Phases (Long Distance Students)

The Kritzer Method Content

I deliver my material in Phases. Think of each Phase as a chapter in your learning method. After each Phase one has a new understanding on a specific subject. Each part of the Phases include written instruction, video demonstration and a ‘practice video’, allowing the student to practice the technique with me, as I walk you through each exercise.

Private students, whether in person or via the internet will be given the Phases as part of their lesson plan. Another effective way to work through this information is by video response. Students will video tape themselves upon completion of the assignments and send for my review and comments or further instructions on the assignment. The student will then be sent the next assigment. The Phases should be completed in order.

Phase Pricing Structure and Ordering

Students who wish to have feedback for each assignment (recommended) will purchase the Full Phase Package. This includes a video update on each assignment. Students who want less monitoring may purchase a less expensive (Express Package) package that includes one, final video demonstrating the entire Phase with, of course, my complete feedback. The student who purchases the Expess Package will receive the entire Phase at once and must respond within 8 weeks. The student who purchases the Full Phase Package will receive one assignment at a time, whereupon completion of each assignment, the next assignment will be sent. Those interested in participating in the Phases should contact me regarding pricing and scheduling.

And of course, I’m always availabe for questions via email. I just ask that students give me two days for a response time.

Phase I – Primary Skills Development

Positioning is the first block in the foundation of technique. With bio-mechanically sound principles guiding us we’ll first learn about optimal positioning with regards to sitting, right and left hands. This foundation will be thoroughly explained so that each person’s physiology can be applied to these principles.

A complete study of the movement forms will be studied. These movement forms find their fruition in a comprehensive technical workout consisting of scales and arpeggios. This workout will become your complete technical workout. These technical concepts and their movement forms will be integrated into repertoire allowing the player to apply the correct movements in his or her music.

Phase II – Sound Production

Sound production covers tone quality, nail care and shaping of the nails. Nail shape myths are dispelled and each player will learn to shape his or her nails in coordinance not only with tonal principles but also aderhing to each individual nail shape.

In addition, Phase II explores accuracy of tone, balance (isolating voices within an interval or chord), as well as the expressive tools of dynamics and timbre. Once learned these skills can be honed within your technical practice.

Phase III – Practice Directives

The practice directives introduce solutions to the problems of accuracy, musicianship and memory. These practice directives will explored mostly through repertoire and to a lesser degree, in your technical practice. The student who can learn to apply each of the 12 directives to a particular piece will find a security and knowledge probably as of yet experienced.

This Phase not only answers the question of how to practice but what to practice.

Phase IV – Practice Log

A practice log is a document by which you track your technique and repertoire with regards to what, how and how long to practice. Consider it your practice manager. With a series of ‘bins’ your practice log will help you manage more repertoire with less practice time.

Phase V – Music Theory

While at first a difficult subject to understand music theory will have a great affect on our ability to read, learn, interpret and perform music.

Some already come with an understanding of theory, or would like to work on their own. For those I’d recommend Aaron Shearer’s Music Theory Workbook, Supplement to Volume II. Those who work directly with me will get help through each part of this subject as well as get a chance to apply this to music analysis and interpretation.

Phase VI- Memorizing Music

A critical component to ultimately performing a piece is how we learn and come to memorize that piece. The clear and consice approach contained in this Phase is as important as overall technique to the performance of a work.

Phase VII – Music Interpretation

Understanding the composer’s intentions is contained in the understanding of activity and rest in music and it’s place in phrases, sections and with regards to the form of a work. All Western Music (short of Minimalism), has a form consiting of growing degrees of activity and rest. Finding the ‘high-point’ or the ‘ah-ha’ moment of each work and applying the appropriate expressive elements of dynamics, rhythm and timbre not only creates a musician but allows the player to get the big picture of the work, making performing more meaningful and frankly, easier!

Phase VIII – Performance Anxiety Rehab

Here begins the Output part of my method. Performance Anxiety Rehab was titeled by some of my students who in an attempt to overcome performance anxiety attended workshops which only made it worse. Positive thinking or just keeping at it don’t make performing any easier. In fact, many of the methods taught are erroneous or, at best, produce inconsistent results.

In Phase VII the student will be given a series of tools which will allow him or her to access the information learned in the input parts of the method more clearly – not only in practice but in performance. In the parlance of the day, imagine a tool that would allow a bigger broadband from the central nervous system to the hands, with a minimum of interference.

I had, for years performed with a tremendous amount of performance anxiety. From the states of Carnegie Recital Hall, or Wigmore Hall in London to a tiny Oregon coastal town I consistently found myself dreading the stage. I have found a set of tools, that when applied to the input part of this method that can take one from the pre-concert fetal position to an attitude of joy and anticipation for the perfoming experience.