Tag: kinesthetic triggers
Young Beginners” “Going for a ride” on the Teacher’s Hands
L.I’s lesson on 9/7/19. She began lessons when she was three and is now nine, going on ten. Chopin Waltz in C# Minor
In several ways, at several different places in the opening few measures she couldn’t get the rhythm correctly or the tempo. There were just too many issues, in very close order, to go over them separately and then link them together into one flow.
Joe: “I know that you are nine now, going on ten, but let’s do what we did when you were three: let’s have you ‘go for a ride’ on my hands.”
In this procedure L. would passively rest the palm of her then, very small hands, on top of my hand, as I played. The motions I made in my arms and hands were transmitted directly to her hands, and therefore her muscle memory. If she kept her hands alert and attentive, without any resistance to what I was doing, even the subtlest motions on my part become conscious kinesthetically to the student. In particular, rhythms and physical coordination between the hands. And it is transmitted as a continuous, and whole experience, rather than in disjointed surges of details. This procedure is useful to the young pianist, who hasn’t had time to develop a critical, analytical style.
Usually I exaggerate certain features of my playing so that they make a clearer kinesthetic impression on the student. For instance, where L. had suddenly doubled the tempo in parts of measures one and two, I made a ritard-like motion in my hand as would a conductor (in leading a large group of players) so as to ritard simultaneously in synch with the others. The same for when she had been too slow in measure 3 and 4. I dramatized slowing my motions so the notes began on time.
In general, the steadiness of the tempo soaked into her hand and through her hands into her entire playing mechanism. The same with regard to the specifics of the more complicated rhythms.
The second phase was like phase one, but she became more of a “teacher” trying to impress upon me, the student, physical dynamics of the mechanical playing the piece. Her role, on top of my hands, went from passive to active. J: “Show me” the rhythm, make it very clear; press down on my hands to make me make the sounds.
We switched positions. I “played” upon her hand as her hands made the sounds.
As a general habit in my teaching, I take a procedure like this, as well as many teaching procedures, and break them down into different shades, angles, stages, situations and perspectives. It is the attempt to form a gestalt out of a finite set of points of view, but the more points in the set (without overdoing it) the greater the likelihood that a whole is created that is greater than the sum of its parts. This keeps the student’s experience of the procedure alive for longer. It does not decay in effectiveness or stale through time by overuse of just one approach.