Polyrhythms: Not Ve-ry hard!

Teaching and playing polyrhythms correctly is one of those skills that is peculiar to piano playing. The issues arise because pianists have to coordinate the hands in a particular way; sometimes together and other times by the hands cueing each other. This article will show how they are easy to manage if you have a fail-safe strategy for working them out and practising them. Firstly, the least successful strategy for practising polyrhythms is to learn first one hand then the other, usually with the metronome, and then “just put them together”, crossing your fingers and hoping that with enough practise, they will somehow integrate with each other. This was certainly the advice I grew up with.

Learning by Osmosis Using Rote Pieces

In a previous post I discussed how much I enjoy using the rote pieces in Piano Safari, and how useful I find them for teaching technique and good hand position. Because the student doesn't need to refer to the written notation in order to play the piece they can therefore focus on looking at their hands. Piano Safari mixes rote pieces with reading pieces, giving the student a well rounded experience. The authors of Piano Safari frequently make mention of how much notation can also be learnt through rote pieces, as the students pick up a lot of information about notation almost by osmosis. I'd like to share with you an excellent example of that learning from a lesson last week. One of my youn

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Piano Pedagogues is the premier place where pianists and their teachers come to find resources and solutions on all things to do with piano pedagogy. Both Brenda Hunting and Anthony van den Broek are certified teachers of the Taubman Approach.
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