Sigma Alpha Iota

sai-national.org • SPRING 2016 • PAN PIPES 13 studying for only one year and in two months she would become a teenager, a somewhat difficult age. My former students, at 20 and 64 years old, started piano with the first book and so must Laura. When her mother noticed how her daughter "took" to my approach, especially the way in which the notes were presented through alphabet letters names, she promised to buy her a piano. When I heard that she had purchased an electronic keyboard, I did a double take because, in the past, I would never have accepted a student unless they had an acoustic piano. Could I still teach her the "waterfall" technique and help her hear the difference between a beautiful sound as opposed to a stiff sound? I would have to closely monitor her on her keyboard. Purists, which I admit I am one, would say this is impossible, but read on... At Christmas time, I decided to use the organ and bell-like sounds on the keyboard for all of the simple melodies, making these holiday songs depict the spirit of the season. Laura's excitement in playing (via cell phone) for her father in Germany and for her various friends meant that this plan was working beyond my expectations. I could no longer deny that this digital age has a plus. However, I was careful to keep monitoring her wrist and arm action so that she could easily transfer the same feeling to the acoustic piano. In June of last year, my great granddaughter Zara came to visit me in New York. Laura, a year older than Zara, thankfully didn't resist my suggestion to play for her. She had completed studying the three books I had composed specifically for Zara and was anxious to meet her. I brought Laura to my house to meet Zara and there was no need for more than a short greeting, "Hi," because they already had a connection from playing the same songs. Laura had no problem using the "drop-li" action on my piano; electronic or acoustic, it didn't seem to matter. e exchange continued spontaneously with four more songs from each of them. I could see that they both really enjoyed this sharing time, so it was time for me to bring out their favorite chocolate glacé ice cream to celebrate! My hope was doubled by an unusual request. In 2014, a young man working in Massachusetts who saw me on the internet, asked if he could study composition with me, not in person, but via Skype. Without fail, his call would come through every Wednesday night. He studied diligently and in the spring, he decided to come to meet me in person. I asked him to play the piano for me. When he played To Spring by Grieg, he was so tight that I knew I needed to help him. I explained that the only way to beat this problem was to start with the "waterfall" technique. Aer one lesson, without hesitation, he bought the entire course. He also wanted to teach his wife who had failed to learn from other methods. When he reached Step 4, his sight reading had improved immensely. I cannot forget one comment he made which I didn't expect for an intermediate piece. He said, "is song, A Long Time Ago, deserves a Grammy!" Life, for a teacher, has its unexpected challenges. e only graduate of my course, my 15-year-old grandnephew Brandon, was tagged a "genius" aer his first cello recital. I knew it was his sight reading skills and understanding of timing from this piano course that increased the speed of his learning a second instrument. However, as a result of repeatedly pressing on the fingerboard of the cello, a tightness crept into his piano playing. I pointed out that he uses muscles differently when playing cello, so he is now trying to correct his piano playing. Just as interests change for the typical teenager, Brandon became drawn to the music on Youtube. Interspersing my arrangements of some of his music with specially selected classical music helped maintain his interest. My motto has not changed. I believe melody is a must, surrounded by beautiful harmonies (overtones). One day, while Brandon was practicing the Shostokovich Lyric Waltz and Living for a Dream, his critical grandfather gave him a most surprising compliment when he said, "I thought it was your mother playing!" e rebuilt World Trade Center here in New York is now of such magnitude, tall and solid, that it looks as if it can never be destroyed. To echo this stability, I must say with assurance that music can never be destroyed if we, as teachers, continue our job of embracing the digital age to our advantage. In addition, by using a teaching course that has been designed from the ground up to foster joy in practicing, we will expand the number of children wanting to take piano. is is a sure fire way to keep music alive! ose interested in learning more about SAI Composer Bureau member Jane Tashiro's Children's Piano Course may contact her by e-mail at: mjtmusic1@ verizon.net. KEEPING MUSIC ALIVE, PART 2 FOR MORE INFORMATION To view a performance of "Jewels in the Night" on Youtube: search "Mary Jane Tashiro." Above, Tashiro's great- granddaughter Zara and student Laura. At left, her 15-year-old grandnephew Brandon.

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