The Summer Holidays are coming!

Many of my students and teacher colleagues will no doubt be breathing tired sighs of relief at the prospect that they will soon be “on holiday” … a time not just for sandy beaches, but for taking a break from the routines and responsibilities that can crowd our lives throughout most of the year.

Even those of us who continue teaching in some capacity throughout July and August will no doubt enjoy the more relaxed atmosphere and warm evenings over the coming weeks, and hopefully be able to catch ourselves at least some time away from the job!

But I noticed early in my teaching career that, come September, my returning students had often all but forgotten how to play the piano! So that’s a concern…

The relaxation of August can give way to a rather depressing start to the Autumn Term. Is there any way that as teachers (and parents) we can address this common problem?

One common approach is for teachers to set students a summer challenge of one sort or another – and for those students who haven’t yet developed an Active Repertoire this might be the ideal moment to introduce the idea…

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The Three Treasures of Musical Learning

Pathways for Teaching

We all have a “teaching philosophy”, whether we realise it or not. Mine strongly advocates holistic, personalised, life-centred education, and my model of The Three Treasures of Musical Learning is a key component which complements these values.

In this article I will explain what the Three Treasures are, and offer some tips on how reflecting on them can help us develop as effective teachers.

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Schubert’s “Fantasy Sonata” in G major

Sheet Music Review

20th March 1989 is embedded in my memory as the evening on which I attended one of the most magical classical piano recitals!

Although I was seated in the balcony, and towards the back of London’s Royal Festival Hall, I could just as well have been sat in the front row, such was the silent rapture of the audience. In semi darkness, lit by just one small lamp, the legendary Sviatoslav Richter quitly took to the stage and opened the recital with the hushed tones of a simple but fully-fleshed G major chord.

At this point in his career, Richter had given up announcing his programme – which didn’t stop tickets for his recitals from selling out within minutes of going on sale. But that opening chord was sufficient to announce to the pianophile audience that we were about to be served a very special musical treat:

Schubert’s magical “Fantasy Sonata” in G major, Op.78, D.894.

In Richter’s hands, this joyous work took on a new dimension – and not least because of his controversially slow interpretation of the first movement, lasting a full 25 minutes (compared to the more usual 15 – in Wilhelm Kempff’s recording this movement lasts just 10’54”, albeit omitting the repeats).

While I love Schubert’s Sonatas as a whole, the G major is perhaps even more dear to me than the others because of this much-treasured memory. So I was delighted when the brand new Bärenreiter Urtext edition dropped onto my door mat for review …

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A Piece a Week Grade 4

Sheet Music Review

Paul Harris’s excellent A Piece a Week series has already prompted many of us to reevaluate how we encourage our students to develop their reading skills at the piano, providing delightful collections of pieces suitable as quick study material at Grades 1 to 3.

I have previously reviewed the Grade 1 and 2 books here, explaining the concept of quick study material in more depth; if you are coming to this review fresh please have a read of that introduction before going on.

I have also reviewed the Grade 3 book here. And for a second opinion, check out Liz Giannopoulos’s comments in her recent article about playing at sight here.

I am delighted to see, and to let you all know that those books have now been joined by the Grade 4 book – so let’s take a quick look!

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The ‘Deliberately Forgotten’ Composer

Sheet Music Review

The name Vsevolod Petrovich Zaderatsky (1891-1953) may be a new one to most readers – but if so it is perhaps because the authorities of the Soviet Era condemned this extraordinary composer to be “deliberately forgotten”.

But with the first edition of his 24 Preludes and Fugues (1937-9) – which were composed while Zaderatsky was a prisoner in the dreaded Kolyma forced-labour camp – newly published worldwide, his fortunes may be posthumously about to change…

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Mindfulness in Music

Book Review

Once upon a time, books were something very special – not mere repositories of bullet-pointed knowledge, but containers of true magic whose words could unfetter the imagination and conjure into being a genuine sense of wonder.

It seems to me that as the internet age comes to maturity there has been a concurrent if unexpected reappraisal and renewed appreciation of the tactile immersion made possible by a traditional, high-quality physical book.

Riding the crest of an exciting wave of publications crafted to the highest standard, and with a deliberate nod towards the publishing values of an earlier generation, comes a small but highly significant volume by Mark Tanner entitled Mindfulness in Music, published by Leaping Hare Press as an imprint within their ongoing series of mindfulness-related books.

The book is an inspirational delight from cover to cover (and including the covers themselves!) and I highly commend it to Pianodao readers as the “must-read” book of the season…

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Strong Foundations for Playing at Sight

Guest post by Liz Giannopoulos

Over the past few months I’ve undertaken the challenge to improve the sight-reading ability of my students and help the tutors in the Encore Music team to find new and creative ways to teach sight-reading.

As most of our students are children, this research – and this article – is child-centric but much can still be applied to older learners.

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