ABRSM: New Directions 2019

Exclusive Interview with Michael ElliottChief Executive, ABRSM


Having attended a few ABRSM conferences in recent years, the teachers’ conference last Saturday was notable in many ways. On a visible front, it was noticeable that having sold out well in advance, the venue was teeming with enthusiastic professionals.

More subtly, it seemed to me that ABRSM as an organisation was invigorated, the spring back in its collective step, its message an overwhelmingly positive one, in spite of the challenges which presently face music education.

Against this backdrop, it was unusual too that in his welcome address, ABRSM’s Chief Executive Michael Elliott refrained from listing a string of achievements and announcements for the future, as has typically been the case.

Happily, I later in the day had the chance to sit down with Michael, together with ABRSM’s new Communications Officer Kerry Sheehan, to follow up on a few announcements from previous years and other rumours doing the rounds.

Michael gave generous and full answers, outlining his vision and a raft of forthcoming developments which will undoubtedly please readers here. And he was happy for me to audio record our interview and publish this full transcript, in which I hope readers will capture something of his enthusiasm and positive message!

Continue reading ABRSM: New Directions 2019

Learning to Play with Precision

In my recent article  Why Bother with Scales?  I considered the many benefits that arise from regularly playing and teaching scales and arpeggios.

In this shorter post I’m going to hone in on one especially important advantage which is sometimes overlooked entirely:

Regular scale and arpeggio practice trains the brain and the fingers to develop precision in judging and playing all intervals up to a fourth, using any standard combination of shapes and fingerings, and in all the standard keys.

This significant benefit is certainly not to be sniffed at, and fosters a technical ability that is otherwise unlikely to develop during the formative stages of learning the piano.

Let’s consider how this works…

Continue reading Learning to Play with Precision

Becoming a Virtual Virtuoso

Guest Post by Mark Tanner

This post is an exclusive excerpt from this month’s Piano Teacher Talk – the online newsletter from EPTA UK. The whole newsletter is also available as a PDF at the end of this excerpt, with the kind permission of EPTA.

In this post Mark Tanner – author of The Mindful Pianist and Mindfulness in Music – considers the benefits of virtual ‘ghost’ practising …

Continue reading Becoming a Virtual Virtuoso

Christmas Repertoire Sheets 2018

Christmas is one of those times in the year when having a few party pieces up our sleeves is particularly important – and of course family and friends are often keen to hear us play their seasonal favourites, so it’s worth adding those into the Active Repertoire mix over the next two months!

With this in mind, here’s a special Christmas gift to Pianodao readers – a Christmas Repertoire Sheet which can be used alongside your and your students’ standard Active Repertoire Sheet.

pdf-logo   Christmas Repertoire Sheet 2018  [PDF Download]

The Christmas Repertoire sheet can of course be used how you like, but my own suggestions are shown on the Sheet itself, and will hopefully be clear to those taking part in the ongoing Active Repertoire Challenge.

As always, the choice is with each player. And however you use the Christmas Repertoire sheets, I hope that it will make a positive contribution to your piano journey over the next two months!

Continue reading Christmas Repertoire Sheets 2018

Two FREE Carol Arrangements

Guest Post by Karen Marshall & David Blackwell

We are delighted to present these free digital downloads for piano players and teachers, and really hope they will be useful to you this Christmas time.

We hope the additional information about the carols will give some interesting facts for you to share with your students, and the teaching content section will help you determine which students they will be most useful for.

Very best wishes, Karen Marshall and David Blackwell


Continue reading Two FREE Carol Arrangements

Curved Fingers, or Flat?

This post is an exclusive excerpt from the new monthly online newsletter from the UK branch of EPTA, The European Piano Teachers’s Association.

In order to reach a wider audience, Chair of EPTA  Murray McLachlan  has kindly agreed to Pianodao exclusively hosting the newsletter for non-members, as well as picking a short piece each month to feature as a guest post here.

This month, I’ve picked this short but very helpful and thought-proving piece written by Murray himself… and below you can download the full newsletter for additional free articles!


Curved Fingers or Flat Fingers?

Guest Post by Dr. Murray McLachlan

A big subject, but in essence I would say a lot depends on the style of the music…

If I want to play rapid semiquavers in pre-Beethoven repertoire then I naturally curve my fingers for more articulation.

If I wish to have more legato and sonority in the romantic repertoire, then they tend to flatten instinctively.

Of course, we should all try to find power, focus and physical control from the knuckles. It is fundamentally bad practice to collapse the first and second joints of the fingers.

However, pupils with hypermobility may well find it difficult not to collapse their finger joints inwards as they play. Perseverance, patience and awareness of what they are doing can help.

Stress, tension and stiffness should be avoided at all costs. It can certainly help to focus on the knuckles and visualize internally a mental picture of finger movement from the ‘bridge’ of the hand (knuckles).

But in terms of how curved fingers should be in terms of a default position, try experimenting:

To find a pianist’s natural finger curve, get them to pick up a pencil without thinking about it. Just say have the thumb on one side, and the fingers on the other. After this is done, look at the curvature of the fingers.

What is there is what is comfortable – the correct curvature for that pianist at that time in most normal contexts.


EPTA Newsletter, September 2018

If you enjoyed this post, would like to read more, or find out about EPTA, please download the full Newsletter here.

Special Thanks to Karen Marshall, Murray McLachlan and Liz Dewhurst. 

Graded Exams: Friend or Foe?

Pathways for Teaching

In the minds of many students (and in the case of children, their parents), two questions are constantly lurking –

  1. How well am I doing?  and,
  2. How can I improve?

I believe teachers should routinely answer these questions, but how best to frame those answers? As a general principle I would suggest that pupils will gain confidence if they have a clear, honest perception of their progress, and goals which are detailed and encouraging.

Graded exams can offer one way – and an important framework – for pupils to gain the meaningful, quantative answers that help foster confidence.

While exams are certainly not without their issues, most of the concerns I see raised relate more to their misuse than to their appropriate use. 

In this article I will consider both, and offer a personal perspective on some of the most common concerns. And in conclusion, I will try to provide an answer to the question: Graded Exams – Friend or Foe?

Continue reading Graded Exams: Friend or Foe?

Why Bother with Scales?

Pathways for Teaching

“For many, scales and arpeggios are an academic, dry and soulless part of learning the piano, and have to be practised because, like cod liver oil, they are ‘good for you’.”

Anthony WilliamsThe Piano Teacher’s Survival Guide (Faber, 2017, p.31)

Why bother with scales? (by which, for the purposes of this article, I also mean arpeggios and broken chords) …

In order to properly answer this question, this article will consider these related questions, of vital importance to students and teachers concerned to know about the purpose and value of teaching and learning scales:

  • What are the benefit of learning scales?
  • Is it important to use consistent fingering?
  • What are the benefits of cumulative learning vs. exam preparation?
  • How can scales practice and creativity go hand-in-hand?

Let’s get started by considering the core benefits of learning scales…

Continue reading Why Bother with Scales?

Active Repertoire Challenge 2018

What can you play?

This is a question which for too many pianists leads to such answers as:

  • I’m working on Allegro, but it’s not yet ready to play;
  • I finished learning Andante last month, but I’ve forgotten it now;
  • I don’t have my music books with me, so …

What a pity!

The reality is that too many of us can’t sit down at the piano – without notice, without notation, and without embarrassment – and simply play something!

Continue reading Active Repertoire Challenge 2018

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…

Continue reading The Summer Holidays are coming!