FINAL EXAM

Question 1

For a Good hand shape: ____ on corner; ____ ____ standing on its end; ____ ____ ____ resting lightly on the keys; ____ of hand rounded; Wrist ____; Arm level from ____ ___ _____; _____ extended slightly from the body

Answer 1

Thumb; Fifth finger; Middle three fingers; Arch; level; elbow to wrist; Elbow

Question 2

Name the 3 staccato touches

Answer 2

Arm staccato; wrist staccato; finger staccato

Question 3

The average student should be able to achieve performance level playing (___ ___) ___ ___ ___

Answer 3

(goal 4) in four weeks

Question 4

Play at the tempo at which you can play _____. And playing ____ also means more than just ____ _____.

Answer 4

accurately; accurately; correct notes

Question 5

The ____ ____ is the recommended number to write in all the blanks indicating the number of times something is to be practiced

Answer 5

number 3

Question 6

Some of the most valuable lessons the student will ever have will take place when you are ____, ____, ___ ____ to see if the student is grasping good practice habits that will lead to achieving realistic practice goals.

Answer 6

silent; listening; and learning

Question 7

With a broader concept of performance, a teacher can shower the student with ____ nearly every week because many lesson activities not previously thought of as such can now be considered performance

Answer 7

praise

Question 8

Name three musical musical skills required for a good performance (only need 3)

Answer 8

Steady Rhythm; Correct hand position; Appropriate tempo; A singing tone; Beautiful, Sensitive phrasing; Appropriate style for the piece

Question 9

Name 2 performance procedural problems (I think we need to know them all)

Answer 9

Poor posture, with feet often twisted around the legs of the bench;
Starting the piece in the wrong place on the keyboard;
Beginning at the wrong tempo and having to make an adjustment as the piece progressed;
Failing to play according to the dynamic and expression marks;
Having the foot (or feet) too far from the pedals, resulting in a frantic shuffle when the time came to pedal

Question 10

P. S. R.

Answer 10

Position; Sound; Rhythm

Question 11

Name 3 reasons why a student might be seeking a different teacher:

Answer 11

1. The teacher has moved, has quit teaching or is deceased
2. The family of the student has moved
3. The teacher is not what the student or parent wants and/or not in the manner in which they believe it should be taught
4. The teacher has dropped the student or recommended the student seek a different teacher
5. The student has progressed beyond the teacher’s capabilities
6. The relationship between student and teacher is unsatisfactory
7. The student likes and enjoys the teacher, but the parent is dissatisfied with the teacher
8. The teacher is not producing “competition winners”
9. The teacher does not “force” the student to practice as much as the parent wants
10. The teacher has raised the tuition, and the parent cannot afford the increase

Question 12

The ____ is the most important part of the assessment process.

Answer 12

interview

Question 13

It is recommended that you hear at least ____ pieces of contrasting styles from any student who has completed some or most of the early method books.

Answer 13

2

Question 14

We should always teach all of our students as if they were going to be ____ __ __ ____ ___ ____ _____ _____.

Answer 14

transferring to an equal or more experienced teacher

Question 15

When we approach a person in a way that is compatible with his or her ____ ____, motivation and achievement of the student go up and problems go down.

Answer 15

character traits

Question 16

The ____ teacher will typically avoid working with beginning students unless a student shows potential for being an outstanding pianist.

Answer 16

Ape

Question 17

Bears tend to be the _____ in music education. They make sure that each student develops a strong _____ in the basics.

Answer 17

traditionalist; foundation

Question 18

When an ____ teaches piano they display a technical know-how and would try to find the easiest way to deal with the complexities of piano pedagogy.

Answer 18

Owl

Question 19

A little ____ is definitely a hazard as a student, while ____ students will be prepared for their lessons.

Answer 19

Ape; Bear

Question 20

____ students want to do more than just memorize and ____ are well-motivated and high achievers too, but only to the degree that they have a good personal relationship with the teacher.

Answer 20

Owl; Dolphins

Question 21

_____ can be broken down into identifiable elements and taught ______ sequential manner completely compatible with classical teaching methods.

Answer 21

Jazz; methodical

Question 22

When a jazz pianist moves accents to the weak beats, the type of syncopation is called _________ ________.

Answer 22

Accent displacement

Question 23

Until students have gained confidence in their own creative abilities, it is advantageous to have them do all ___________ assignments as ________ assignments.

Answer 23

improvisation; composition

Question 24

The ___ _____ _____ _______ is the most important jazz form.

Answer 24

12 bar blues structures

Question 25

Instruments such as _____ and _____ free the pianist of having to play the bass line or of carrying the rhythmic burden.

Answer 25

bass; drums

Question 26

Judicious use of short periods of ______ or inactivity in jazz are signs of musical ______ and maturity.

Answer 26

Silence; taste

Question 27

Your accompaniment should at times employ some or all of the following techniques: indicating the __________, sustaining the _____, or both; anticipating and delaying the _____; filling periods of _____ _______.

Answer 27

pulse; chord; beat; melodic inactivity

Question 28

An essential element of effective jazz improvisation is _____ ______ - the mastery and manipulating of chords.

Answer 28

chord improvisation

Question 29

One of the two all-too-frequent performing errors relating to the motion tone/rest tone issue is ____-____ _____ ______ chords, which results in poor voice-leading and the feeling that the music lacks a sense of ________.

Answer 29

over-using root position

Question 30

The___-____-_____ occurs so frequently in jazz that it is perhaps the most important of all jazz chord progressions.

Answer 30

ii7 - V7 - I

Question 31

_____-____ _____ are important motivators because they focus one’s attention and energy on the task at hand.

Answer 31

short-term goals

Question 32

AAA stands for music a student can play _____, ____ for ______.

Answer 32

anytime; anywhere; anybody

Question 33

Name one way to handle qualifications for the list as a student matures and his pieces are longer and more involved: ______ ____ _____ _____ _____ ____ ____ _____.

Answer 33

count very long involved pieces as two pieces

Question 34

I still believe that more good than harm comes from giving periodic _____ ____ ______.

Answer 34

student progress reports

Question 35

____ ____ of high-quality practice time can often be more productive than ___ ____ of low-quality time.

Answer 35

30 minutes; 2 hours

Question 36

An important added benefit of my in-studio events is that I give students the opportunity to _____ one another. This encourages them to become ______ rather than _____ listeners.

Answer 36

critique; active; passive

Question 37

I’m great believer in the value of _________ as awards, and I give them to students as often as possible.

Answer 37

certificates

Question 38

The teaching of a _________ ________ __________ followed by an ______ note is one of the most important stages of learning in the rhythmic development of the elementary piano student.

Answer 38

dotted quarter note; eighth

Question 39

The two most frequent rhythm teaching inadequacies my interns encounter are

Answer 39

1. Almost always setting the tempo for the student.

2. Almost always doing the counting for the student.

Question 40

Tempo Goals for Repertoire are: New (week one ): _____________; Second and third weeks: _____________; Fourth and subsequent weeks: ___________________.

Answer 40

slowly; moderately; working toward performance-level tempo.