AGES: 6 - 18
WRITTEN & COMPILED BY: CORNELIUS KORKIE
, INTRODUCTION
Your vision of what it is like to be a teacher is probably a composite one made up of memories of your
own teachers and the media representation of teachers, with a little bit of you thrown in. What it takes
to be a teacher is dedication, professionalism, intelligence, commitment, energy and above all else
intuition: knowing what is the right thing to do in any given situation.
The main purpose of this book is to guide you, the teacher to what should and could be accomplished
during lessons and during each term of the year. It becomes your reference book. Due to space and
economics, I cannot give infinitesimal explanations and examples of every aspect of music study. It is an
extremely wide subject with hundreds of methods and strategies. It cannot be covered in the scope of
this book. However, it does give you the teacher, excellent guidance and sometimes additional
knowledge that are not always freely available, but the knowledge is obtained from 1st hand experience.
Furthermore it should be understood that this book is intended for the BEGINNER in music. However,
2nd year learners and older can only benefit from this book. This book is specifically and intentionally
written for the needs, roster and daily routine pertaining to the preparation teaching studies for the use
in my music department. The book can be adapted to be implemented at schools due to various
reasons.
In preparation for certificates, diplomas and degrees in music teaching one come across interesting
methods and thinking processes. There are some general guidelines as to what are expected at the very
first lessons and from these guidelines the teacher should incorporate certain aspects into his/her tailor
made approach in the actual classroom. In simple terms: What should I teach at the first lesson to a
beginner in piano study? What concerns me most is the amount of “things” expected to be taught and
learned during the first lesson. I am not a firm believer of this process of almost indoctrination. I have
(years ago) read a little book on teaching young beginners – the first lesson and strangely enough I
randomly took this little book (written by a very well-known, international pedagogue in music) from the
shelve for reading. About 10 pages into the book, I consciously closed the book. Why? I do not agree
with her approach. I do not agree with her view of teaching extremely important rudiments of music, all
cramped into one lesson. For example: she suggests that in a 35 minute lesson, one should teach things
such as: aural training including clapping, rhythm tests, interval recognition, etc., furthermore she
suggests that you should teach sigh-reading, a host of technical exercises, mechanism of the instrument,
posture, hand position, simple finger exercises, note reading (right and left) and to conclude note
values. She even sends a learner off with a piece to practice, both hands. BUT, the funniest part of the
first chapter (almost to the end of it), the writer mentions that from the 2nd lesson onwards it becomes
difficult to predict which route the lessons will go as no child is the same. Well, there are lots of truth in
the last 6 words of the sentence, but the previous statement is pure nonsense.
This is one of the books that keep coming back to mind. There are quite a lot of others that argue on
the same ground. It makes me wonder…isn’t this approach the exact reason why so many music
learners give up lessons after the first year? Is it not this mentality which is the reason for so many
music learners NEVER to move beyond Grade 1 (if they are lucky)? Is it not this indoctrinating process of
international writers to sort of lay down solid rules for lessons (whom of course has no knowledge of
,what is going about in our schools) that are partly to be blamed for our current music education system
(if any truly exist)? Are these cramped and rushed lessons not the exact reason that there are such a lot
of concert pianists out there with no sense of musicality? There mechanical playing is impressive, but
the sense of musicality lack and still the public endorse them due to the mechanical manoeuvres they
can perform and the media which has no sense of the fine arts? This is what I perceive as a problem.
This is what I do not endorse. This is not my method of teaching. One of the philosophies of teaching is:
Learn one thing at a time. I add, learn it properly until you have full command over it. Unfortunately in
music it is an incontrovertible fact that one thing leads into another etc. Nothing can be ignored.
Nothing can be left untouched. Nothing can be rushed.
Contrary to most common believes, in teaching, I am a firm believer on “how” stuff work. There is
plenty of talk as to various methodologies, pedagogic values, strategies, idioms, approaches, technique,
repertoire, posture, hand positions etc. in music circles, BUT the one thing that is too easily neglected is
the simple, yet all important factor which is - how sound is produced on the piano. What happens when
the key is struck, can I manipulate the sound, and can I produce various nuances by the energy applied
to a key? This is an all important factor for beginning learners in music – young or old. Teachers agree
that this is a very important part of music training – why don’t they teach it properly? The moment that
you understand how something works – that very moment you start to experiment with whatever is in
question, having a proper intense understanding of the principles in question. That very moment you
have knowledge on how to control the instrument, only then, you will be able to bring forth the beauty
of sound.
Many educators feel that a lesson should start with an interview with the learner and parent. Others
feel that the first lesson should start with rhythm tests, pitch identification and simple ear training.
Others feel that you should at once commence with posture, hand position and developing independent
and strong fingers, learning the musical alphabet, staff notation etc. How can you teach these
rudiments if the learner does not even have any knowledge of the instrument itself? Yes, before
accepting a new pupil you should test for musicality, but should you TEACH these things without
knowing if your new pupil shows any sign of musicality? The moment the learner enter the class most
of the above should have been done prior to the first formal lesson for example: during the interview
the learner was already tested for pitch recognition – can he/she hear the difference between high and
low notes), can he sing certain notes on pitch or not, can he keep time or identify a simple march, waltz
etc. – is he/she able to clap back to you a very short and simple 2-bar rhythm, can he/she identify note
groupings (black notes) on the keyboard (geography of the keyboard). This happens during the
interview along with more detailed discussions with the parents as to policy, time tables, fee structure
etc. This also helps the teacher to form an opinion and have a background of all pupils. Should the
interview or test runs smooth enough – at least the teacher has something to build on.
To conclude, I have designed and written this book after years of study, research, teaching, monitoring
different teaching approaches (without the knowing of the teachers), method comparisons, strategies,
the reading and intense study of 100’s of books on music education as written by well-known authors
and world-famous pianists. The study of music is by no means an easy task. Music is a very, very wide
subject. It takes dedication, determination and extremely hard work. It cannot be studied and
mastered over-night. The music student must have innate skills and knowledge at his/her command.
The big secret is to lay the proper foundation for all beginners in music. If the foundation of your house
is poor, how can your house withstand the strong winds and weather? The same applies to music. If
, the foundation is poor how can you expect to play advance pieces in music literature. How can you
convey your innermost feelings to your audience? Simply put, how can you communicate with your
audience by giving them a convincing and authorative performance if your foundation is weak?
Teachers and Parents will be delighted by this book. It is not always possible to write every little detail
down in homework books. It is time consuming – time better spent in actual teaching. It is written in
easy, understandable language with more than enough practical examples. I do not touch on technical,
scientific details, but keep things straightforward to enable the ignorant parent to properly understand
and grasp the contents and progress of music lessons. I’ve included many sketches, pictures etc. to
make the learning process easier.
This is my method of teaching. This is the approach that produces results with my learners. This is the
method I use which allows my learners to play the pieces they are currently playing with proper
technique, style and musicality. This is the method that allow my learners to have a superb command
over theoretical aspects of music. Add to this: enthusiasm, friendliness, understanding, humbleness
and an outgoing but authorative personality on the part of the teacher, and I have a winning recipe for
success. I have smiling faces every day and I have parents that are more than satisfied with the progress
made by their children.
I wish you only the very best of luck with your new music studies for 2024/2025. There is a very long
road waiting for us…..the best way to make it shorter is by beginning to walk the road. Every step taken
is closer to the end. You should always remember something extremely important: YOU ARE NEVER
ALONE. Whenever you need help, come and ask me. I will always assist you with a smile.
Cornelius Korkie
WRITTEN & COMPILED BY: CORNELIUS KORKIE
, INTRODUCTION
Your vision of what it is like to be a teacher is probably a composite one made up of memories of your
own teachers and the media representation of teachers, with a little bit of you thrown in. What it takes
to be a teacher is dedication, professionalism, intelligence, commitment, energy and above all else
intuition: knowing what is the right thing to do in any given situation.
The main purpose of this book is to guide you, the teacher to what should and could be accomplished
during lessons and during each term of the year. It becomes your reference book. Due to space and
economics, I cannot give infinitesimal explanations and examples of every aspect of music study. It is an
extremely wide subject with hundreds of methods and strategies. It cannot be covered in the scope of
this book. However, it does give you the teacher, excellent guidance and sometimes additional
knowledge that are not always freely available, but the knowledge is obtained from 1st hand experience.
Furthermore it should be understood that this book is intended for the BEGINNER in music. However,
2nd year learners and older can only benefit from this book. This book is specifically and intentionally
written for the needs, roster and daily routine pertaining to the preparation teaching studies for the use
in my music department. The book can be adapted to be implemented at schools due to various
reasons.
In preparation for certificates, diplomas and degrees in music teaching one come across interesting
methods and thinking processes. There are some general guidelines as to what are expected at the very
first lessons and from these guidelines the teacher should incorporate certain aspects into his/her tailor
made approach in the actual classroom. In simple terms: What should I teach at the first lesson to a
beginner in piano study? What concerns me most is the amount of “things” expected to be taught and
learned during the first lesson. I am not a firm believer of this process of almost indoctrination. I have
(years ago) read a little book on teaching young beginners – the first lesson and strangely enough I
randomly took this little book (written by a very well-known, international pedagogue in music) from the
shelve for reading. About 10 pages into the book, I consciously closed the book. Why? I do not agree
with her approach. I do not agree with her view of teaching extremely important rudiments of music, all
cramped into one lesson. For example: she suggests that in a 35 minute lesson, one should teach things
such as: aural training including clapping, rhythm tests, interval recognition, etc., furthermore she
suggests that you should teach sigh-reading, a host of technical exercises, mechanism of the instrument,
posture, hand position, simple finger exercises, note reading (right and left) and to conclude note
values. She even sends a learner off with a piece to practice, both hands. BUT, the funniest part of the
first chapter (almost to the end of it), the writer mentions that from the 2nd lesson onwards it becomes
difficult to predict which route the lessons will go as no child is the same. Well, there are lots of truth in
the last 6 words of the sentence, but the previous statement is pure nonsense.
This is one of the books that keep coming back to mind. There are quite a lot of others that argue on
the same ground. It makes me wonder…isn’t this approach the exact reason why so many music
learners give up lessons after the first year? Is it not this mentality which is the reason for so many
music learners NEVER to move beyond Grade 1 (if they are lucky)? Is it not this indoctrinating process of
international writers to sort of lay down solid rules for lessons (whom of course has no knowledge of
,what is going about in our schools) that are partly to be blamed for our current music education system
(if any truly exist)? Are these cramped and rushed lessons not the exact reason that there are such a lot
of concert pianists out there with no sense of musicality? There mechanical playing is impressive, but
the sense of musicality lack and still the public endorse them due to the mechanical manoeuvres they
can perform and the media which has no sense of the fine arts? This is what I perceive as a problem.
This is what I do not endorse. This is not my method of teaching. One of the philosophies of teaching is:
Learn one thing at a time. I add, learn it properly until you have full command over it. Unfortunately in
music it is an incontrovertible fact that one thing leads into another etc. Nothing can be ignored.
Nothing can be left untouched. Nothing can be rushed.
Contrary to most common believes, in teaching, I am a firm believer on “how” stuff work. There is
plenty of talk as to various methodologies, pedagogic values, strategies, idioms, approaches, technique,
repertoire, posture, hand positions etc. in music circles, BUT the one thing that is too easily neglected is
the simple, yet all important factor which is - how sound is produced on the piano. What happens when
the key is struck, can I manipulate the sound, and can I produce various nuances by the energy applied
to a key? This is an all important factor for beginning learners in music – young or old. Teachers agree
that this is a very important part of music training – why don’t they teach it properly? The moment that
you understand how something works – that very moment you start to experiment with whatever is in
question, having a proper intense understanding of the principles in question. That very moment you
have knowledge on how to control the instrument, only then, you will be able to bring forth the beauty
of sound.
Many educators feel that a lesson should start with an interview with the learner and parent. Others
feel that the first lesson should start with rhythm tests, pitch identification and simple ear training.
Others feel that you should at once commence with posture, hand position and developing independent
and strong fingers, learning the musical alphabet, staff notation etc. How can you teach these
rudiments if the learner does not even have any knowledge of the instrument itself? Yes, before
accepting a new pupil you should test for musicality, but should you TEACH these things without
knowing if your new pupil shows any sign of musicality? The moment the learner enter the class most
of the above should have been done prior to the first formal lesson for example: during the interview
the learner was already tested for pitch recognition – can he/she hear the difference between high and
low notes), can he sing certain notes on pitch or not, can he keep time or identify a simple march, waltz
etc. – is he/she able to clap back to you a very short and simple 2-bar rhythm, can he/she identify note
groupings (black notes) on the keyboard (geography of the keyboard). This happens during the
interview along with more detailed discussions with the parents as to policy, time tables, fee structure
etc. This also helps the teacher to form an opinion and have a background of all pupils. Should the
interview or test runs smooth enough – at least the teacher has something to build on.
To conclude, I have designed and written this book after years of study, research, teaching, monitoring
different teaching approaches (without the knowing of the teachers), method comparisons, strategies,
the reading and intense study of 100’s of books on music education as written by well-known authors
and world-famous pianists. The study of music is by no means an easy task. Music is a very, very wide
subject. It takes dedication, determination and extremely hard work. It cannot be studied and
mastered over-night. The music student must have innate skills and knowledge at his/her command.
The big secret is to lay the proper foundation for all beginners in music. If the foundation of your house
is poor, how can your house withstand the strong winds and weather? The same applies to music. If
, the foundation is poor how can you expect to play advance pieces in music literature. How can you
convey your innermost feelings to your audience? Simply put, how can you communicate with your
audience by giving them a convincing and authorative performance if your foundation is weak?
Teachers and Parents will be delighted by this book. It is not always possible to write every little detail
down in homework books. It is time consuming – time better spent in actual teaching. It is written in
easy, understandable language with more than enough practical examples. I do not touch on technical,
scientific details, but keep things straightforward to enable the ignorant parent to properly understand
and grasp the contents and progress of music lessons. I’ve included many sketches, pictures etc. to
make the learning process easier.
This is my method of teaching. This is the approach that produces results with my learners. This is the
method I use which allows my learners to play the pieces they are currently playing with proper
technique, style and musicality. This is the method that allow my learners to have a superb command
over theoretical aspects of music. Add to this: enthusiasm, friendliness, understanding, humbleness
and an outgoing but authorative personality on the part of the teacher, and I have a winning recipe for
success. I have smiling faces every day and I have parents that are more than satisfied with the progress
made by their children.
I wish you only the very best of luck with your new music studies for 2024/2025. There is a very long
road waiting for us…..the best way to make it shorter is by beginning to walk the road. Every step taken
is closer to the end. You should always remember something extremely important: YOU ARE NEVER
ALONE. Whenever you need help, come and ask me. I will always assist you with a smile.
Cornelius Korkie
