Re: [Harp-L] The Iceman Teacheth - info for instructors



Great info, the Iceman!

I noticed that the beginners feel uncomfortable to play and to perceive that one can evaluate their "poor" playing technique - sort of a state of an anxiety - and that's why they play like at a lower volume and with weak attack like they are whispering. To prevent that I do play along with them and at a louder volume to bring their volume up. I usually bring to attention the analogy of the tap water coming through the tap - when the tap is half open - the steam is not stready and weak, and when it is open at full capacity - without overdoing - the stream is steady, nice and can be manipulated if you switch the analogy of the water stream coming out of the water hose. 

It's interesting that the students start to behave differently right after absorbing the analogy, but the old habits get back as soon as they get distracted. So, in the beginning stage I always recommend playing/practicing while there's some noise around - usually so-called white noise of the washing machine, hair drier, TV set at moderate volume, etc. (remember how the white noise helps to bring the babes to sleep? it can also wake up the beginners:)). So, when the student competes with the alternative sound keeping in mind the "steady stream", he or she develop their skill to attack and sustain the notes at full capacity. Of course, additional instruction along the way is needed, as to how loud the alternative source of sound should be, and what to strive for. But in general, such games with the brain accelerate the learning process. 

In a pure case of anxiety, I do present the student to the craziness of all creative skills and professions and tell that during the singing class students and teachers produce such funny and strange sounds that in a regular life they would be called crazy by everyone who hears them. And to support the idea with the argument, I'd produce some "unusual" sounds taken from vocal exercises, or from the mock exercise for working out the throat vibrato or growl. Usually it ends with loughing. And the moral is that after hearing my sounds, it is easier for the student to apply all those tricks in my presence and it unfreezes him/her a bit. I believe that's needed for establishing the emotional rapport between the student and instructor - sort of the trust, so that the student feels comfortable when he or she produces crazy sounds while knowing that I know that they are not crazy. So, during the first, say, 5 lessons, my task is to always keep an eye on the person's state of mind and body in terms of shyness, and if necessary, I do mention and repeat the funny exercises again and again. To keep the body relaxed and focused on the task, we could walk around the room together while playing. And believe me it helps a lot. 

Hope it would be of help 

Best, 

Alex




>>> <IcemanLE@xxxxxxx> 17/09/2008 01:46:54 >>>
Having focused on harmonica teaching rather than performing these past 6  
years, many new concepts have flowed through me into students. A few have been  
home runs. Here is one of them. Works for all level of players - however, most  
that come through my doors are beginners.
 
One leg of my intro to harmonica is learning where the notes live - major  
scale from 4 hole exhale through the major ninth - 8 hole inhale - and back.  
Student learns to play LOOOONG tones on each of these holes to get the sound out 
 into the air and into their ears. It is nothing more than DO, RE, MI, etc -  
something everyone already has in their ears from grade school. 
 
The linear sound of the scale is two dimensional - I've recently added a  
third dimension that really turns on the student. At each scale degree, I play  
the full chord on the piano - Major, minor, minor, Major, Major, minor,  
half-diminished, Major, minor - while they sustain the note. I tell them to  listen 
to the sound of the piano as an orchestra, listen to their note, and  blend 
them together. At first, I bring in the full orchestra and have them play  their 
note to balance with the orchestra. The result is that they play with more  
confidence and a fuller sound. We go up and down quite a few times - this is  
done slowly.
 
Then - here is the important part - I tell them to start with a note so  
solid that the orchestra will have no trouble knowing when to come in and have  no 
fear of "falling through the note" because it is too weak. They play a  
sustained note -when it becomes solid, I bring in the orchestra (full chord,  
middle range of the piano).
 
The results are impressive. Student gets a firm grasp on creating a solid  
note and starts to hear the full orchestra and harmony in their ears while they  
play. Then, at home, I tell them to imagine this sound as they go up and down 
 their scale slowly.
 
Even experienced players should try this exercise. It will open up your  ears 
to a greater extent.
 
The Iceman



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