Two-Gether: A Guide to the Piano for Adult Beginners and Their Teachers

TWO-GETHER

A GUIDE TO THE PIANO FOR ADULT BEGINNERS AND THEIR TEACHERS

Robert T. Marchand

SMASHWORDS EDITION

Copyright 2017 by Robert T. Marchand

Thank you for downloading this book, It remains the copyrighted property of the author, and may not be redistributed to others for commercial or non-commercial purposes.

If you wish to reproduce any part of this book, please refer to the print edition and follow the procedures for requesting permission included on the verso on the title page.

Library and Archives Canada Cataloguing in Publication

Marchand, Robert T., 1946-, author

Two-gether : a guide to the piano for adult beginners and their teachers / Robert T. Marchand

Issued in print and electronic formats

ISBN 978-0-9919737-3-6 (spiral bound)

ISBN 978-0-9919737-2-9 (epub)

ISBN 978-0-9919737-4-3 (paper)

1. Piano--Instruction and study. I. Title.

MT.M315 2017786.207'7C2016-908222-9C2016-908223-7

To

Gwen Beamish

who has influenced numerous lives

directly and indirectly

by her devotion to music

dedication to teaching and

undaunted commitment to her students

Education is not the filling of a vessel

but the lighting of a fire.

W.B. Yeats

Contents

Foreword by Seymour Bernstein

Preface

Acknowledgements

Part I: For the Student

Chapter 1 You and Your Teacher

Chapter 2 Your First Lesson

Chapter 3 Keeping the Romance Alive

Chapter 4 Practice Routines and Strategies

Chapter 5 Developing Technique and Musicianship Skills

Chapter 6 Training Our Bodies, Training our Minds

Appendices to Part I

Appendix A: Some Students Speak for Themselves

Appendix B: Finding a Teacher

Appendix C: Interviewing the Teacher

Appendix D: The Art of Practicing

Appendix E: Getting Ready to Practice

Appendix F: Resources for Adult Students

Part II: For the Teacher

Chapter 7 Your Adult Students

Chapter 8 The First Lesson

Chapter 9 Ongoing Lessons

Chapter 10 Practice: How?

Chapter 11 Building Technique and Musicianship Skills

Chapter 12 The Mind Body Connection

Appendices to Part II

Appendix G: The Team and the Game Plan

Appendix H: Interviewing the Student

Appendix I: Seminars

Appendix J: Resources for Teachers of Adult Students

Appendix K: Student-Created Material

Appendix L: Professional Development Resources

Appendix M: Practice Summary for a First Year Student

Appendix N: Technique Chart for a Third-Year Student

Appendix O: Scale Practice Strategies

Afterthoughts

About the Author

Foreword

In a materialistic society where people often look askance at those who pursue knowledge for its own sake, the adult beginner has all too frequently been the target of misunderstanding and even ridicule: Uh oh, Horowitz is at it again!

Fortunately, Robert Marchand has changed all of that. In his book, Two-Gether, the amateur musician is treated with the seriousness he deserves. We discover, for example, that practicing music simply for the love of it—something which many professionals have all but forgotten—can actually lead to integration of the personality.

And we learn that it is never too late to make a beginning; that the study of music, especially, helps us to confront our emotions, perhaps for the first time, sharpens our concentration and develops physical coordination.

Instrumental teachers rarely find the time to keep up their own practicing. Robert Marchand, however, is an exception. Not only does he continue to practice and to take lessons—and to this, I can testify—but he also performs publicly. Thus he sets the highest example for his own pupils and for all those who will read this splendid book. Humble, and devoted to his art, our author brings to these pages the humanity which marks his own playing. Bravo to Robert Marchand!

Seymour Bernstein

New York City

Preface

After a lifelong desire to play the piano, I took my first lesson at the age of 22. The impact which music study has had on my life explains, in part, the decision to write this book. The pages which follow grew out of my experiences as an adult beginner and subsequently, a teacher of adult students. I can speak firsthand about the benefits of a later start to music. And I am determined to dispel the notion that only the young or gifted can make musical progress. The truth is, it's never too late to start.

Adult piano students, whether beginner or restarter, have special needs, which differ in some ways from those of younger students, and to which teachers must be sensitive if the former is to make musical progress. To cite an obvious example, an adult's technical abilities may seem at odds with their intellectual comprehension of a piece of music. But this imbalance can and will be rectified as they gain the tools with which to bridge this gap.

It is not uncommon for adult students to sometimes struggle with their artistic desires and the demands of professional obligations, their responsibilities to family and friends, and the need for recreation and leisure time. But when adult music students learn how to use limited practice time efficiently, progress is assured. Consequently, teachers must recognize that time constraints on adult students will vary according to their age and the status of their professional careers; at the same time, retired adult students and those who do not have professional careers have their own particular needs.

Surveys made of comparative age groups in private studios confirm an ever-growing number of adult students, while music journals devote increasingly more space in their publications to topics pertaining to adult beginners and students. More reason, therefore, to explore effective means of teaching adults—means through which students and teachers enjoy reciprocal benefits, musically as well as personally.

Even with years of experience, teachers can sometimes feel reserved about teaching adult beginners. However, I firmly believe that if they can teach youngsters, they know almost everything they need to know about teaching adults. The difference is that the latter requires adult-appropriate music and practice strategies, and should be considered an intellectual peer

Now that learning is considered a lifelong activity, adults wishing to get in touch with their creative abilities sometimes choose to realize a long-held ambition to play the piano. It is amazing how many adults return to the piano with the regret, If only Mom had insisted that I continue with lessons…

In the pages that follow, I will lay out ideas, strategies and approaches which I have found to be effective with adult beginners.

To pursue music is a human and creative right. We all have music in us, and adults can well achieve their musical goals and go a distance that perhaps even they hadn't realized. As I began my studies, I could not have known that one day I would be teaching adult beginners myself. What adults invest in themselves musically, they invest in themselves personally. Learn or teach: it is never too late to take that first step.

Acknowledgements

Throughout our music education, we come under the influence of many people who have their own ideas about music and how to approach the study of it; as their students, we become something of each of them, but we also become something new within ourselves.

As a music student, I have been influenced and guided by a number of fine musicians. I am grateful to those who have shared, encouraged, challenged, reprimanded and motivated me. This list must include Herbert Sommerfeld who got me started, Gwen Beamish who continues to encourage, support and care, and Sheila Henig whose artistry made an indelible impression on me. I am indebted, too, to Seymour Bernstein whose sensitivities, guidance and revelations (musical as well as personal) inspire me every day, both at the piano and away from it.

In large part, it is the influence of the above-mentioned musicians which inspires me to share the following pages. And after many years of teaching adult beginners and witnessing what they are musically capable of, I feel bold enough to share some ideas and thoughts of my own.

At the same time, this material would not have seen the light of day without the continued support and direction of Judy Scolnik. Her sensitivity to the written word, her understanding of effective writing, her undaunted and generous input and her belief in this project have greatly influenced the pages which follow.

Likewise, I am deeply indebted to Sue Easun whose dedicated professional work and guidance are reflected on every page. Finally, I owe much to my many students who have influenced me in both personal and musical ways. These pages are also an expression of gratitude for creative gifts and the invitation to share in them

Chapter 1

You and Your Teacher

WELCOME TO YOUR MUSICAL FAMILY!

Whether your desire to play the piano is lifelong or recent is immaterial. At the age of three, and for reasons that remain something of a mystery, I instinctively knew that I wanted to play the piano. Denied that opportunity, I was jealous of every neighbourhood friend whose parents insisted they take lessons, though I suspect my envy must have sounded like childish whining to my parents. Still, I secretly resolved that one day I would pursue my attraction to the piano.

That resolve never diminished and finally, when I reached adulthood and settled into my first job, I began formal studies. As I searched for a teacher, it soon became clear that there were very few adult beginners on the scene, and even fewer teachers interested in teaching them. (These many years later, adult beginners are very common.) But I was not dissuaded. I had waited decades to begin, and wasn't prepared to wait any longer. Finally, I found someone who asked about my musical objectives. I told him that I simply wanted to be the best I could; and happily for me, this was good enough for him.

You may feel shy about actually telling anyone you want to take lessons, fearing it will be viewed as a non-age-appropriate thing to do; you may wonder at its practicality, whether it is too late to start, or if your intentions will be taken seriously. You may wonder how far you will advance, or if you are even good enough.

Such concerns are not unusual for adult beginners. But in my many years of teaching, and without exception, such concerns quickly fall away once music routines are developed and practicing becomes a part of daily life.

In spite of your hopes to play the piano, you may have cold feet about taking that first step. One of my students, now in his fifth year of studies, admitted that he was reticent about his first lesson in spite of the excitement and eagerness he demonstrated during our initial conversation. But he was sufficiently compelled and knocked on my door. Perhaps others have already attempted to discourage you from your ambition to play. I experienced this myself many times in my early years of lessons but the teasing and ridicule only spurred me on, reinforcing my motivation. And if I didn't say it out loud, I certainly thought it: Just watch me! Many people still believed that it was impossible to become a pianist if you hadn't started as a child.

If you have doubts and concerns about starting, speak