December is the month for the arpeggio challenge in my piano studio. They say a picture is worth a thousand words, so canva comes in handy to compensate for my lack of artistic skills!
I love to create visuals to post on my bulleting board to make the learning more memorable and pique the interest of students as they come each week.
This poster pairs with the concepts I posted about previously on Resources for Teaching Arpeggios. There you can view more ideas for teaching hand over hand arpeggios, 1 octave and 2 octave arpeggio fingering tips.
These videos are a bit lengthy, but I love the tips shared that I will be condensing and highlighting for my older students at group lessons next week.
Shift your Sit Bones
As you play music with arpeggios that cover a larger range of the keyboard, remember to lean on your "sit bones" towards the area you are playing on the keys. The feeling is similar to when you are shifting your body weight to navigate turns and corners while bicycling.
We often use thumb tucks in scale playing and 2 octave arpeggios, but for certain fast arpeggio passages (like the broken arpeggios patterns in Piano Adventures Level 4 Technique page 53) a thumb raise (float or over) is more effective. Watch Graham Fitch Arpeggio Playing Tips by Graham Fitch as he demonstrates this motion starting at 6:45 in this video.
No Chicken Wings!
The "no chicken wings" principle applies to both scale and arpeggio playing. Watch out and don't let those elbows fly up and down. Instead aim for a gliding arm. Watch the same video starting at 3:10 to see the difference between the gliding arm and the chicken wing.
Nahre Sol's Arpeggio Practice Tips video includes some excellent specific technical tips for arpeggio practice. These strategies can help you play arpeggios with more continuity, evenness and consistent fingering.
:45 Practice by altering the rhythm and/or adding accents
Play Long-Short, Short-Long, or triplet groups
3:53 Block practice based on hand positions
9:15 Teeter Totter repeating certain groups of notes
Thanksgiving is not here yet, but I've already pulled out his Simply Sacred Christmas book this season. It has some of my favorite arrangements that calm my soul and a few that energize me, too.
I actually prefer the less textured sound of his hymn arrangements that I use regularly as prelude for church services or at funerals over many other arrangements because they sound so beautiful and calm and are filled with left-hand patterns that are easy for students to pick up and for me to sightread. Apparently, the congregation loves them too because, at every funeral I have played at since I purchased the books, I have had pianists come up asking where they can find these arrangements!
The outros, intros, and interludes add a sense of newness compared to just improvising or playing from the hymnbook, and the melodies stay mostly true to the original pieces we know and love, with only a few subtle surprises.
Listen to the Music
Listen to a few of the pieces below to get a feel for the style. (sample recordings of pieces I sightread to demo for my students). There are 13 pieces in the 42-page book.
Jesus Once of Humble Birth
What Child is This
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Infant Holy (aka Stars Were Gleaming)
Notes for Piano Teachers
The book begins with simpler arrangements of Silent Night and Away in a Manger suitable for the late elementary pianist that are written in the more familiar keys of C, G. These selections are great for students with smaller hands who can't quite reach harmonic octaves but are ready for the sophisticated sound of broken intervals and chords in the left hand.
The majority of pieces are early intermediate level and include frequent clef changes that create more interesting music by utilizing a wider range of the keyboard. There are a variety of left-hand patterns that increase in difficulty, including some hand crossovers, ostinato repeating notes, rocking broken intervals, 1-5-8, harmonic intervals, and eventually patterns that require crossing, similar to 2 8va arpeggios. Its great for students to become familiar with these different styles that they will also see in other repertoire.
There are also a few more challenging pieces, like the finale piece "Angels from the Realms of Glory" that mimics the Piano Guys version. It starts with 4 flats and switches to 3 sharps. Ibelieve this is more suitable for mid to late intermediate level pianists who can navigate leaping left-hand octaves and more intricate left-hand arpeggios beyond 1 octave.
This post includes resources that I mentioned in my presentation at UVMTA about flipped learning in the music studio.
Click the image above to view the slideshow presentation for UVMTA on flipped learning in the music classroom, which includes hyperlinks or browse some of the resources that were mentioned below.
"Tell me and I forget, teach me and I remember, involve me and I learn."
What do you do when you see something "sus" in your music????
I'm not talking about a spider crawling across the page or suspicious coloring scribbles from your little brother!
SUS is an abbreviation often written in lead sheet chords and refers to suspended chords.
If you are "suspended" from school you are temporarily removed. In Sus chords, often the 3rd of the chord is temporarily removed and replaced with the note a 2nd or 4th above the root instead of the normal 3rd.
Can you hear how the slash chords, walk down bass and 7th chords create a more interesting jazzy sound compared to the simple lead sheet with just 4 chords?
Cadences are like the punctuation marks in music. Pairing chords in a certain order can create a feeling of tension, questioning, surprise or peaceful resolution.
Sing the melody as you play just the root notes with your left hand. Choose the octave you prefer. For example, does High G or Low G sound better? Which is easiest to play? Could you play both at the same time or alternate to make it more lively?
Level 2- Left Hand Root Position Chord
Play the chords in root position (stacked up like a snowman) as you move your hand like a cookie cutter to the different chords.
G=GBD C=CEG Em=EGB D=DF#A
Late Elementary
Level 3- Left Hand Chord Inversion
Jumping around between root chords can be tricky! If you change the order of the notes (invert), it can make it easier to switch between chords. GBD to CEG is a big leap, but if you play GBD and GCE instead you can feel the stretch up without having to look at your fingers.
Play the right-hand melody along with left-hand chord progressions. You can substitute minor chords for major chords you are more familiar with playing or add Sus chords.
Experiment with chords that share some of the same chord tones. For example, in the key of C, the D minor (ii) chord D-F-A could be replaced with the more familiar F Major (IV) chord F-A-C because both include F and A.
Substitutes for Red (I) are Purple (vi) and Orange (iii)
Substitutes for Blue (IV) is (ii) Green and Purple (vi)
Substitute for Yellow (V) is Orange (iii) or (vii) or (V7)
Being a piano teacher makes me happy! My new student Clara, is just one of the delightful children I get to spend time with each week. It made my day today to hear that she was recently featured on the news for winning the National Let's Play Music Composition Contest.
Click the link to hear her perform her piece and learn the storyline that goes with it!