Haha. Well, I suspected that my post might bring a lot of response, especially since a lot can be lost in the printed word over being able to discuss and explain different aspects of this concept, so I knew a lot would be assumed and possibly stir strong feelings in one direction or the other.

Everyone that responded to my post has valid points. I know what the ideal learning/teaching situation would be, but I can tell you that having been out in the trenches in the home organ field for many years, which is essentially an arranger keyboard in a wooden cabinet, that what would be an ideal way to learn, what is easy for you and me, and what really takes place with students is 2 different things.

Now, most of what I said is referring to senior hobbyists, with a lot of that which can be carried over to younger people. Each person is different in ability, natural talent, time spent practicing ect.

The best way to learn, IMHO, as I see it from many years of being exposed to this is to get a person started with one finger in either hand, just like is taught in a typical beginner piano lesson. If all other elements go rather well, such as being able to play both hands together in something close to being in correct time with the rhythm and they have the interest , then an attempt should be considered to switch to fingered chords playing all chords in the most recommended F -F position. This is where all chords are played in inversions where each chord is played as closely to the other chords without jumping around. This will allow those students to be able to play without looking at their left hand which will mean fewer mistakes and much more rapid progress.

Once a student learns and masters this approach, if the desire is there then more advanced left hand activities could be approached. These people would be rare, unless they are staring out as a younger person, especially a young child.

I am all for most of the ideas expressed so far, but again, I can see what takes place in most situations.

The pointer system is both a blessing and a curse. In one sense people learn how to play all chords by pointing to the note that is the name of the chord, playing the other notes of the chord and jumping all over the place locking their fingers in that one position. So, in one sense, it's good and instant. In the other sense, almost invariably those people will always, and I mean always have to look at their left hands when moving from one chord to another and will lose their place in the music and this is where the mistakes come. I'm sure there are some people that have gotten this down to a science, but I have observed this problem for over 30 years.

A lot of this has to do with a students desire of where they want to get with their playing. And remember what I am talking about here is learning to play organ/arranger keyboard, not piano. I also teach chord piano. On piano this makes sense because the student will sound good almost right away, but with a lot less to consider such as playing in perfect time with the rhythm section.

So, this approach is designed to allow those that can't or don't want to switch to fingered chords to be able to play and not quit in frustration, and yet allows those with the interest, desire and aptitude to continue on through other various ways of playing left hand in logical steps.

I hope this clears up any questions about this. I am all for all of the possibilities being explored, but there is a definite need to start so that all players will continue and not just the ones that can master fingered chords.

Best
Scott




[This message has been edited by Scott Langholff (edited 07-19-2006).]