60 to the quarter note would mean each quarter note would equal a second.  Most Sousa marches are played at 120, (imagine Stars and Stripes Forever at two beats per second.)

  The original mechanism was a pendulum whose speed could be altered by moving a weight up or down.  The familiar triangular shape was popular for many years.  In addition to the original pendulum type, electronic, quartz and digital metronomes are also popular today, and many keyboards and software programs have built in metronomes.  Many play along jazz educational CDs have built in combos as a very cool way to feel the beat.  In our Moppets programs, we build  “human metronomes” into our playing in the form of a partner playing a steady beat duet to our songs.

Young students are captivated by the original metronome mechanism, and enjoy keeping the beat with rhythm instruments or with body movement as they enjoy their songs.   A typical use for a metronome for an intermediate level student would be to practice a piece like a sonatina a bit under tempo, with very deliberate attention to staying with the beat of the metronome.  The metronome identifies which passages a student might be rushing or hesitating on, and helps pull these passages into steadiness.   It very often FEELS like it surely must be the metronome that is off, thus causing frustration for students who are not used to working with the metronome.  A good way to become friends with the metronome is to begin practicing 5 finger patterns or scales.  These are easier to keep a steady beat with initially than a piece which has many types of musical and technical complexities involved.  A general feeling among music teachers is that metronomes help students in many ways, but that students also need to establish a good natural sense of  internal beat that can be relied on without a metronome’s help.

For more about metronomes see www.en.wikipedia.org/metronomes