1. FIRST CYCLE OF THE EXPERIMENT
-Yulia Plotnikova 2024 (8 LESSONS of 90 min)
-Sole Lathrop 2024 (8 LESSONS of 60 min)
Report
In this first cycle of my experiment, I focused on developing foundational aural skills, with particular attention to pitch matching, echo patterns, tonal awareness (gravity and magnetism), basic singing (with and without reference), hand signs for imagining sound, simple improvisation, and even a touch of performance training. Familiar repertoire was deliberately chosen to support musical understanding and reinforce learning, ranging from Beatles songs to a Clementi sonatina.
A surprising and valuable discovery was the role of lyrics in helping students internalize melodies. For learners without formal theoretical knowledge, singing the words enabled a stronger connection with the music and supported the development of musical intuition.
The main exercises included:
-Echo patterns and call-and-response singing
-Pitch matching (voice-to-voice and voice-to-instrument)
-Tonal color awareness
-Consonance/dissonance exploration
-Simple improvisation
-Use of hand signs to reinforce internal hearing
While these activities proved meaningful overall, their success varied between students. Sole, who already sang regularly, was able to pitch-match with ease from the beginning. Yulia, however, struggled significantly with pitch matching, even reporting physical discomfort when using her voice. We had to step back and work voice-to-voice before introducing the instrument, highlighting the need for greater vocal support and progressive voice training. Another challenge was the difficulty both students had in distinguishing whether a sound moved up or down—something that was not as instinctive as expected and required repetition and scaffolded practice.
Tonal colors, while a beautiful concept in theory, turned out to be quite abstract in practice. To help with this, I introduced short melodic patterns emphasizing specific tonal functions, which seemed more concrete and easier to grasp. The wide register of the piano also introduced confusion; working with two pianos (or dividing the keyboard clearly) may help better orient the students in future sessions.
An early mistake in my planning was including interval recognition exercises, which, while useful in slow, analytical processes, don’t directly support the intuitive demands of playing by ear. Moreover, some technical issues—particularly around motor coordination at the keyboard—surfaced, since the students lacked familiarity with basic pianistic gestures.
A key area I need to improve is the sequencing and connection of exercises to the repertoire. I wasn’t always clear about how to link technical and aural tasks with the pieces the students were learning. Toward the end of the cycle, I came across Paul Harris’s concept of simultaneous learning, which became an eye-opener. I began experimenting with integrating exercises into the tonal context of the repertoire, such as echo patterns or improvisation in the same key as the piece, and this made the learning feel more cohesive.
Despite the challenges, both students showed clear progress and expressed enjoyment throughout the process. To help strengthen their study habits, I introduced tools like the mobile app “Chet,” which made ear training more accessible and engaging between lessons.
Both students, while progressing at different paces, showed some common traits typical of adult learners. They tended to seek verbal explanations before engaging in sound-based experiences and relied heavily on visual cues, often retreating to the score even if they couldn’t read fluently. Teaching adults presents unique challenges: they ask more questions and want to understand the "why" behind each concept. While this curiosity is valuable, I noticed that too much explanation can sometimes interfere with direct musical exploration. I also realized that I was being overly verbal myself and need to continue shifting toward a more experiential and intuitive teaching style. Using two pianos more strategically could enhance interactive learning, particularly in echo work and real-time imitation.
Reflections from my critical friend
My critical friend, Bastiaan van der Waals, provided valuable and practical insights that greatly influenced this first cycle. He, like me, observed that adult learners tend to approach music more analytically than intuitively, which often calls for adjusted teaching strategies. He suggested starting echo patterns on the same pitch to help students develop more reliable recognition and intuitive listening. Rather than correcting mistakes right away, he recommended allowing students to repeat and explore through trial and error, aligning with andragogical principles that emphasize purpose-driven learning. Bastiaan also reinforced the importance of prioritizing perception before theory—encouraging students to experience sound first and only later attach theoretical labels, using associations and sensory cues to make abstract concepts more concrete. For improvisation, he proposed setting clear boundaries with limited notes or rules, offering structure that supports creativity without overwhelming the student. He also highlighted the motivational power of working with songs students genuinely enjoy and using mistakes as learning opportunities to build confidence. Lastly, he advised refining the level of difficulty progressively, tailoring it to the specific pace and needs of each student.
Points of action for the next cycle
Based on the outcomes of the first cycle, several key actions will guide the second phase of this experiment. First, I will redesign the sequence of exercises to align more clearly with the repertoire, applying Paul Harris’s principles of simultaneous learning to create more cohesive and meaningful connections between technical work and musical content. For students like Yulia, vocal development will be prioritized through gentle and supportive singing exercises to build confidence and comfort with pitch production. I also aim to shift away from over-verbalizing in lessons, focusing instead on sound-first, experience-driven activities that allow students to engage directly with music. Improvisation tasks will be framed within limited, clearly defined parameters to encourage creativity without overwhelming learners. Tonal function patterns will be introduced more deliberately to help students internalize tonal centers and build a stronger intuitive sense of pitch relationships. I plan to make better use of the two-piano setup to enhance echo work, imitation, and interactive learning.
This first cycle has laid a strong foundation for continued growth, both for the students and for myself as a teacher. The process has deepened my understanding of how ear-based learning works in practice.