Pianodao – The Way of Piano – seeks to inform, challenge and inspire piano players, teachers and students.
What can piano teachers learn from stepping into the shoes of the beginner and taking up a new skill or pastime? Quite a lot, in my experience…
Like many adults, I periodically look to introduce a new discipline or hobby into my life. And as a teacher, it is always fascinating to put myself in the position of student.
The latest activity to find its way onto my list of exploits is Pilates, the exercise system developed by Joseph Pilates and often mentioned in the same breath as Yoga (though I think, quite different!)
This lot are learning Pilates too. They look happy, don’t they?
And certainly I was hoping that I would find Pilates enjoyable – and hopefully beneficial for my health and fitness too.
And inevitably I also hoped that putting myself in the shoes of the complete beginner, there would be teaching parallels that I could reflect on, and which would give me fresh insight.
In this post I am going to list a few observations I made, followed by questions which make connections to piano teaching – these are for self-reflection only.
In the seven years since Apple first introduced the iPad we’ve seen a plethora of apps appear, including many designed for music education, giving users plenty to explore and consider adopting in their teaching studios.
One of the latest to make its mark, ScaleTracks is the work of concert pianist and teacher Ben Andrew and coder David Denning. They claim:
“ScaleTracks are professionally composed backing tracks for Scales & Arpeggios that will set your practice on fire.”
Having read positive reviews elsewhere and seen the app commended by several good friends, I decided to take it for a whirl and put Ben and David’s claims to the test. This post is part review, and part story of how I got on with the app in practice.
Sheet Music Review
As Pianodao has become more widely regarded for its independent reviews, I find myself with a mounting pile of material sent for me to look at, most of which is really very good indeed.
That said, some products genuinely stand out from the crowd, because they are innovative, unusual, speak to my particular interests, or are just excellently done.
Melanie Spanswick’s Play it again: Piano books 1 and 2 are all of the above, and easily stand out in the crowd. In this review I will do my best to explain why I think that is.
To what extent does the place we live, and the community we are a part of, shape the person, musician and teacher that we become?
That’s a question that I have been reflecting on, prompted by the recent BBC documentary ’Milton Keynes and Me’, in which documentary filmmaker Richard Macer returned to Milton Keynes to reflect on his childhood growing up here, and celebrate Milton Keynes’ 50th Anniversary.
Macer’s film was at times thought-provoking, informative, personal, historical, and moving. I didn’t agree with his sometimes negative perspective (and nor did many in Milton Keynes, it would seem!), but that hardly mattered. What was so much more important is that the programme inspired me to reflect on my own experiences of living here over the last nearly three decades.
We probably all wonder from time to time what impact we have made for the good. Hopefully piano teachers such as myself can recall students who gained a lifelong love for music, which sometimes defined their future. But this post isn’t about my contribution, but rather the imprint that has been made on me.
Having lived in Milton Keynes for 28 years – more than half of my life, and more than half of the city’s existence – how has this shaped who I am today?
Sheet Music Review
Avid newsreaders may have seen that earlier this week it was announced that Scotland has been voted The Most Beautiful Country in the World, and those of us who have enjoyed the privilege of a visit there will know why!
But what about Scotland’s musical heritage? Well again, those in the know can quickly advise that it is one to treasure and to preserve with a passion.
As it happens, the ever-prolific Barbara Arens is one of those in the know…
Guest Post by Karen Marshall
A few weeks ago when I arrived at school I was given an envelope from the secretary.
One of my pupils (she’s only 5 years) had given her the letter to save and give to me on my next arrival. The envelope was beautifully decorated with some of my catch phrases written all over it. I was a little stunned but very touched. And then I opened the envelope.
Not one letter but three, each about how much she loves the piano, is excited about coming to lessons, and is always greeted with a big smile!
Gratefulness spilled from the pages, I was truly humbled by the generosity of this little girl, but also very aware of the power of my words (repeated by her in the notes), which had all been absorbed and responded to.
Sheet Music Review
In my recent review of Bärenreiter’s new edition of the Sonata in A major K331 by Mozart, I mentioned that they are a publisher who take pride in achieving the highest standards in all their publications. In their own words:
“Bärenreiter Urtext is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research prepared in accordance with clearly defined editorial guidelines.
Bärenreiter Urtext: the last word in authentic text – the musicians’ choice.”
Piano Kaleidoscope is a new piano anthology, produced by Bärenreiter as an appetiser for their Urtext Editions, specially priced at the pocket-money price of just £4.00. And it is the best bargain I’ve ever reviewed here!
But who is it for, and does it achieve more than its basic aim of promoting the rest of their published range? Let’s find out…