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    Here are some useful resources to practise rhythms.  They can be used for piano students or classroom contexts.  Try keeping a steady beat with your feet, or for greater complexity, tap the beat with one hand on one knee while keeping the rhythm with the right or left hand.

    There are 10 pages ranging from basic to more complex:

    Rhythm Worksheet No1 Whole, Half, Quarter, Sixteenth Notes

    Rhythm Worksheet No2 ti-tika, tika-ti

    Rhythm Worksheet No3 Alternating ti-tika, tika-ti

    Rhythm Worksheet No4 Basic Dotted Notes tam-ti, tim-ka, three

    Rhythm Worksheet No5 Syncopation Basic

    Rhythm Worksheet No6 Syncopation Advanced

    Rhythm Worksheet No7 Dotted Notes and Syncopation

    Rhythm Worksheet No8 2-Bar Ostinati

    Rhythm Worksheet No9 Whole, Half, Quarter note Rests 2-Bar Ostinati

    Rhythm Worksheet No10 Quarter and Eighth Note Rests


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    Screen Shot 2016-03-13 at 10.25.01 am

    The 4th Finger…
    For a pianist, the fourth finger can be very troublesome, linked by a tendon to the 5th, it doesn’t have the lifting capability of finger 3 or finger 5. For anyone who is new to this, try placing all 5 fingers in a curved manner on a table and just try lifting finger 4 (the ring finger). See what I mean – not so easy!
    When learning to play 3rds or a 3-note chord C-E-G for example, many beginners find this position very difficult.

    Try this method from C.C. Chaung, The Fundamentals of Piano Practise:
    The finger independence and lifting (see below) exercises are performed by first pressing all five fingers down, e.g., from C to G using the RH. Then play each finger three to five times: CCCCDDDDEEEEFFFFGGGG. While one finger is playing, the others must be kept down. Do not press down firmly as this is a form of stress, and will cause fatigue very quickly. Also, you don’t want to grow any more slow muscles than is necessary. All the depressed keys must be completely down, but the fingers are resting on them with only enough downward force to keep the keys down. The gravitational weight of the hand should be enough. Beginners may find this exercise difficult in the beginning because the non- playing fingers tend to collapse from their optimum positions or lift involuntarily, especially if they begin to tire. If they tend to collapse, try a few times and then switch hands or quit; do not keep practicing in the collapsed position. Then try again after a rest. One variation of this exercise is to spread out the notes over an octave. This type of exercise was already in use during F. Liszt’s time (Moscheles). They should be done using the curled as well as all the flat finger positions.

    For the finger independence exercise, try to increase the speed. Note the similarity to PS exercise #1, b. Parallel Set Exercises for Intrinsic Technical Development. For general technique development, exercise #1 is superior to this one. The main objective of exercise #1 was speed; the emphasis here is different – it is for finger independence. Some piano teachers recommend doing this exercise once during every practice session, once you can play it satisfactorily. Until you can play it satisfactorily, you may want to practice it several times at every practice session. Practicing it many times at once and then neglecting it in subsequent sessions will not work.

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    What is the secret to FOCUS?
    There are many distractions in life, often it becomes a barrage of information, lists of things to do, places to be, deadlines to meet. There is physical clutter and emotional clutter, all vying for our time , attention and energy.
    Every day I hear:
    “I’m so busy… we’re all so busy… I haven’t stopped… I just keep going…there’s no time to THINK.
    As a musician, I practice to STILLNESS and THINKING with FOCUS. It involves setting aside time and creating space for observing, understanding, sensing, listening, enjoying, playing or allowing oneself to BE with the music.
    If I choose to play a piece of music I can rush into it, start to finish, glossing over the notes and finger patterns, eager to create the sound I want or alternatively I can go GENTLY.  These days when playing a piece of music I CHOOSE to go gently, with patience and openness. Thousands of notes on the page to a novice may look like jumbled chaos, and finding the ordering of the notes, the correct articulation and phrasing combined with dynamic contour can be overwhelming.
    Next time you start a new piece of music, go gently, one note at a time, listen to how one melodic note leads to another. Notice the flow of tension or support from one phrase to another, and listen intently to the subtle changes in harmony. Repeat the smaller sections many times until it becomes automatic. Then add another layer, some refinement of articulation and colour with dynamics.
    It is the same with composing, it takes patience, time and listening, appreciating the beauty in the small, allowing yourself to enjoy your own time, your ability to interpret and understand.
    Go gently and the music will follow.  This is how I allow myself time and energy to nurture myself. In this I am not being overly BUSY, but FOCUSED in a healthful way.
    Three years ago I started my BIKRAM YOGA journey. For anyone who practices yoga in 40 degree heat, the mental journey is as hard as the physical one. Not before too long I realised that I had an ability to focus which became a source of curiosity. When people were falling out of postures, I would hold on strong, drawing upon inner strength and zoning out on what was happening around me. I just listened to the instruction, moved with the dialogue and held on beyond the pain threshold. After 12 months of classes, my instructor asked me whether I would like to compete in the state yoga championship!
    Whilst deciding it wasn’t the right time to launch into championship preparation mode, I recognised the connection between focus in music learning and the concentration required to perform difficult postures in yoga. The focus came from the same place – a gentleness, a softening, a surrender to time and space in an unforced way. The yogis that I really admired all had this calm presence about them, unhurried, focused and energised but without fuss and busy-ness.

    This is why music is my life, education is my passion and yoga is my discipline to keep everything balanced and in perspective.

    Go gently when you play music, allow yourself to BE.

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    Today at around 11.00 a small message from a year 2 student popped up in my email:

    Hi Ms Ker, I can’t wait for my next piano lesson

    After so many years of teaching students, day in day out, year in year out, this simplest yet most innocent expression of joyful anticipation of a second piano lesson just made my day.

    In the mind of a young child, the excitement of starting piano lessons and being able to “do” something clever, to be able to make music, cannot be underestimated.

    I feel very blessed to be at the junction between the wonderful craft of making music and imparting this to beginners of any age.

    When my parents received a piano handed down from relatives, I was inseparable from it.  The wonder of it’s mechanics and it’s power to produce such complex sounds was a source of immense curiosity to me which has sustained me all my life.

    It still gives me great joy to see this wonder and awe in the conversations I have with students.  I feel that innocent connection to it this day, drawn to it, sharing the magic.

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