tag:blogger.com,1999:blog-16624272828837414542024-03-13T18:47:15.083-07:00Carol Ng's MusicSharing of a music teacher
一位音樂老師的分享Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.comBlogger425125tag:blogger.com,1999:blog-1662427282883741454.post-19448501011955923712022-11-18T22:41:00.003-08:002022-11-18T22:49:30.027-08:00Young Musicians Concert 2022: An adventure of DoRéMiIn two weeks' time, our young musicians will showcase what they have learnt on the stage. On 3 December 2022, 1:30pm, Carol Ng's Music will present the Young Musicians Concert 2022: An adventure of DoRéMi. It will take place at Cynthia Poulton Hall, St Peter's Cathedral. Eighteen young and teenage students will showcase their musical talents and play their favorite music. Besides famous tunes of classical music, movie songs, for instance, Harry Potter, and duos will be performed. Get your tickets at <a href="https://www.eventbrite.com/e/young-musicians-concert-2022-an-adventure-of-doremi-tickets-471654089077" target="_blank">Eventbrite</a>.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimsLJgoDf3ItPeydGunq0HeRWlPQ6JuPP6er-l_LWOAYlkTdyWNhqR13RjAIDZDFTecDI-m5OLUsQxEnNdu12nUJQheAxtLDu6Bh9xutl_3pKY7SFwgt0D8qGNDKbFpiNPNtAxnKGSaS4S-Agh1ZSNiHI5ioaxW9NmT7kKotvwcALc3SLcqQbKGmK5/s616/Concert%20Cover.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="616" data-original-width="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimsLJgoDf3ItPeydGunq0HeRWlPQ6JuPP6er-l_LWOAYlkTdyWNhqR13RjAIDZDFTecDI-m5OLUsQxEnNdu12nUJQheAxtLDu6Bh9xutl_3pKY7SFwgt0D8qGNDKbFpiNPNtAxnKGSaS4S-Agh1ZSNiHI5ioaxW9NmT7kKotvwcALc3SLcqQbKGmK5/s320/Concert%20Cover.jpg"/></a></div>Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com027 King William Rd, North Adelaide SA 5006, Australia-34.9124136 138.59827-63.222647436178846 103.44202000000001 -6.6021797638211552 173.75452tag:blogger.com,1999:blog-1662427282883741454.post-39536332469328449112021-02-04T05:17:00.002-08:002021-02-04T05:17:46.106-08:00CNM Won the 4 Prestigious Prizes in South Australia! CNM榮獲2020年南澳洲四大獎項<div style="background: white; text-align: left;"><div style="text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVTgYkVlM8tY8x5JOIInjgHLwtzskRpCUeFVXBvI6tX5UmpWepD9TeD02ko1IRhVq0ByumjPXf3eJPjeD-2hCGhxkXVf2em42mNmhrGB-bkPEJAP2A37RPiHFiX4MOQRB8b2YwBZv0XrM/s2048/Mumspages-2020.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1448" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVTgYkVlM8tY8x5JOIInjgHLwtzskRpCUeFVXBvI6tX5UmpWepD9TeD02ko1IRhVq0ByumjPXf3eJPjeD-2hCGhxkXVf2em42mNmhrGB-bkPEJAP2A37RPiHFiX4MOQRB8b2YwBZv0XrM/s320/Mumspages-2020.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfqq7JrN-Fi9ZLHMq2dXyXvCw9AVP_pKmvLxqIfNmGddVGnVsWWDGEu9vGBwrR9i2mXnDqHHrzUUdQenNBnW60q_O18X3lUySl9uvplh0I08DIFsWIjSXOjn8QwOxiyJ2BC5YQ5xWp0_w/s2048/Active+Activities-2020.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em;"><img border="0" data-original-height="1448" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfqq7JrN-Fi9ZLHMq2dXyXvCw9AVP_pKmvLxqIfNmGddVGnVsWWDGEu9vGBwrR9i2mXnDqHHrzUUdQenNBnW60q_O18X3lUySl9uvplh0I08DIFsWIjSXOjn8QwOxiyJ2BC5YQ5xWp0_w/s320/Active+Activities-2020.jpg" width="320" /></a><span style="color: #050505; font-family: verdana; font-size: 11.5pt;"><span><a name='more'></a></span>Carol Ng's Music was first started in Hong Kong twenty years ago. Expanded to Hobart, Tasmania in 2017 and Adelaide, South Australia in 2018, we provide the highest standard of music programs to music lovers around the world. We are so proud that we won the following awards for 2020:</span></div><span lang="EN-US" style="color: #050505; font-size: 11.5pt;"><div style="text-align: justify;"><span style="font-family: verdana; font-size: 11.5pt;">#3 Most Popular Service Provider in South Australia</span></div></span><span style="color: #050505; font-family: verdana; font-size: 11.5pt;"><div style="text-align: justify;"><span style="font-size: 11.5pt;">#4 Most Popular Service Provider in the Adelaide Region</span></div></span><span style="color: #050505; font-family: verdana; font-size: 11.5pt;"><div style="text-align: justify;"><span style="font-size: 11.5pt;">#9 Most Popular Kids Activity in the Eastern Suburbs</span></div></span><span style="color: #050505; font-family: verdana; font-size: 11.5pt;"><div style="text-align: justify;"><span style="font-size: 11.5pt;">#24 Most Popular Kids Activity in the Adelaide Region</span></div></span><span lang="EN-US" style="color: #050505; font-size: 11.5pt;"><div style="text-align: justify;"><span style="font-family: verdana; font-size: 11.5pt;">We are going to launch a brand new music program this year, both on and off the lines. Stay in tune with us!</span></div></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVTgYkVlM8tY8x5JOIInjgHLwtzskRpCUeFVXBvI6tX5UmpWepD9TeD02ko1IRhVq0ByumjPXf3eJPjeD-2hCGhxkXVf2em42mNmhrGB-bkPEJAP2A37RPiHFiX4MOQRB8b2YwBZv0XrM/s2048/Mumspages-2020.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><br /></a></div><br /><span style="background-color: white; color: #050505; font-family: verdana; font-size: 11.5pt;"><br /></span></div><div style="background: white; text-align: left;"><span lang="EN-US"><o:p><span style="font-family: verdana;">****************************************<br /></span></o:p></span><span style="font-family: verdana;"><span lang="EN-US">Carol Ng’s Music </span>在二十年前創立於香港,在二零一七和二零一八年,教室分別擴展到塔斯曼利亞的荷伯特和南澳洲的阿德萊德,並為世界各地的音樂愛好者,提供最優質的音樂課程。我們在<span lang="EN-US">2020</span>年度獲得了以下獎項,並為此感到驕傲:<br /></span><span style="font-family: verdana;"><span lang="EN-US">#3</span>南澳洲最受歡迎服務供應商<br /></span><span lang="EN-US" style="font-family: verdana;">#4</span><span style="font-family: verdana;">阿德萊德最受歡迎服務供應商<br /></span><span lang="EN-US" style="font-family: verdana;">#9 </span><span style="font-family: verdana;">東區最受歡迎兒童活動服務供應商<br /></span><span lang="EN-US" style="font-family: verdana;">#24 </span><span style="font-family: verdana;">阿德萊德最受歡迎兒童活動服務供應商<br /></span><span style="font-family: verdana;">我們今年將會推出一個全新的音樂課程,網上和線下也能參與,記緊密切留意我們的最新動向!<br /></span><span lang="EN-US"><o:p><span style="font-family: verdana;"><br /></span></o:p></span></div><div style="background: white; text-align: left;"><span lang="EN-US"><o:p><span style="font-family: verdana;">********************************************* <br /></span></o:p></span><span style="font-family: verdana;"><span lang="EN-US" style="mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">Carol Ng’s Music </span><span lang="ZH-CN">在二十年前创立于香港,在二零一七和二零一八年,教室分别扩展到塔斯曼利亚的荷伯特和南澳洲的阿德莱德,并为世界各地的音乐爱好者,提供最优质的音乐课程。我们在</span><span lang="EN-US" style="mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">2020</span><span lang="ZH-CN">年度获得了以下奖项,并为此感到骄傲:<br /></span></span><span lang="EN-US" style="font-family: verdana;">#3</span><span lang="ZH-CN" style="font-family: verdana;">南澳洲最受欢迎服务供货商<br /></span><span lang="EN-US" style="font-family: verdana;">#4</span><span lang="ZH-CN" style="font-family: verdana;">阿德莱德最受欢迎服务供货商<br /></span><span lang="EN-US" style="font-family: verdana;">#9 </span><span lang="ZH-CN" style="font-family: verdana;">东区最受欢迎儿童活动服务供货商<br /></span><span lang="EN-US" style="font-family: verdana;">#24 </span><span lang="ZH-CN" style="font-family: verdana;">阿德莱德最受欢迎儿童活动服务供货商<br /></span><span lang="EN-US"><o:p><span style="font-family: verdana;"> </span></o:p></span></div><div style="background: white; text-align: left;"><span style="font-family: verdana;">我们今年将会推出一个全新的音乐课程,网上和线下也能参与,记紧密切留意我们的最新动向!</span></div>Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Adelaide SA, Australia-34.9284989 138.6007456-63.238732736178846 103.44449560000001 -6.6182650638211555 173.7569956tag:blogger.com,1999:blog-1662427282883741454.post-73250396016299895792019-07-15T09:30:00.000-07:002019-07-15T09:30:00.767-07:005 tips on how to stay focused during practice<div style="text-align: justify;">
<a href="https://azure.wgp-cdn.co.uk/app-pianist/posts/4x3-stefan-cosma-362616-unsplash-30486.jpg"><img height="253" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/4x3-stefan-cosma-362616-unsplash-30486.jpg?&width=600&height=380&bgcolor=ffffff&mode=crop" width="400" /></a></div>
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Struggling with procrastination? Here's our professional advice on how to stay focused during practise.</div>
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As a pianist, one of the biggest challenges you will come across is your ability to stay focused and to keep your eyes on the prize. In a world where procrastination has stolen many a person's dreams, we refuse to let you lose sight of what you're working towards.</div>
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So, here are Pianist's 5 key tips on how to stay focused during practice. </div>
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1. Practise little and often</div>
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Knowing that you have a long piano practice ahead can really challenge you mentally. It can make you feel exhausted before you’ve even started. Why? Your brain is likely grouping your entire practice into 1 big challenge in your head, making it feel like a scarily daunting prospect.</div>
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The key to staying focused when you do have a long and often crucial practise coming up is to split up this practice into around 2, 3 or 4 smaller practises throughout that day. It’ll allow your brain to view each task separately, making them seem far more achievable. For example, you may want to do 1 hour in the morning, afternoon and evening, totalling 3 hours for the day. If your concentration levels are higher, you may want to increase each practice to 2 hours. </div>
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2. Create an agenda for your practice</div>
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Use the schedule below if you're struggling to create an agenda. As you can see, it's broken up into focused and achievable chunks. The time you spend on each section is variable. It is dependant on each individual person. Do you already have a wide attention span? Extend your time spent on each section to 30 minutes or an hour. Do you have a very limited attention span but need to improve? Perhaps start a little smaller, and gradually expand each day. </div>
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Warm-up – 10 minutes</div>
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Scales and arpeggios – 20 minutes</div>
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Your pieces – 20 minutes (repeat with more pieces if necessary)</div>
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Sight-reading – 10 minutes</div>
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Aural and Viva Voce – 10 minutes</div>
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3. Take. A. Break.</div>
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One huge myth about practising the piano is that, in order to be world class, one must intensely practise non-stop for 6+ hours a day, 7 days a week, 365 days a year. No pressure, right?</div>
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However, using this route to success will only cause a mental burn out.</div>
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Let's not get confused. Yes, some of you will practise for 4+ hours, which - yes - is essential if you want to be a professional. Our piece of advice is that you make sure you are not practising non-stop. Look after yourself and take a break! In order for our brain to maintain a high level of concentration, it needs time to breathe. Breaks are vital to restoring your motivation, especially for long terms goals such as learning a repertoire. “When we work, our prefrontal cortex (the thinking part of your brain) makes every effort to help us execute our goals. But… research shows that briefly taking our minds off the goal can renew and strengthen motivation later on.” – <a href="https://www.psychologytoday.com/gb/blog/changepower/201704/how-do-work-breaks-help-your-brain-5-surprising-answers">Nir Eyal, author.</a></div>
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In essence, taking a break deactivates the brainpower that goes into working on long-term goals. When they are reactivated, science has proved you will be more focused.</div>
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4. Use your breaks wisely</div>
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Taking a break in practice isn’t as simple as sitting down for five minutes and checking your messages. It’s important to maximize the little time you have to deactivate your brain processes. Here are some ideas for you:</div>
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a. Stretch your legs and go for a brief walk around your house or garden. This will help prevent any back and arm pain when practising.</div>
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b. Make yourself a drink. Rather than sitting down and doing nothing, allow your mind to get stuck into a completely different yet simple task. This will exercise other parts of your brain whilst simultaneously resting the areas that have been used.</div>
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c. Get creative! Do you have another hobby outside of playing the piano? Spend a short amount of time engaging in that hobby, whether it be drawing, painting, exercising, or even cooking.</div>
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d. Daydream. Get comfy, stare at the wall, and let your mind take you on a brief journey to where creativity and chaos are available in abundance. Daydreaming gives your prefrontal cortex a break.</div>
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e. If you literally do not have time to take a break, use it to work on something completely different. Just finished practising a piece of music? Use your break to research venues for your next performance, or to check up on the rules and regulations for your piano exam.</div>
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5. Celebrate your progress</div>
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For new learners especially, those first lessons in which you are trying to get your head around a number of things can be tough. One way to make sure you stay focused on your end goal is to celebrate yourself when you make big progress. After all, every single practise session contributes to your final goal, right?</div>
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It may be something as small as treating yourself to a beer, or a bubble bath. No matter how small or big, celebrating the little steps will help keep you focused on the end game during practice.</div>
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Photo credit: <a href="https://unsplash.com/@stefanbc?utm_medium=referral&utm_campaign=photographer-credit&utm_content=creditBadge">Stefan Cosma</a></div>
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Written by Ellie Palmer (16 July 2018)</div>
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From Blogs of Pianist</div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-26617175902122373422019-07-15T05:30:00.000-07:002019-07-15T05:30:04.984-07:00Scoring 101: How to make your sheet music more readable<div style="text-align: justify;">
<a href="https://azure.wgp-cdn.co.uk/app-pianist/posts/Scoring-101-checklist-51027.jpg"><img height="253" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/Scoring-101-checklist-51027.jpg?&width=600&height=380&bgcolor=ffffff&mode=crop" width="400" /></a></div>
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The ultimate guide to a neat and tidy piece of sheet music.</div>
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If you are currently composing or arranging a piece of music, you will know that tidying up your score before completion is a challenge! Our quest for perfection can drive us to tweak, change and edit more than we need to, with no real system in place.</div>
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The checklist below is going to be absolutely invaluable for when you are approaching the finishing stages of your compositional process. Work your way through each point at your own pace, and you’ll finish up with a beautifully neat and tidy score.</div>
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1. First things first….</div>
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The title and composer! The title of your piece will always sit centrally at the top of the page. The name of the composer (most likely you) sits a couple of lines down on the right-hand side in a smaller font. You’ll see in the example below that you also have the option to credit others who may have been involved in your compositional process.</div>
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Example:</div>
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<img height="128" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/titleandcomposernameexample.png" width="400" /></div>
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2. Check your clefs</div>
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Is there a change of clefs halfway through your piece? Did you remember to insert the new clef? Did you remember to revert back to the original clef if you intended to do so?</div>
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3. Time signature</div>
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Scan through your piece carefully and make sure that the beats in each bar add up in correspondence with the time signature. We can sometimes add an extra beat in by accident. It’s easily done!</div>
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4. Spacing</div>
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Before we go ahead with the rest of the checklist, it’s important to make sure that your score can breathe. Make sure you can clearly read every single note, without trouble. Are your left-handed notes edging close to the right-hand stave? Add a little room by moving the two staves a little further apart.</div>
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5. Bar lines and bar numbers</div>
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Double check your score for the following, making sure you have not missed any bar lines that should be there.</div>
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<img src="https://www.pianistmagazine.com/images/image/all%20bar%20line.jpg" /><img height="93" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/allbarline.jpg" width="400" /></div>
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6. Expressions</div>
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Your use of expression throughout your piece can be the difference between a good composition and a brilliant one. Even the smallest of expressions can add so much to a piece of music. Whether you are the intended player of the piece, or whether its intended for someone else, that player needs as much information as possible. So, scan through your piece and make sure you have included every marking you intended to include. Think about the following:</div>
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<li>Dynamics (crescendo, decrescendo, pianissimo, forte)</li>
<li>Tempo markings (adagio, allegro, rubato)</li>
<li>Articulation (staccato, accent)</li>
<li>Ornaments (trill, turn, appoggiatura)</li>
<li>Note relationships (tie, slur, glissando)</li>
<li>Pedal marks</li>
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Dynamics in piano music are usually placed in between the staves. Tempo markings, articulations, and ornaments normally sit above the stave, whilst pedal marks will sit below. What if the dynamic marking physically gets in the way of the music? Place it above the music to avoid any collisions.</div>
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7. Note accuracy</div>
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Forgetting to insert a sharp, flat or natural can affect the player’s – and listener’s - interpretation of the piece. Make sure every single note is marked correctly.</div>
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8. Fingerings</div>
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Inserting a suggested fingering is entirely optional, however it does of course help the player to a large extent. These are most often placed above the stave for right-hand markings, and below the stave for left-hand markings. Think concisely about how you can create the most comfortable and most logical fingering for the player.</div>
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Example:</div>
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9. Does your piece make sense?</div>
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Ask yourself: Could I sight read this? If you are a beginner and you are writing a beginner’s piece, and you have answered no to the above question, then perhaps your piece is not quite ready. The same applies to intermediate and advanced players.</div>
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10. Not sure? Research it</div>
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Whilst we can’t include every single aspect of scoring into this checklist, the internet can. There are plenty of resources online and in books that will cover not only every possible question you have, but that will also cover special considerations when writing music in any style.</div>
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Written by Ellie Palmer (22 October 2018)</div>
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From Blogs of Pianist</div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-48494269861648999862019-07-15T01:00:00.000-07:002019-07-15T01:00:01.530-07:00Struggling to structure your piano practice? Here’s our advice<div style="text-align: justify;">
<a href="https://azure.wgp-cdn.co.uk/app-pianist/posts/Strugglingtostructureyourpianopracticeheresouradvice.jpg"><span style="color: #444444;"><img height="253" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/Strugglingtostructureyourpianopracticeheresouradvice.jpg?&width=600&height=380&bgcolor=ffffff&mode=crop" width="400" /></span></a></div>
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<span style="color: #444444;">Our top tips on what to include in your practice, how long to practise for, and how to maximise your time spent at the piano</span></div>
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<span style="color: #444444;">By the time you have finished reading this article, you are going to walk away with a practice structure all set-out and ready for your next session. You will know:</span></div>
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<li><span style="color: #444444;">what you are going to practise</span></li>
<li><span style="color: #444444;">how long you’ll practise for</span></li>
<li><span style="color: #444444;">how to maximise that time spent at the piano</span></li>
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<span style="color: #444444;">What your schedule consists of will depend on what type of learner you are. Some of you may be studying for an exam, some of you may play as a hobby, and some of you may be working towards becoming a professional pianist. Even if you may not be working towards an exam as such, it’s still advised that you work on scales and arpeggios. Pianist contributor Mark Tanner explains, “Regular scales practice will really improve your technique, and you will be able to read music much easier.” </span></div>
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<span style="color: #444444;">Now that you have a good idea of what will be included in your practice, the next step is to figure out how long to practise for.</span></div>
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<span style="color: #444444;">Practise for 1-2 hours per day</span></h2>
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<span style="color: #444444;">It’s certainly a topic that is high on the list of discussion within the piano world. Just how long should you be practising for? Six hours? One hour? Somewhere in between? In reality, it’s different for every person. One thing we do know is that practising for more than six hours per day actually does more harm than good. That’s according to the head of the piano faculty at Juilliard – Veda Kaplinsky. If you are part of the majority and are working towards an exam - or you are teaching yourself - then between 1 and 2 hours is recommended.</span></div>
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<span style="color: #444444;">10 minutes - warm-up</span></h2>
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<span style="color: #444444;">Like athletes, we need to warm-up before we jump into any practice. Check out this short video below which will walk you through a quick warm-up session.</span></div>
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<span style="color: #444444;">20 minutes - scales and arpeggios</span></h2>
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<span style="color: #444444;">This may not seem like a lot, but 20 minutes gives you ample time to work through a couple of scales from each subsection, whilst at the same time allowing your brain to maintain a high level of focus. Remember that there is no need to cover every single scale in every practice. Simply choose a handful that you are struggling with. Let’s put a scales and arpeggios template together as an example:</span></div>
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<span style="color: #444444;"><b>Similar motion</b>: 1 x major, 1 x minor (harmonic and melodic)</span></div>
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<span style="color: #444444;"><b>Contrary motion:</b> 1 x major, 1 x minor (harmonic only)</span></div>
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<span style="color: #444444;"><b>Chromatic:</b> 1 x hands separately beginning on any note, 1 x contrary motion hands together</span></div>
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<span style="color: #444444;"><b>Thirds:</b> 1 x major, 1 x minor</span></div>
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<span style="color: #444444;"><b>Arpeggios:</b> 1 x major, 1 x minor, 1 x dominant 7th arpeggio, 1 x diminished 7th arpeggio</span></div>
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<span style="color: #444444;">This will fill your 20 minutes nicely. With each new practice session, choose a brand-new set of scales to work on. Always try and choose the ones you struggle with the most!</span></div>
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<span style="color: #444444;">20 minutes - your pieces</span></h2>
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<span style="color: #444444;">As my childhood piano teacher once said to me, “full run-throughs of pieces ought to be saved until the day before your performance!” Whilst she was perhaps a bit over the top in her suggestion of leaving it to the day before (that would make me verynervous), she does make a vital point.</span></div>
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<span style="color: #444444;">Practice is for ironing out mistakes, perfecting tricky runs, and mastering those complex rhythms. At times, you will want to do a full run-through of your piece to help you figure out how far you have progressed, and that is okay. However, that should not happen every practice. </span></div>
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<span style="color: #444444;">Use your 20 minutes efficiently by honing in on one specific area of your first piece that you are really struggling with. Here are some tips on how to get the most out of your practice:</span></div>
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<li><span style="color: #444444;">Forget about the tempo. Slow your practice right down. This will help you shine a metaphorical spotlight onto all the intricate details of that passage. If you have missed an accidental or a rhythmic detail, you’ll find it here.</span></li>
<li><span style="color: #444444;">Practise hands-separately. Each hand needs to be taught its parts separately, at least in more complex music. If you struggle to unite the two hands after doing so, try playing one hand out loud whilst the other taps out its notes on your knee. This will ease your non-playing hand into its partnership with the playing hand.</span></li>
<li><span style="color: #444444;">Play it in a different style. This may sound like an odd piece of advice, but stay with me! Often when we are trying to learn tricky rhythms, we can get frustrated at not being able to perfect it; so much so that it can lead to us absolutely hating that particular section and giving up on it. Sometimes what we need is a fresh perspective on it. Playing the section in a different rhythm, style, or tempo will draw you away from the issues you’re having with it. Once you’ve had a little play around with it, go back to learning the original rhythm and style. </span></li>
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<span style="color: #444444;">Got more pieces to practise? Repeat the 20-minute cycle above.</span></div>
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<span style="color: #444444;">10 minutes - sight-reading</span></h2>
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<span style="color: #444444;">Sight-reading is a great exercise to round off your practice with. There’s no pressure to perfect the piece and it can be a lot of fun. It also gives you the opportunity to test your piano playing skills out on a completely different genre. Try sight reading a bit of jazz or modern pop.</span></div>
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<span style="color: #444444;">10 minutes - aural & viva voce (optional)</span></h2>
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<span style="color: #444444;">For those of you preparing for piano exams – scoring high in these two sections could be the difference between a merit and a distinction! So, make sure you are well drilled. Spend a few minutes practising your knowledge on the pieces before calling in a family member or friend to help you practise your aural. Again, like with the scales, request a tough test. It’s one of the best ways to master your craft.</span></div>
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<span style="color: #444444;">What if I don't have time to practise all in one go?</span></h2>
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<span style="color: #444444;">If you’re lucky enough to have a piano in your house but you’re too busy to sit down for an hour’s practice, try spending just 5 minutes at the piano working on a specific section of a piece. Repeat this a few times throughout the day with the same section. The brain is a complex organ, but what we do know is that the brain focuses much better when we work in spurts. Both of these factors will lead to a much deeper learning experience in comparison to long, drawn-out practice sessions.</span></div>
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<span style="color: #444444;">Your practice schedule in a nutshell:</span></h4>
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<span style="color: #444444;">Warm-up – 10 minutes</span></div>
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<span style="color: #444444;">Scales and arpeggios – 20 minutes</span></div>
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<span style="color: #444444;">Your pieces – 20 minutes (repeat with more pieces if necessary)</span></div>
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<span style="color: #444444;">Sight-reading – 10 minutes</span></div>
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<span style="color: #444444;">Aural and Viva Voce – 10 minutes</span></div>
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<span style="color: #444444;">Try it for yourself. We’d love to know how you get on with this schedule, and whether you find a different schedule more useful! </span></div>
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<span style="color: #444444;">Written by Ellie Palmer (16 January 2019)</span></div>
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<span style="color: #444444;">From Blogs of Pianist</span></div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com2Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-45149157884588025882019-07-14T22:05:00.001-07:002019-07-14T22:05:38.807-07:00What is the best age to start learning the piano?<div style="text-align: justify;">
<a href="https://azure.wgp-cdn.co.uk/app-pianist/posts/Womanandchildplayingthepiano.jpg"><img height="253" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/Womanandchildplayingthepiano.jpg?&width=600&height=380&bgcolor=ffffff&mode=crop" width="400" /></a></div>
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RCM graduate Alec Coles-Aldridge argues that starting early may be your best bet</div>
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In 2013, the Beijing Normal University released the results of a study which concluded that individuals who started learning the piano before the age of seven benefited from advanced cognitive skills later in life. The benefits remained even for those who stopped practising in their teenage years. </div>
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On the contrary, Linda Lorenzo - Director for Learning and Engagement with the Sydney Symphony Orchestra - is a believer that there is no real ideal age. Instead, she advises that the physical nature and interests of the child should be considered. A child who is physically strong might suit a brass instrument. A child with large hands might suit the piano. A child who enjoys the sound of the double bass should begin on the cello before progressing to the double bass when their physique can cope with such a large instrument. </div>
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On the other hand, the Peterson Family Foundation provides a comprehensive list for which instruments suit specific age ranges. The piano is deemed an instrument suitable for the earliest of children; age three-four is considered a good time to begin these lessons. With such diverse and contradicting answers from studies, teachers and education experts, what really is the best age for learning the piano? Does age even matter? </div>
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There are two important topics need to be considered...</div>
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Goals</div>
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What do you want to be able to play on the piano? If your goal is being able to play Chopin’s Raindrop Prelude, any age will work provided you practice regularly. Can you play this piece starting at age ten? Yes. Age fifty? Yes. If your goal is to become a concert pianist, the answer is the earlier the better. Put simply, starting at age five will give you an extra year’s practice than starting at age six, and with committed practice, this will lead to an extra year’s progress. Lang Lang began learning the piano at age three. Sir András Schiff began at age five. Both are undoubtedly highly successful musicians. Can you become a concert pianist starting at age forty? It’s possible, but you need to demonstrate exceptional levels of dedication.</div>
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Commitment</div>
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As with any skill, progress is the result of consistent practice, dedication and hard work. Attending a piano lesson once a week with no practice will result in minimal progress. If you are ready to commit, you will be able to learn the piano. Starting the piano at age two with regular practice will be much more efficient than beginning as a fully grown and mature twenty-year-old with no practice.</div>
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What is the best age to start learning the piano? It’s the same as asking yourself how long a piece of string is. It depends on what you need the string for.</div>
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What you should be asking yourself is this: Am I (or my child) committed enough to achieve my goals on the piano? </div>
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By Alec Coles-Aldridge. Alec is a graduate of the Royal College of Music and studied for a Bachelor of Music Degree.</div>
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Written by Alec Coles-Aldridge (28 Feb 2019)</div>
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From Blogs of Pianist</div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-23454776425855456122019-07-14T22:05:00.000-07:002019-07-14T22:05:26.874-07:005 tips on maximising efficiency in your piano practice<div>
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Pianist and writer Frank Huang dishes out his advice on how to streamline the practice process</div>
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Many of you will have asked yourself: How am I supposed to practise? How can I maximize my time and efficiency on my own? How can I make practice fun and enjoyable? How can I track the progress that I have made throughout the week?</div>
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It can be a huge challenge trying to figure out how to practise efficiently and effectively at the same time. Take a look at our 5 tips to streamlining your practice process below…</div>
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1. Dissect and analyse the details</div>
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I am sure you have heard this tip before––practise hands separately, slowly, and in small bits. I would like to remind readers, however, that this process should be done all the time, regardless of where you are in the learning process. This especially holds true if you are preparing to perform the work in public––it serves as a wonderful review of all the details you have been working on with your teacher.</div>
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Simply put: dissecting the details of a work is like examining and understanding each complex and intricate piece of the puzzle. Without this critical step, one will never have full technical and musical command of the piece.</div>
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2. Examine the piece from a distance</div>
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Sometimes, practising the piece away from the piano can yield more beneficial and creative results. Here is an example:</div>
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If you are trying to figure out the appropriate amount of rubato or flexibility in a certain passage; instead of working at the piano, try singing the melody and tapping the beats on your knees beforehand. This method will allow you to work on the musical issues first without the added challenges of the piano.</div>
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3. Practise the harder passages first</div>
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Not all passages require the same amount and type of practice. Some might be quickly accomplished, whereas others can take weeks to become fully natural. On more difficult passages, practise them first, frequently, and in short bursts.</div>
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4. Perform your pieces often</div>
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How many times has this happened to you? You spend countless hours practising and taking apart a certain passage at home only to find it fall apart during performance. </div>
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Music is very similar to other fields of study in the sense that it takes several repetitions to retain, understand, and process the information. Since it is an applied skills-based activity, studying the piano requires even more patience and discipline. Consider the following:</div>
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Performing can show you what information you have retained (and what needs further improvement) from your earlier sessions. Try performing for yourself, then moving on to family and friends. Playing in more pressurized situations can be revealing as it informs what you have mastered and what needs further work!</div>
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It is important that you go back and forth several times between practising and performing throughout the week. </div>
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<i><i>Watch Frances Wilson discuss the benefits of slow practice, hands separate practice, and thoughtful, reflective listening.</i></i></div>
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5. Manage expectations and take breaks often</div>
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I realise that all of the tips that I mentioned above require tremendous amounts of patience and hard work, but from my previous experiences, I truly believe it to be incredibly rewarding and the quickest way for me to gain an understanding of a piece. Because these efforts require so much concentration, I encourage you to take breaks often, or at the very least, switch to different tasks frequently so that the brain stays fresh. One thing that I like to do is to play through older pieces that I have mastered earlier, or better yet, reading through music that I want to learn at some point. I always find that refreshing.</div>
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To me, practising is an artistic and creative process. Creating and performing art is a long and winding journey, but if you have the patience to stick to the end of the ride, it is incredibly rewarding and fulfilling.</div>
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Written by Frank Huang (20 May 2019)</div>
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from Blog of Pianist</div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com1Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-27938859142675288762019-07-14T09:30:00.000-07:002019-07-14T22:06:17.018-07:00It's never too late to learn...everyone's a winner!<div style="text-align: justify;">
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Classical pianist & columnist Daniel Johnson suggests ways of learning piano later in life</div>
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Coming to the piano later in life or picking it back up after a break, there will always be a sense of what you want to achieve, and the sudden realisation that it is going to be a long journey. But, with the right experiences and lead from your teacher, you will soon find that it’s the sheer enjoyment that is the most important part of all.</div>
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When I perform on prestigious cruise lines – giving up to 6 recitals in 2 weeks – I am lucky to meet a huge variety of people from all walks of life. They all have one thing in common, and that is music, and very often piano; with tales of learning in their formative years and reviving their ambition… or expressing their regret. A moto of mine is that it is never too late to learn anything in life and with perseverance and some patience, the option to enjoy playing music is right there. I always say, whatever level you are at, the most important aspect is that you revel in the pleasure of sitting and playing the piano.</div>
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So, if you’ve come back to playing the piano, what can you do to enhance your experience? An exam, perhaps, or a performance, which many teachers subscribe to in their local practice. Something to consider is perhaps a local competitive music festival.</div>
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'A wonderful sense of achievement'</div>
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As a general overview, a competitive festival will comprise ‘classes’ of all disciplines – I remember doing one for sight reading – and all ages. You play a piece that has been selected by the festival for that particular class and you receive feedback from an adjudicator, in both written and verbal form. These festivals are always very popular in their respective local areas. My recommendation for entering is for an experience which will not only provide you with constructive feedback but also give you a chance to perform – a kind of bridge between taking an exam and playing in a concert. You may win, or you may come last in a class of 10. However, what you will have gained from playing that ‘short piece’ will be a wonderful sense of achievement. Therefore, everyone is a winner at this level of competition – and indeed at any competition. The first prize is the aim, but it doesn’t have to be your goal.</div>
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Piano Meet Up</div>
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If there isn’t a festival in your area, try the Piano Meet Up – sometimes known as a Piano Circle – where you can meet like-minded individuals and share your experience. You’ll be able to play and listen to others, much like a competition but perhaps in a more relaxed atmosphere. You’ll discover all kinds of new music; there may even be evenings which focus on particular composers or styles.</div>
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Holiday music courses</div>
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For those who may like to combine music with a holiday, there is an abundance of holiday music courses – mostly over the summer months – where you can enjoy a break as well as make music and enjoy the company of your fellow course members. I once performed a concert where the participants on the local summer music course attended, so you may even find yourself on an outing to professional concerts with your new-found friends. These courses often include accommodation and half board, signifying an intensive week of focused study which, if you’re returning to the piano, may be the precise lift and support you need.</div>
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As adults there is always an inhibition when learning something new, but with a bit of practice and various encouraging experiences in your learning, you’ll achieve what you intend. So, if you’ve come back to the piano or have decided to finally take your love for music further, take a leap and discover your musical journey.</div>
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By Daniel Johnson (15 August 2018)</div>
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British classical pianist and columnist</div>
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Follow him on Twitter: @pianistuk</div>
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from Blogs of Pianist</div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-1973758079936458322019-07-13T23:13:00.002-07:002019-07-13T23:13:42.779-07:00Mozart’s Diary Where He Composed His Final Masterpieces Is Now Digitized and Available Online<div style="text-align: justify;">
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We have a tendency to regard Wolfgang Amadeus Mozart's music as having emerged fully formed into the world, not least because we hear it performed almost exclusively in a highly polished state of near-perfection. That makes any glimpse into the process of its creation all the more valuable, and the British Library has now provided us with much more than such a glimpse: <a href="http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introduction.html">at its site</a> you can now read Mozart's own <a href="http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introduction.html">thirty-page musical diary</a>, a record of "his compositions in the last seven years of his life" and thus "a uniquely important document" in the history of classical music.</div>
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The British Library notes that, during the period from February 1784 until December 1791 that <a href="http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introduction.html">the diary</a> covers, Mozart "composed many of his best-known works, including his five mature operas, several of his most beautiful piano sonatas, and his last three great symphonies, as well as several famous lesser works."</div>
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The pages you see above and below this paragraph come from his comic opera The Marriage of Figaro. "It was a turbulent time of his life, with financial crises, family tragedy, and his ongoing unsuccessful search for a permanent court position." Enthusiasts will have taken notice that those years also constituted the last seven of his life, before his early death at age 35.</div>
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But the flame that burns twice as bright, to coin a phrase, burns half as long, and we've previously featured here on Open Culture some of the formidable <a href="http://www.openculture.com/2017/09/hear-the-pieces-mozart-composed-when-he-was-only-five-years-old.html">musical</a> <a href="http://www.openculture.com/2013/12/read-an-18th-century-eyewitness-account-of-8-year-old-mozarts-extraordinary-musical-skills.html">accomplishments</a> Mozart attained before even reaching adolescence. But it somehow feels even more of a wonder to see writings in the actual hand of the mature Mozart, at the height of his compositional powers. You can read the musical diary he wrote in two different formats: as a <a href="http://www.bl.uk/onlinegallery/ttp/mozart/accessible/introduction.html">standard web site</a>with details about the viewed pages and historical context from Mozart's life provided below each set of pages, and a <a href="http://www.bl.uk/turning-the-pages/?id=0d3ac4d1-793c-4021-b178-9c666c90f2bc&type=book">zoomable, page-flippable browser</a>with optional audio notes. If you'd like a soundtrack to go with the reading experience, <a href="http://www.openculture.com/2015/07/hear-all-of-mozart-in-a-free-127-hour-playlist.html">a certain 127-hour playlist of Mozart's music</a> suggests itself.</div>
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by Colin Marshall</div>
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from History, Music of Open Culture (5 March, 2018)</div>
Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-3403496644448062222019-07-13T23:13:00.001-07:002019-07-13T23:13:32.602-07:00How ‘America’s Got Talent’ contestant Kodi Lee shattered stereotypes about disabilityIf you haven’t seen Kodi Lee’s May 28 performance on “America’s Got Talent,” it’s worth a watch.<br />
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The 22-year-old Lee is blind and has autism. His rendition of Leon Russell’s “A Song for You” brought the crowd to its feet – and thrilled viewers at home.<br />
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“Loved this moment so much! Stood up and cheered in my living room!” Oprah tweeted.<br />
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Much of the media coverage portrayed Lee as someone who, in developing his musical ability to such a high level, overcame all odds – a common though sometimes troublesome trope used to describe people with disabilities who achieve any measure of success.<br />
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Lee is certainly an exciting talent. But as someone who teaches a course on the intersection of disability and music, I was moved by other aspects of Lee’s performance as well.<span style="background-color: white;"><br />
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One challenge for people with disabilities can be that others tend to conflate their disability with their personality and identity. Their disability becomes the defining aspect of who they are, which can prevent people from realizing that those with disabilities can have rich interior lives.<br />
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So listening to Lee sing about love – mature, adult love – I heard a 22-year-old man whose voice and delivery brimmed with emotion and rang with authenticity.<br />
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“I’ve been so many places in my life and time,” he begins. “We’re alone now and I’m singing this song to you,” he croons, evoking deep intimacy and connection.<br />
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Infantilizing and de-sexualizing people with disabilities is still commonplace – as though physical or intellectual disability should necessarily exclude the ability to feel desire and the longing to be desired.<br />
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Lee shatters these notions. To sing these lines believably means to have lived them or to have imagined their truth.<br />
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Perhaps the most joyful aspect of Kodi Lee’s performance, however, is rooted in the dimension of time.<br />
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Philosopher and disability theorist Licia Carlson has written that “the experience of disability may be defined in negative terms when people fail to live according to what is considered to be normal time.”<br />
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In other words, because many tasks can take longer for someone with a disability, keeping pace can feel like a constant struggle.<br />
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This is where music can be such a beautifully transporting experience. It has its own time that’s not tied to that of the real world. With its tempo, rhythm and dramatic pacing, music creates its own temporal universe.<br />
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While listening to Lee perform, everyone in the audience was listening along at his speed, which, as the performer, he controlled.<br />
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It was a rare opportunity for disabled and non-disabled to be fully present together, under the same umbrella of time and space.<br />
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Finally, I think it’s important to return to the title of the show: “America’s Got Talent.”<br />
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After the Industrial Revolution, the ability to contribute labor and earn a paycheck became defining features of what it meant to be American.<br />
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If being a “true” American traditionally implied independence and autonomy, this one element of national identity alone could be enough to stigmatize people with disabilities.<br />
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Kodi Lee belted out an overwhelming assurance – as if it should have ever been needed – that a blind man with autism is also included in the definition of America.<br />
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Author: Stan Link<br />
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from Arts and Culture, the Conversation (5 June, 2019)Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-72757339818345969542019-07-13T23:13:00.000-07:002019-07-13T23:13:17.309-07:00The Benefits of Playing Music Help Your Brain More Than Any Other ActivityLearning an instrument increases resilience to any age-related decline in hearing.<br />
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Brain training is big business. Companies like BrainHQ, Lumosity, and Cogmed are part of a multimillion-dollar business that is expected to surpass $3 billion by 2020. But does what they offer actually benefit your brain?<br />
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Researchers don't believe so. In fact, the University of Illinois determined that there's little or no evidence that these games improve anything more than the specific tasks being trained. Lumosity's maker was even fined $2 million for false claims.<br />
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So, if these brain games don't work, then what will keep your brain sharp? The answer? Learning to play a musical instrument.<br />
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Why Being a Musician Is Good for Your Brain<br />
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Science has shown that musical training can change brain structure and function for the better. It can also improve long-term memory and lead to better brain development for those who start at a young age.<br />
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Furthermore, musicians tend to be more mentally alert, according to new research from a University of Montreal study.<br />
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"The more we know about the impact of music on really basic sensory processes, the more we can apply musical training to individuals who might have slower reaction times," said lead researcher Simon Landry.<br />
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"As people get older, for example, we know their reaction times get slower," said Landry. "So if we know that playing a musical instrument increases reaction times, then maybe playing an instrument will be helpful for them."<br />
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Previously, Landry found that musicians have faster auditory, tactile, and audio-tactile reaction times. Musicians also have an altered statistical use of multisensory information. This means that they're better at integrating the inputs from various senses.<br />
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"Music probably does something unique," explains neuropsychologist Catherine Loveday of the University of Westminster. "It stimulates the brain in a very powerful way because of our emotional connection with it."<br />
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Unlike brain games, playing an instrument is a rich and complex experience. This is because it's integrating information from the senses of vision, hearing, and touch, along with fine movements. This can result in long-lasting changes in the brain. These can be applicable in the business world.<br />
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Changes in the Brain<br />
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Brain scans have been able to identify the difference in brain structure between musicians and non-musicians. Most notably, the corpus callosum, a massive bundle of nerve fibers connecting the two sides of the brain, is larger in musicians. Also, the areas involving movement, hearing, and visuospatial abilities appear to be larger in professional keyboard players.<br />
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Initially, these studies couldn't determine if these differences were caused by musical training or if anatomical differences predispose some to become musicians. Ultimately, longitudinal studies showed that children who do 14 months of musical training displayed more powerful structural and functional brain changes.<br />
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These studies prove that learning a musical instrument increases gray matter volume in various brain regions, It also strengthens the long-range connections between them. Additional research shows that musical training can enhance verbal memory, spatial reasoning, and literacy skills.<br />
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Long-Lasting Benefits for Musicians<br />
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Brain-scanning studies have found that the anatomical change in musicians' brains is related to the age when training began. It shouldn't be surprising, but learning at a younger age causes the most drastic changes.<br />
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Interestingly, even brief periods of musical training can have long-lasting benefits. A 2013 study found that even those with moderate musical training preserved sharp processing of speech sounds. It was also able to increase resilience to any age-related decline in hearing.<br />
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Researchers also believe that playing music helps speech processing and learning in children with dyslexia. Furthermore, learning to play an instrument as a child can protect the brain against dementia.<br />
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"Music reaches parts of the brain that other things can't," says Loveday. "It's a strong cognitive stimulus that grows the brain in a way that nothing else does, and the evidence that musical training enhances things like working memory and language is very robust."<br />
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Other Ways Learning an Instrument Strengthens Your Brain<br />
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Guess what? We're still not done. Here are eight additional ways that learning an instrument strengthens your brain.<br />
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1. Strengthens bonds with others. This shouldn't be surprising. Think about your favorite band. They can only make a record when they have contact, coordination, and cooperation with one another.<br />
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2. Strengthens memory and reading skills. The Auditory Neuroscience Laboratory at Northwestern University states this is because music and reading are related via common neural and cognitive mechanisms.<br />
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3. Playing music makes you happy. McMaster University discovered that babies who took interactive music classes displayed better early communication skills. They also smiled more.<br />
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4. Musicians can process multiple things at once. As mentioned above, this is because playing music forces you to process multiple senses at once. This can lead to superior multisensory skills.<br />
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5. Music increases blood flow in your brain. Studies have found that short bursts of musical training increase the blood flow to the left hemisphere of the brain. That can be helpful when you need a burst of energy. Skip the energy drink and jam for 30 minutes.<br />
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6. Music helps the brain recover. Motor control improved in everyday activities with stroke patients.<br />
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7. Music reduces stress and depression. A study of cancer patients found that listening to and playing music reduced anxiety. Another study revealed that music therapy lowered levels of depression and anxiety.<br />
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8. Musical training strengthens the brain's executive function. Executive function covers critical tasks like processing and retaining information, controlling behavior, making decisions, and problem solving. If strengthened, you can boost your ability to live. Musical training can improve and strengthen executive functioning in both children and adults.<br />
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And, to wrap up, check out this awesome short animation from TED-Ed on how playing an instrument benefits your brain.<br />
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Correction: An earlier version of this column misstated the name of the brain-training program Lumosity.<br />
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by John Rampton<br />
from inc.com (21 Aug, 2017)<br />
Image: Getty</div>
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Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-56961868340946393342019-07-13T04:30:00.000-07:002019-07-13T06:22:12.037-07:004 ways Dads can support their piano-playing kids<div class="mb-4" style="background-color: white; box-sizing: border-box; color: #212529; font-family: "Open Sans", sans-serif; font-size: 16px; line-height: 1.7 !important; margin-bottom: 1.5rem !important;">
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If your child has taken a liking to the piano, here are 4 ways that you can support them along their journey.<br />
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Watching your kids excel in various hobbies really is one of the biggest joys a father can feel. Not many feelings beat it. It’s really important that fathers support them in their passions in the right way. So, if your child has taken a liking to the piano, here are 4 ways that you can support them along their journey.<br />
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1. Focus on the fun<br />
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It is easy for children to forget why they got involved in performing arts in the first place. When the routine of their commitments – plus school, friends and family pressures – kicks in and they start to get serious about it, motivation can be impacted by extra pressure. Enjoyment then often falls to the wayside. Encourage them to share one great thing they enjoyed about their lesson when you pick them up afterwards.<br />
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2. Align your best intentions with their teacher<br />
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Often, parents have the best intentions to support their children, but unknowingly undo the work their teachers are achieving in the lesson with one word or question. Have a chat with your children’s teacher to learn what type of approach, feedback, encouragement and values they are working on. Strive to align your comments, feedback and questions with these.<br />
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3. Let children be children<br />
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When children’s talent develops or starts to show, it can be tempting for parents to want to give their child every opportunity to work on their craft. This does not have to translate into rehearsals 24 hours a day! Ensure kids have balance in their lives and get enough physical, psychological and emotional recovery. This includes social time out with their peers. Without a conscious approach to this, young talented students can burn out before they reach adulthood. Additionally, children and adolescents may want to explore other activities. This is OK and not a waste of time, resources, or money that have been invested to-date. Sometimes interests change and it’s important to support this exploration.<br />
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4. Don’t be a pushy stage parent<br />
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It’s tempting to want to get heavily involved in your child’s training and career development. While being present and supportive is important, ensure that you leave the teaching and career guidance to the professionals. However, this doesn’t mean not asking questions or inquiring about activities or decisions; just ensure you don’t overstep your role.<br />
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This article is taken from Gene Moyle’s June 2019 issue of Consulting Psychology Journal: Practice & Research, published by the Society of Consulting Psychology. This issue focuses on coaching elite performers in a wide range of occupational settings – performing arts, business, athletics, military and medicine.<br />
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Image: Getty<br />
From Pianist (10 July 2019)Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-26116888972420929372019-07-13T04:17:00.000-07:002019-07-13T06:23:42.681-07:002019柴科夫斯基鋼琴大賽傳重大失誤!2019年柴科夫斯基鋼琴決賽於昨日展開,原本就飽受爭議的賽事又傳出重大失誤。<div style="background-color: white; box-sizing: border-box; color: #505050; font-family: sans-serif, "PingFang TC", "Noto Sans TC", "Noto Sans SC", "Microsoft JhengHei", Arial; font-size: 20px; line-height: 32px; text-align: justify;">
<img alt="2019æ´ç§å¤«æ¯åºé¼ç´å¤§è³½å³é大失誤ï¼" height="193" src="https://storage.muzikair.com/articles/8e06e11c-4547-4564-a7a4-07bee89299d7/qdT27iJ6y5S8jU74QiYLIFmNJGQ5U80K0GFuhFPL.jpeg" width="400" /></div>
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中國參賽者安天旭(An Tianxu)演出時,曲目順序報錯,原訂的柴科夫斯基第一號鋼琴協奏曲變成拉赫曼尼諾夫帕格尼尼主題狂想曲,而不懂俄語的安天旭在播報員播報時渾然不知,直到指揮開始時才慌亂地跟上——熟悉兩首曲目的人都知道,柴的鋼協至少有四小節的前奏,而拉赫曼尼諾夫的帕格尼尼則是在第一小節就必須演奏。<div style="background-color: white; box-sizing: border-box; color: #505050; font-family: sans-serif, "PingFang TC", "Noto Sans TC", "Noto Sans SC", "Microsoft JhengHei", Arial; font-size: 20px; line-height: 32px; text-align: justify;">
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<br /><br />▲ 兩首差異甚大的曲目<br /><br /><br />安天旭雖然完整演完曲目,但在最一開始顯然措手不及,比賽過後,柴賽評審之一馬祖耶夫(Denis Matsuev)詢問安天旭是否要再演奏一次,但沮喪不已的安天旭拒絕了。<br /><br /><br />大會公告表示,官方公告錯置譜序的工作人員已經被開除。<br /><br /><br />轉載自「MUZIKAIR」(2019/06/27)Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-92162899770150094172019-07-13T03:57:00.000-07:002019-07-13T06:25:23.039-07:00What are Hanon exercises and how can they help me improve?<br /><a href="https://azure.wgp-cdn.co.uk/app-pianist/posts/Hanonexercisesheaderphoto.jpg"><img src="https://azure.wgp-cdn.co.uk/app-pianist/posts/Hanonexercisesheaderphoto.jpg?&width=600&height=380&bgcolor=ffffff&mode=crop" /></a><br /><br /><br /><br />Hanon exercises help drastically improve THREE key areas of your playing...<br /><br /><br />Hanon exercises feature in households all around the globe, and for good reason. These piano exercises, which have been in existence for over 150 years, are proven to massively improve THREE key areas of your piano playing. In this article, we’re going to tell you what Hanon exercises are, how they can help you improve, and we’re also going to give you some of your own to try out. <br /><br /><br /><a name='more'></a><br />What are Hanon exercises?<br /><br /><br />Created by French piano pedagogue and composer Charles Louis-Hanon, Hanon exercises consist of independent finger practice. The finger exercises train the pianist in speed, agility, strength and precision of all the fingers, as well as training wrist flexibility. Hanon himself developed 60 finger exercises and assembled them into a book called The Virtuoso Pianist - first published in 1873. Split into three different levels of difficulty they are suitable for all levels and abilities.<br /><br /><br />This particular piano exercise has always had its supporters over the years, despite a fair amount of backlash over the safety of the exercises. In the same way that sports exercises can be harmful to your muscles if done wrong, Hanon exercises can also cause harm if not conducted in the right way. HOW you go about using these exercises is far more important than WHAT exercises you use. We’ll show you how to perform them safely and effectively.<br /><br /><br />DID YOU KNOW? One such fan of Hanon’s work was the great Sergei Rachmaninoff. He claimed that these exercises were the reason why Russian conservatoires delivered an explosion of piano virtuosi in Rachmaninoff’s time.<br /><br /><br /><br /><br /> How can they help me improve?<br /><br /><br />Your hands are the tool for playing the piano, right? To play to the best of your ability, you need to sharpen that tool. Hanon exercises help train and strengthen your hand by individually working on each finger separate from the rest. The piano technique helps to eradicate any unevenness in the robustness of your fingers. Here are THREE AREAS of your playing that will see massive improvements...<br /><br /><br /><img height="148" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/2threewaysinwhichthehanonfingerexerciseswillhelpyouimprove-1.jpg" width="400" /><br /><br /><br /><br /><br /><br />3 essential Hanon exercises to try out<br /><br />Exercise no 1 in D<br /><br /><br /><img height="126" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/hanonexercise1inD.jpg" width="640" /><br /><br /><br />This is the very first exercise from Charles Louis-Hanon’s 60 Hanon exercises. It is the easiest of the 60, and helps improve finger strength and independence, as well as wrist and forearm strength. Try hands separately before moving onto hands together. Only four bars are shown in the image above, but in total this exercise consists of 30 bars. Simply continue the pattern to complete the exercise.<br /><br /><br /><br /><br /><br />TIP: Each time you reach the top of the phrase, drop your wrist. As you descend, gradually raise your wrist back up. Repeat this when you reach the bottom of the phrase.<br /><br /><br /><br /><br /><br /><br />Exercise no 6 in F<br /><br /><br /><img height="118" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/Exerciseno6inF.jpg" width="640" /><br /><br /><br />Exercise no 6 is ideal for improving wrist and forearm strength. Similarly to the first exercise, there are 30 bars in total. Continue the pattern to complete the exercise. It’s about two minutes in total. This will massively aid your endurance when playing repertoire later in your piano practice.<br /><br /><br /><br /><br /><br />TIP: Instead of using your fingers as the main strength in this exercise, use your forearm. This is much safer! Place your free hand just underneath your forearm, and guide your wrist as it rotates from side to side.<br /><br /><br /><br /><br /><br /><br />Graham Fitch’s adaptation of a Hanon exercise <br /><br /><br /><br /><br /><br />Called the five-finger exercise, Piano teacher and regular Pianist contributor Graham Fitch has altered the original principle of Hanon in order to create an exercise that focuses purely on finger strength and independence. Watch the video above to learn this fantastic five-finger exercise!<br /><br /><br /><br /><br /><br /><br />Despite Hanon exercises having their fair share of critics over the years, if done properly they can improve your technical level substantially. Always make sure you are focusing on your form. These exercises are highly recommended by piano teachers around the globe, so get practising!<br /><br /><br /><br /><br /><br /><br />Written by Ellie Palmer (19 February 2019)<br /><br /><br />From "Pianist"Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Park SA 5068, Australia-34.9202316 138.65643369999998-34.946271100000004 138.61609319999997 -34.8941921 138.6967742tag:blogger.com,1999:blog-1662427282883741454.post-30988297987802695302019-07-12T22:31:00.001-07:002019-07-13T06:26:28.317-07:00This is why Hanon exercises are a waste of time (and possibly dangerous)An interesting article and continuous debate about Hanon's studies.<div class="ql-align-justify">
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This is why Hanon exercises are a waste of time (and possibly dangerous)<br /> <a href="https://azure.wgp-cdn.co.uk/app-pianist/posts/SorewristcHomeGymr.jpg"><img src="https://azure.wgp-cdn.co.uk/app-pianist/posts/SorewristcHomeGymr.jpg?&width=600&height=380&bgcolor=ffffff&mode=crop" /></a><br /><br /><br /><br />Want to stir up a group of mild-mannered piano teachers? Ask them about Hanon exercises<br /><br /><br />Designed by French composer Charles Louis-Hanon, these finger exercises have been revered and reviled since they were first released in 1873 in a book titled The Virtuoso Pianist. Pianists and teachers who use Hanon claim the exercises improve three things: finger strength and independence, wrist and forearm strength, and endurance. Conversely, those pianists and teachers who reject Hanon claim that the exercises are at best useless and at worst, dangerous.<br /><br /><br />As a lifelong pianist with 26 years of teaching experience, I am a committed member of the latter group. Why? My reasons are best explained by examining the three things Hanon supporters claim the exercises improve:<br /><br /><br /><br /><br /> Myth #1 - Finger strength and independence<br /><br /><br />Fact: Anything that moves the fingers on the keys will build finger strength and independence. The most useful and effective way to do this is to practise scales, chords, and arpeggios every day. They are the building blocks of western piano music and they are patterns that pianists encounter in repertoire every day. Hanon exercises don’t improve on them. And beyond a good regimen of scales, chords, and arpeggios? The best way to learn technique is through repertoire, not through repetitive exercises. My undergraduate professor taught me this during my first semester at university. I needed to work on left-hand finger independence. He assigned me a Chopin Etude. By the time the Etude was ready to perform, my technique had improved and I had something gorgeous to play. I’ve seen this work dozens of times in my own teaching. When a student falls in love with a piece, she’ll work like mad to perfect it. The motivation to conquer the music leads to a much more thorough technical grounding than any stand-alone exercise. <br /><br /><br /><br /><a href="http://bit.ly/sheetmusicstore"><img height="426" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/sheetmusic2.jpg" width="640" /></a><br /> <br /> Myth #2 - Wrist and forearm strength<br /><br /><br />Fact: One of the most dangerous myths of piano playing is that it requires an enormous amount of forearm strength. In reality, the arms should be relaxed conduits of the power that comes from the pianist’s lower body. Yes, you read that correctly. If you don’t have enough power at the keyboard, check your feet. Are they firmly on the ground? Is your back straight? Are your shoulders relaxed or are they up around your ears? Make sure you’re playing from the whole body, not the forearm. The arms just carry the energy from the body to the keyboard. Focusing on forearm strength leads to tension, forearm injury, and an unmusical, aggressive tone.<br /><br /><br />Here's how to avoid tension in your playing... the correct way<br /><br /><br />Myth #3 – Endurance<br /><br /><br />Fact: Any long musical passage or composition will build endurance. Ask yourself, which would you like to play perfectly when you master it? A lovely Etude or an exercise?<br /><br /><br /><img height="479" src="https://azure.wgp-cdn.co.uk/app-pianist/posts/pianomusicetude.jpg" width="640" /><br /><br /><br />True endurance means learning to be intense when you need to be, and to release where and when you can. Rote exercises encourage pianists to keep moving without taking necessary pauses. This leads to tension and injury. <br /><br /><br />In addition to these reasons, I offer one more: Hanon exercises are simply not musical. As musicians, we train the ear as much as - or more than - we train the hands. A side-effect of unmusical exercises is that we stop listening. And when we stop listening, we stop being musical. Perhaps we need to look at the reasons we’re playing the piano. Are we trying to become better technicians or are we working to beautifully recreate music we love? When we practise repertoire we long to play - accompanied by a steady diet of scales, chords and arpeggios - we’re being trained as musicians, not technicians. And isn’t this the reason we chose to become pianists?<br /><br /><br /><br /><br /><br /><br />by Rhonda Rizzo (27 June 2019)<br /><br /><br />From PianistCarol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-211567840616852272019-07-12T22:16:00.002-07:002019-07-13T06:27:56.596-07:00A Whole New World – Claire & Dave CrosbyDad sings with his 4 year's old. Another sweetie one. 😍😍<br /><br /><div class="separator" style="clear: both;">
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Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com053 East Terrace, Kensington Gardens SA 5068, Australia-34.924757899140552 138.66556767304689-34.93777739914055 138.64539767304689 -34.911738399140553 138.6857376730469tag:blogger.com,1999:blog-1662427282883741454.post-70630263443950860682019-07-12T22:02:00.002-07:002019-07-13T06:31:02.188-07:00Doctors Now Prescribing Music Therapy for Heart Ailments, Brain Dysfunction, Learning Disabilities, Depression, PTSD, Alzheimers, Childhood Development and MoreI just came across this article this morning. Music has been known for beneficial for our brain. But another article further advocated that music has positive impact for therapeutic use as well.<br /><br /><br /><div>
Written by Didge Project director AJ Block and guest author Gracy Liura.<br /><br /><br />By <a href="https://didgeproject.com/author/ajblock/">AJ Block</a> (March 10, 2016)<br /><div class="meta-info" style="background-color: rgba(255, 255, 255, 0.75); box-sizing: border-box; color: #444444; font-family: "Open Sans", arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 15px;">
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<br /><br />Music has proven time and again to be an important component of human culture. From its ceremonial origin to modern medical usage for personal motivation, concentration, and shifting mood, music is a powerful balm for the human soul. Though traditional “music therapy” encompasses a specific set of practices, the broader use of music as a therapeutic tool can be seen nowadays as doctors are found recommending music for a wide variety of conditions.<br /><br /><br /><a name='more'></a><br /><br /> 1 Music Helps Control Blood Pressure and Heart-Related Disorders<br /><br /><a href="http://www.telegraph.co.uk/news/health/news/11660663/classical-music-blood-pressure-heart-disease.html"><img height="249" src="https://didgeproject.com/wp-content/uploads/2016/03/heart-doppel_2630407b.jpg" width="400" /></a><br /> <br /><br /><br />According to The <a href="http://www.telegraph.co.uk/news/health/news/11660663/classical-music-blood-pressure-heart-disease.html">Cardiovascular Society of Great Britain</a>, listening to certain music with a repetitive rhythm for least ten seconds can lead to a decrease in blood pressure and a reduced heart rate. Certain classical compositions, if matched with human body’s rhythm, can be therapeutically used to keep the heart under control. The Oxford University study states, “listening to music with a repeated 10-second rhythm coincided with a fall in blood pressure, reducing the heart rate” and thus can be used for overcoming hypertension. <br /><br /><br /><br /><br /><br /><br /> 2 Listening and Playing Music Helps Treat Stress and Depression<br /><br /><a href="https://didgeproject.com/wp-content/uploads/2015/12/Music_listener.jpg"><img height="266" src="https://didgeproject.com/wp-content/uploads/2015/12/Music_listener-640x426.jpg" width="400" /></a><br /> <br /> <br /><br /><br />When it comes to the human brain, music is one of the best medicines. A <a href="https://www.psychologytoday.com/blog/your-musical-self/201101/why-music-listening-makes-us-feel-good">study at McGill University in Canada</a> revealed that listening to agreeable music encourages the production of beneficial brain chemicals, specifically the “feel good” hormone known as dopamine. Dopamine happens to be an integral part of brain’s pleasure-enhancing system. As a result, music leads to great feeling of joy and bliss. <br /><br /><br />It’s not only listening to music that has a positive effect on stress and depression. The <a href="https://www.nammfoundation.org/articles/2014-06-01-why-play-music-adults">Namm Foundation</a> has compiled a comprehensive list of benefits of playing music, which includes reducing stress on both the emotional level and the molecular level. Additionally, studies have shown that adults who play music produce higher levels of Human Growth Hormone (HgH), which according to <a href="http://www.webmd.com/fitness-exercise/human-growth-hormone-hgh">Web MD</a>, is a necessary hormone for regulating body composition, body fluids, muscle and bone growth, sugar and fat metabolism, and possibly heart function. <br /><br /><br />For more on how music can be composed to benefit the brain, read about <a href="https://didgeproject.com/therapeutics/states-of-consciousness-and-brainwave-entrainment/">States of Consciousness and Brainwave Entrainment</a>. <br /><br /><br /><br /><br /><br /><br /> 3 Music Therapy Helps Treat Alzheimer’s Disease<br /><br /><a href="https://didgeproject.com/wp-content/uploads/2016/03/alzheimers.jpg"><img height="299" src="https://didgeproject.com/wp-content/uploads/2016/03/alzheimers-640x479.jpg" width="400" /></a><br /> <br /> <br /><br /><br />Music therapy has worked wonders on patients suffering from Alzheimer’s disease. With Alzheimer’s, people lose their capacity to have interactions and carry on with interactive communications. According to studies done in partnership with the <a href="http://www.alzfdn.org/EducationandCare/musictherapy.html">Alzheimer’s Foundation of America</a>, “When used appropriately, music can shift mood, manage stress-induced agitation, stimulate positive interactions, facilitate cognitive function, and coordinate motor movements.” <br /><br /><br /><br /><br /><br /><br /> 4 Studying Music Boosts Academic Achievement in High Schoolers<br /><br /><a href="https://www.arts.gov/sites/default/files/Arts-At-Risk-Youth.pdf"><img height="400" src="https://didgeproject.com/wp-content/uploads/2016/03/Arts-At-Risk-Youth-2-640x1012.jpg" width="252" /></a><br /> <br /><br /><br />Early exposure to music increases the plasticity of brain helping to motivate the human brain’s capacity in such a way that it responds readily to learning, changing and growing. “UCLA professor James S. Catterall <a href="http://articles.latimes.com/1997/jul/28/local/me-17201">analyzed the academic achievement</a> of 6,500 low-income students. He found that, by the time these students were in the 10th grade, 41.4% of those who had taken arts courses scored in the top half on standardized tests, contrasted with only 25% of those who had minimal arts experience. The arts students also were better readers and watched less television.” This goes to show that in the formative stages of life, kids who study music do much better in school. <br /><br /><br /><br /><br /><br /><br /> 5 Playing Guitar (and Other Instruments) Aids in Treating PTSD<br /><br /><a href="http://www.guitars4vets.org/"><img height="190" src="https://didgeproject.com/wp-content/uploads/2016/03/guitarsforvets-640x304.jpg" width="400" /></a><br /> <br /><br /><br /><a href="http://www.hsrd.research.va.gov/news/research_news/music-010614.cfm">The U.S. Department of Veterans Affairs</a> shared a study in which veterans experiencing Post Traumatic Stress Disorder (PTSD) experienced relief by learning to play guitar. The organization responsible for providing guitars, <a href="http://www.guitars4vets.org/">Guitars For Vets</a> “enhances the lives of ailing and injured military Veterans by providing them free guitars and music instruction.” Playing music for recovery from PTSD resembles traditional music therapy, in which patients are encouraged to make music as part of their healing process. Guitar is not the only instrument that can help PTSD. In fact, <a href="http://www.operationwearehere.com/MusicTherapy.html">Operation We Are Here</a> has an extensive list of Therapeutic Music Opportunities For Military Veterans. <br /><br /><br /><br /><br /><br /><br /> 6 Studying Music Boosts Brain Development in Young Children<br /><br /><a href="http://portlandchamberorchestra.org/what-happens-when-the-brain-plays-a-musical-instrument/"><img height="400" src="https://didgeproject.com/wp-content/uploads/2016/03/1-PlayingInstrument.jpg" width="375" /></a><br /> <br /><br /><br />A <a href="http://www.universityherald.com/articles/9324/20140509/music-blood-brain-liverpool-language-hemisphere-psychology.htm">research-based study undertaken at the University of Liverpool</a> in the field of neuroscience has light to shed on the beneficial effects of early exposure to music. According to the findings, even half an hour of musical training is sufficient to increase the flow of blood in the brain’s left hemisphere, resulting in higher levels of early childhood development. <br /><br /><br />The <a href="http://portlandchamberorchestra.org/what-happens-when-the-brain-plays-a-musical-instrument/">Portland Chamber Orchestra</a> shares, “Playing a musical instrument involves multiple components of the central (brain and spinal cord) and peripheral (nerves outside the brain and spinal cord) nervous systems. As a musician plays an instrument, motor systems in the brain control both gross and fine movements needed to produce sound. The sound is processed by auditory circuitry, which in turn can adjust signaling by the motor control centers. In addition, sensory information from the fingers, hands and arms is sent to the brain for processing. If the musician is reading music, visual information is sent to the brain for processing and interpreting commands for the motor centers. And of course, the brain processes emotional responses to the music as well!” <br /><br /><br /><br /><br /><br /><br /> 7 Music Education Helps Children Improve Reading Skills<br /><br /><a href="https://didgeproject.com/wp-content/uploads/2016/03/child-read.jpg"><img height="264" src="https://didgeproject.com/wp-content/uploads/2016/03/child-read-640x423.jpg" width="400" /></a><br /> <br /> <br /><br /><br /><a href="https://www.sciencedaily.com/releases/2009/03/090316075843.htm">Journal Psychology of Music</a> reports that “Children exposed to a multi-year program of music tuition involving training in increasingly complex rhythmic, tonal, and practical skills display superior cognitive performance in reading skills compared with their non-musically trained peers.” In the initial stages of learning and development, music arouses auditory, emotional, cognitive and visual responses in a child. Music also aids a child’s kinesthetic development. According to the research-supported evidence, a song facilitates language learning far more effectively than speech. <br /><br /><br /><br /><br /><br /><br /> 8 Listening To Music Helps Improve Sleep<br /><br /><a href="https://upload.wikimedia.org/wikipedia/commons/b/b5/Sleep_woman.jpg"><img height="266" src="https://didgeproject.com/wp-content/uploads/2016/03/Sleep_woman-640x427.jpg" width="400" /></a><br /> <br /><br /><br />According to <a href="http://www.sciencedirect.com/science/article/pii/S0020748913000965">The Center for Cardiovascular Disease in China</a>, listening to music before and during sleep greatly aids people who suffer from chronic sleep disorders. This “music-assisted relaxation” can be used to treat both acute and chronic sleep disorders which include everything from stress and anxiety to insomnia. <br /><br /><br /><br /><br /><br /><br /> 9 Playing Didgeridoo Helps Treat Sleep Apnea<br /><br /><a href="https://didgeproject.com/wp-content/uploads/2015/10/didgeridoo-lesson-e1452547748420.jpg"><img height="266" src="https://didgeproject.com/wp-content/uploads/2015/10/didgeridoo-lesson-640x427.jpg" width="400" /></a><br /> <br /><br /><br /><br /> <br /> <br /><br /><br />A study published in the <a href="https://didgeproject.com/sleep-apnea/didgeridoo-for-sleep-apnea-first-clinical-study/">British Medical Journal</a> shows that people suffering from sleep apnea can find relief by practicing the Australian wind-instrument known as the <a href="https://didgeproject.com/didgeridoo-lessons/what-is-a-didgeridoo/">didgeridoo</a>. Patients who played the didgeridoo for an average of 30-minutes per day, 6 days per week, saw significant increases in their quality of sleep and decreases in daytime tiredness after a minimum period of 3-months of practice. <a href="https://didgeproject.com/sleep-apnea/playing-the-didgeridoo-for-sleep-apnea-an-interview-and-analysis-with-dr-jordan-stern-of-bluesleep/">Dr. Jordan Stern of</a> BlueSleep says, “The treatment of sleep apnea is quite challenging because there is not a single treatment that works well for every patient. The didgeridoo has been used to treat sleep apnea and it has been shown to be effective in part because of strengthening of the pharyngeal muscles, which means the muscles of the throat, as well as the muscles of the tongue.” <br /> What else is music prescribed for? <br /><br /><br />This list is only a small sample of what doctors, therapists and healers are doing with music. We’d love to hear from you. What other thereapeutic uses does music have? Post your answer in the comments below. <br /><br /><br />Thanks for reading! <br /><br /><br />This article was created in collaboration between Didge Project director <a href="https://didgeproject.com/author/ajblock/">AJ Block </a>and guest author Gracy Liura. <br /><br /> Author Bio: AJ Block <br /><br /><br /><img src="https://didgeproject.com/wp-content/uploads/2016/01/ajblock-portrait-smile-300x300.jpg" /><br /><br /><br />AJ Block is the director of Didge Project and is active as a didgeridoo teacher and performer. In addition to didgeridoo, AJ has spent years studying music traditions from all over the world including jazz (trombone and piano), western classical music, Indian Classical Music, guitar and world percussion. AJ has developed a number of programs for Didge Project including The ABCs of Didgeridoo, Didgeridoo Mastery, The Didgeridoo Musicianship Program, and Circular Breathing Mastery. AJ is a founding member of both <a href="http://www.sacredartsresearch.org/">Sacred Arts Research Foundation</a>and <a href="http://www.dreamseedsound.com/">Dream Seed</a>. As a student of spiritual teacher <a href="http://www.goldendrum.org/founder-and-lineage/">Maestro Manuel Rufino</a> AJ is an active member of the <a href="http://www.goldendrum.org/">Golden Drum</a> community. <br /></div>
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Author Bio: Gracy Liura <br /><br /><br /><a href="http://besthcgdropswebsite.com/about-me/"><img src="https://didgeproject.com/wp-content/uploads/2016/03/gracie.jpg" /></a>Gracy Liura is a nutritionist based in New Delhi who actively works on the <a href="http://besthcgdropswebsite.com/best-hcg-drops/">Human Chorionic Gonadotropin Research</a> portal. One aspect of Gracy’s work is based on the connection between music and the cardio-vascular system of the human body. She says “There are medical set-ups that have introduced slow and soothing music of slower-beat, just to minimize the cost incurred by providing sedatives.” As said previously, light music that flows at the rhythmic rate of ten seconds is effective in lowering the pulse rate. Such compositions also bring high systolic and diastolic pressure under the control, and thus motivate the patients into a state of sound slumber. Not only for therapeutic uses, but if you want to be more successful and more productive than your counterparts; then, you either need to play music, or become an avid listener. <br /><br /><br /><br /><br /><br /><br /><br /><br />Special acknowledgement given to Didge Project</div>
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Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0Kensington Rd, Kensington Gardens SA 5068, Australia-34.9257246 138.66491870000004-34.9322341 138.65483370000004 -34.9192151 138.67500370000005tag:blogger.com,1999:blog-1662427282883741454.post-38015057195848428042018-04-29T01:47:00.000-07:002018-04-29T01:47:29.846-07:00總是沒時間練琴?每天拿出一部分時間練琴看似簡單,但實行起來卻不是那麼容易,我們總是因為很多事情耽擱,比如這幾天課程較難、作業太多,再或者有什麼活動等等,我們可能會被生活中各種細碎的事情打亂計劃,從而導致原本給自己計劃的練琴時間縮短,甚至因為一些事情耽擱而取消練琴計劃,那麼既然選擇了學琴,怎麼才能做到平衡好生活和練琴呢?<br />
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<h3>
合理做好計劃</h3>
有些人總是看起來忙的不可開交,而有些人每天有條不紊的生活,還能抽出來更多時間投入到自己的興趣當中,相比這兩類人,忙忙碌碌生活的人未必做的事情要比有條不紊生活的人要多,這些人往往在做事情之前沒有學會規劃自己的一天,或者是效率不夠高,所以導致自己的生活總是忙忙亂亂,反而沒時間去享受其他樂趣,所以我們總是沒時間練琴也一樣,大部分是由於不會合理規劃時間造成的,如果我們實在是事情太多,也可以在細碎的時候擠時間啊,比如刷微博的時間、看頭條的時間,還有提高自己的做事效率也可以空餘出很多時間來練琴。<br />
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<h3>
根據節奏找節拍</h3>
如果我們沒辦法抽出更多的時間練琴,但我們至少可以把前期工作做好——熟悉節拍。我們可以多聽一聽最近要彈奏的曲子並跟著音樂打節拍,這樣你可以先把拍子摸清楚從而省去了再去熟悉的時間。<br />
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<h3>
模擬彈奏</h3>
在沒有鋼琴的時候我們可以幻想鋼琴就在面前,比如書桌、辦公桌甚至大腿都可以當作鍵盤,雖然沒有實際鋼琴的觸鍵感,但是能夠幫助你熟悉指法和按鍵的位置,讓你在彈奏真正的鋼琴時更容易上手。<br />
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<h3>
碎片時間記譜子</h3>
當我們時間不充裕時,可以把譜子拍下來放在手機里,這樣即使不管你在哪裡都可以熟悉幾遍譜子。知名鋼琴家郎朗,李雲迪等都是在飛機上完成背譜子的環節,所以連名家大師都這麼努力我們是不是也要抓緊時間背譜子去了!<br />
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<h3>
心理作用</h3>
如果我們把每日的練習鋼琴這一環節看的很重那我們一定會抽出時間來練琴,如果本身就處於一個可練可不練的心態,那大機率是無法做到擠出時間練琴的,所以對待練琴一定要有良好的心態。不僅如此,家長的鼓勵也很重要,不要把練琴當作一個命令下達給孩子,我們需要給孩子創造一個良好的練琴心態和氛圍,所以特別需要我們注意和孩子溝通的語氣。當孩子發自內心的接受練琴時自然效果也會好很多。<br />
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作者: 布希戈爾茨鋼琴<br />
轉載自「幫趣」(2018-01-08)Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-70138371716956400172018-04-27T20:24:00.000-07:002018-04-27T20:24:42.149-07:00學鋼琴,必須要知道的練琴技巧<span style="font-family: "georgia" , "times new roman" , serif;">艱苦反覆的練習必然成為每一位鋼琴學習者學習過程中極其重要的環節。設想一下,如果沒有正確方法的引導,只是靠一味的苦練和時間的堆積,而不注重運用科學的練習方法,只是手指在做反覆的機械運動,不僅不會使演奏進步,反而會鞏固錯誤,甚至形成一些難以調整的壞習慣。因此,對一名鋼琴學習者而言,尋求和遵循正確的練習方法是至關重要的,只有這樣才會事半功倍。怎樣練琴才能提高效率、收到良好的效果是每個學生所關心的問題。</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><br />重視課後的第一次練習</span></h2>
<span style="font-family: "georgia" , "times new roman" , serif;">許多學生不重視課後的第一次練習,認為上完課就「萬事大吉」,以致於「突擊」時才發現老師課上講的內容已經忘了一大半,找不到感覺,彈不到位。所以,學生在上課之後應儘可能在最短的時間內複習上課內容。因為上課時老師必定會對學生的演奏指出一些問題以及建議的演奏方式,所以,在課後第一次練習時首先要認真仔細地瀏覽一遍樂譜,在瀏覽的同時回憶上課時老師的講解,再加上自己的理解,動手在譜面上做詳細的標記,然後再進行練習。在練習過程中要求慢速練,邊看譜,邊看標記,邊動腦,手腦眼並用,反覆練習幾次,這樣有助於及時消化上課內容。<br /></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">而對於新布置的曲子,在課後的第一次練習中需要注意的是不要打開樂譜馬上彈,首先要回想老師在課上講到的對曲子的要求和需要掌握的技術難點以及練習方法。急於先動手而不動腦的練琴習慣是不可取的。<br /></span></div>
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<h3>
<span style="font-family: "georgia" , "times new roman" , serif;">全面讀譜</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">我們要完成一部鋼琴作品,讀譜是第一步,也是最基礎、最關鍵的一步,如果注意認真識譜,在腦海里留下一個正確的初步印象,就可以避免走許多彎路。拿到一首新曲子,首先我們應該通過「讀譜」去思考一下樂曲的作者、創作年代、創作背景以及作品的風格類型,以便於對作品有個整體的印象,這樣在練習過程中就不致於偏離風格。其次,要注意譜面上的各種音樂表情術語、力度標記以及速度變化標記等,挖掘隱藏在這些術語之內的音樂形象以及情感定位,這樣有利於練習者把握樂曲的情緒及風格,準確地表達作者要塑造的音樂形象,力求達到作者的要求。再次,要仔細讀譜面上的細節問題,比如指法、節奏等。許多學生不注意看譜子上的指法標記,對此不屑一顧,隨心所欲更改指法,一旦練熟後才發現有些樂句要求較快的速度,有些樂句要求連貫,而現用的指法完成起來又十分困難,不得不改正過來,這樣勢必影響練琴的效率。最後,在讀譜時,除了上述內容,還要注意的是從作品的調式調性、和聲、旋律等方面去仔細研究,挖掘作曲家樂思的豐富內涵,這樣才能對作品有更深層次的認識,並儘可能完美地演繹出來。</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /><br />總之,讀譜是練琴中所面臨的第一個環節,這個過程完成質量的好壞,將對整個練琴過程產生直接的影響。所以,在鋼琴練習時一定要抓好「讀譜」這一環節。</span><br />
<h3>
<span style="font-family: "georgia" , "times new roman" , serif;">分解式練習</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">鋼琴作品具有多聲部、多層次的特點,彈奏時左右手分擔著不同聲部、不同節奏、不同織體的任務,往往一隻手要彈奏幾個不同音樂形象及不同力度的聲部。為了更快更準確地掌握作品,採用分解式的練習是行之有效的。</span><br />
<h3>
<span style="font-family: "georgia" , "times new roman" , serif;">分手練習</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">鋼琴的彈奏是由雙手的相互協調與配合共同完成的。在彈奏過程中要做到這一點,必須以單手的良好彈奏作為保證,如果單手彈奏過不了關,雙手彈奏必定會出現困難。而分手練習的目的是為了減輕大腦的負擔,使精力更加集中,便於對每一隻手的彈奏進行仔細的檢查,能把音樂的各個細節都做到符合要求,使聲音聽起來更清楚細膩,為雙手合練打好基礎,從而提高練琴的質量。所以,我們拿到一個新的音樂作品時,一定要先進行分手練習。<br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">在單手練習時,不能急躁,要使單手的指法、音色、節奏、樂句、觸鍵等都儘量做到譜面上的要求,並學會找到合理而連貫的動作路線,直至每隻手都能夠單獨準確流暢地彈奏。可以儘快地明確兩隻手各自不同的分工和責任,並能聽清兩手各自的旋律或和弦的進行。然而有些學生在練琴時急於求成,貪圖省事,一開始就左右手配合,以為這樣可以節約練琴時間,加快進度,事實卻並非如此。錯音、錯節奏、錯指法等問題往往就是由於沒有認真地進行分手練習而出現的,至於雙手的配合、樂句的呼吸及音樂表現更是無從談起。<br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">分手練習不僅僅可用於在學習一個新樂曲的開始階段,即使在彈奏熟練之後,仍需時常使用分手練習這一方法,有分有合、分合交替才能加深對樂曲的理解以及提高練琴的效率。<br /></span><br />
<h3>
<span style="font-family: "georgia" , "times new roman" , serif;">分聲部練習</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">在鋼琴練習過程中,應當養成把各個聲部和層次區分開來練習的習慣,這種練習方法在練習復調音樂作品中尤為重要。因為復調音樂有多個聲部,而且主次線條都是獨立的,在一隻手上同時彈奏幾個不同聲部,聲部之間旋律線條相互交叉的情況經常出現,所以必須通過分聲部的練習才能準確地表現多聲部音樂。在進行分聲部練習時,首先是需要正確地找到織體中的各個聲部,然後分析每個聲部的旋律線條如何進行。在練習過程中,先練樂曲的某一聲部,當這一聲部練習熟練後,就可以改練另一聲部。當每個聲部都練習得準確無誤了,就可以將各個聲部合在一起進行完整的練習了。對於聲部較多的樂曲,其中各個聲部的獨立性較強,各個聲部音色不盡相同,要仔細地辨別並把握音色,就必須對每一個聲部進行單獨的訓練,使每個隱伏的旋律完美地演奏出來,達到多個聲部層次清晰,使恰當的音色、清晰的和聲進行與旋律聲部默契地配合,使每一次的練琴效率不斷提高。</span><br />
<h3>
<span style="font-family: "georgia" , "times new roman" , serif;">難點練習</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">任何一首樂曲在練習中都會存在一個甚至幾個技術問題,這些地方往往是練習時的難點和重點。有的學習者常常是從頭到尾一遍一遍地練習樂曲,遇到不順暢的地方又從頭再來,或者乾脆忽視彈錯彈斷的地方,錯了就繼續彈,下一遍彈又繼續錯,這樣的練習方法是有百害而無一利的。遇到難點,應努力克服,儘量解決,這就需要我們將難點部分抽出來進行單獨、反覆的練習,只有這樣,困難才會迎刃而解,提高練琴的效率。</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">聽覺訓練</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">這裡所說的「聽覺訓練」是指在傾聽音樂作品結構、音色、音響效果等方面的訓練,而並非視唱練耳課中那種關於音高、節奏的聽覺訓練。<br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">鋼琴音樂是聽覺藝術,是以聽覺為基礎的。要想使演奏的音質及音樂的表現力得到完善,在練琴過程中學會傾聽自己的琴音是至關重要的。而這種敏銳的聽覺不是天生的,而是長期訓練出來的。很多鋼琴學習者在練琴過程中只注意手上功夫的訓練,曲子彈得熟練,手指跑得飛快,技術方面也沒有什麼障礙,但彈出的音卻很粗糙,為什麼?問題就在於他們只「看」自己彈琴,而沒有「聽」自己彈琴,忽視了對耳朵的訓練,導致音樂總是顯得冷冰冰、乾巴巴,缺乏應有的表現力。這種對音樂形象的音響效果漠不關心直接導致了演奏的呆板和沒有意義,也就更談不上運用聽覺來協調、改進自己的彈奏效果了。<br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">要應用好敏銳的聽覺能力,首先是要有傾聽的習慣。這種習慣產生於內心的情感,只有內心對作品的音樂形象整體風格有了一定的理解時,內心才會有對聲音的追求和設計,有了想法再去聽細節問題。比如,要聽彈出的每個音的音色是否達到了要求,聽彈出的時值、音高是否絲毫不差,聽彈出的聲部線條是否清晰平衡,聽彈出的音量、音色是否均勻統一,並隨時根據聲音來檢查和調節自己的彈奏方法。如果學生會運用聽覺來指導自己練琴,不再是手指盲目的機械動作,就會更加有目的性,大大提高練琴的效率。<br /><br /><br /></span><br />
<h2>
<span style="font-family: "georgia" , "times new roman" , serif;">有譜無琴和無譜無琴練習方法</span></h2>
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<span style="font-family: "georgia" , "times new roman" , serif;">有譜無琴練習方法</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">鋼琴學習中的許多內容不一定都在琴上練習,也同樣可以獲得,但這一方面往往被大家忽略了。所謂的有譜無琴練習方法,就是不間斷地經常把樂譜當作書籍來閱讀,仔細認真地去研究譜面,並從中發現音樂新的含義。這就要求學習者訓練自己看著樂譜,想像音樂的實際效果的能力,即眼睛看著樂譜,耳朵能「聽」到音樂的進行,通過仔細讀譜體會各種表情術語、速度術語的確切含義。因為只有真正理解了各種表情術語、速度術語的意義才能把握好音樂作品的主題思想和整體風格,儘可能完美地處理音樂細節,表現音樂的內涵。除此之外,還應該通過讀譜分析樂曲的和聲進行、調性關係、聲部之間的關係、樂曲的整體結構以及音樂材料的運用,只有在理論指導下的實踐才能站得住腳。在曲子彈熟的情況下,「有譜無琴」這種練習方式對於音樂的處理、提高音樂表現起著很好的作用。<br /></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">無譜無琴練習方法</span></h3>
<span style="font-family: "georgia" , "times new roman" , serif;">「無譜無琴」的練習方法就是在沒有樂譜和鋼琴的情況下,集中注意力默想自己所彈奏的音樂作品。這實際上是一種更高層次的練習,需要在思想高度集中、毫無雜念干擾的情況下進行。這種練習具體就是練習者隨時隨地默想自己所練習的作品,仿佛眼睛看著樂譜、耳朵聽見音響,作品實際演奏時的強弱、指法、音樂情緒等各個方面都能盡收眼底、蓄藏心內。這種練習方式能夠使音樂真正在演奏者的心中紮下根來,並融入到他的思想中去,使其將心中的音樂完美地演繹出來。<br /></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">一言以蔽之,鋼琴的練習必須遵循科學的方法,良好的練習方法會大大提高練琴的效率。上述的幾種方法並不是截然分開的,而應當把它們根據實際情況結合在一起,靈活運用這些科學的練習方法,不斷地探究,認識、發現並解決問題,苦練加巧練,保證練琴質量,提高練琴效率。然而這些練習的方法都需要極大的耐心,因此只有以堅強的意志克服各種困難,才能從根本上提高鋼琴演奏水平,最終領悟練習鋼琴的真諦。</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">作者:人人愛樂</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">轉載自「每日頭條」教育版(2017-12-07)</span></div>
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Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-78509017485482564362018-04-27T01:31:00.001-07:002018-04-27T01:36:17.340-07:00如何正確讀譜<span style="font-family: Georgia, Times New Roman, serif;">在鋼琴學習中,兒童首先遇到的問題便是讀譜與背譜的問題,正確解讀樂譜是準確演奏作品的首要前提,而精確無誤的背譜又是正確詮釋作曲家作品風格,保持作品完整性的必備條件。<br /><br /><br /> <br /></span><div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtjVTVrH1nxZP6FLnXE-OlBMIE4T3axwzw5Wp1LMhWE-8_oLCjd6t33hhBtZNX839jUUgpQ4TZp6lTPcp9gROsbS9tzkLb4HGt40ckz5QUuV3rKUfZ9sxmrgOm0kYHDnzXd9BX5rkCj4Y/s1600/score+reading.jpg"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtjVTVrH1nxZP6FLnXE-OlBMIE4T3axwzw5Wp1LMhWE-8_oLCjd6t33hhBtZNX839jUUgpQ4TZp6lTPcp9gROsbS9tzkLb4HGt40ckz5QUuV3rKUfZ9sxmrgOm0kYHDnzXd9BX5rkCj4Y/s320/score+reading.jpg" /></span></a></div>
<span style="font-family: Georgia, Times New Roman, serif;"><br /><br /> <br /> <br /></span><a name='more'></a><span style="font-family: Georgia, Times New Roman, serif;"><br />因此,對於兒童讀譜與背譜能力的培養,必須從學琴一開始就放在首要位置,使學生養成良好的習慣,為以後的演奏打下堅實的基礎。而每一首美妙的樂曲都是由不同音符、不同節奏、不同演奏方法、不同速度等構成的,這就需要演奏者的眼、耳、心、手同時協作。<br /><br /><br />一、眼到<br />在鋼琴教學中,許多兒童的演奏存在著大量的錯音、錯拍子等最基本的問題。造成這種現象有以下幾個原因:首先,孩子們的認知能力是有限的,不可避免地會造成一些疏漏,因此教師要不斷強調準確讀譜的重要性,即準確表達作曲家的創作意圖是基於我們精確無誤的對樂譜的二次再創作,要求孩子們不僅要看到音符所在的線與間的正確位置,低音譜號與高音譜號的轉換,更要看到位於每行樂譜前面的調號,正確按照調號來演奏樂譜中的升、降記號,因為對調號的無視,往往會造成整個樂曲調性及風格的改變。有了正確的音符作為演奏的前提,教師還要提醒學生應該注意樂曲中的力度記號,如p、f 、mf、crescendo、ff等等,只有在演奏樂曲時準確地將作曲家的力度要求表現出來,音樂才會豐富多彩,形成立體感很強的多層次空間感。除此之外,樂譜中所標記的表情記號也是應該提醒學生們注意的一個非常重要的方面。正確演繹表情記號所提示的內容,是正確演繹樂曲風格的一個主要手段。但有的學生經過了三到五年的學習,甚至不知道dolce、espress、tranquillo、cantabile 為何意。所以,在教學過程中要反覆告訴學生每一個表情記號的含義,提醒學生應該多查音樂術語字典,以求準確詮釋樂曲的內涵。<br /><br /><br />二、心到<br />真正美好的音樂源自於我們的內心深處,只有心中感受到了曼妙的音響,在演奏中才會通過手指表達出動人的意境。因此,在讀譜與背譜的過程中,要在自己的心中確立以下幾個觀念。第一,樹立正確的聲音觀念。要求學生在背譜時注意到不同的作曲家對音色的不同表現要求,在演奏時通過正確的觸鍵方法得到好的聲音。這也是在鋼琴演奏中區分不同時期作曲家作品的一個重要手段。第二,確立良好的節奏與速度感。在鋼琴音樂中,支撐優美的音樂線條的往往是極具生命力的節奏,正確演奏出樂曲的節奏特點,是正確詮釋樂曲風格、情感與特性的基礎。因此,教師要給學生詳細講解各種不同的節奏特點。另外,教師還要提醒學生注意,那些標記在樂曲前面的速度提示。一首樂曲的速度往往是樂曲風格的展現,在演奏時全然不顧作品的速度要求,會造成對作曲家意圖的錯誤理解與詮釋。因此,在學習新作品之前,教師就要提醒學生注意在內心正確解讀樂曲的節奏與速度要求,必要時可以通過節拍器來規範學生的演奏速度。第三,樹立良好的樂句感。一首樂曲,是由樂句這一具有基本特性的基本結構單位構成的,正確理解樂句和劃分樂句是準確詮釋樂曲的重要前提。學生的演奏應基於準確地分析、解讀樂曲的結構與樂句。讀譜與背譜時要清晰明確地了解樂曲的結構特點、邏輯關係,從而加深對樂曲的理解,準確演奏樂曲。<br /><br /><br />三、手到<br />在鋼琴演奏中,指法是最基本的技術之一。正確的指法,是尋求手指與鍵盤之間的合理關係、手指與音符之間的合理關係的重要途徑。同時,正確的指法,也是彈好樂曲,表達音樂意境的關鍵。正確的指法非常有助於兒童背譜。在不同時代、不同作曲家的鋼琴作品中,每一個作品的指法要求是不盡相同的,在彈奏過程中,掌握住樂句中的一個關鍵指法,後面的音有時就可以下意識地順手彈出,而不必去死記硬背。因此有意識記憶整首樂曲的指法,會有助於完整記憶。這裡還需要指出的是,教師應在教授孩子們樂曲的同時,真正做到「授之以漁」,要求學生在學習新作品時能夠發揮主觀能動性,找出適合自己手指條件的合理指法。在此基礎之上,教師再根據樂譜中所標記的指法,結合學生手指的實際情況,制定出科學、合理的彈奏指法。<br /><br /><br />四、口到<br />從巴洛克時期開始,器樂從以歌唱為主的藝術形式中脫離出來,而漸漸成為一門獨立的藝術形式。縱觀各個時期的鋼琴作品,我們能從中發現大多數作品都是具有歌唱性的。因此,在鋼琴教學中,對於初學者來說,在其能夠彈出簡單的曲調之後,就要求其演奏要具有歌唱性。為達到這個目的,我們可以引導孩子們在學習一首新樂曲之前,儘可能地先唱出樂譜中具有歌唱性的部分,仔細分析樂曲中的樂句、呼吸、旋律,音的高低、長短、強弱等,認真體會其在歌唱時的情感要求、語氣要求,一般來講,如果孩子們能夠很好地將旋律演唱出來,在隨後的演奏中,往往都會將樂曲的歌唱性完美地再現出來,從而獲得音樂的美感與樂趣。正如匈牙利著名鋼琴教育家柯達伊所強調的那樣:「不先歌唱就開始樂器的兒童,一生中註定沒有音樂。」(注意:不要在演奏過程中要求孩子們歌唱,會忽視耳朵的傾聽功能)還需要特別提到的是,在復調的學習過程中,一定要讓學生分別演唱左手和右手部分的旋律,在熟悉旋律之後,再要求學生在彈奏右手旋律的同時演唱左手部分旋律,反之亦然。長此以往,學生通過演唱,在演奏時可以清晰地通過左右手的配合再現復調的優美旋律。<br /><br /><br />綜上所述,對於鋼琴的初學者來說,在讀譜與背譜時,如果真正能夠做到眼到、心到、手到、口到,那麼孩子們在演奏時就能夠得心應手,取得事半功倍的效果。「從大處著眼,從小處著手」,是兒童學習鋼琴的一個起點。<br /><br /><br />作者:琴晟教育科技<br />轉載自「每日頭條」教育版(2017-06-15)</span>Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-10465818989817342212018-04-24T01:33:00.001-07:002018-04-24T01:34:32.512-07:00這個四月開始,吳老師將會成為本地有名報刊「塔州華人月報」其中一位專欄作家。这个四月开始,吴老师将会成为本地有名报刊「塔州华人月报」其中一位专栏作家。<div class="itemIntroText yjk2_intro" style="box-sizing: border-box; color: #7f7f7f; font-family: "Open Sans", sans-serif; font-size: 14px; line-height: 28px; margin: 0px auto 30px; padding: 0px;">
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這個四月開始,吳老師將會成為本地有名報刊「塔州華人月報」其中一位專欄作家。</div>
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这个四月开始,吴老师将会成为本地有名报刊「塔州华人月报」其中一位专栏作家。</div>
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這個四月開始,吳老師將會成為本地有名報刊「塔州華人月報」其中一位專欄作家。</div>
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吳老師一直在國際之都香港教學,香港就是講效益的地方,學樂器亦一樣,考級比賽少不免,教授音樂知識、樂理、練耳等等,更是課堂不可缺少的重要項目,三更五時安排學生參加公開演奏,甚至親力親為主辦學生音樂會,都是香港音樂老師的例行功課。</div>
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初到塔省,接觸到的學生,有部份學習了整整一年,卻完全沒有接觸過音符、譜號,吳老師都覺得莫名其妙,之後再接觸更多的學生,便發現這是通病!塔省的音樂教育遠遠追不上其他省份,更不用說國際標準,不少學生有很好的天賦,卻未有適當栽培和發展,白白浪費寶貴的時間和才能。當無數的音樂中心,在香港採用形形色色的教學法教授音樂,令香港的家長經常出現選擇困難症,煩惱應為子女選擇日本鈴木教學法,以學習母語的方式學習音樂,還是追求源自瑞士、講求律動的達爾完羅采教學法;塔省這邊的選擇卻是非常、非常的有限,這邊的家長通常只有兩個選擇 – 學或不學。塔省的家長有權利去接觸到更多在國際間普遍盛行的教學法,為子女作出最適合的選擇。</div>
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此時,吳老師決心發佈一系列有關音樂教育的文章,為本地音樂教育界帶來新思維,「塔州華人月報」的總編輯馬上定案,開設一個新專欄,攜手為本地的音樂教育行業,帶來更多新氣象。</div>
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吳老師將會每月在「塔州華人月報」,分享她的音樂經,讓學生體驗音樂。</div>
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这个四月开始,吴老师将会成为本地有名报刊「塔州华人月报」其中一位专栏作家。</div>
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吴老师一直在国际之都香港教学,香港就是讲效益的地方,学乐器亦一样,考级比赛少不免,教授音乐知识、乐理、练耳等等,更是课堂不可缺少的重要项目,三更五时安排学生参加公开演奏,甚至亲力亲为主办学生音乐会,都是香港音乐老师的例行功课。</div>
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初到塔省,接触到的学生,有部份学习了整整一年,却完全没有接触过音符、谱号,吴老师都觉得莫名其妙,之后再接触更多的学生,便发现这是通病!塔省的音乐教育远远追不上其他省份,更不用说国际标准,不少学生有很好的天赋,却未有适当栽培和发展,白白浪费宝贵的时间和才能。当无数的音乐中心,在香港采用形形色色的教学法教授音乐,令香港的家长经常出现选择困难症,烦恼应为子女选择日本铃木教学法,以学习母语的方式学习音乐,还是追求源自瑞士、讲求律动的达尔完罗采教学法;塔省这边的选择却是非常、非常的有限,这边的家长通常只有两个选择 – 学或不学。塔省的家长有权利去接触到更多在国际间普遍盛行的教学法,为子女作出最适合的选择。</div>
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此时,吴老师决心发布一系列有关音乐教育的文章,为本地音乐教育界带来新思维,「塔州华人月报」的总编辑马上定案,开设一个新专栏,携手为本地的音乐教育行业,带来更多新气象。</div>
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吴老师将会每月在「塔州华人月报」,分享她的音乐经,让学生体验音乐。</div>
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Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com1tag:blogger.com,1999:blog-1662427282883741454.post-32915833641757279602018-04-20T22:13:00.001-07:002018-04-20T22:29:02.902-07:00你是不是第三種大人?【明報專訊】世界上有三種大人,第一種完全放養;背後想法,一是讓孩子自由發展,從「殘酷」的現實中學會自立;一是自己生活比孩子更重要,所以沒有辦法理會。第二種大人,孩子的大小事務,統統要管,噓寒問暖,雞毛蒜皮,如臨大敵,功課勞作,彈琴繪畫,衣著談吐,萬萬不可輕忽,緊張兮兮,大人小孩皆惶惶不可終日。第三種大人,可能傾向放養,可能傾向規管,可是,有一個跟別種大人不同的地方,就是這種大人,會從孩子角度考量事物是否重要。<br />
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滿足孩子 虛榮心<br />
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一個大人對孩子的關懷,從一個小問題就可以看出分別。這個問題就是:你會滿足孩子的虛榮心嗎?<br />
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第一種和第二種大人,面對這個問題,可以馬上給出答案:絕對不會。這兩種大人,表面是兩種極端取向,但有一個共同點,就是認為孩子的「虛榮心」是沒有價值的,只有大人為孩子定下的「目標」才是有價值的。他們一向堅持,為了孩子將來活得更好,孩子現在必然要「經歷」一些「犧牲」,至於這種犧牲是否必要,是否妥當,他們已經無暇細想。<br />
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這個問題的關鍵,不在答會或不會,而是大人遇到這問題,需要思考一番,還是可以馬上斬釘截鐵地回答「當然不會」。「虛榮心」這個問題,有一個愚弄人的地方,就是「虛榮」一詞本身帶有貶義,意指不合理地追求外在的東西而得到別人羨慕。可是,在大人眼中「不合理」,在孩子眼中也是「不合理」嗎?<br />
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孩子見到一頂帽子,想買,可是家裏很窮,要買的話,一家人一個星期都沒有牛油可吃,要吃白麵包;可是,媽媽決定買帽子,理由是,一星期不吃牛油這件事,很快就會忘記,而孩子得到帽子的快樂,卻可以記憶一輩子。要帽子,還是要牛油,作為家長,你會如何選擇?<br />
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關於帽子與牛油這件事,出自倪匡早年的雜文,題為《偉大》。倪匡說:「這種對待兒童的態度,才真正是愛兒童。」<br />
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無用的快樂<br />
若說買帽子不合理,難道扣掉孩子的玩具錢,拿去逼孩子學鋼琴考鋼琴試就一定很合理?若說孩子當下「無用的快樂」不重要,將來名成利就才重要,那麼將來「名成利就」在上帝眼中,難道不是另一種「無用的虛榮」嗎?<br />
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孩子要買一件東西,只是為了得到羨慕,有什麼大不了?真的負擔不到,大人自然不會買,一個孩子,也決不可能脅迫到堅持己見的大人就範(相反,大人往往能脅迫孩子在許多種事情上屈服);若負擔得到,滿足孩子這小小虛榮,難道就會招致世界末日不成?<br />
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相信買「沒有價值的東西」給孩子,會寵壞孩子,其實是大人沒有深思熟慮的想像。一個在愛中成長的孩子,一定會明白,帽子不是最重要的,帽子背後,爸爸和媽媽怎樣理解他才是最重要的。孩子終於會明白,他不可能買光世界上所有他想要的東西,可是,他永遠知道怎樣愛一個人。<br />
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作者簡介:資深新聞工作者,曾採訪多個「第三世界」國家,卻認為自己的家更值得探索。現為全職爸爸,兼全職寫字人。有時是悠閒的半職寫字人和忙碌的半職爸爸<br />
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文﹕張帝莊<br />
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[Happy PaMa 教得樂 第171期]<br />
轉載自「明報」教得樂 第171期 (2018年1月9日)<br /><br /><br />
Miss Carol 按: 雖然不能完全同意作者全文所有的觀點,但「一個在愛中成長的孩子,一定會明白,帽子不是最重要的,帽子背後,爸爸和媽媽怎樣理解他才是最重要的。孩子終於會明白,他不可能買光世界上所有他想要的東西,可是,他永遠知道怎樣愛一個人。」這讓孩子在愛中成長,卻是一點也沒有說錯。Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-46581090892764826602018-04-07T21:08:00.000-07:002018-04-07T21:08:10.314-07:00BEGINNERS: AGE 0 TO 65+<div class="itemIntroText yjk2_intro" style="box-sizing: border-box; line-height: 28px; margin: 0px auto 30px; padding: 0px;">
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Many parents ask: “At what age can our children start piano?”, while older beginners ask: “Am I too old to learn piano? How proficient can I expect to be? How long will it take?” We are increasingly beginning to recognize that what we had attributed to “talent” was in reality a result of our education. This relatively recent “discovery” is radically changing the landscape of piano pedagogy. Therefore, we can legitimately question whether talent is such an important factor in how quickly you can learn to play. So then, what IS an important factor? Age is one, because learning piano is a process of developing nerve cells, especially in the brain. The process of nerve growth slows down with age. So let’s examine categories of beginners according to their ages, and the consequences of slowing cell growth with age.</span></span></div>
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Writer: Chuan C. Chang</div>
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ISBN: 1-1496-7859-0</div>
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ISBN-13: 978-419678592</div>
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LCCN: 2007907498</div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 0-6: Babies can hear as soon as they are born, and most maternity wards test babies for hearing immediately after birth. Brains of deaf babies develop slowly because of a lack of auditory stimuli, and such babies need to have their auditory stimuli restored (if possible) or have other procedures instituted, in order to encourage normal brain development. Thus early musical stimuli will accelerate brain development in normal babies, not only for music but also generally. By the age of 6-10 months, most babies have heard enough sounds and languages to stimulate sufficient brain development to start talking. They can cry and communicate to us within minutes after birth. Music can provide additional stimulation to give babies a tremendous head start in brain development by one year after birth. All parents should have a good collection of piano music, orchestral music, piano and violin concertos, operas, etc., and play them in the baby room, or somewhere in the house where the baby can still hear the music. Many parents whisper and walk softly while the baby is asleep, but this is bad training. Babies can be trained to sleep in a (normal) noisy environment, and this is the healthy alternative.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Up to about age 6, they acquire new skills in stepwise fashion; that is, they suddenly acquire a new skill such as walking and rapidly become good at it. But each individual acquires these skills at different times and in a different order. Most parents make the mistake of giving the baby only baby music. Remember: no babies ever composed baby music; adults did – baby music only slows down brain development. It is not a good idea to expose them to loud trumpets and drum rolls that can startle the baby, but babies can understand Bach, Beethoven, Chopin, etc. Music is an acquired taste; therefore, how the babies’ brains develop musically will depend on the type of music they hear. Older classical music contain more basic chord structures and harmonies that are naturally recognized by the brain. Then more complex chords and dissonances were added later on as we became accustomed to them over the ages. Therefore, the older classical music is more appropriate for babies because they contain more stimulative logic and less dissonances and stresses introduced later to reflect on “modern civilization”. Piano music is especially appropriate because, if they eventually take piano lessons, they will have a higher level of understanding of music they heard as a baby.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 3-12: Below age 3, most children’s hands are too small to play the piano, the fingers cannot bend or move independently, and the brain and body (vocal chords, muscles, etc.) may not be sufficiently developed to deal with concepts in music. Above age 4 (2 for those with early training), most children are ready to receive music education, especially if they had been exposed to music since birth; thus they should be constantly tested for their sense of pitch (relative and absolute pitch; can they “carry a tune?”), rhythm, loud-soft, fast-slow, and reading music, which is easier than any alphabet. This group can take advantage of the enormous brain growth that takes place during this age interval; learning is effortless and limited more by the ability of the teacher to provide the appropriate material than by the student’s ability to absorb it. One remarkable aspect of this age group (there are many!) is their “malleability”; their “talents” can be molded. Thus, even if they would not have become musicians if left alone, they can be made into musicians by proper training. This is the ideal age group for starting piano. Mental play is nothing special – it comes naturally to this age group. Many adults consider mental play a rare skill because, like absolute pitch, they lost it during their teen ages from a lack of use. Therefore, make sure that they are taught mental play, in all its many forms. They can also quickly forget what they learn.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 13-19: This group still has an excellent chance of becoming concert level pianists. However, they may have lost the chance to become those super stars that the younger beginners can become. Although brain development has slowed down, the body is still growing rapidly until about age 16, and at a slower rate thereafter. This age group can achieve practically anything they want to, as long as they have an intense interest in music or piano. However, they are not malleable any more; encouraging them to learn piano does not work if they are more interested in cello or soccer, and the parents’ role changes from giving direction to giving support for whatever the teens want to do. This is the age interval in which the teens learn what it means to take responsibility and what it means to become an adult – all lessons that can be learned from the piano experience. In order to influence them, you need to use more advanced methods, such as logic, knowledge, and psychology. They will probably never forget anything they memorized at these ages or slightly younger, unlike the 3-12 group. Above this age group, age classifications become difficult because there is so much variation among individuals.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 20-35: Some individuals in this age group still have a chance of becoming concert level pianists. They can use the experience they learned in life to acquire piano skills more efficiently than younger students. Those who decide to learn piano in this age group generally have greater motivation and a clearer understanding of what they want. But they will have to work very hard, because progress will come only after a sufficient amount of work. At this age group, nervousness can start to become a major problem for some. Although younger students can become nervous, nervousness seems to increase with age. This happens because severe nervousness arises from fear of failure, and fear arises from mental associations with memories of terrible events, whether imagined or real. These terrifying memories/ideas tend to accumulate with age. Therefore, if you want to perform, you should do some research into controlling nervousness, by becoming more confident, or by practicing public performance at every opportunity, acquiring mental play, etc. Nervousness can arise from both the conscious and subconscious brain; therefore, you will need to deal with both in order to learn to control it. For those who just want to become sufficiently technically proficient to enjoy playing major piano compositions, starting in this age group should not present any problems. Although some maintenance will be required, you can keep anything you memorized in this age group, for life.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 35-45: This age group cannot develop into concert level pianists, but can still perform adequately for simpler material such as easy classics and cocktail music (fake books, jazz). They can acquire enough skill to play most famous compositions for personal enjoyment and informal performances. The most demanding material will probably be out of reach. Nervousness reaches a maximum somewhere between the ages of 40 and 60 and then often declines slowly. This might explain why many famous pianists stopped performing somewhere in this age interval. Memorizing starts to become a problem in the sense that, although it is possible to memorize practically anything, you will tend to forget it, almost completely, if not properly maintained. Reading the music can start to become a problem for some who require strong corrective lenses. This is because the distance from the eyes to the keyboard or music stand is intermediate between reading and distant vision. Thus you may want a set of eye glasses for intermediate vision. Progressive lenses might solve this problem, but some find them bothersome because of their small field of focus.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 45-65: This is the age range in which, depending on the person, there will be increasing limitations on what you can learn to play. You can probably get up to the level of the Beethoven Sonatas, although the most difficult ones will be a huge challenge that will take many years to learn. Acquiring a sufficiently large repertoire will be difficult, and at any time, you will be able to perform only a few pieces. But for personal enjoyment, there is still a limitless number of compositions that you can play. Because there are more wonderful compositions to learn than you have time to learn them, you may not necessarily feel a limit to what you can play. There is still no major problems in learning new pieces, but they will require constant maintenance if you want to keep them in your repertoire. This will greatly limit your playable repertoire, because as you learn new pieces, you will completely forget the old ones, unless you had learned them at much younger ages. In addition, your learning rate will definitely start to slow down. By re-memorizing and re-forgetting several times, you can still memorize a significant amount of material. It is best to concentrate on a few pieces and learn to play them well. There is little time for beginner’s books and exercises – these are not harmful, but you should start learning pieces you want to play within a few months after starting lessons.</span></span></div>
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<span style="box-sizing: content-box;"><span style="font-family: Georgia, Times New Roman, serif;">Ages 65+: There is no reason why you can’t start learning piano at any age. Those who start at these ages are realistic about what they can learn to play and generally do not have unattainable expectations. There are plenty of simple but wonderful music to play and the joy of playing remains as high as at younger ages. As long as you are not terribly handicapped, you can learn piano and make satisfactory progress at any age. Memorizing a composition is not a problem for most. The greatest difficulty in memorizing will come from the fact that it will take you a long time to get up to speed for difficult material, and memorizing slow play is the most difficult memory work. Therefore, if you choose easy pieces that can be brought up to speed quickly, you will memorize those more quickly. Stretching the hands to reach wide chords or arpeggios, and fast runs will become more difficult, and relaxation will also be more difficult. If you concentrate on one composition at a time, you can always have one or two compositions that can be performed. There is no reason to modify your practice methods – they are the same as those used for the youngsters. And you may not feel as much nervousness as you might have in the middle ages when stage fright reaches is maximum. Learning piano, especially memory work, is one of the best exercises for the brain; therefore, serious efforts at learning piano should delay the aging process, just as proper exercise is necessary to maintain physical health. Don’t get a teacher that treats you like a young beginner and give you only exercises and drills – you don’t have time for that. Start playing music right away.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">From: Fundamentals of Piano Practic</span><span style="font-family: Verdana, sans-serif; font-size: 14px;">e</span></div>
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Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-76633145312147436012016-02-04T19:45:00.000-08:002016-02-04T19:45:01.264-08:00M FOR MOTHER 專訪<span style="background-color: white; color: #444444;">話說一直以來, Miss Carol 每個月都收到不少爸爸媽媽的電郵電話,為家中年約兩、三歲的小寶寅寶,查詢學琴安排,但由於</span><span style="background-color: white; color: #444444;">香港一直缺</span><span style="background-color: white; color: #444444;">乏專為學習鋼琴而設的幼兒課程,</span><span style="background-color: white; color: #444444;">Miss Carol </span><span style="background-color: white; color: #444444;"> 每次都只能很抱歉的,請爸爸媽媽待小寶寶長大一點,到了五歲再作打算,有些熱心的爸爸媽媽,會WAITING LIST 排候補名單,待足歲數再AUDITION 面試。直至上年,</span><span style="background-color: white; color: #444444;">Miss Carol </span><span style="background-color: white; color: #444444;"> 四出探訪,終於找到WUNDERKEYS PIANO FOR PRESCHOOLERS,這個課程是專為三至五歲的學前兒童設計,亦是專門針對往後學習鋼琴的預備課程,更意想不到,引入香港不久,傳媒</span><span style="background-color: white; color: #444444;">M for Mother</span><span style="background-color: white; color: #444444;"> </span><span style="background-color: white; color: #444444;">便已經風聞這個課程,上月更特意訪問</span><span style="background-color: white; color: #444444;">Miss Carol </span><span style="background-color: white; color: #444444;">,讓更多爸爸媽媽認識到這個在美國、加拿大等地已經流行了十多年的老牌課程。</span><br />
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<span style="background-color: white; color: #444444;"><br /></span>Carol Ng's Musichttp://www.blogger.com/profile/01064697429473783014noreply@blogger.com0tag:blogger.com,1999:blog-1662427282883741454.post-38696667751127002592015-12-28T08:16:00.000-08:002015-12-28T08:16:12.990-08:00新網頁已經推出搏<span style="background-color: white; color: #545454; font-family: arial, sans-serif; line-height: 18.2px;">鬥多時,新的網頁終於完成,順利面</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; line-height: 18.2px;">世,而且新網頁更加入BLOG,</span><span style="background-color: white; color: #545454; font-family: arial, sans-serif; line-height: 18.2px;">往後文章都會在新網頁發佈,請大家繼續多多支持!</span><br />
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