DOCSLIB.ORG

Preschool Piano Methods and Developmentally Appropriate Practice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Preschool Piano Methods and Developmentally Appropriate Practice PRESCHOOL PIANO METHODS AND DEVELOPMENTALLY APPROPRIATE PRACTICE A Dissertation Presented to The Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By FANG TING HUANG Dr. Wendy, L. Sims, Dissertation Supervisor AUGUST, 2007 © Copyright by Fang Ting Huang 2007. All rights Reserved The undersigned, appointed by the Dean of the Graduate School, have examined the dissertation entitled. PRESCHOOL PIANO METHODS AND DEVELOPMENTALLY APPROPRIATE PRACTICE Presented by Fang Ting Huang, A candidate for the Degree of Doctor of Philosophy, and hereby, certify that, in their opinion, it is worthy of acceptance. Professor Wendy, L. Sims Professor Martin Bergee Professor Janice Wenger Professor Karen Larvick Professor Larry Kantner Dedicated to My mother, who encourages me to succeed with strength and diligent spirit. My family and friends, who support me with fine thoughts and blessings. My sisters, who show their unconditional love. My husband, who gives me his continuing belief and trust. & My children, who grow to know patience and sacrifice through this process and learn to sweeten my life with their angel love. ACKNOWLEDGEMENTS The process of this dissertation was filled with exhaustion and excitement. Mere words cannot express my gratitude to those people whom I am indebted. First and foremost, I would like to acknowledge my highest respect to my advisor, Dr. Wendy L. Sims, for her effort to guide this dissertation toward the completion despite very busy schedule. Her continuing advises, encouragement, questioning, and insight challenged and inspired me throughout this huge endeavor. She is and will always be my model. I also want to extend my thanks to members of my dissertation committee—Dr. Martin Bergee, Dr. Janice Wenger, Prof. Karen Larvick, and Dr. Larry Kantner—for sharing their knowledge and expertise. Their generous support and belief in me nurtured this achievement. To my colleagues, Dr. Dneya B. Udtaisuk and Ms. Chang Liu, I offer my deepest appreciation for their participation in this study as Peer Checkers. Their involvement enriched both the study and friendship. In addition, I would like to extent many thanks to my editor, Dr. Cathi Wilson, who not only spent valuable time on perfecting this dissertation, but also gave me enduring encouragement. She is an excellent mentor, and I learned so much from her. Thank all of you for assisting me in accomplishing an undertaking of this magnitude. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ………………………………………….………...……….. ii LIST OF FIGURES ……………………………………………………………………xvii LIST OF TABLES ……………………………………………………………………xviii ABSTRACT ……………………………………………………………………………xix CHAPTER I INTRODUCTION ……………………………...…………………………………..…… 1 Purpose of the Study ………………………………………………………………… 2 Organization Outline ………………………………………………………………... 4 CHAPTER II LITERATURE REVIEW ……...………………………………………………………... 7 DEFINITION OF THE PRESCHOOL PIANO STUDENT ………...……………… 7 PRESCHOOL PIANO METHODS …………………………………...……………10 Definition of Method ........……………………………………………...............10 Historical Overview of Piano Method Books …………………………...............12 The Rise of Preschool Piano Methods …………………...........................13 Influences on Philosophy of Preschool Piano Instruction ……..……………......13 Dalcroze ………………………………………………………………….. 14 Orff ………………………………………………………………….. 16 Kodály ………………………………………………………………….. 17 Suzuki ………………………………………………………………….. 19 Summary of Influential Philosophies on Preschool Piano Instruction …..… 21 The Derivation of Preschool Piano Methods ………………………………….. 23 iii Characteristics of the Piano Method Books ………………………………….. 24 Types of Piano Method Books ………………………………………….. 24 Modes of Instruction ………………………………………………………. 26 Readiness for Piano Study ………………………………………………….27 Elements of Preschool Piano Methods …………………………………..29 Reading …………………………………………………………. 30 Rhythm …………………………………………………………. 35 Techniques …………………………………………………………. 37 Musicianship …………………………………………………………. 42 Repertoire .…………………………………………………………….. 44 Design and Format ……………………………………………………..46 SUMMARY ……………………………….…………………………………48 DEVELOPMENTAL CHARACTERISTICS OF PRESCHOOL CHILDREN …..49 The Origin of Developmentally Appropriate Practice ……………………….. 49 Definition of Developmentally Appropriate Practice …………………………50 Developmental Characteristics ……………………………………………......51 Physical Maturity ………………………………………………………….51 Gross-Motor Development …………………………………………51 Fine-Motor Development …………………………………………......52 Sensation and Perception ……………………………………………..53 Intellectual Maturity ……………………………………………………...56 Language and Communication Development ……………………......56 From Language to Play …………………………………………..57 iv From language to Music ………………………………………….58 Cognitive Development ………………………………………...60 Major Perspectives of Learning Theories ……………………….. 61 Egocentrism …………………………………………………. 61 Centration …………………………………………………… 64 Mental Reversibility ………………………………………….65 Conservation ………………………………………………... 65 Other Influential Learning Theories in Cognition Development ……………………………………………………………………68 Social maturity ………………………………………………. 69 Musical Maturity & Characteristics …………………………………71 Rhythm Development and Movement ………………………. 71 Steady Pulse …………………………………………………73 Duration and Pattern in Rhythm …………………………….75 Meter ………………………………………………………..76 Rhythmic notation …………………………………………..77 Pitch Development ……………………………………… 78 Linear Pitch Development ………………………………….78 Pitch Discrimination and Melodic Contour …………….79 Pitch Relations and Melodic Motion …………………...80 Advanced Pitch Concepts ………………………………81 Vertical Pitch Development ……………………………….. 82 Harmony and accompaniment ……………………….… 82 v Functional and Performance Skills …….……..…………..…….83 Aural Development & Listening Skill …………………….. 83 Vocal Development & Singing ……………………………. 84 Motor Development ……………………………………….. 87 Music Movement ……………………………………… 88 Instrument Playing …………………………………….. 89 Concept Development and Notation …………………………... 92 Affective Development …………………………………………93 Creative Development ………………………………………….94 SUMMARY ………………………………………………………………97 ISSUES OF CURRICULUM PLANNING AND INSTRUCTIONAL STRATEGIES …………………………………….. 99 Definition of Curriculum ………………….……………………………..... 99 Curriculum Planning and Implementation ………………………………...101 Philosophy ……………………………………………………..101 Goals and Objectives ……………………………………………..103 Implementation of the Curriculum—Lesson Planning ……………..104 Instructional Strategies ………………………………………………........107 Tradition versus New Vision ……………………………………..107 Profile and Qualifications of the Preschool Piano Teacher …………..110 Instructional Theories Revisited ……………………………………….....111 Direct Instruction versus Rote Teaching …………………………….111 From Theories to Practice …………………………………….113 CONCLUSIONS ……………………………………………………………..117 vi CHAPTER III METHODOLOGY ……………………………………………………………….118 Research Design …………………………………………………………….. 118 Mode of Inquiry …………………………………………………………. 118 Design and Theory ………………………………………………………..119 Data Collection and Analysis …………………………………………………121 Data Sources ………………………………………………………...….... 121 Use of Documents ……………………………………………...……..121 List of Preschool Piano Methods ……………………………………..122 Core Data Sources and Supplementary Data Sources ………………..123 Purposeful Sampling …………………………………………………….. 124 Sampling Process and Selection Criterion ………………….………...125 1. Emergent Sampling Design ………………………….……….125 2. Criterion of Sample Selection ………………………………...125 3. Serial Selection and Focusing of the Sample ………………....125 4. Selection to the Point of Redundancy and Sample Size ……...126 Data Collection ………………………………………………………….. 126 Primary Data Collection Method ……………………………………..126 Secondary Data Collection Method …………………………………..127 Data Analysis ……………………………………………………………..127 Constant Comparative Method and Qualitative Content Analysis ..….127 Process of Analysis …………………………………………………...129 Phase I: Raw Data into Unitized Data ……………………………129 Phase II: Verified Data and Peer Check ………………………….131 vii Phase III: Categorized Data and Refined Categorized Data ……..133 Phase IV: Balanced Data ………………………………………...133 Trustworthiness …………………………………………………………..134 Credibility ………………………………………………………….. .135 Authority of the Researcher …………………………………….. 135 The Nature of the Interaction between Researcher and Multiple Realities ……………………………………………………………………137 Prolonged Engagement …………………………………… 138 Reflexive Analysis …………………………………………138 Field Journal ……………………………………………….139 Negative Case Analysis ……………………………………139 Triangulation of Data ……………………………………………140 Transferability ……………………………………………………….141 Dependability ………………………………………………………..142 Stepwise Replication Technique ………………………………...142 The Code-Re-Code Procedure …………………………………..143 Repeated Observation of the Same Event ……………………….143 Confirmability ……………………………………………………….144 Data Presentation and Analysis …………………………………………….. 144 Trends in Characteristics of Preschool Piano Methods …………….........145 CHAPTER IV TEACHING PHILOSOPHIES REFLECTED IN THE METHODS …………...152 General Teaching Philosophies ……………………………………………...153 Traditional Approach …………………………………..………………. 153 viii Whole-Body Approach …………………………………..………………154 Analysis and Interpretation ………………………………..…………....156 Main Emphases of the Philosophies as Reflected in the Contents ……….....157 Traditional Approach …………………………………………………...158 The Emphasis on Reading Proficiency/Music Literacy …………….158 The Emphasis on Playing Technique ……………………………….159 Whole-Body Approach ……………………………………………….....160 Analysis and Interpretation ……………………………………………. 162 Pedagogical Approaches
Load more

Recommended publications
  • The Unusual Notrump
    BB What’s Standard? by David Lindop This series is based on Grant Vulnerability is a consideration with Standard, a set of conventions and a borderline hand. The opponents agreements that are in popular use The Unusual will be quicker to double when we today, such as 15-17 1NT openings, Notrump are vulnerable, especially if they are five-card majors, and weak two- not. The longer and stronger the bids. A summary chart of Grant suits, the less riskier it is to bid 2NT. Standard and the corresponding We can afford to give this ‘unusual’ WEST NORTH EAST SOUTH convention card can be found at ♠ meaning to 2NT because we rarely 1 ? www.AudreyGrant.com. The site hold a strong balanced hand of 20 Although there also has Grant Basic, a simpler set ♠ or more points when the opponents are only 8 high- 4 of agreements. ♥ — open the bidding. If we do get such card points, this ♦ Earlier articles in this series would be a good Q J 10 7 6 5 a hand, we can let partner know by ♣ K Q 10 9 8 3 appeared in the Bridge Bulletin and starting with a takeout double and hand to bid 2NT can also be found under ‘Articles’ at then bidding notrump—showing a even at unfavorable vulnerability. www.AudreyGrant.com. hand too strong to overcall 1NT. This hand would ♠ Suppose the auction starts: be a much riskier 4 hen the opponents open ♥ 8 3 WEST NORTH EAST SOUTH 2NT bid. We might the bidding, and we have a ♦ K Q 8 7 5 1♥ ? only take such an ♣ Wtwo-suited hand, we could action at favorable Q J 7 5 4 This would be an start by overcalling in the higher- ♠ 4 vulnerability, if at all.
    [Show full text]
  • Henri Matisse's the Italian Woman, by Pierre
    Guggenheim Museum Archives Reel-to-Reel collection Hilla Rebay Lecture: Henri Matisse’s The Italian Woman, by Pierre Schneider, 1982 PART 1 THOMAS M. MESSER Good evening, ladies and gentlemen, and welcome to the third lecture within the Hilla Rebay Series. As you know, it is dedicated to a particular work of art, and so I must remind you that last spring, the Museum of Modern Art here in New York, and the Guggenheim, engaged in something that I think may be called, without exaggeration, a historic exchange of masterpieces. We agreed to complete MoMA’s Kandinsky seasons, because the Campbell panels that I ultimately perceived as seasons, had, [00:01:00] until that time, been divided between the Museum of Modern Art and ourselves. We gave them, in other words, fall and winter, to complete the foursome. In exchange, we received, from the Museum of Modern Art, two very important paintings: a major Picasso Still Life of the early 1930s, and the first Matisse ever to enter our collection, entitled The Italian Woman. The public occasion has passed. We have, for the purpose, reinstalled the entire Thannhauser wing, and I'm sure that you have had occasion to see how the Matisse and the new Picasso have been included [00:02:00] in our collection. It seemed appropriate to accompany this public gesture with a scholarly event, and we have therefore, decided this year, to devote the Hilla Rebay Lecture to The Italian Woman. Naturally, we had to find an appropriate speaker for the event and it did not take us too long to come upon Pierre Schneider, who resides in Paris and who has agreed to make his very considerable Matisse expertise available for this occasion.
    [Show full text]
  • Hall of Fame Takes Five
    Friday, July 24, 2009 Volume 81, Number 1 Daily Bulletin Washington, DC 81st Summer North American Bridge Championships Editors: Brent Manley and Paul Linxwiler Hall of Fame takes five Hall of Fame inductee Mark Lair, center, with Mike Passell, left, and Eddie Wold. Sportsman of the Year Peter Boyd with longtime (right) Aileen Osofsky and her son, Alan. partner Steve Robinson. If standing ovations could be converted to masterpoints, three of the five inductees at the Defenders out in top GNT flight Bridge Hall of Fame dinner on Thursday evening The District 14 team captained by Bob sixth, Bill Kent, is from Iowa. would be instant contenders for the Barry Crane Top Balderson, holding a 1-IMP lead against the They knocked out the District 9 squad 500. defending champions with 16 deals to play, won captained by Warren Spector (David Berkowitz, Time after time, members of the audience were the fourth quarter 50-9 to advance to the round of Larry Cohen, Mike Becker, Jeff Meckstroth and on their feet, applauding a sterling new class for the eight in the Grand National Teams Championship Eric Rodwell). The team was seeking a third ACBL Hall of Fame. Enjoying the accolades were: Flight. straight win in the event. • Mark Lair, many-time North American champion Five of the six team members are from All four flights of the GNT – including Flights and one of ACBL’s top players. Minnesota – Bob and Cynthia Balderson, Peggy A, B and C – will play the round of eight today. • Aileen Osofsky, ACBL Goodwill chair for nearly Kaplan, Carol Miner and Paul Meerschaert.
    [Show full text]
  • The QBA Bulletin October - December 2019 2
    HE ULLETIN TPublished by the QueenslandQBA Bridge Association BOctober-December 2019 Volume 45 No www.qldbridge.com.au Email: [email protected] 4 for the 2020 ANC in Adelaide. This From the is earlier than usual due to our GNOT Final crammed program. Stage 2 and the President trials for the Women and Seniors will be held as usual after the GCC, please consult the Calendar. The QBA AGM will be held on April 23 this year, and nominations for any Richard positions becoming vacant close on Ward Richard Wallis April 1. Thanks to Joan Butts for her many High-level Decisions HOPE that you all had a very Merry years of service to the QBA as the IXTY teams from all over I Christmas and can look forward to Teacher Trainer, a position that she SAustralia converged on Tweed a happy and prosperous 2020. relinquished at the end of 2019. Also Heads in late November to contest Coming up in February we have thanks to Neville Francis, for his the 2019 Grand National Teams the 59th International Gold Coast many years of service to the QBA Final. With 15 Queensland teams Bridge Congress, acknowledged as the Chairman of the Appeals entered, the top two teams would as one of the premier events world- Committee, from which he will stand earn subsidised trips to Perth in April wide. In addition to a substantial down at the AGM in April. 2020 to play in the Asia Pacific Bridge contingent from New Zealand there Finally I am happy to report that two Federation Congress.
    [Show full text]
  • Improvisation: an Integral Step in Piano Pedagogy Lauren French Trinity University
    Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 5-17-2005 Improvisation: An Integral Step in Piano Pedagogy Lauren French Trinity University Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation French, Lauren, "Improvisation: An Integral Step in Piano Pedagogy" (2005). Music Honors Theses. 1. http://digitalcommons.trinity.edu/music_honors/1 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Improvisation: An Integral Step In Piano Pedagogy by Lauren Ann French A department honors thesis submitted to the Department of Music at Trinity University in partial fulfillments of the requirements for graduation with departmental honors 20 April 2005 ____________________________ _____________________________ Thesis Advisor Department Chair Associate Vice-President for Academic Affairs, Curriculum and Student Issues This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License. To view a copy of this license, visit <http://creativecommons.org/licenses/by-nc-nd/2.0/> or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. Table of Contents Abstract Acknowledgments Improvisation Contextualized Improvisation vs. Composition Improvisation in Keyboard Pedagogy Teaching Philosophy of Robert Pace Improvisation in Current Piano Method Books Keyboard Reading Approaches Method Book Review Frances Clark and the Music Tree Faber and Piano Adventures The Hal Leonard Student Piano Library Robert Pace and Musicfor Piano Application of Improvisation in Advanced Repertoire Mozart's Piano Sonata K.
    [Show full text]
  • Teaching Music with Keyboard Improvisation: a Pedagogical Journey Involving Four Older Adults
    Teaching Music with Keyboard Improvisation: A Pedagogical Journey Involving Four Older Adults by Lisa Tahara A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Lisa Tahara 2015 Teaching Music with Keyboard Improvisation: A Pedagogical Journey Involving Four Older Adults Lisa Tahara Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract The life expectancy of individuals has risen in the twentieth-century, due largely to improvements in health, technology, and nutrition. Accordingly, the older adult population has been increasing rapidly and, as a result, there is a need for greater attention and emphasis to be placed on their wellbeing. Research has shown that the older adult population is interested in music learning programs where they may be given the opportunity to actively create music in group settings. However, music programs have traditionally been based on notation and reading, and this approach may not be optimal for a student entering a music learning program later in life. This research study began as an exploration of how music instruction with improvisation may impact the wellbeing, enjoyment, and confidence levels of older adults. Four older adults between the ages of 83 and 90 participated in a music learning program involving a basic curriculum and improvisation over a period of three months. Qualitative data was collected in the form of audiovisual materials, individual interviews, and through focus group sessions. Quantitative data was gathered using pre and post-test surveys to examine differences in quality of life, musical aptitude, and mood.
    [Show full text]
  • A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners
    A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners Pai-Yu Chiu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctoral of Music and Arts University of Washington 2017 Reading Committee: Craig Sheppard, Chair Donna Shin Steven J. Morrison Program Authorized to Offer Degree: Music © Copyright 2017 Pai-Yu Chiu ii University of Washington Abstract A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners Pai-Yu Chiu Chair of the Supervisory Committee: Craig Sheppard School of Music This study compares the relative influence of group and individual piano instruction on the musical achievements of young beginning piano students between the ages of 5 to 7. It also investigates the potential influence on these achievements of an individual teacher’s preference for either mode of instruction, children’s age and gender, and identifies relationships between these three factors and the two different modes of instruction. Forty-five children between the ages of 5 to 7 without previous musical training completed this empirical study, which consisted of 24 weekly piano instruction and a posttest evaluating their musical achievements. The 45 participants included 25 boys and 20 girls. The participants were comprised of twenty-seven 5- year-olds, nine 6-year-olds, and nine 7-year-old participants. Twenty-two children participated in group piano instruction and 23 received private instruction. After finishing 24 weekly lessons, participants underwent a posttest evaluating: (1) music knowledge, (2) music reading, (3) aural iii discrimination, (4) kinesthetic response, and (5) performance skill.
    [Show full text]
  • A Guide for Sight Reading Piano Music Accurately and Expressively Nerevised Edition
    Sight Reading Skills A Guide for Sight Reading Piano Music Accurately and Expressively NeRevised Edition Faith Maydwell West Australian-born Faith Maydwell has taught piano for more than 30 years. Her complementary activities since completing a Master of Music degree at the University of Western Australia in 1982 have included solo recitals, broadcasts for the Australian Broadcasting Commission, accompanying, orchestral piano with the West Australian Symphony Orchestra, examining for the Australian Music Examinations Board, lecturing at the University of Western Australia and the West Australian Academy of Performing Arts in the areas of keyboard harmony, sight reading and piano pedagogy, adjudicating, and presenting papers at state and national music seminars and conferences. Faith’s university piano studies were under the tutelage of David Bollard (a student of Ilona Kabos and Louis Kentner), a founding member of the Australia Ensemble. In 1978 Faith won the Convocation Prize (UWA) for the best student of any year in the Bachelor of Music course and in 1979 she was a state finalist in the Australian Broadcasting Commission’s Young Performers Awards competition. She has published a book, Piano Teaching: A Guide for Nurturing Musical Indepen- dence (See inside back cover for details). Sight Reading Skills A G uide for Sight Reading Piano Music Accurately and Expressively Revised Edition Faith Maydwell THE NEW ARTS PRESS OF PERTH AUSTRALIA New Arts Press of Perth 31B Venn Street North Perth 6006 Western Australia Copyright © 2007 by Faith Maydwell All rights reserved, including the right of reproduction in whole or in part in any form. The New Arts Press of Perth and colophon are trademarks of The New Arts Press of Perth, Inc.
    [Show full text]
  • 11.2020-Hawaiʻi-MTNA-Competition
    Hawaiʻi MTNA Competition Junior Piano CONTESTANTS: Sola Bando, Justin Chan, Sophie Chan, Jannik Evanoff, Isabella Liu, Anderson Mao, Aya Okimoto TEACHERS: Steven Casano, Monica Chung, Joyce Shih, Annu Shionoya, Wendy Yamashita, Thomas Yee Contestant #1 Piano Sonata No. 16 in C Major, K. 545 W.A. Mozart I. Allegro Waltz in D-flat Major, Op. 64, No. 1 Frédéric Chopin Contestant #2 Sonata in B minor No. 47, Hob. XVI/32 Franz Joseph Haydn I. Allegro moderato The Lark Glinka arr. Bakakirev If I Were a Bird (Si Oiseau J'etais), Op. 2, No. 6 George Martin Adolf von Henselt Six Romanian Folk Dances, Sz. 56 Béla Bartók Contestant #3 Italian Concerto in F Major, BWV 971 Johann Sebastian Bach I. Allegro Nocturne in C-sharp Minor, Op. posth. Frédéric Chopin Three Preludes George Gershwin III. Allegro ben ritmato e deciso Sonata in C-sharp Minor, Op. 27, No. 2 Ludwig van Beethoven III. Presto agitato Contestant #4 Sonata in F Minor, Op. 2, No. 1 Ludwig van Beethoven I. Allegro II. Adagio Seven Morceaux de Salon, Op. 10 Sergei Rachmaninoff II. Valse III. Barcarolle Contestant #5 Italian Concerto in F Major, BWV 971 Johann Sebastian Bach III. Presto Milonga, Op. 3 Alberto Ginastera Impromptu No. 1 in A-flat major, Op. 29 Frédéric Chopin Contestant #6 Rondo a Capriccio, Op. 129 Ludwig van Beethoven Impromptu in G-flat major, Op. 90, No. 3 Franz Schubert Wedding Day at Troldhaugen, Op. 65, No. 6 Edvard Grieg Six Dances in Bulgarian Rhythm from ‘Mikrokosmos’ Béla Bartók No. 2 & 6, Sz. 107/6/149 and 153 Contestant #7 Scherzo No.
    [Show full text]
  • Sandwich 1NT Overcall ©Aib Robert S
    Adventures in Bridge Leaders in Bridge Entertainment and Education www.advinbridge.com This Week in Bridge (194) Sandwich 1NT Overcall ©AiB Robert S. Todd Level: 3 [email protected] General When we are a passed hand, bids that we might make that would show strong hands are now illogical. For example, a 2-level simple overcall usually shows an opening hand and a good suit, but as a passed hand we cannot have that hand. Instead, a 2-level overcall as a passed hand shows something different in this situation (usually a good suit). This idea of “Illogical bids” having different meanings is also true for a 1NT overcall by a passed hand. Since it is impossible for us to have a balanced hand with 15-17 points, then this passed hand 1NT overcall can not be natural. Thus, we can use a 1NT overcall as a passed hand as something different – a special conventional bid. Let’s look at our options for using this “Illogical” 1NT bid. 1NT Overcall by a Passed Hand One example of an illogical 1NT bid is a direct 1NT overcall by a passed hand. Example P P P 1♠ 1NT This 1NT overcall cannot show a natural 15-18 points, so instead it is played as an Unusual NT (just “less” Unusual than 2NT). This shows 5-10 points and usually at least 5/4 in the minors (either suit could be longer). Another example of an illogical 1NT bid is a balancing 1NT by a passed hand. Example P 1♠ P P 1NT This balancing 1NT bid normally shows a balanced hand with about 11-14 points and a ♠ stopper by an unpassed hand.
    [Show full text]
  • Piano: Resources
    Resources AN ADDENDUM TO THE PIANO SYLLABUS 2015 EDITION Resources The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes, but these recommended reading and resource lists provide valuable information to support teaching at all levels. Resources for Examination Preparation Repertoire Additional Syllabi of Celebration Series®, 2015 Edition: Piano Repertoire. The Royal Conservatory (Available online.) 12 vols. (Preparatory A–Level 10) with recordings. Associate Diploma (ARCT) in Piano Pedagogy Toronto, ON: The Frederick Harris Music Co., Licentiate Diploma (LRCM) in Piano Performance Limited, 2015. Popular Selection List (published biennially) Theory Syllabus Etudes Celebration Series®, 2015 Edition: Piano Etudes. 10 vols. Official Examination Papers (Levels 1–10) with recordings. Toronto, ON: The Royal Conservatory® Official Examination Papers. The Frederick Harris Music Co., Limited, 2015. 15 vols. Toronto, ON: The Frederick Harris Music Co., Limited, published annually. Technical Tests The Royal Conservatory of Music Piano Technique Book, Basic Rudiments 2008 Edition: “The Red Scale Book.” Toronto, ON: The Intermediate Rudiments Frederick Harris Music Co., Limited. Advanced Rudiments Scales, Chords, and Arpeggios for Piano: “The Brown Scale Introductory Harmony Book.” Toronto, ON: The Frederick Harris Music Co., Basic Harmony Limited, 2002. First published 1948. Basic Keyboard Harmony Technical Requirements for Piano, 2015 Edition. 9 vols. History 1: An Overview (Preparatory A–Level 8). Toronto, ON: The Frederick Intermediate Harmony Harris Music Co., Limited, 2015. Intermediate Keyboard Harmony History 2: Middle Ages to Classical Musicianship (Ear Tests and Sight Counterpoint Advanced Harmony Reading) Advanced Keyboard Harmony Berlin, Boris, and Andrew Markow. Four Star® Sight History 3: 19th Century to Present Reading and Ear Tests, 2015 Edition.
    [Show full text]
  • Slam Bidding — ♥ K 7 6 4 ♥ a Q J Today, Such a 15-17 1NT Openings, ♦ J 5 3 ♦ Q 10 7 5 Five-Card Majors, and Weak Two- Part I ♣ KQ J ♣ a 7 3 Bids
    BB What’s Standard? by David Lindop This series is based on Grant WEST EAST Standard, a set of conventions and ♠ KQ 10 ♠ A J 5 agreements that are in popular use Slam Bidding — ♥ K 7 6 4 ♥ A Q J today, such a 15-17 1NT openings, ♦ J 5 3 ♦ Q 10 7 5 five-card majors, and weak two- Part I ♣ KQ J ♣ A 7 3 bids. A summary chart of Grant Now slam has no chance, despite Standard and the corresponding the 33 combined high-card points. convention card can be found at West opens 1NT showing 15-17 However, it would take very sophis- www.AudreyGrant.com. The site points and a balanced hand. With 18 ticated methods to keep out of slam also has Grant Basic, a simpler set high-card points, East knows the with these combined hands. We of agreements. partnership has at least 33 com- would have lots of company in 6NT. Earlier articles in this series bined points (15 + 18) and at most We can invite slam on a purely appeared in the Bridge Bulletin and 35 (17 + 18). There is enough com- quantitative basis: can also be found under ‘Articles’at bined strength for a small slam but WEST EAST www.AudreyGrant.com. not enough for a grand slam. ♠ A 9 7 3 ♠ K J 5 ♥ KQ ♥ A J 6 lam bidding is an important East knows the partnership belongs ♦ ♦ aspect of the partnership in notrump and there’s no need to A J 7 2 Q8 5 ♣ AQ 5 ♣ J 7 4 3 Smethods since there are lots of ask for aces.
    [Show full text]