I am delighted to host this wonderfully reflective post by the brilliant young pianist Iyad Sughayer, which touches on the nature of musical engagement:
Guest post by Iyad Sughayer
Messiaen’s Quartet for the End of Time is perhaps one of his most celebrated works. Written during his time as a war prisoner at the Nazi Stalag VIII-A camp after the German invasion of France, it is the most intense religiously inspired work I have ever come across.
Despite coming from a Muslim background, having grown up in Jordan, I was still able to understand the strong Catholic Liturgy behind the work. Indeed Messiaen’s Catholic beliefs are clearly and beautifully portrayed throughout the work.
Continue reading My Journey towards the End of Time
Guest Post by Simon Reich
I would imagine, many creative and serious musicians, would love their children to follow in the same footsteps? Well interestingly enough, it doesn’t always turn out that way.
Take my own four children for example…
Continue reading Does music grow on the family tree?
The Pianist’s Reflections
Guest post by Frances Wilson
The life of the pianist is, by necessity, solitary (and I have written before about The Pianist’s Solitude). For many of us, the solitude is not an issue: we crave a sense of apartness to enable us to do our work and to create special connections with audiences when we perform, and we need quietude to allow time for self-reflection and evaluation.
The sequestered nature of the pianist’s life also calls for great self-reliance: we must be self-starting, motivated, driven and focused to ensure our work (practising and preparation) is done each day. Most of us draw pleasure and satisfaction from knowing our work is done and done well, but without other colleagues and musical companions to interact with, it is easy for self-doubt to creep in, for us to question our role or our value, to ask “am I good enough?”. Continue reading The Pianist’s Self-Compassion
Guest author – Roberta Wolff
Success Criteria to Develop and Enhance Students’ Performing Skills.
The season of exams, festivals and Spring Concerts is approaching so today I am sharing a simple but powerful approach to help students take their piece from practice room to stage.
The tools we will use are success criteria which leave almost no room for ‘failure’, and which develop confidence, and a sense of control and awareness as students practise the art of performance.
Continue reading Developing Performance Skills
Guest post by Garreth Brooke
“Like many other piano teachers I have studied music but not pedagogy…
When I first began teaching after finishing my music degree this did not seem such a problem, and certainly it did not stop me from finding work or my students from telling me that I’m a good teacher. Increasingly, however, I’ve realised that if I want to be a great piano teacher I need to be trained both as a pianist and as a teacher. It doesn’t matter how much we know about music or how well we can play, we have to also understand how to communicate that knowledge effectively to our students.
A 2014 survey on the UK-based Cross-Eyed Pianist blog of private piano teachers revealed that less than half of the respondents had teaching diplomas, and only 30% had training in music pedagogy. This is understandable. Piano teaching often comes as a result of a passion for playing the piano, not because we have always wanted to be a teacher. I’m certainly true in that regard, and indeed actively avoided teaching until forced to by circumstance, when I realised to my surprise that I thoroughly enjoyed it.
In an ideal world, once we realise we want to be a piano teacher, we’d all be able to afford to take 3 years off and get a degree in music pedagogy but unfortunately that’s rarely – if ever – realistic. Luckily there are several options for part time study for teachers who are based in the UK or who use the UK examination boards, including studying for a diploma with an exam board like ABRSM or Trinity, getting a qualification from a pedagogical group like Suzuki or Kodaly, attending the EPTA’s Practical Piano Teaching course, or signing up for the Curious Piano Teachers.
None of these, however, allow you to get a qualification from a recognised examination board from the comfort of your own home and I was therefore excited to learn about the RCM’s Online Piano Teacher Specialist Course. (NB for Brits – this is the Canadian Royal Conservatory of Music, not the Royal College of Music).
I eagerly signed up and I am just beginning week 3 of a 10 week course, and I’m thrilled to have been invited to share my first impressions with you on Pianodao.
Continue reading Online Piano Teacher Training with the RCM
Guest post by Karen Marshall
I was first introduced to singing rounds as a very young child at Primary school…
It was much later in life that I realised their potential for instrumental use. I can remember being quite miffed that – even though I learnt three instruments – I’d not played one round during any of my instrumental lessons.
I try to incorporate rounds into my piano teaching along with using them constantly in my choir and whole school singing assemblies (I work as a music specialist in a Primary School along side piano teaching).
Continue reading Using Rounds in Piano Teaching