Piano Lessons Learning by Rote

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Practice makes perfect! Learning by rote simply means learning by imitation and retention in piano lessons. The students who learn the piano basic lessons in Singapore has to memorize and repeat an assigned piano piece based on aural impressions and keyboard patterns without reading or referring to a written score. Based on the piano teacher demonstration, the student is required to reproduce the specific motions for the desired musical sounds. The teacher will play from the beginning to the end, to give the student a general idea of what this music piece is and how it should sound. Then the piano teacher will play again in slower pace, breaking into sections, pointing out the important features to ensure student grasp the features. After this the student will play the piece, following the teacher’s pattern, section by section, until the student has memorized and gradually connected to the piece.

The aim of the rote learning method is for students who are taking piano basic lessons in Singapore to master scales, chords, rhythm, and harmonic progressions. Effective sight reading is also enhanced by the instinctive application of motion patterns assimilated by a repetitive practice in rote playing. Learning by rote is important to take place especially with students who take piano basic lessons in Singapore to give student the mechanical keyboard experiences which will help them get ahead of the theoretical capacity to read notes and understand music. The teacher who is teaching piano basic lessons in Singapore can design the rote teaching in a way that it will work hand in hand with the theoretical concepts of the music as well.

During piano basic lessons in Singapore, it is important for the young or even adults piano lessons students to effectively play without reading notes. It helps student to focus all mental attention and physical responses on the tangible problems at hand, without necessarily using the eye to follow the score and without the analytical process of interpreting the musical printed notes and translating them into kinetic responses.

In fact rote playing and teaching can be tailored to individual student’s needs and practices. It helps to strengthen the student’s weaknesses and also to enhance the student’s confidence. The students can also learn on their own to copy the rote pieces in print and go further for aural and tactile retention. If due to any reason the learning pace is slow, learning by rote can help speed up the learning process, while also making it pleasurable to students to enable them learn the necessary skill over time.

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Musical Notes Reading Approaches

Middle C –

  1. It is a ledger-line note between the two staves and looks different from the other notes that are written on long staff lines.
  2. This methods note-reading is dependent upon individual note recognition, rather than on patterns and grouping of notes.
  3. Minimal reinforcement of previously learned concepts and skills occurs since there is generally one piece to practice for each new concept or skill, each is more difficult than the previous piece.
  4. Pieces are usually melodic, based on familiar-sounding patterns that imply tonic and dominant progression.
  5. They use common meters and regular phrase structures. These limitation make the piece sound similar.

Multi-key –

  1. Students are taught quickly to play five fingers patterns in all major keys and simultaneously are given numerous short pieces to play in the various keys.
  2. Keys are introduced in groups and the groups are determined by the black-key and white-key shape of the tonic triad.
  3. This approach introduces students to the entire keyboard and helps them move flexibly around it. Students become more comfortably transpose, improvise and harmonize melodies with all the keys.
  4. This method is generally introducing rhythm concepts quickly with more info given by the teacher.

Intervallic –

  1. This methods begin with gradual-staff notation. The staff is introduced one line at a time, students are to focus on one interval at a time.
  2. Note-reading is introduced by contour (direction and interval) and notes are grouped by patterns, allowing the students to see the spatial relationships.
  3. Without the full staff, they are free to develop a strong sense of pulse, concentrate on counting, focus on comfortable technique and attend to sound production before having to read notes on the full staff.
  4. Landmark notes, most often treble G, bass F and middle C, are learned and used to read intervallic relationships and contours without relying on hand position.

Electric –

  • the combining of the three approached described above started in recent years.

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