Mella Fausto, Lombardy, Italy
Melody is a bird which flies,
Harmony is the air, the sky,
the wind, the light around it.
Nigel James, The University of Sheffield Warrington, England:
Ideally every student should learn to improvise melodies and harmonies. Perhaps the first step lies in developing aural skills which are needed for any true music making?
Gayle:
Yes, most definitely, aural skills as a first step are a bonus! However, you may find that, even though the main objective of the QuenMar books is to train students to create their ‘own’ accompaniment for melodies, the trial & error process finding the desired accompaniment can have a side benefit of considerable aural training!
Jane Kristensen Seattle, Washington:
I’m sure I have no creative ability and it would be of no use to try to create accompaniment for melodies at the piano.
Gayle:
I have to disagree. With focus, most everyone can acquire ‘Creative Keyboard Accompaniment (KA) Skills’. However, like any skill, the degree of proficiency can vary. An example could be general math which is most often a compulsory subject on school curriculums. Not all students are math enthusiasts but with practice and focus they acquire some degree of proficiency. My view is that if music math is a compulsory subject (at the keyboard) all students can acquire a degree of proficiency creating accompaniment for melodies. The major benefit of music math is that the aural and emotional reward can be moving and inspirational. It can inspire creativity to a degree that we never knew was there!
Dr. June Fileti, UK, University of West London & The International School of Musicians:
I simply love what you are doing. I was completely sidetracked today by your work. Amazing.
Your books are fabulous. What a great way to inspire children.
Gayle:
Thank you. You have made my day!
Elizabeth Baird, Toronto, Canada: Music Director, Conductor Composer, Mentor, Teacher.
I think what you do is fantastic and so important.
Gayle:
Thank you. I do feel it is important. Hopefully, more music institutions will include ‘Creative KA Skills’ (at the keyboard) as part of the curriculum, at all levels – the same as for sight-reading and technical skills. It’s important that piano students feel they are well-rounded musicians.
E-mail to June Fileti, UK, Dec 31, 2018
Gayle wrote the following in 2018: June, thanks for connecting. Hope you’re doing well. We have been lobbying for examining institutions to recognize ‘Creative Keyboard Accompaniment’ (Creative KA) skills, at the keyboard, as a viable subject and worthy of marks at ALL grade level examinations. The new RCM curriculum is 2022 and we are hopeful to have this adjustment…
All the best in 2019. Happy Examining.
Nick Burke, IT Engineering Manager in Manchester, England wrote:
Yes – I was brought up on classical music and completed all 8 ‘Grades’ but would maybe have enjoyed that journey more learning about accompaniment and integrating with bands/group etc. rather than just focusing on individual excellence…thankfully I’ve picked up the right combination now to do both.
Maryse S. MYP & DP Music in Mumbai District, India wrote:
Ditto! (Same as Nick, above).
Gayle:
Yes, students should expect keyboard accompaniment skills to be part of their initial training. Those years are usually the best for the hearing, learning and confidence. Thank you for sharing your views.
Ruth Lenher, Merchantville. New Jersey, US – Composer
Thank you so much for all you have done and keep doing all you can to get others to see how beneficial your books are for others, including teachers. You help the teacher go along in the lessons! Actually, you help guide them better than most books I have read! In going over your books, I have to say that you nailed just what all teachers need to keep their students interested in learning piano… I think teachers hold their students interest longer when the student can create something on their own… Teachers may even get more students by word of mouth and/or by students showing others the books… Schools/music institutions should have your books and see how well the students like them. Thank you so much for writing these instruction books!
Gayle:
Your recognizing important elements of the books and how beneficial they can be for others is very much appreciated.
I agree that when students can create something on their own, it can hold their interest longer and possibly make them feel like well rounded musicians.
There is another element of the books that I hope will prove to be beneficial. From my teaching years, I remember how difficult it can be fitting everything into a lesson (especially the higher grades).
I, therefore, organized the books as a self study. Although younger students can need more guidance, the process for most students is less than 5 minutes of lesson time. Simply, assign the pages and check that the guidance on those pages was understood. With this method, the ear is challenged routinely – the same way as other music skills.
All the best with your composing, and a ‘special thanks to you’ for the encouragement and understanding of the need for the QuenMar books.
Cheryl Tsui – Piano Teacher in Sydney, Australia
Thank you so much! I took a look at the book you wrote – Melody Adventures, Book 3.
I really like how you’ve incorporated keyboard harmony into it. I can’t wait to use this resource for teaching!
Also, what age group and level did you design this book for?
Gayle:
That is a very good question.
With the music fully notated, levels can vary from one country to another (or one music system to another). The Melody Adventures (MA) series really depends on which books suit the student’s technical ability and the student’s level of understanding. Following the completion of MA PRIMER A & B, it is open to teachers/students – MA Books 1, 2; 1&2 Supplement, 3&4 or a blend of these books. Whichever order, it is hoped that the MA series allows a smooth transition to ‘Keyboard Accompaniment (KA)’ with students creating their ‘own’ accompaniment for melodies.
As for the level of a student’s creative KA ability, this is for music institutions to incorporate/establish.
QUESTION for TEACHERS
Sheung-Ping Lai: Composer, pianist. AMus TCL
Why Do Students Struggle with Music Theory? (Complete Article on ‘Linkedin’)
The main reason is that they did not learn music theory at the same time they learned their instrument. Therefore, their music theory level is far behind their music performance level.
Answer, Gayle
Yes, why is music theory not trained with the lesson – at the piano? It is generally a separate class and all on paper! It gives no ear training and the students’ best hearing years are missed. It does not make sense!
Thank you, Sheung-Ping, for your input.
Other thoughts on the question would be appreciated…
Mella Fausto, Lombardy, Italy
I’m honoured for having received your thanks, Mrs. Dunsmoor.
I consider you a sort of institution for developing and transferring
the knowledge of harmony to the people.
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INTERVIEW for PIPPA with BRANDON ANDERSEN
The Best Way to Predict the Future is to Create It.
Brandon
As part of my role at PIPPA, I’ve been tasked with researching and writing a professional essay titled:
“THE STATE OF the PIANO INDUSTRY.”
I noticed your work in writing accompaniment books for learning piano and I’m curious: what are the
biggest challenges you’re facing in this area right now?
Gayle (answer)
There are many challenges. The main one is FEAR – fear of change; fear of teaching something that was
not part of ones training; fear of the word ‘creative’.
Brandon
Thank you for sharing such an insightful perspective! It’s interesting to hear that fear plays such a
significant role, especially around change and creativity. These are areas that seem vital for keeping the
piano industry vibrant and relevant. I’d love to hear more about how you’ve approached these challenges
in your own work.
How do you encourage creativity and adaptability in teaching while addressing these fears?
Gayle (answer)
I’m still working it out! My feeling is – if someone does not work it out – formal training will not survive!
Before continuing, I should clarify that I do not see what I’m doing as a ‘change’ – simply an addition.
However, others (mainly administrators) tend to see it as putting down formal classical training. It is, in
fact, the OPPOSITE!
Brandon
Thank you for sharing this! There seems to be a divide between the 1% – prodigies with virtuoso abilities –
and the 99% – those who simply want to experience the joy of playing piano.
In your experience, what type of songs have delivered the best results for you?
Gayle (answer)
I cannot say, as up until MA Book 4, Part 2, the melodies are fairly generic – mostly, focused on having
sight-reading, harmony understanding & the ear, ADVANCING TOGETHER.
As you say, there is a HUGE divide between the 1% and those that did not win the hearing lotto, at birth.
Unfortunately, the 99% have very little to say about the curriculum and therefore, have difficulty breaking
out of the ‘eye to hand’ system of learning. They are held in place, for many reasons.
To answer your question: “What type of songs have delivered the best results? – it is too early to know.
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Other thoughts on this subject would be appreciated…
Kiruja Nathaniel Gichuru, Author, Piano Instructor.
I’ve just browsed the books on your website and it’s a gold mine. Thank you so much for the free downloads. We need piano curriculum experts like you to share your knowledge… God bless you more.
Gayle:
Thank you Kiruja for your support.
Jon Gontse
Wow, your books have a lot of helpful content. I just previewed them and they are ‘GREAT’!
Gayle:
Thank you, Jon. I am glad you find the books helpful.
Mella Fausto
My appreciation for you and your work and effort, comes from my heart and emotions from music
Gayle:
Thank you Mella for your support – from the first books! It is very much appreciated.
Mark Greer, Master of Music in Piano in Piano Performance
Gayle, your piano books and material are wonderful resources and would benefit students and teachers everywhere!
HIGHLY RECOMMENDED.
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