Hand In Hand Student Book 1 Pdf

[Hilary Laite]

Raisingmy hand in a Harvard classroom discussion has been an ongoing challenge for me. Last year, as an incoming doctoral student in Education Leadership at the Harvard Graduate School of Education, I spent much of my time in quiet frustration. I had carefully read the class materials, prepared the case, highlighted, outlined, and re-outlined the material the night before, only to sit silently listening as the classroom discussion unfolded. Sometimes, even when I knew I had something great to say, I left class disappointed, having remained mute for two hours.

I think the word "prohibitive" gets to the heart of the matter, speaking volumes about our assumptions about music-making. As teachers, is it our job to "prohibit"? To be gatekeepers of participation? And what is it that we're participating in?

In Western classical tradition, we do have a lot of boundaries, obstacles, and assessments. We have "the right notes," we have competitions that allow access to opportunities, we have auditions; in music school we even have "juries" that kick you out if you aren't doing enough. (Whereas, in some other traditions, the goal of music-making is simply having fun, and "the right notes" are not set in stone.)

If the student can't play a major triad, they will definitely run afoul of all these classical gatekeeping measures. And yes, your point is not only that the student is unlikely to be a concert pianist, but that these challenges might stand in the way of lesser goals like playing even the simplest works in the standard canon.

But there have been plenty of artists throughout history who have worked around their physical limitations, often by developing a non-standard technique, maybe one that even impacts the shape of the music. Django Reinhardt comes to mind... ... as does Gaelynn Lea:

So you're on the right track to talk about modifications, and other answers have emphasized exploring improvisation or composition, giving the student an opportunity to use their ability as a tool to shape the music, rather than "reshaping" or "reducing" existing music to fit them.

But the biggest issue here is that they're unwilling to take your suggestions. This is a problematic (though common enough) teacher-student dynamic. You're the teacher; they came to you for your advice and help. Unfortunately, it gets complicated: e.g. maybe it's the case that the parents value your advice but the student isn't as convinced of their own need for help. Every student has a different threshold of frustration, a different level of determination, and even a different goal (just to have fun, vs. Rachmaninoff-or-bust). Frankly, four lessons is a short time for you to get a bead on these personal needs, and for the student to build trust in you. Over time, you'll have to find a way to get them to accept your help. This might take some combination of gentle encouragement and patience. Preferably, "encouragement" doesn't mean saying "I'm the teacher, dammit," but gently pointing out that you're there to help, and winning their confidence by steering them into achievable successes. And it might just take patience, watching while they get frustrated, until they're ready to hear you.

Meanwhile, I'd suggest controlling the repertoire. If major triads don't work, don't have them play them! This is a challenge, of course, because you run into chords pretty quickly in beginning methods. If you have time you could write things yourself, and of course you can do a lot (including teach a lot of theory!) by having the student write their own compositions. You might also look to things that are more contrapuntal and less chordal; perhaps some Bach two-part Inventions?

It is a feature/bug of a lot of classical music training (especially in the early years) that the student is taught which notes to play, but not why to play those notes. As a result, a lot of musicians can play the pieces they practiced really well, but couldn't improvise or song-write their way out of a paper bag.

So look at this as an opportunity to try and do better. Try to impart as much musical knowledge as you can to this student. Explore different musical genres and styles with them. Improvise with them. Let them accompany you while you sing or play another instrument. Play along to orchestral recordings, or improvise four-hand versions of orchestral music. Let them transcribe music for other instruments to the piano. Incorporate jazz theory into the lessons. Teach them all the things that other students are missing out on, because they're too busy practicing Fr Elise for the millionth time. Get them excited about making music in general, instead of forcing them to be excited about playing the piano.

Hello ??, I'm a disabled piano player with only 1 usable hand, and as a child it was SO hard finding a teacher that would even try taking me on as a student, so thank you for at least looking into how to best help!

What my teacher did (which was absolutely genius), was on an electric keyboard, she would press record & I would play one hand's chords, then play back the recording while I played along to it with the other hand's chords. I'm not sure if I'm explaining it very well, or if that would even be helpful for your student's needs, but I figured I would share what helped me. Also, just practice, practice, practice.

I always hated being placated because of my disability... during jump rope for hearts fundraiser events in my schools gym classes, my teacher once told me to just throw a ball against the wall while everyone else participated ?. I just tied one end of the rope to a door handle and ended up 2nd for most amount of jumps raised. My mom ended up buying me this cool toy that would spin one end of the rope around while you twirl the other in your hand and I wore that thing out lol. My mom was furious when she heard what the gym teacher asked me to do and chewed him out. He never excluded me again, and I was never unable to participate because I'm very creative and an athlete too.

It does beg the question why (and who) chose the piano, given prior knowledge of restrictions. That alone needs answering. How old/mature the student is will also be of interest, along with is there an instrument to practise on at home?

Given that the physical restrictions are serious, and the desire to play piano in particular are too, you and the student will have to adapt just about everything. So not a lot will sound as it was written, but that shouldn't do more than slow progress down, as alternatives are worked out. re-voicing parts, crossing hands, etc. can be incorporated.

As already said, if piano is the be-all and end-all, then use it as a theory explaining tool - it's the accepted one for this anyway. Composition, single note soloing, improvisation, will all be possible.

To be not frustrated they should have to play pieces where their issues don't matter. It's your job to choose the right selection. There are surely a lot of pieces of classical music, pop or modern compositions. It might be even possible to overcome their handicap over time.

Greet them in whatever way is natural to you. In university settings (where contact with different cultures is common, more so in graduate studies) they'll probably take it in stride. If they offer to shake hands, do so. Doing otherwise is certainly rude.

In the U.S., it is acceptable to shake hands in this environment. But in the classes that I teach, it normally only happens after the last lecture to say farewell. The handshake isn't required. Some students have kept a distance, while politely thanking me for teaching the class. That is perfectly acceptable too. Other students have thanked me via email. It depends on what the student is comfortable with.

Example: a few weeks ago my son and I felt fortunate when a medical specialist squeezed us into her already busy schedule. I shook her hand at the end of the appointment and thanked her by name, and I encouraged my son to do the same, since we both felt that it had been one of the most helpful and pleasant medical appointments we had ever experienced. She seemed a bit surprised, but pleased. My son and I felt good about it, because we really wanted to show her how grateful we were.

When we went for the follow-up appointment two weeks later, this doctor herself took the initiative to shake our hands at the end of the appointment. (This time we were a bit surprised -- but also pleased.) I think this meant that the contact felt good to her.

Of course, but do not do it often or it might become uncomfortable for the teacher. I just saw my professor today and he gave me a cute fingertip handshake and smiled. I was so happy but it was in no way threatening or predatory.

The Creo 11 is not yet ready for the free student edition, as we didn't finish the process of adding all the information on our web site. Can I help you? If you need to speak with someone, you can address your questions to academi...@ptc.com

When CREO 11 for students becomes available, could you please also work with Craig Garrison-Mogren, a professor at Montgomery College, MD (craig....@montgomerycollege.edu)? I am the account administrator for our university license, and I have been asked to assist Professor Garrison-Mogren in acquiring a license for student distribution. He has been handling this for years, but his previous contact has not responded, likely due to moving on. I would ask to include me in the emails so I can be the catch all if something falls through the cracks? Alex could you provide me your information for my records.

Writing notes by hand would have given me several different tangible resources that could help me find the critical missing information: a stronger memory of the meeting I was in, the gaps in the details of the discussion that occurred, and the notes themselves that would help me trigger a stronger recall of the events just by reviewing them on paper. Detailed typed notes would not help my recall and retention of the information in the meetings in the same way that notes written by hand would, though they would have been helpful.

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