Month: September 2014

Inner Voices : The Lines Between And Beyond

內在旋律線:鍵外之音


Most students focus on the materials in the right hand, if not only the top melodic line. They neglect what is going on in the left hand, the bass register, or even the bass line. And more likely than not, the inner voices.

Why are the inner voices important?They form an essential component of the music. When we neglect a part of the materials in the music, we are presenting less of its content. It is similar to a jigsaw puzzle. When there are 50 pieces of the puzzle and we only put 30 of them together, what do we see? Apparently, only one part of the whole picture here even though it might be the majority part of it. Or, another example would be, fill in the blanks. Remember when we were young at school, there were exercises in English grammar classes to complete the sentences? The inner voices are the words missing. I _ _ going to _ _ _ mus_ _ m on _ _ _ day. (Or even alph_bets.) They are simply part of the equation to help us – both the performer and the audience – to make sense of the music as a whole.

To achieve a fuller sound projection of the inner voices, there are three main aspects to consider.

One, see with your inner eyes.

Understand the structure of the inner voices, how they proceed and progress on each of their own, and how they connect and communicate with one another.

You are not merely reading and watching where the notes are on the score and the keyboard.

Truly understand why they are there.

Two, listen with your inner ears.

Follow the lines as they proceed when you are playing them. Follow each note and connect the space between every two note.

You are not just hearing if you are hitting the right keys at the right time.

Truly listen to why they are there.

Three, project with a proper technique.

After you understand and listen, it is the time to play it. When you are playing more than one note at the same time by the same hand, use the palm. When you execute a chord, feel the sensation of grabbing the notes inward just a little bit towards the middle of the palm. Do not press your palm down towards the keys. Or more precisely, the palm knuckles, the part that connects the palm and the fingers.

Truly pay close attention to every single motion each hand is making.

Truly focus on every single detail in the music. Focus on every movement at your fingers, your palm, your wrist, your elbow, your arm, your upper body, your lower back, and your weight shift at your feet.

Listen to the inner voices. And project them. Properly. Precisely. Beautifully.


Teresa Wong


P.S. Truly focus on how to do the right thing, on how to project beautifully, instead of how to avoid playing wrongly and badly.

鋼琴教育的發展和去向

Teresa Wong School of Music  www.twsom.com
Teresa Wong School of Music
www.twsom.com

最近很久沒有寫關於教學感受的文章了。最新的文章圖貼都是關於新的學校,新的課程,新的環境,新的老師等等。好像是很刻意的去宣傳(當然宣傳是有需要的) ,但是更重要的是我想你們知道我們有新的發展和去向。希望在這個地方把真正音樂和鋼琴教學的信念宣揚開去,傳到更遠的地方,讓更多的人接受到這個訊息。

這一兩年來我收到了很多本身是鋼琴老師的學生。看着他們,我知道我有這個責任去教好他們,讓他們有更多的知識,所以成立這個學校其中一個最大的目的就是培育好新一代的老師,去教育下一代:我們的孩子。讓孩子打好根基,真正的去學習音樂,去了解和欣賞音樂,怎樣去真正的彈好一手鋼琴,而不是當鋼琴作為課外活動的一部分,好像做功課、打機一樣去做,敷衍了事交差。我不是想讓你們覺得我很偉大,這只是我謙遜堅持的信念罷了。

今早很高興收到兩個電郵。其中一個是從遠方來的。幾年前他們從遠方來的時候找到我。然後小朋友跟我學習了兩年。最後他們回到自己的國家,但沒有忘記我,打算在我推薦給她的朋友學習。而另外一個是學生的朋友,亦是詢問有關鋼琴的課程。她說我的學生是在她的影響下而開始學習彈鋼琴的。

小朋友的母親說,很高興我開始了新的學校,亦稱讚我對音樂教育的熱誠一點也沒有變。我自己也很希望我對音樂教學的熱誠一直堅持下去。很多時,學生覺得我講的說話好像很容易的,說怎麼正面思考、樂觀積極面對等等。其實對我來說,這是一點也不容易的。經過的路程是很艱巨的,我也試過跌倒,我也試過不想繼續走下去。但是我跟你說,我看著前面的目標,我看着自己的學生,我知道我是要繼續堅持下去,作一個好的榜樣,成為一個更出色的老師。所以學生們,努力吧,堅持吧!我是和你們一起向前積極邁進的。

有些人可能覺得我的收費比較昂貴 (我真的很想說,我的課堂是物有所值的,跟我上一課等於上普通的四、五課, 好吧,或者沒有那麼誇張,兩、三課吧)。其實有些人會給我很高的學費,我也未必會收他們為學生的。反而一些人可能家境不是太好,我又會願意減少學費教導他們。我最不想見到的,就是小朋友可能因為家境清貧,但是有意志和熱誠和天資去彈好鋼琴,而又交不起我的學費。不過話說回來,我也不再收太多的學生,要收的是有濳質、有熱誠、有毅力、勤力,正面積極有信心不怕辛苦的。我想花時間的,就是寫好我的教材,我的書籍,我的練習曲和歌曲等等。然後花時間培育新一代的老師,讓他們去教好下一代的學生。那我就可完成我的「宏願」然後歸隱田園了。


黃穎妍


P.S. 我相信要達到這個宏願還是需要很漫長的時間的。。。