Curriculum – Pianodao

Do Grade Exams Motivate?

Supporting Your Piano Pathway
Written by Andrew Eales

What part do the Grade exams play in fostering positive motivation? Do they provide a necessary framework for musical advancement, or distract from more important goals? Are they signposts to success, or might they put some learners off playing a musical instrument altogether?

Most teachers will recognise that for some learners, entering for a grade exam seems to spur them towards progress, while for others they can prove less positive.

For more than three decades, I have helped prepare some (but not all) of my students for grade exams, so have had plenty of opportunity to reflect on the pros and cons. I have observed many good reasons for “taking the grades” as well as a few rather misguided ones, and have discovered why many (despite using graded music books and materials) prefer not to take exams.

In this post, I will explore this complex question from various angles and perspectives. I hope that my balanced conclusions will help readers pursue a well informed pathway of progress that suits their individual needs and goals, whether choosing to take the grades or not.

The curriculum comes first

Fermata • Pause and Reflect

Supporting Your Piano Pathway
Reflection by Andrew Eales

In the latest issue of Music Teacher magazine, three teachers who I very much respect team up to reflect on current trends in grade exams, and in particular whether “populism is killing progression”, and whether current syllabi are helping teachers to “get the fundamentals right”.

I was particularly struck by this from the ever-brilliant Murray McLachlan:

“Whether boards care to admit it or not, they have a huge responsibility to ensure that grade requirements present a balanced selection of material that will add and guide pedagogical progression for those customers they serve who are primarily or even exclusively exam-oriented. There should be no loopholes or easy options that take away from this surely essential mission.”

I think he makes an important point that ABRSM, Trinity, and the rest need to consider with care.

But in all fairness, are teachers perhaps at times in danger of blaming exam boards for our own failings? Because, whether we care to admit it or not, they have long stressed that their syllabi are not designed to deliver a complete instrumental and vocal curriculum.

The Importance of Notation

Fermata • Pause and Reflect

Supporting Your Piano Pathway
Reflection by Andrew Eales

In a trend that will worry experienced music educators, community musicans and professional performers alike, the importance of notation is increasingly coming under fire within the piano education community.

The charge is often led by those who prefer teaching popular music, have a limited music education background, and perhaps don’t fully understand the long-term needs of other music students. But the trend limits opportunity, and we must challenge and resist it for the benefit of all our students.

Putting the PLAY back into Playing the Piano

Pianodao Articles • Full Archive

Supporting Your Piano Pathway
Written by Andrew Eales

A Radical Manifesto for Piano Education

According to Plato, “life must be lived as play”.
How might this attitude to life benefit piano education?
We teach others to play the piano, but what do we really mean by play?

The Three-Dimensional Pianist

Pianodao Articles • Full Archive

Supporting Your Piano Pathway
Written by Andrew Eales

Understanding the importance of equally training, nurturing, and developing our musical mind (understanding), body (technique), and soul (musicianship) empowers us to teach, learn, and practise the piano holistically.

Paying attention to each of these three dimensions in equal balance gives us a solid educational philosophy, a foundation for practice, and the insight needed to foster deeper learning. Teachers have long done this, knowingly or intuitively, to deliver a well-rounded music education.

While the concept of a “three-dimensional” pianist may sound new or even exotic, it really isn’t. All successful musicians engage musical mind, body, and soul in their performance. The purpose of the terminology and perspective shared here is simply to illuminate more clearly what it is that makes some more successful at the piano than others.

In this article I will consider these three dimensions of musical learning in turn, explaining how we can nurture and monitor each, and suggesting how our recognition of their importance can help us develop as teachers, learners, and players.

A Common Approach 2022

Pianodao Articles • Full Archive

Supporting Your Piano Pathway
Written by Andrew Eales

Originally published in 2002, A Common Approach is perhaps the ultimate instrumental music teaching manual. It offers a complete curriculum, accompanied by extensive lesson activities for most instruments, with specific schemes of work for piano and electronic keyboard.

Now it has just been fully revamped and made available as an updated, free online resource to support instrumental teachers everywhere. Whether working privately or in a school, all piano and keyboard teachers would do well to have a look at this extensive and superb material.

According to its publishers Music Mark,

“A Common Approach is an online resource to support music educators in their teaching practice and help develop a holistic approach to music education. Relevant to all vocal and instrumental teaching, including individual, small-group, large-group and whole-class lessons, music educators at all stages of their career can use the support and shared learning found in A Common Approach.”

Music Mark Chief Executive Bridget Whyte tells us,

“Twenty years after the original version of A Common Approach was published, Music Mark has worked with a skilled team of music tutors from across the UK to update and enhance this valuable teaching tool. Containing both universal guidance and instrument-specific content, this online resource not only provides a great starting point for trainee and early-career tutors, but also gives those who are more experienced the opportunity to reflect on their practice.”

This has particular interest to me because back in 2002, I was a member of the national steering group who put together the original version of A Common Approach which provides the ongoing foundation of this update.

It’s therefore time both to take a short stroll down memory lane, and to consider how the updated version of this milestone resource can help piano teachers today…

Should we still teach students to hand-write music?

Pianodao Articles • Full Archive

Supporting Your Piano Pathway
Written by Andrew Eales

An article on the BBC News website last weekend highlighted an interesting controversy from the world of education: Do we need to teach children joined-up handwriting? The issue is back in the news because the US state of Illinois has passed a law requiring school students to learn “cursive” (joined-up handwriting), overriding the governor’s veto.

Elsewhere in the US and in some other countries schools have dropped the skill from the curriculum, or made it optional.

Certainly some teachers and parents are concerned that the introduction of joined-up handwriting can prove to be a significant roadblock in childrens’ education.

And the BBC article points out that few adults ever use joined-up handwriting; most of us rarely write by hand at all, except for the occasional shopping list or post-it note. The block hand-writing of a young child is sufficient for this, given that most of us use electronic devices, apps and software for any serious written communication.

The same arguments about educational roadblocks and 21st-century relevance might be made with regard to teaching music pupils to write fluent, accurate and detailed music notation by hand:

Should we be teaching students to write music by hand at all?

The Problem with Method Books

Pianodao Articles • Full Archive

Supporting Your Piano Pathway
Written by Andrew Eales

Few topics generate as much heat online as discussion about which piano Method Book series is ‘the best’.

As a reviewer I have more than once found myself on the receiving end of some odd feedback on the subject. One teacher might chastise me for being in their view way too generous in my evaluation of a particular Method Book, while another responds to the same review as if I had just personally insulted their favourite grandma.

In this post I will explain why there will never be a truly perfect Method Book. We’ll consider a balanced curriculum, stare into the abyss of a world without Method Books at all, and hopefully come away with a better idea of how to use Method Books in a sensible, balanced way.