[Smt-talk] Fwd: Keyboards for theory classes?

[Donna Doyle]

How right you are, Stephen. Coordinating the mind, hands and ears is the student's biggest challenge. I require them to speak the chord IDs as they play (Campion's Regle memorized, in several keys, both modes, for ex). I also forbid them from looking at their hands, but at the keyboard on the screen of their imagination. They cry and carry on at first, but after a few weeks come through and end up playing with fluency and assurance.

Donna Doyle


Adjunct Assistant Professor
Aaron Copeland School of Music
Queens College
Flushing, New York 11367

> On May 5, 2014, at 7:58 PM, Stephen Jablonsky <jablonsky at optimum.net> wrote:
> 
> Our four semesters of theory practicum (musicianship) classes use a book of my own invention, Thinking Harmonically at the Keyboard, that has the students learning to play from chord numbers, chord names (lead sheet), figured bass, and chord function. The toughest part of the class is to get them to think before they play.
> 
> 
> Dr. Stephen Jablonsky, Ph.D.
> Music Department Chair
> The City College of New York
> Shepard Hall Room 72
> New York NY 10031
> (212) 650-7663
> music at ccny.cuny.edu
> 
> America's Greatest Chair 
> in the low-priced field
> 
> 
> 
> 
> 
> 
> 
>> On May 5, 2014, at 3:05 PM, Richard Nelson <rxn12 at cim.edu> wrote:
>> 
>> At the Cleveland Institute, 25% of the two-year core theory curriculum is keyboard harmony, which is closely intertwined with written theory and aural training.  We find that the other areas of study are positively impacted due to cognitive, aural, visual, and tactile connections.  Students perform individually in class (figured bass, chorale melody harmonizations, improvised modulations, etc.) 2-3 times per week, and there are 3 or 4 Steinways (grands and uprights) in each classroom to facilitate this.
>> 
>> Students practice keyboard harmony in practice rooms, studios, and in our piano lab when it is not in use for classes.  Some students, on their own, purchase electric keyboards for their convenience, but this is not a requirement.
>> 
>> We use our own in-house materials for keyboard harmony which are closely connected to studies in written theory and aural training.
>> 
>> -- 
>> Rick Nelson
>> Cleveland Institute of Music
>> 
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