The latest publication from Hal Leonard, available from today, is described by the publishers as:
“The essential, pocket-sized companion for every musician. Accessible and authoritative, How to Practise Music is an ideal guide for anyone learning to play music. Suitable for instrumentalists and vocalists of any genre, this comprehensive handbook will give you a better idea of how to practise music, good reasons for doing so, and the confidence to succeed. “
And here’s the BIG announcement: it’s written by me!
That’s right: my first book from Hal Leonard (there’s more to come, so watch this space) is now available! In this post I will give you a sneak peak…
For 2022, many piano players are ready to embrace a fresh musical focus and revitalised piano goals. Whether frustrated by lack of playing in the last year or pleased with progress made, we all want to embrace the most motivated, positive version of ourselves at the piano.
There has been an interesting and persistent debate in recent months about whether adult students can effectively teach themselves to play the piano (tapping into the growing plethora or apps, books, etc), or whether there is an essential ongoing need for a teacher’s involvement. I have addressed this in my recent article Who Needs Piano Lessons Anyway?
But while there’s no shortage of arguments for learning with a “good teacher”, many seem to struggle finding one who is sympathetic to their goals and in tune with the needs of adult learners.
In this post I will therefore share some of the strategies which have worked for me over the last three decades of teaching these enthusiastic learners.
The pianist Andor Földes (1913-1992) was one of the great child ‘prodigies’ of the early twentieth century, making his public debut performing a Mozart concerto with the Budapest Philharmonic in 1921 when he was just 8 years old, and entering the Liszt Academy (where he studied with the great Ernst von Dohnányi and Béla Bartók) before he was even a teenager.
Földes went on to enjoy a hugely successful concert and recording career, as well as writing several books, including the seminal Keys to the Keyboard (1950, sadly no longer in print, but an exceptionally wise and notably humane book).
With a single Tweet, the exam board ABRSM have in the last week provoked what they have themselves described as a “passionate debate”.
Defending their stance, ABRSM have subsequently confirmed that these are the words of their Chief Examiner, John Holmes, quoted from his presentation at this year’s Music Education EXPO event in London:
In the context of his talk, Holmes will no doubt have made many other points, adding balance and nuance to his position. That said, his view of a “virtuous circle of motivation” was surely not made up on the spot. We must accept this as his well-rehearsed position on the nature of and relationship between musical achievement, assessment and intrinsic motivation.
Discussion of these important concepts must be welcomed. As teachers it is our basic responsibility to question ideas, absorb good material, develop subject knowledge and promote better understanding. I should add that we also have a duty to confront that which might genuinely harm our students.
These issues are of course also of interest and importance to the parents of any child learning to sing or play a musical instrument. In contributing this response, I hope my thoughts might be considered both by teachers and by parents who are rightly keen to understand their childrens’ progress.
Together, let’s begin to unpack some of the many positive ways that we can all celebrate our childrens’ and our own adult achievements.
In the last couple of weeks I have come across two well argued letters in the music press, the first by Alex Aitken and published in the September 2021 issue of Music Teacher magazine, the second by Pauline Carter and appearing in the October issue of the BBC Music Magazine.
Both letter writers lament a perceived decline in music education, singling out ABRSM as being uniquely responsible for this malaise. Their charge is probably unavoidable, and not without merit bearing in mind that ABRSM are in their own words,
“…the UK’s largest music education body, and the world’s leading provider of music exams.”
The diametrically different solutions each of the two propose points to the serious challenge ABRSM now face in charting a path that reconnects with all of their stakeholders, wins wide support, and restores confidence in their ability to (as they put it) “inspire musical achievement”.
It is certainly beyond doubt that many in music education are reflecting anew on the role, relevance and value of music exams:
What is the future of ABRSM grades?
I am coming to the view that it’s time to focus on a live performance assessment and scrap divisive “support tests” and other prerequisites from grade exams. Done well, this could raise a bar which does seem to have been steadily slipping in recent years, while better matching the real-world priorities of the 21st century.
When ABRSM announced their “Performance Grades” a few months back, I admit that I was skeptical. But having listened carefully to a range of opinion, I now believe that making the performance of music the whole focus of graded assessments could prove unifying, and makes a lot of sense for a variety of reasons. Let’s consider three of particular significance…
Taking grade exams on the piano has for many been a rite of passage, and many teachers and parents convey an expectation that they are an important landmark in any pianist’s journey. Whatever one’s view of this, it is no surprise that so many of the questions, comments and requests made on internet forums concern the different exam boards available.
Five equally accredited boards operate internationally from a UK base, giving rise to endless comparisons and discussions, often generating more heat than light. This article is a sincere attempt to offer the latter, providing a level playing field for each of the five boards to present themselves in their own words, outline what they offer and their recent developments.
The following pages, one for each board, will supplement this information with links to Pianodao’s independent syllabus reviews, and a representative sampling of the customer feedback users of each board have generously provided in response to the recent Pianodao reader survey.
Faber Music’s latest publication is a slim book called The Essential Handbook for Musicians Who Teach.
Written by singing teacher, researcher and lecturer Dr. Kerry Boyle and Diane Widdison, formerly National Organiser for Education and Training at the MU, the book is aimed at any musician teaching in the UK, whatever the context, and offers a wealth of generic advice covering the many practical aspects of earning money from instrumental/singing teaching.
I’ll look at the content in detail, and let’s find out whether this new handbook is indeed “essential”….
Currently in its 13th year, the Piano Teachers’ Course UK (PTC) is the longest-running course of its kind in this country, specifically designed for pianists and piano teachers who wish to enhance their professional teaching skills, come together for inspiration and become part of a motivated, supportive musical network.
Having previously visited several residential course weekends as an observer and guest tutor, I have been hugely impressed with the professionalism with which the one-year programme is run, and by the expertise and dedication that the PTC personnel offer.
I have also seen that the PTC shares very similar values to those that I espouse here on Pianodao. Those who have studied with me, who come to me for mentoring, or who simply enjoy reading my articles here will most likely feel very at home on the PTC course.
As the course continues to diversify its offer to include online access and an international reach, this seems a good time to catch up with the course’s founder and International Director, Lucinda Mackworth-Young, and UK Course Director Masayuki Tayama for a cup of tea and a chat on Zoom.
“And once the storm is over, you won’t remember how you made it through, how you managed to survive. You won’t even be sure whether the storm is really over. But one thing is certain. When you come out of the storm, you won’t be the same person who walked in. That’s what this storm’s all about.”
Haruki Murakami, Kafka on the Shore
As I write this, we are starting to consider and look forward to the relaxation of lockdown rules in the coming weeks, with a hope that schools will resume in March and most other activities by Easter. Being cautious, I had anticipated the probability of a return of face-to-face lessons by mid-summer, but it now seems possible that life will begin returning to some-kind-of-normal sooner. Hooray!
• But what will we all have learnt in the last year? • How will we have changed in general, and as piano players? • And in what ways might the teaching and learning of the piano have been fundamentally and permanently altered?