Tag Archives: Mumbai

Book Review : The Art of Piano Fingering

18986566_10155382987668792_172304223_oThe Art of Piano Fingering by Rami Bar-Niv is a wonderfully detailed exploration of piano fingering. It’s become my textbook for when I get stuck with fingering and need to study it in relation to playing technique, hand size and the kind of effect that a passage of piano music requires the pianist to produce.

Rami Bar-Niv is one of Israel’s most acclaimed pianists. He’s a composer and has performed and taught all over the world, giving masterclasses, lectures, workshops and private lessons.

His book starts with the basics of fingering and covers scales, chords and the basics of hand position,  so that piano students can follow it easily. Much of the book deals with advanced fingering. It’s written clearly and concise, so that a student can learn and understand advanced fingering and related playing technique.

And yet detailed enough that it will help the professional, both pianist and teacher. 

  • There’s alternative fingering for different sized hands, for varied effects & articulation.
  • Really interesting discussions on playing technique, focusing on the use of the hand & wrist, with photographs that are very clear and easy to follow.
  • Some sections have finger exercises to help with practising different fingering.
  • Lots of actual examples of advanced level fingering from pieces!

‘The Art of  Piano Fingering’ is on my reading list right now, and it’s going to be there for a long time. Because it’s a book I want to take my time with, so I can explore the ideas I find and understand them well. It’s available in hardcopy and you can get it here.

If you’re looking to really understand and study piano fingering, this is the book for you.




The best way to schedule your piano practise

Tight practise schedules create stress

Relaxed piano students do better, learn faster & often just ‘get’ things that other students struggle to achieve. The way practise slots are scheduled at home have a huge impact on how relaxed a student is at the piano and a very tight schedule can create stress, where none exists.

My years of working with parents has taught me that parents & students of all ages often just don’t realise this, and talking about it helps them understand, and make changes.

A few thoughts about scheduling practise

  1. 2 or 3 small practise slots are better than a single slot  because students are more attentive after a break.
  2. Schedule longer slots than required. Students need time to relax between activities and may come to the piano late, then get so involved that they want to stay and play longer.
  3. Schedule an extra slot, so piano student have a choice when they’re not in the mood at the same time each day
  4. Creativity grows from having time and mental space, and piano students sometimes need to sit around, idle before and after practise time.
  5. Piano students need to explore their instrument on their own, outside of what is taught in class. It’s not wasting time, but rather, it’s a student using knowledge gained in piano class & piano practise, to explore his/her innate ability. It’s wonderful when this happens!
  6. On busy days, a little is better than nothing. Play, rather than practise, if there’s no time. Even a 2 minutes of a piece you enjoy.
  7. Don’t just schedule practise, make time to PLAY. Play your favourite pieces at the end of the day. Or play a line of music you like – just a minute in between some other activity. Play to relax, because that’s what learning the piano is about.

Parent support in piano class

The need for parent support

Parent support for piano practise with young piano students is a huge issue. With teachers, because they know the likelihood of any student actually progressing beyond the beginner level depends on this. Even the musically talented student.

For piano parents it’s time and commitment and something more for them to add to their already busy schedules.

As I write this post, I’ve been teaching the piano for roughly 15 years. During all of these years, I’ve had less than a handful of students who practised without parent support.

Learning the piano is very challenging for children of any age and my experience has been that the child who sticks almost always is the child who has parent support.

Taking the ‘lonely’ out of piano practise

For most children the biggest issue during the first couple of years is getting into a routine and making practise a part of their daily lives. The piano can be a lonely instrument and children who don’t have company often don’t practise. Children need a parent around – initially to remind them to read the homework book and practise accordingly, to listen and  mostly so they have company. 

Children who have opportunities to perform and belong to schools or communities where music is encouraged tend to be more motivated. As are children who have friends who play an instrument. Participation in group classes or concerts arranged by the piano teacher is important as this provides performance opportunities and helps students make ‘piano friends.’

That hardworking child who practises WRONG

If you’re a parent with a child who loves practising the piano, who practises daily and keeps getting poor feedback, then this paragraph is for you. It’s quite possible, that you can’t understand why – because you hear playing that sounds good to you, you can see how sincere your child is and how much effort your child puts in.

Taking a look at the homework book, will tell you a lot. You will find :

  1. Homework assignments not done
  2. Section practise requested by the teacher is not done
  3. Your child ‘plays’ taking very long to work on something, when all was needed is to use the practise techniques outlined by the teacher and spend less effort achieving the same result.

Children who enjoy practise often get so lost doing practise homework they enjoy, they forget to read the homework book. They practise what they like and what they remember and simply forget the rest.

Learning 'how to practise' is important for progress. This is the 
area in which beginner & intermediate level piano students of any age
pay poor attention.

For parents who need a class where children work without support..

If you are a piano parent  with a student who does not practise regularly (and by practise, I mean doing the homework that the piano teacher has assigned) and this goes on for sometime, it’s worth looking at the kind of class you’ve enrolled your child in.

Piano teachers generally ask these students to take a break from piano class and enrol again when they’re ready to practise, because a ‘regular piano class’  simply does not work with erratic practise.

What your child needs is a different kind of class, with more frequency – maybe 2/3 classes a week. A class which is mostly a  ‘practise’ class, where there’s a lot of repetition. New topics need to be introduced very slowly, so that erratic practise works. It helps if one of these is a group class which includes music activities and work on rhythm. Piano playing will progress at a slow comfortable pace and your child will find it easy to cope.

Parent support for ‘regular piano class’

The term ‘regular piano class’ is how I describe class that teaches piano playing techniques, reading written music, how music theory goes into playing, the chord approach to piano playing & how to practise.

This is a lot to do in a 1 or 1&1/2 hour weekly class, and daily practise and completing homework assignments is essential. This almost always needs some level of parent support and involvement.

It’s not forever, as children grow up habituated to regular practise – with the resources to organise their practise, and use practise techniques to make their practise more effective. This usually happens between the ages of 14 to 16, depending on the personality of the student and the kind of goals the student has chosen to work towards.

To all you piano parents who are making the time to support your child, there’s light at the end of the tunnel. Children gradually learn independence until they finally take responsibility for their own goals.

A quick easy fix for focus issues

When thinking is an effort at age 8 to 13

These children come to piano class and learn the theory and technique that’s necessary to play a piece. Then the piece starts to sound good to them as it’s kind of put together from beginning to end. So, they then start to practise by repetition, mind shut to such an extent, that they have totally forgotten the theory and technique (though they play correctly). They’re totally blank and can’t answer basic theory questions. They can’t even recall what was taught earlier – even simple basic stuff.

When I first started teaching in Andheri (Mumbai), my first batch of students did not practise. They had such excellent memories that they could and did in the beginning, fool me into thinking they’d done their work. Until I learned to understand their abilities and assess their work accordingly.

I mainly taught in Bandra (Mumbai) from 2011 to 2015, but took on a few students in Khargar off and on. I had a few students in Bandra who could not think and I wrote a post about it ‘Coping with the over-scheduled child in piano class’

I still have a couple of students in Bandra, but I teach full-time in Khargar. Teachers in different parts of the world are seeing an increasing number of students who can’t think and reason.

If it were just piano class, it would be fine, because piano teachers don't expect all kids to have developed musical skills.  But I knew my students well and talking to parents makes me realise that it was not just piano class where this happened.

 

Lessons from the monsoon madness

This year in July, all my 9 year olds and one 12 year old had a mental shutdown. I was teaching to blank faces from students who, until now, had been progressing well. They’re beginners who have been with me for about a year.

My students who could sit perfectly still earlier, were fidgeting and needed lots of off the bench activities. They were fidgety at home too, and talking to their Mum’s made me realise that the unusually heavy monsoon took away their play time, so they had no activity.

I asked one student’s parents to enrol their child in a hobby class with sports activity  and there was a noticeable change within a few weeks. It got better with all of my students as the monsoon eased and they were able to get back to physical activity – regular play or sports classes.

 

A quick fix to get your child thinking – in and out of piano class

Just get children moving. If your child’s play time does not have enough physical activity, then a sports related hobby class or  a 1 hour walk 3 days a week works fine.

I’m really amazed that something so simple worked! 

That even during the weeks of poor practise, these students could remember what was done earlier and could demonstrate it and explain it to me.

 

 

15 easy steps for students, to a really effective piano class

Sometimes piano teachers have those days. And we need to decide whether to have a good laugh or scream at the walls after our students leave. I’ve decided to laugh at all the crazy things my piano students do.

So, here’s a to do list for my piano students :

  1. Arrive at class on time. Leave home budgeting time for traffic jams and other delays, so you walk in relaxed. You will learn better.
  2. Take all your books to class – that includes your homework book & theory book. Check you’ve not left your books on the piano keyboard at home before you leave for class.
  3. Practise.
  4. Carry your reading glasses/spectacles with you.
  5. Attend class or remember to reschedule if you need to miss. Else you will not get a make-up class.
  6. Leave a little extra time in your daily schedule so there’s time when you need flex or  just want to relax a little in between. Practise needs to be done with a relaxed frame of mind to be really effective.
  7. Practise – don’t just play. Practise daily.
  8. Play games or enroll in a sports class for exercise. Getting enough physical activity improves focus.
  9. Pack all your books up after class and make sure you take them home.
  10. Read your homework  book when you practise and follow your teacher’s instructions.
  11. Set a practise schedule with a choice of 2 or 3 practise slots, so you can change your practise time to suit your moods
  12. PRACTISE
  13. Play for your family, and participate in student concerts whenever you get an opportunity.
  14. Play a little to relax even on busy days.
  15. Did I say practise daily? Yes, that’s the most important thing to do. 
Prraaacctise!

😀

 

This class called ‘Piano class’

Piano class here in Khargar, Navi Mumbai, encompasses a wide variety of different kinds of classes and parents new to music and piano class get confused.  Read here, about the 4 common misconceptions that piano teachers here struggle with and about why keyboard teachers who don’t play the piano should consider joining piano class.

No 1) The confusion about what piano is

Many parents think that the toy keyboard is a piano and ‘Casio’ is used to refer to keyboards of any brand, digital pianos and acoustic pianos (the big Casio).

Here’s a post that explains the difference between the acoustic piano, digital piano and the electronic keyboard without getting too technical : We have a keyboard at home, why should we buy a piano

No 2) The exam book is the lesson book & repertoire is not required

Parents and students know Trinity College London  and want exams. They’re content with just 4 pieces a year and are often unable to connect music theory to the pieces they play.

Getting parents and students to understand the need for repertoire used to be a struggle. I found that I needed to talk to my beginner level piano students, explaining the need for learning repertoire and why I don’t use the exam book as my lesson book. I’ve recently introduced a compulsory Book Fee which students pay monthly, so it’s easy for families to budget. 

No 3) Beginner level piano teaching is easy and should cost less

Piano parents generally undervalue the job of the piano teacher who teaches young beginners, until they actually sit in on piano class.

Here’s a few common perceptions about beginner level piano teaching :

–  Teaching younger students requires less knowledge.

–  Children can go to a qualified teacher later, when we’re sure they’re practising.

There is a lack of understanding that high quality beginner level teaching will stimulate student interest, creativity and musical understanding in young students. So, parents willing to pay reasonable fees for intermediate level teaching, often want beginner level class to be very very low budget.

A teacher needs to be qualified & experienced enough to produce results, in order to  break this mindset and attract the kind of student families that value music education.

No 4) Attending class without practise regularly is fine

Solo piano class (one student at a time) lends itself to flexible teaching. Each student gets taught differently, depending on the students learning style and goals, however some level of regular practise is essential, so that the teacher can continue to teach.

Asking a non-practising students to take a break, and return when they’re ready to commit to practise makes sense. Students can use this break to attend a group class – either choir, rhythm or group piano class, and return to solo piano class later. 

The demand for piano class, and lack of supply

When I first started teaching here in Khargar, there was very little interest in any kind of  piano class, and huge demand for light holiday classes to teach children to play on tiny toy keyboards.

That’s changing, and I’m seeing a lot of interest in piano class, and a growing number of student families who are looking for quality teaching. Many of the teachers here only play keyboards (with the left hand playing chord inversions, using different rhythms) and don’t play the piano at all. There’s a gap in supply with just a few piano teachers in Navi Mumbai. So there’s scope for growth, for those teachers who are willing to invest in furthering their music education.

Links to related articles :

‘The way forward’ and interesting article by Karl Lutchmayer, concert pianist & lecturer, where he talks about making music concerts more accessible to the general public, and a  lack of trained music teachers in India.

What do piano teachers ‘DO’?  is a look into the work schedule of a piano teacher, outside of piano class time.

How to assess your own piano playing

A guide for intermediate to advanced piano students who have learned their piece and want to be able to assess the quality of their playing on their own, with guidance from their teacher.

  • Getting rid of mistakes

    You should have learned your piece correct from the very first. However, it is likely that you still have some weak spots where you falter, when under pressure.

Listen to a recording of your performance and then listen to recordings by different pianists until your ear can hear any differences in time, pitch and the harmony. This will help you hear and correct any errors in your playing such as wrong pitch and note values.

Also, listen to variations in articulation and tone production and figure out what suits your piece.

  • Use the metronome to help you listen

Students can make the mistake of playing erratic rhythms, and think this is interpretation. They need to understand how pianists interpret a piece while keeping the sense of style, tempo and mood that is required of the piece and the period it comes from. A metronome can be a help when listening to variations in tempo.

  • Listen to hear different parts

Listen to reputed pianists play. Listen to small sections, listen separately to individual parts in a section, until your ear can hear them.

Isolate a part or a layer of the music that you wish to work on, and listen to hear that layer well.

  • Listen for the rests

Rests, pauses and spaces in the music are a very important part of it, and one many students ignore. Listen for silences and feel the mood that they generate.  They need to become important to you.

  • Mark weak areas on the score

It might be a good idea to make small notes on the score, or mark areas where you need to check your playing, so that you don’t forget them during practise time.

  • Practise

Practise is different from playing. Yes, you need to play your piece and you also need to play it often enough. The mistake many students make however, is playing the piece through again and again, thinking it will improve their weak areas, and it doesn’t. That’s what practise is for.

  • Work with small sections

If you are ‘practising’ and still not getting results, you may need a smaller section. Working small will help you listen better. It helps to focus on one single weak area at a time.

  • Make notes

Write down the questions you have about any aspect of playing and performing your piece so that you remember them. Talk to your teacher about your ideas when you go to piano class.

Listen Listen and LISTEN.  That’s the key to being able to teach yourself to play better.

Aiming low = reaching high?

 Blog pic Why aiming low can lead to reaching highThe tried and tested path to success

“Aim higher than you want to reach. You may miss your target, but you will still reach your original goal”

This way of thinking has worked very well for me and many of my  piano students who wanted sucess easy. Who wanted to do just barely enough that was required to play their pieces well, who fell short when they played for an audience and then realised they needed to aim higher.

But it’s not working with my batch of new students, whether they’re young children, teens or adults.

The hard work required just does not happen  in the first year of piano class and students often get disheartened. Because everything is so far out of reach.

 

How my practise goals made me evaluate my teaching goals

I started out last year, in  April 2015 with My Personal Sight-reading Challenge. I’m a piano teacher by profession and I face a difficulty that all piano teachers face, which is getting time to practise.

Practising the piano is very necessary, if teachers want to improve the quality of their teaching. And yet we spend so much time  teaching, planning lessons and reading up on how to communicate effectively. We study teaching techniques and are involved in a host of other activities that are necessary to manage our teaching studios.

I started out my sight-reading challenge last year, with the goal of making a small commitment to myself  to play everyday, and it worked. You can read about it in The impact of 100 minutes of practise

I realized that having a very small goal that was achievable in a short period of time, got me going to the piano many times a day, and got me learning a lot more pieces than I usually do. And this made me think about what goals I set for myself, when I’m teaching my students.

 

The value of quantity

A few of my students took The 10 easy piece challenge. They learned 10 easy pieces upto set achievement levels, we recorded them and uploaded them online. Achievement levels set depended on the student’s weak area, and many of these were way below ‘performance’ level (the level of playing at which a student has mastered the piece).

The students were thrilled because they got good feedback at piano class. It was fairly easy for them and therefore getting piano practise done was not too hard a task for their parents.

These students suddenly moved from being the ones who did not get anything done, to the ones who were doing exceedingly well, and their parents were very proud of them. Their parents would motivate them by reminding them of how capable they were and they’re excited about piano class.

Progress was not always a straight line, and there were regular slips. Mostly though, it’s moving forward, and some students are now trying to do 10 more pieces.

Having small easy goals make students pay attention to their weak spots in new pieces, so that they don’t make the same mistake there.

The steps they take forward are very small. So small, that I need to point them out so parents notice them. That makes achievement is possible.

What makes them important, is that the student is taking them independently, without my help.

There’s value to quantity, that is, to learning more repertoire. It’s the only way for piano students to really master their instrument. Here are a couple of very interesting posts that every teacher, piano parent and student should read.

  1. The surprising power of quantity by Elissa Milne
  2. Which promotes greater learning – higher standards or lower standards  by Dr Noa Kageyama

 

 

 

Teaching my first Skype piano class

I first tried online piano teaching with my Bandra students. It’s 2 hours away from where I live and during the monsoon this can extend to upto 3 hours at peak time, due to water logging, traffic jams & rail break-downs. I visit there once a week and teach a couple of students while I’m there.

I needed a break from the long commute for a little while and one of my students, a 9 year old boy, tried online lessons via Skype. The first class took longer than planned due to set-up & connectivity issues, but the next was great! I was surprised to see benefits to online teaching that had not occurred to me until I tried it.

Online teaching is usually the less preferred option because :

  1. It restricts the teacher’s ability to demonstrate playing technique and correct the student when there’s wrong technique, posture, etc.
  2. Playing duets, which students really enjoy, can be a problem if there’s a time lag.
  3. Introducing off the bench activities with children require a little bit of effort and innovation.
  4. Connectivity  or set-up issues can result in a longer than planned class.
  5. Young students need parents around to manage the set-up & be around so that there are no distractions.
  6. Both the teacher & the student need to be very organised. With stationery, books & all material required for the class on hand.
  7. Teachers may need to email homework assignments to avoid confusion.
  8. It suits self-motivated older students or adults who are regular with practise.

The difference in the impact of the medium (online vs in-studio class) made me feel quite out of my comfort zone for the first few classes and I had to put in quite some effort to change my teaching style to suit online teaching. I could see the benefits to online teaching that did not occur to me until I tried it. They’re  benefits that in-studio teaching does not have, and they’re huge!

Here’s a list of the benefits to online piano lessons :

  • Keeping attendance regular : My students reschedule class quite often, because there’s no adult to bring them to class. I have a 100% make-up policy, but there’s a problem. If the break between classes is too long, practise quality goes down, and if the break is too short and the student does not get enough time to practise.  Having an online class can take care of this.
  • Kids find the online medium exciting : My student was very interested in anything with technology. So practise (with parent support) was not just regular, it was excellent!
  • Super Attentiveness : He listened very carefully to what I was saying, or demonstrating. I think the online medium made him pay more attention to visual and auditory clues. He’s usually a very interested and cooperative student, and yet I was amazed at just how much more focused he was during the class. He was like this at both classes, but the second class went better, because his Mum helped him with the set-up, so it was quick, and without delays.
  • I was able to see the way my student sits at home. I saw bad posture, an inappropriate piano stool, height & distance from the keyboard.

Learning new ways

Online teaching needs a slightly different skill set to in-studio teaching. I had to plan my lesson very differently, and work on the following :

  1. Explaining & demonstrating in this medium needed new skills & a flexible set-up, so that I could take my camera closer to the piano or away, as needed.
  2. Introducing the fun element was a challenge at first. Off-the bench activities needed to be replaced by fun, at-the-bench activities.
  3. I needed parent help for a ‘run around’ break so my student could get rid of excess energy. To ensure that the run ended with my student back at the piano stool, and not running to another activity!

 

Combination (in-studio plus online) lessons

I still like teaching in-studio, and will continue to teach that way. However, I’m excited about online teaching, as a supplement to regular in-studio classes. The benefits at my first few online classes made me interested enough to learn new skills to improve my online teaching skills.

Parent education during piano class

Why I spend 15 minutes of piano class talking to new piano parents

It’s sometime now, since I’ve been doing this with parents of my young beginners. Parents sit in on class or I talk to them on the phone during class, so their child is aware of what we discuss. We talk about :

  • Piano practise scheduling.
  • How the practise homework addresses the students learning style.
  • Piano teaching methods in general and  my teaching approach specifically.
  • How movement, breaks & activities are used during piano class to help fidgety children learn to sit still at the piano. More on this below in ‘Teaching fidgety kids to sit still.’
  • How parents should handle movement & breaks during practise at home, so it remains beneficial and doesn’t sabotage discipline during home piano practise.
  • Why it’s normal for young piano students to be irregular with home piano practise, unless they get the help they need. That young students simply don’t have the ability to schedule practise & adhere to a schedule.

I’m writing about it, because it has made a huge difference to the quality of support that my students and I receive from their parents. The simple truth is this – Students who last out in piano are invariably the ones whose parents get involved.

 

What parent involvement means

Children and teenagers usually don’t practise on their own, because they have difficulty scheduling their activities.  Each child has a different personality, so the extent of parent support a student needs varies.

Here’s what parent support usually means for most young piano students :

  1. Setting a daily practise schedule. More on this below, in ‘What a relaxed practise schedule means.’
  2. Reminding your child to practise.
  3. Listening to your child play.
  4. Being around daily, or as often as possible, at practise time & peeping into the practise room to listen.
  5. Making sure your child to reads the homework book.
  6. Being there to provide moral support when your child has taken on a challenging piece (through choice) and finds it difficult working alone.
  7. Being as consistent as you can with your involvement in piano practise.
  8. Showing appreciation. More on this below in ‘Noticing those small (but BIG) achievements.’

What parent support means as kids grow up

  1. Being around once or twice a week during practise time.
  2. Reminding your child to practise, using practise charts if needed, so you know that practise has been done in your absence.
  3. Checking the homework book & talking to the teacher once in a way, so you know what’s going on.
  4. Discussing your childs goals with the piano teacher, so that the goals set are reasonable given the level of your child’s studies & other hobbies. Goals in terms of the number of pieces learned, playing for concerts or piano exams. So that it’s easy to assess progress.
  5. Talking to the teacher now & then about the level of enthusiasm & commitment your child has and any other activities or situations that put your child under pressure. So, the piano teacher knows when to push your child harder, and when to give him/her a little leeway.

 

Teaching fidgety kids to sit still

“Sit still! Be serious! And play!”

This is what many piano parents are saying to their young kids at home, in an effort to get practise done. And it’s just quite crazy, because, it’s normal for young kids to have shorter attention spans, and to fidget. It also goes against what they’re learning in piano class, which is

“Play is an integral part of learning”

Many of us piano teachers are letting the child’s idea of fun determine what goes on in class, creating off-the-stool piano activities that include movement to teach musical concepts.  

Some parents understand the advantage of this teaching approach immediately and others take time to understand, but irrespective, all have questions. Because sadly, learning through fun is a very new concept. So teachers need to take time to explain.

We’re talking in piano class, about the value of play, and about fact that the average Navi Mumbai child today gets much much less than the recommended physical activity he/she needs to grow and develop. Talking about the fact that children need to play and move to develop good motor coordination seems to make parents realise it’s importance.

 

What a  relaxed practise schedule means

  • 2 or 3 small practise slots at different times rather than one single block of time
  • An extra slot, so there’s leeway, for when your child needs a change in routine
  • Practise slots should have free time before & after because children often take time to reach the piano, and sometimes enjoy playing & want to stay longer

 

Noticing those small (but BIG) achievements

This is the most important issue that I’ve faced with new piano parents. Every child has different difficulties, and what seems easy to an adult, may be really really hard for a young child. A lot of times, piano class is repetition.

Piano teacher’s work for years, correcting the same weak spot at every class. It may be sitting still long enough to practise a piece well, bad hand position, banging the keys, an inability to play slow, or to play on time. Parents getting the same feedback class after class, need to know that this is how it goes in piano class. It’s quite normal.

It’s not that their child is lazy or inattentive, but that it’s difficult for a child to remember and to work on his/her weak spot at home, when there’s no teacher around. It’s good when parents remind their child, but only if it’s once in a way. Too much, and children feel they’re being chased or nagged and it takes the joy out of practise. What really works is positive reinforcement. Record the student when there’s a successful attempt at home, show it to the rest of the family later, and bring it to piano class.

Sometimes, the improvements are so small, that parents simply can’t see them. And yet these tiny steps forward are so BIG, because the young piano student has had to really try hard, and they deserve praise. It’s why piano teachers take the trouble to point out small improvements. And take the time, to explain to parents, why they’re such huge steps forward.

Here’s a related post  ‘Teaching parents the value of struggle and how it’s helping’

 

My Piano Mom’s (and some Piano Dad’s) help make their kids see that learning something new and challenging is fun. They also make teaching their kids a joyful and rewarding time for me, and I see them as an immense support to the learning process.