Congratulations ~ to Nicole, Blaise, Jessica, Kyle, Coleman, Katie, Kristee, Katherine, and Linda for participating in the Piano Concerto Competition on February 13!  There were a total of 29 contestants, covering all grade levels from 1st grade all the way through 12th. 

Jessica placed 2nd in the 1st-3rd grade division, with Nicole and Blaise receiving Honorable Mention. Kristee placed 1st in the 7th-9th grade division, and Linda placed 1st in the 10th-12th grade division.

Congratulation to Taylor for receiving the highest rating (a I rating) at the state level of the High School Piano Festival in Wichita on February 20!

With the exception of the year 2009, the Manhattan Area Music Teachers Association’s Piano Concerto Competition takes place every year in late January or in February.  I have been chairperson of this event before, and am now again for 2010. 

The Piano Concerto Competition is a very important event in my studio calendar, probably the most important.  For months, my students and I prepare for the competition.  At the moment, one of my students is already preparing for next year’s competition.  I often thought that in order for me to miss the concerto competition, someone would have to die.

This year’s competition took place yesterday, February 13, 2010.

One week ago yesterday, my mother died.  Although her health had been deteriorating, her death was unexpected.  Mark and I flew from the States to Germany, arriving Tuesday morning.  Yesterday, we had her Memorial Service. 

I am blessed with wonderful students and colleagues.  For instance, I was able to send a brief email to a student, requesting to reschedule a lesson because my mind was with my mother but not piano, and all I heard back was, “No problem.  Have a safe trip.”  

My colleagues pulled together and were able to take over the organization of the event, as well as find accompanists for my nine students, organize their rehearsal, and get them through the competition.

I will remain in Germany for another week, getting started on the closing of my mother’s apartment as well as continuing to take care of the many other obligations which arise after the death of one’s mother. 

http://sibylleandmark.wordpress.com/2010/02/13/a-beautiful-fitting-memorial/

What I wish for, for 2010:

I believe they are called “blanket statements”.  

Taking piano lessons is good for you / your child / your IQ / etc. 

You’ve heard it, perhaps tried to heed that advice.  Maybe it worked, maybe it didn’t.

While there is some research on the topic, the problem is that ”Piano lessons are good for you” is as accurate as “Eating food will make you fat”.   Everyone knows that, yes indeed, some food will make you fat, but it also depends on how much of which food we are talking about.   People don’t seem to be that descerning when it comes to piano lessons.   Piano lessons are good for you, right?

Wrong.

Remember the adage, “Practice doesn’t make perfect; practice makes permanent”? I’d like to add, “Perfect practice makes perfect.”

Good piano lessons are good for you.

Some 35 years ago, after my first piano teacher with whom I had studied for only a year or two got married and moved away, we were faced with the challenge of finding a new teacher.  Our piano tuner, a gentle and quiet man, recommended his mother.  I don’t know what her qualifications were, and it doesn’t really matter.  What matters is that this woman taught piano lessons on a tall and dark upright piano in a dark corner of her dark living room; piano lessons that for a while destroyed my love for the piano. 

While my first teacher, a young and enthusiastic woman, was good (which I didn’t realize until much much later when I read through some of the assignments she had written), I didn’t really learn how to practice.  I was kind of lucky – or perhaps not, depending on how you look at it -, because I had some talent, and excellent ears, and faked my way through the note-reading exercises.  My new teacher would get upset about my lack of sight-reading skills, urging me during our dreaded four-hand sight-reading sessions sternly, “Keep going!!!” – which is exactly what someone with no sight-reading skills can not do. 

Sight-reading was not the only thing I wasn’t good at.  I had no clue what it meant to practice. If I did sit down at the piano between lessons, I’d play through a couple of songs, usually not the ones I was assigned because those were “hard” and I didn’t know them, I didn’t know what they were supposed to sound like, and I didn’t know how to practice and I didn’t like them anyway.  I had no sense of rhythm, I couldn’t count.  My teacher managed to identify my weaknesses but that’s where she stopped; she was unable to help me overcome them.  All in a tense, rigid, dark atmosphere. What I learned from her was that I wasn’t good enough.  I hated lessons, and I still hadn’t learned how to practice, nor how to read, nor count.

After a while, I don’t remember how long I took lessons, my mother who by nature and nurture does not quit (“You started it, now you stick with it!”) said, “You know, if you want to stop lessons with her, that would be ok.”  She also made sure that, after a break (one year?), I auditioned with a new teacher who then became not only my new piano teacher, but also mentor, guide, coach, and solid rock in my tumultuous teenage years.  I was lucky.

~:~.~:~.~:~.~:~.~:~.~:~.~:~

Perhaps because I love music and the piano in particular, and I love learning and studying and teaching, I think that we do not need any outside reason to study music.  If studying the piano does help with math, languages, etc., then all the better, but that shouldn’t be the main reason to take piano lessons.  

Another aspect:

Neurologist Oliver Sacks (author of case-history collections such as Awakenings and The Man Who Mistook His Wife for a Hat), during an interview about his new book, Musicophilia: Tales of Music and the Brain, had the following answer to one of the interviewer’s questions:

From the perspective of neurological development, is it important to give music lessons to your kids?

Sacks: One can become a creative and good human being without music lessons. But it does look as if fairly intensive musical training can promote the development of various parts of the brain, which may facilitate other non-musical cognitive powers.

Please note the first part of his answer.  Also note the fact that he says, “musical training can promote” and “may facilitate”.   A much more realistic answer, and therefore more honest, than the blanket “piano lessons are good for you.”

~:~.~:~.~:~.~:~.~:~.~:~.~:~

The following is from an article in the K-State News Insider (online).

By playing the video game Rock Band for an hour, K-State students were able to help a pair of psychology professors with their research to understand how people can achieve flow while at work or while performing skilled tasks.

Clive Fullagar, a professor, and Patrick Knight, an associate professor, found that — like Goldilocks — most people achieve flow with work that is neither too easy nor too hard but just right.

“For those students who have a moderate level of skill at Rock Band, the song has to be moderately challenging and match his or her skill level for optimal enjoyment to occur,” Fullagar said. “That has broad implications for teaching. It means that if we want students to enjoy or get a lot of satisfaction out of classes, we need to assign them challenging tasks but make sure that they have the skills necessary to meet the challenges of those tasks.”  [Emphasis added]

The researchers wanted to see how people achieve flow — a state of mind that occurs when people become totally immersed in what they are doing and lose all sense of time. It’s an intrinsically motivating state, which means that people are engaged in the task for the pure enjoyment of performing the task and not for some extrinsic reward.

Posted in Research

This is “RESEARCH”??   News-worthy research??  Please show me one teacher for whom the above is news. 

The difficult part for every teacher is of course to find “challenging tasks” while making sure that the student has “the skills necessary to meet the challenges” - and that’s where even the most experienced teachers once in a while fail.  Perhaps not because they weren’t paying attention but because students have a habit of learning not in a straight line but in phases:  it is perfectly possible for a student to struggle with a concept for quite a while, and then suddenly, seemingly out of the blue, they get it.  Sudden change of skill level.

Or, your beginning piano student suddenly doesn’t even remember where Middle C is because “we got a new puppy!!” …  Sudden, if temporary, change of skill level.  

But, please, do we really need “research” to prove what every teacher already knows and aims to incorporate in his/her teaching??

Picture taken after my concert at McCain Auditorium in Manhattan, in March of 1996.  Radio Kansas later broadcast the concert.  Thanks to my good friend Linda who picked up the boys after school and kept them until the concert, I was able to focus all of my energy on getting ready, mentally and otherwise, for what was and to this day still is one of the most important and beautiful days of my life. 

No one will ever know what it meant to me to win the competition and consequently be invited to perform at McCain Auditiorium.  Preparing for the competition and then for the concert was my getting-back-on-my-feet accomplishment after a devastating divorce. 

Thank you to my good friend Virginia, who employed me the summer prior to the competition to catalog materials for her music and piano library.  It was during the commute to her house that I discovered and fell in love with the Piano Concerto with which I eventually chose to compete.  I will never forget the liberation I felt, listening to the concerto (it is still very special but also private to me, that’s why I don’t refer to it by its name), on a whim buying the score, initially just so I could read along, then, slowly, thinking that maybe, just maybe, I could learn to play it.  Then the discovery that, yes!, it was manageable.  And thank you to Dr. Edwards who worked with me, getting the concerto and me ready for the competition. 

Beautiful, beautiful memories.

The Art of Teaching is different from, say, the art of painting, or the art of playing an instrument, different from the art of tuning a piano, or the art of making a beautiful home.

If you mess up your painting, you’ve got a messed up painting. If you mess up on your instrument, you messed up a piece of music. If you don’t do a good job tuning that piano, then you’ve got a messed up piano which is annoying and can be expensive to fix.

When you mess up in your teaching, you are messing with a human being.

So, why is it that people who know how to play their instrument but have NO training in regard to teaching are let loose on pupils?

Recently, I had the opportunity to observe some poor and inexperienced teaching. One of the two teachers had a one-size-fits-all approach to teaching, in addition to a frenetic and somewhat chaotic personality (and teaching style). While this teacher was without a doubt very experienced, the lesson itself was not a very promising sign of things to come: it was crammed full with irrelevant information (way too much theory that would not be applicable/useful for several weeks), redundant information (without checking with the student what he already knew, this teacher “taught” concepts with which the student was thoroughly familiar already), and way too little actual instruction on the instrument. The student was not given sufficient time to try out the new concept and then make sure that it was sufficiently understood to be taken home and practiced for a week.

The other teacher had a much more pleasant personality and some day will probably be a good teacher. At the moment, however, this one has neither the experience nor the training to teach a beginning student. After grousing about how inexperienced this teacher was, I came to the realization that it was not inexperience but the obvious lack of pedagogical training which made the lesson unsuccessful.

We all start out “inexperienced”. None of us are born with experience. There’s a first time for everything. There’s a first time a physician performs an exam or a surgery. There’s the race car driver’s first race.

What sets these people apart is the fact that before their first “real” thing they did spend time, usually a very long time, observing their masters, and then learning to practice their craft, usually under the guidance of their masters.

For some reason, people think that as long as you can play an instrument, you can teach. I actually once overheard the wife of the head of a music department at a university tell one of the professors something to the effect of “I don’t understand what there is to learn about teaching: you gotta love kids and you gotta love what you do.” There. She said it. What more could there possibly be to it?

There are, of course, “natural” teachers, just like there are “natural” psychologists, people who have an instinctive, intuitive, “feel” for people. But think of the training a psychologist has to undergo before she is allowed to practice her craft!

My wish list for pedagogical training of any future teacher of musical instruments includes:

•mandatory lesson observations of different masters in their field, more than just once or twice please;

•study the art of teaching their particular instrument: while there is some flexibility, there is usually a certain order in which things need to be learned (master addition before you attempt multiplication) or else you end up with an unreliable foundation;

•study the teaching literature for their instrument: just because you grew up with a certain method doesn’t mean it’s the best;

•teach many, many lessons under the supervision of your teacher/master. In the beginning, this should take the form of observing your teacher’s lesson (of another student) and taking over for 5 minutes to teach a certain concept. Over time, you grow into teaching an entire lesson, more time and you’ll be creating your own lesson plans.

In short, some form of apprenticeship.  Think about a physician’s first surgery. Regardless of how simple the surgery, the physician has most likely observed this surgery many, many times, then, with more training (reading about it, studying all aspects of it, passing tests to prove she understands all aspects of it), assisted in this surgery before she ever gets to touch a patient without supervision.

Of course, you say, well, with surgery – you have to be that careful.

But why should a student’s learning process be different from surgery? As a teacher who gets transfer students, I see all the time the damage a teacher with insufficient training can do to a student who doesn’t know any better. (Of course if they knew better, they wouldn’t need a teacher …)

I dream of a world in which we hold (the training of) teachers of musical instruments to the same standards as physicians, psychologists, and other professionals in charge of human development and health.

Mark and I treasure our weekends: I do a bit of teaching on Saturdays, but for the most part Saturdays and then definitely Sundays belong to just us, to do – perhaps not nothing, but very intentionally nothing too structured.

Last Saturday, however, the KMTA State Honors Auditions took place in Lawrence, and while none of my students had participated in the Fall Auditions this year I still wanted to go and listen to as many students in as many different age groups as possible. I learn so much from listening and watching. This year, again, as usual, I saw a few, very few, outstanding performances, and other than that a whole lot of wonderful intentions that due to a lack of technique never were realized.

In order to be there for the little ones who play first thing in the morning (the drive takes about 1 hour and 20 minutes), Mark and I had planned to get up at 6:30 a.m. One of our cats decided, however, to be awake, very awake, and very vocal, at 6 a.m. already, so that’s when we woke up and shortly thereafter got up. Not that that got us to Lawrence any sooner though – my intestines had other plans and kept me in the bathroom longer and more frequently than planned.

Anyway. Once in Lawrence, we listened here and there, Mark took a break from the piano performances and listened to some strings before joining me for piano performances again, and later went to a nearby Panera to get lunch while I listened to yet another group of students. In the early afternoon, we felt we needed a bit of a break (also to get online and check email etc), so we went to Panera for something sweet and something to drink but soon returned to Murphy Hall to listen some more.

We had plans to go straight from Lawrence to Emporia, for dinner with Jonathan whose birthday had been the previous Saturday. Until shortly after 4 p.m., we stayed in Lawrence and then, after a short stop at a Starbucks for a coffee for me, made our way to Emporia. It was getting dark, I was tired, and thanks to Mark’s willingness to do all the driving I was able to doze off for a bit.

In Emporia, we met with Jonathan who showed us his new apartment, and then went out to eat. The Chinese was excellent. We had arranged with Jonathan to rent his cello from him, so after dinner he double-checked quickly to make sure everything was in the case, and then we left, Mark and I and the cello and left-over Chinese.

It was another hour and a half, in the dark, to get back to Manhattan.

The next day, Sunday, we felt old. We didn’t have much energy to do anything. We did manage to go to the Holiday Open House at Wildflower (Yarns and Knitwear) where we bought some yarn for a new scarf for Mark, and later in the afternoon I taught a make-up lesson for two students who had been unable to come to their regular lesson during the week.

In the evening, we were very aware that the weekend was over and that there was not another Sunday the next day, to really recuperate.

Like I said, we are getting old.

Or maybe we are just not used to doing stuff anymore.

The three legs of the trip – Manhattan to Lawrence, Lawrence to Emporia, Emporia to Manhattan – was a total of 260 miles. For the 18 months we lived in Olathe, we used to drive 250 miles every Saturday, from Olathe to Manhattan and then in the evening back again, so I could teach.

How on earth did we do that??

Last Wednesday, the White House welcomed 120 middle and high school music students from all over the country to participate in four different engaging workshops.  From the Blue Room to the Map Room and the East Room to the Diplomatic Reception Room, beautiful music and instructors’ guiding voices echoed through the halls of this historic home.  Aspiring students plucked their bows and strummed the strings of their guitars, while picking up tips and queues from their instructors, renowned classical musicians Awadagin Pratt on the piano, Joshua Bell on violin, Sharon Isbin with classical guitar, and Alisa Weilerstein on cello.

This link takes you to the page with more information as well as links to wonderful videos of the performances!

From The White House:

The greatest joy that this job affords – and there are many – is the chance to throw open the doors and invite Americans into the White House and expose them to the talents of their fellow Americans. One of the ways that the First Lady has been doing is this is through the White House Music Series. This series was conceived as a way to celebrate the arts, demonstrate the importance of arts education and encourage young people who believe in their talent to create a future for themselves in the arts community be it as a hobby or as a profession.

Please read the rest of the article here.

Making use of the fact that we now (again) have two (acoustic) pianos, plus my idea that pieces don’t have to be perfect before they can be shared, we had a performance class last Thursday for the 9 – 15-yr olds, sharing a few concertos (under construction) in addition to solo literature. 

The idea was to share what students were working on, to listen to others, get to know literature, as well as find out how well we truly know a piece we think we know (adding performance pressure can be rather enlightening …).

Here are a few photos  – Thank You, Mark, for taking them  :) 

(Thank you, Mark, again, for opening and closing the lids, depending on who played what on which instrument!)

I completely underestimated how long it would take to perform plus talk a bit, so the scheduled 45-minute class lasted more like 70 minutes.  Not good.  Too much,  too long, overwhelming.  Less really would have been more - especially for the 9-yr old who had his lesson right after the performance class … 

Next time I’ll know better, will try to choose pieces more carefully, instead of asking everyone to play everything.

For the last 15 years or so, before this January when we used the two upright pianos as a down payment for our new concert grand (a GS-70 Kawai), I’ve always had at least two acoustic pianos (plus a digital keyboard, to connect to computer).  I love it for teaching: student gets his/hers, I get mine, they get to watch me demonstrate (all the time) without having to get up (and then standing which skews the angle), and two-piano literature is so much easier to practice on two (similar) acoustic instruments than on one acoustic and a digital.

For ten months, I enjoyed the new grand.  I grew to really love its touch, the tone, the many different shades of tone, I kept telling Mark “there’s really nothing I can’t play on this piano!”

But I missed a second acoustic piano.  So, a few months after having paid off the Lexus which freed up a considerable amount of money each month, I went back to the piano store.  In their monthly flyer I had seen both a Yamaha upright and another Kawai concert grand which caught my interest.  The upright wasn’t what I expected but the grand (a KG-C6) did not only look like a twin to the one we already had but I already liked its tone and touch even though it will need a bit of work. 

I was anxious for Mark to see the instrument, to hear it and play it.  I rescheduled a lesson so we could both return to the store before they closed that day.  After looking at other instruments as well as the Kawai, we both felt that the Kawai would be a good addition to the piano room.  It would look good, and despite the work we are looking forward to having done, it was in perfect playing condition the way it was. 

I asked my favorite piano technician to look it over and give me an estimate of the work he’d like to do on the instrument, and how much it would cost.  Also, if he saw anything which, in a few years, would make me regret having bought this instrument.  About a week later, I heard from Charles – good news (not that I expected any different, I just wanted to double check):  everything looked ok, and the cost of the work he anticipated was quite reasonable.

Over the weekend, Mark spent much time and energy rearranging the piano room.  When we first moved into this house, we had two upright pianos which dictated pretty much where everything else had to go.  Now, with concert grands, though bigger than an upright, we had more flexibility because they don’t need to be against a wall.  We quickly found a setup we liked; Mark moved the book cases, I cleaned, and then we moved the couch, end tables, the children’s table, etc. and the grand to its new location.

There’s still room for improvement – I want to rearrange some of the books, etc.

Today, Wednesday, over the lunch hour, Dan and two other strong guys, delivered the new Kawai.  Fortunately, despite being cold and damp, it wasn’t raining.

.

In less than 45 minutes, Dan and his guys had the piano all set up. Mark had missed the delivery of the first piano, so he was thrilled to be able to watch this time. 

The piano weighs about half a ton.  Takes a couple of really strong guys to hold one end up while Dan attaches the third leg:

Attaching the pedals:

Ende gut, alles gut:

This afternoon, I taught a few lessons with this new arrangement, and I already love it.  Most of my students are working on concertos and I am really looking forward to being able to practice (and perform) them in this setting.

Life is good.

Many years ago, Chuck Gardner, my favorite Methodist minister, managed to weave some secular history into one of his sermons.  While I don’t remember the sermon itself, nor the context, the piece of history stayed with me.

According to Chuck, in the un-enlightened Middle Ages, parents didn’t really feed their children until they were about 5 years old.  The little ones got table scraps, the left-overs no one else wanted, they searched under the table (if there was one) for stuff that might have fallen down, much like some people’s dogs nowadays.    Appalling, isn’t it.  I remember him saying with a chuckle, “The SRS would have had a field day …” (SRS being the Kansas Department of Social and Rehabilitation Services.)

How could parents be so – mean? so uneducated?  Didn’t they know that children need good food in order to grow into healthy adults?  Of course they didn’t know that.  To them, a young child was a burden, something that wasn’t useful until old enough to help in the field, the kitchen, etc.  Something that more often than not might die before being old enough to be useful.  So, according to their thinking, why would you waste precious food on something you weren’t sure would live to be of use?

To our thinking, this is as irrational as it gets:  not feeding a young child good food because he/she might die …  One can only imagine the number of children who died - because they were malnourished!  And the number of children whose bodies, due to lack of nutritious and plentiful food, were too weak to fight off diseases or stand cold weather or recover from accidents.  Which, I suppose, only served to reinforce their parents’ attitude, “See, Mother, I told you he was too weak to make it!  Glad we didn’t waste good food on him.”

One could argue that only the strongest survived.  But even those strongest, I would like to argue, would have been even stronger had they been given a good start by being fed nutritious meals.  

We still have a bit of this attitude today when we claim “that which doesn’t kill you makes you strong”.  I beg to differ.  Take my mother who grew up during WWII.  While she was lucky enough to be evacuated, along with her younger sister and her mother, to a small village north of Frankfurt, south of a big forest which obstructed the view of the village to incoming (from the North) British bombers, thus in no immediate danger, the food that was available to them was inferior.  This inferior food didn’t kill her, but it didn’t exactly make her strong either.  There are many causes for brittle bones, but I blame hers on the lack of good food during a time when her body would have needed it to build strong bones and muscles.

Of course, good food and generally good care do not guarantee that a child grows up to be a healthy adult.  There are diseases, accidents.  Nor does a lack of good food necessarily mean that a child’s health is forever doomed.  There are no guarantees.  But we know that our chances of living a healthy life improve greatly if we set a good tone from the beginning.

And yet, when it comes to piano lessons, so many parents descend right back into the Middle Ages; it’s frightening.  They don’t want to invest in a good instrument or a good teacher because they are not sure that their child will stick with lessons.  Their argument:  let’s wait and see if the child is “interested” or “shows promise”.  How is this different from those parents a couple hundred years ago who waited until their children showed that they were strong enough to survive before they were fed the good stuff?  Yes, again, the strongest will probably survive.  But even those strongest would be stronger if they had had a good foundation via a good instrument and/or teacher. 

And what about those who are perhaps slow to show interest or whose talent lies dormant for a while – even with a good instrument and teacher?  What about those who need a bit of extra tender loving coddling care to bring out their talents?  They will certainly be turned off by an inferior instrument, perhaps being told that they lack talent. 

Eight years ago, Mark’s niece was born with cancer.  One particularly observant radiologist noticed in one of the pre-natal ultrasounds an irregularity with one of her kidneys.  She was diagnosed with neuroblastoma and underwent life-saving surgery at the tender age of 6 months.  The surgery was successful and for now, she is doing fine.

I have had several students over the years who initially showed no apparent promise and then suddenly burst into bloom.  I have also had students who showed “promise” initially but then lacked the desire to build on it.

I would propose that all children deserve good food, caring parents, good instruments and good teachers. 

From the beginning.

In the February 2009 issue of American Music Teacher (AMT), published by the Music Teachers National Association (MTNA) of which I am a member, there is under “Impromptu” a short informational (infomercial?) entry for “Simplified Music Notation”.  As a teacher of all ages and all levels with a special interest in brain research and Special Education, I am naturally interested in anything that can make a student’s life (or mine) easier, less complicated.  The idea of a “Simplified Music Notation” seemed to fit that bill, so I looked at the website.

I have, in another post on this site, written about the issue of simplification, and the fact that there’s a right way and then there is a wrong way to simplify.  The right way maintains the spirit of the music but makes life easier for the performer - such as redistributing notes between the hands, or leaving out doubled notes in chords that are too large for a small hand.  When simplification is done right, you don’t hear a difference; as a matter of fact, it likely sounds better than the original because the performer is now technically able to play with expression whereas the original would either have been impossible to play or so strained that expression was a lost cause.

As someone who didn’t learn to sight-play (which is often called “sight-read”) until grad school, I had missed out on a lot of literature, growing up, because it was too time-consuming to learn to read the many notes – unless I knew how the piece sounded in which case I easily played by ear, using the score as a last resort to check on notes I wasn’t sure about.  Learning a piece I didn’t know was piece-meal work:  I’d laboriously figure out the notes in one measure, play it a couple of times until I had it memorized (another skill that comes easy to me), then go on to the next measure, and from there string the measures together.  Amazingly, this worked for Chopin Ballades, Scherzi, Etudes, Schubert Sonatas and the like.   It did, however, not work for Hindemith.  I had somehow managed to never play Hindemith before, so my grad school professor assigned the Second Piano Sonata.  Progress was glacial at best.  Dr. Edwards grew frustrated and finally, suspecting that my reading skills (or, better, lack thereof) were to blame, put an easy Schumann piece (Melody? or something like that from the Album for the Young) in front of me, “Play!!”  It was a disaster.  

As someone who suffered the consequences of not learning to sight-play until grad school, I now take great care to teach my students how to read and sight-play.  There is more to sight-playing than knowing your notes: sight-playing requires horizontal thinking and understanding, anticipation, and the development of  a secure knowledge of the keyboard topography – your fingers have to know where the keys are without looking down.   You also have to be able to “think” in different keys, so that there is an immediate knowledge of what to expect from, say, Beethoven’s Bagatelle in G minor – there’ll be B flats and E flats (from the key signature), and accidental F sharps, etc.  This is a skill that comes easiest to those who tend to play by ear but it is a skill I aim to develop in all of my students.

While my approach to teaching how to read works, I am always interested in learning more and perhaps finding a system which works even better.

According to their website,

Simplified Music Notation is a new notation designed to make sight-reading easier. It was originally created for musicians with dyslexia, memory impairments and other disabilities, but has gained interest from a broad range of professional and amateur musicians.

Sharps and flats are given by the shape of the notehead. This eliminates the necessity of relying on the key signature and dispenses with the need for accidentals.

The key signature is still there, along with all the information in the original score, but many of the unnecessary complexities of reading music have been removed.

“Simplified Music Notation”  promises

You no longer have to remember

    — the key signature
    — accidentals throughout the bar
    — cancelling accidentals at the end of the bar
    — transposing double flats and sharps

Wow.  What a relief! 

Or is it?

Unfortunately, this system is based on a couple of incorrect assumptions.  According to this system, reading difficulties stem from key signatures, accidentals, and double flats and sharps.  (I don’t know what they mean by “transposing double flats and sharps”.)

If that were so, then my attempt at reading that easy Schumann piece should have been a piece of cake:  I distinctly remember that it was in the key of C (key signature: no sharps, no flats); there may have been one lonely F sharp toward the end of the first line.  If they were to take that piece and transcribe and convert it to Simplified Music Notation, it would not look any different, except for that F sharp which would alter the shape of the note head instead of having a # in front of it – hardly a simplification.  

Next, it has been my experience that the difficulties that dyslexic students have with reading words/sentences, are different from the difficulties of note reading.  I have had dyslexic students who read music with relative ease, and I have had (way too many, usually transfer) students who had no trouble at all with reading language but couldn’t read music to save their lives. 

Then, they claim to eliminate “the necessity of relying on the key signature”.  While it is true that I tell my students that if a note sounds wrong, “check the key signature, then the clef (Right Hand is not always in the treble clef, etc.), then accidentals” – thereby acknowledging that remembering the key signature may take some effort – I also explain to them that the key signature is like their zip code:  it gives you a map, it tells you where to find what, it puts things into perspective, into a relationship.  If you are used to (skilled at) thinking in different keys, then playing a piece in A flat will pose no problems that could be traced to having to “rely” on the key signature.  On the contrary, having the key signature, thinking in the key, will help you read because you are familiar with the map, you know what to expect.  – If reading in A flat is a problem for you, then perhaps you are not ready to read a piece in A flat.  Simplifying the notation only covers up that problem. 

I suppose, the worst here is the issue of double sharps and flats, as well as “white key” sharps and flats such as E sharp.  They “simplify” the notation and write the note of the white key.  While it is important for students to learn that E sharp is a white key, it is equally important that they learn that E sharp and F are not the same!  Yes, they are played on the same key, but they are not the same note.  Just like B flat and A sharp are not the same.  I like to do an experiment with a beginning student who has just figured out, by ear, an F major five-finger pattern (black key – yay!) by asking what the notes were.  Many students will call that black key “A sharp” but it takes just a moment for me to explain the concept of the five-finger scale and they understand that it has to be called B flat because we are replacing the B.  What is altered when you use enharmonic notes is the shape of the melody, and, importantly: the visual image (and cue).   Imagine an F sharp minor scale:  harmonic minor will have an E sharp in the scale.  Simplified Notation will write the scale as F#-G#-A-B-C#-D-F-F#.  That is not a scale!  It doesn’t look like a scale, it violates the visual image we have of a scale.  

Or take a highly patterened piece such as Robert Vandall’s Prelude in G major:  The left hand pattern always starts with a half step down, then up again to the first note, then down an octave: G-F#-G-(low)G for instance.  Visually, it is instantly recognizable: one down, one up, octave down.  The pattern has implications for the fingering:  1-2-1-5, with the second finger always a half step below the first – meaning: very next key.  Learning, or sight-playing this piece, we put the visual cue and the fingering together.  In most measures, this pattern is followed by a repetition of the first three notes, creating:  G-F#-G-(low)G-G-F#-G, etc. (Did you notice the palindrome?)  Because we have looked at this and analyzed it,  we now know that we don’t need to “read” the last three notes – because we know that they are the same as the first three.  Actually, we don’t need to read any notes beyond the first because of the pattern!  So, there goes the issue of having to remember accidentals lasting through the end of the measure.   On the second page, there are two measures with (the same) double sharp: G#-Fx-G#.  Visually, we instantly recognize this as “the same” as before = same fingering, etc.  With Simplified Notation, this would look totally different:  G#-G-G# - we would have to think about it to recognize that it is actually the same pattern.  Destroyed is the consistency, the visual cue.  Yes, I am sure students can learn to play this piece with Simplified Notation, but they will have missed out on really understanding this piece.  And I don’t see how the Simplified Notation would have helped with memory.  Understanding patterns (visual, fingering, aural, and more) goes such a long way toward memorizing; I’ve been known to say to my (new) students, when they ask whether they “have to” memorize a piece, “If you really use your brain learning this piece, you cannot help but memorize along the way!”  (We know there’s more to memory than this, but it’s a fantastic and reliable start!)

The “unnecessary complexities of reading music” do not come from the key signature, accidentals, and double sharps and flats.  Music notation, the way it is, is a marvelous system that makes sense.  It has clear-cut rules that are mathematical in nature, they have to do with ratio, absolute distance,  etc. – unlike other musical signs, such as signs that indicate touch, tempo or dynamics:  there are (and should be!) infinite variations of staccato for instance.

Whenever I hear the cry for stricter rules here in town for – take your pick: non-smoking, vicious dogs, speed limits, I think: we do not need stricter rules, we need to enforce the rules we have!  The rules are there, but they need to be obeyed and enforced.

So, for music notation, what we need is not a new system with new rules, we simply need to adhere to the rules we have!  The rules say, for instance, that the barline cancels the accidental(s) of the previous measure.  But what do we have in the next measure?  A gratuitous, “friendly-reminder” natural/sharp/flat.  THAT is what clutters the score!  THAT is what makes reading unnecessarily difficult because it demands our attention, and then the decision that we can ignore the symbol – what a waste of brain power!  I can’t tell you how many times a confused student has asked, “Why is there a natural here in this measure?  I thought the barline cancels the accidental??”  What can I say to the student, other than, “Well, you are right, it is unnecessary and I so wish they didn’t do that but I guess they assume that you are either dumb or not paying attention …” 

When I shared with Mark who has a black belt in Karate my misgivings about this kind of simplification, he immediately had this story:

I told you about sparring with the Tae Kwon Do people.

I was paired with a woman who was perhaps 5 or 6 inches shorter than me. She had beautiful kicks and tremendous flexibility. Her spinning back kick was consistently higher than my head. Her form during the kick and after was atrocious. 

During the kick she was not looking at the target. At best her line of sight was 90º to the side, and at worst she was looking 180º in the wrong direction. Imagine throwing a pitch with a baseball. You look at the catcher’s mitt, you look at the target. You don’t throw the ball with your eyes closed and hope that it heads in the right direction. Without looking at the target you have no control over the kick or pitch.

After throwing the kick she ended up facing away from me. Her back was completely exposed. In the karate-do world I came from the back was a legitimate target. Exposing your back to your opponent was called  mubobi or a defenseless posture. In point sparring you were giving your opponent a free point, on the street you were giving your attacker your life.

While her form was beautiful it was completely incorrect. She had no visual control over where the kick was going, she consistently missed the target, and she finished the kick facing the wrong way. I never had to duck or block her kicks, and I always had a free shot to her back or the back of her head after she completed her spin.

She was offended when I pointed this out, and indignant when I started tapping the back of her head with my fist each time. “That’s not a target!” she would say. Maybe in Tae Kwon Do it isn’t a target, but in the real world it is a target.

Her instructors had done her a huge disservice; they had allowed her to advance through their rank system with the belief that what she was doing was an effective martial arts technique when in fact it was anything but. Her form was beautiful, her style was flawless, but what she was doing wasn’t self defense or martial arts.