Time Flies: How to Make the Best Use of Teaching Time.

Time Flies: How to Make the Best Use of Teaching Time, by Marienne Uszler. The FJH Music Company, Inc. (Westport Business Park, 2525 Davie Rd., Ste. 360, Fort Lauderdale, FL 33317). 73 pp. $9.50.

Time Flies: How to Make the Best Use of Teaching Time is the third installment of Marienne Uszler's Teach Keyboard Effectively series. The first step of Time Flies is evaluating one's own teaching time using a time line and stepping back and evaluating its effectiveness. This can be done with written notes, like the efficiency experts use, or by recording lessons. Uszler explains that music by its very nature is a time art. In the Introduction, Uszler emphasizes that "Music itself is essentially a matter of time management." This stresses the importance of time in both music and in teaching and gives a reason for the teacher to pay attention to the use and quality of this most precious gift. Although specific guidelines are presented for all lessons, she states that flexibility and modification need to be made, depending on the student's advancement level and unforeseen non-related issues.

Two major areas stressed are four to eight minutes of practice suggestions included in every lesson and the use of activities during lessons, such as rhythmic drill. She suggests not excessively dragging each piece by over-drilling or over-verbalizing. However, she, and correctly so, changes this advice when it comes to advanced students and those preparing for a competition. One full chapter is spent on teaching Schumann's Romanze Op. 28/2 as a model.

In each of the eighteen chapters, sidebars of headline-like information are highlighted in green to remind the reader of the salient points. Uszler makes excellent suggestions, such as: "Approach a new technique in the early part of the lesson to allow the student to be successful in that technique," and "Do not waste time on obviously unpracticed or unprepared pieces." But, in the opinion of this reviewer, this may be the very time to do the opposite. Although teachers would like to quickly get the student off the bench to play correctly, maybe we could use this as a teachable moment and renew enthusiasm for the work.

Uszler, in most matters, believes that a good model, such as outstanding demonstration of the music, is better than talk. The book emphasizes extended planning for the month, semester and year and stresses individualized pacing in relation to all method books. Uszler includes chapters about group lessons and using technology as an added time enhancement and for ear-training, theory and sight-reading activities. A brief overview of references is given in each section, along with a current, well-chosen bibliography at the end.

Uszler's ideal timetable in each lesson is review; new concepts/pieces; musical games; and polishing/practicing instructions. Music teachers want students to experience immediate change and success, at least in one part of the lesson. Uszler recommends we differentiate the levels of problems and do what is possible and important, first. However, the use of "on task" evaluation and assessment will not only benefit us, but filter down to our students as well.

More emphasis could be spent on student input, what the budding pianist brings to the lesson in terms of learning styles, their musical goals and even choice of literature. Piano lessons are a two-way street and, like morning traffic, most of it's going one way. Some energy also comes from learners, and teachers need to be able to bounce back quickly and react sensitively to their needs. Most of the students highlighted in Time Flies are average and above-average students. Special needs children or stress- and physically related problems are not taken into account. Perhaps Uszler will address these issues in her next book in this fine series. Reviewed by Ellen Shapiro, Marlton, New Jersey.