Let’s face it; piano music reading is like reading two languages at the same time. There’s going to be times when the brain gets confused. What can a teacher do to help a student not get frustrated?

Have a Coping Strategy for Music Reading

It sure helps the student when he can go to a strategy to unkink a muddled mind – when the treble interferes with the bass-thinking mind – and the reverse situation. The first thing I do is give praise. Here’s an example:

The student has been playing correctly but then come’s to a third line note in the bass and plays “B”. I would say, yes that is B in the treble, but you’re in the bass. Think of the bass spaces. The student says “A-C”. I continue, “And after C comes D – the bass third line is D.”

The student recognizes the note B is wrong – it sounds wrong – but is stuck thinking in the wrong clef and is frustrated. Hearing teacher-praise for having learned B in the treble usually creates calm and a teachable attitude.

Reorient: Go to the Spaces

For the right hand treble staff: F-A-C-E

For the left hand bass staff: All-Cows-Eat-Grass

In music reading, do you want that smelly cow on top of your FACE? No, it goes on the bottom – in the left hand. FACE goes on top – in the right hand.

Then use the spaces to find the line: A – C, after C comes D.

Having a Strategy Empowers

When the student has learned to go to the strategy for music reading, he/she should feel empowered with a “I can fix it myself” attitude. Now there is no reason to complain or feel inadequate. Teachers can reinforce: “Reading and playing two different languages at the same time – that’s incredible! It’s like patting your head and rubbing your tummy at the same time, but only harder! Get mom or dad to do that and tell them what you’re doing when you play this song! They’ll be impressed!”

It helps to point this out to music reading adult students who feel the occasional frustration when the two clef learnings interfere with each other: “Two languages together at the same time? (I like to use German for the G clef treble and French for the F clef bass.) No wonder you have to stop and think sometimes! I can tell you it won’t always be like that. The two languages will just become the “language of music” to your mind. But until then, refer back to the spaces to find the lines.

To Review: Don’t Use Shortcuts at the Beginning

Yes, the first piano reading exercises are easy to play, but verbally attaching a letter name to a piano key and its line or space on the staff – and moving forward and backward within the alphabet – is much more difficult. Skipping the identification process will cause frustration quickly when hands are combined since learning never concretely took place with each hand’s staff in the beginning. The student must not use shortcuts in the thinking process; such as, “I see a neighbor note comes next so I won’t bother to think of and say the letter name.” However, the teacher should point out that the student won’t have to say letters aloud forever – and will soon be playing without thinking of letter names at all!

If the student was faithful in saying aloud letter names and correctly locating each on the keyboard, he will still have some moments when the brain stalls during music reading. Doing any two things simultaneously can be tricky.  When stalling occurs, have the student choose one hand first, identify and locate the correct note (using space to find line strategy), and then repeat the thinking process with the other hand – and then only afterwards – play hands together. Breaking the process into steps really works!

When the teacher reminds the student to use this coping strategy for music reading, it will prevent overwhelming frustration and produce a can-do attitude in the student.

What Would the First Lesson for a Young Student Look Like?

What Would the First Lesson for a 6 to Teen Look Like (video)?

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Leslie Young is the author/composer of the Revolutionary Piano Method. She co-founded a K-12th grade charter school in Texas and has been a piano teacher for about 40 years. She has had experience teaching a variety of students tackling piano for the first time or as returning students.

Leslie believes that “learning to play the piano is more about diligence and perseverance” – but would add that just as critical to success is the method that is used, the encouragement of critical thinking, and the instructional principles that promote immediate success.

She states: “In teaching piano to students of varying ages, what also varies is a commitment of time and the amount of dedication. Children of certain ages may do very well with a parent as teacher; others may need someone who is not family to instruct them. Some older children and adults prefer to make progress on their own, and this method is designed to act as a meticulous guide through new material. Some adults and teens insist on professional teachers, which also encourages continuity. Because these books are self-explanatory, a new or experienced professional teacher will have no trouble using the Revolutionary Piano Method with students. It is an easy way to learn piano.”