Paul Harris: Unconditional Teaching

THE PIANODAO BOOKSHELF
Books For Piano Players, Teachers, Students & Enthusiasts


Many readers will already have benefitted from Paul Harris’s numerous and superb teaching and learning resources, and perhaps also read one or more of his best-sellers written to support teachers. His seminal The Virtuoso Teacher, Improve Your Teaching! and Simultaneous Learning books have established themselves as essential modern classics.

New from Faber Music, and presented in a similar format to those previous books, Harris’s latest publication is called Unconditional Teaching. And it is undoubtedly one of his most provocative and thought-provoking yet…

Continue reading Paul Harris: Unconditional Teaching

Musicians Who Teach

THE PIANODAO BOOKSHELF
Books For Piano Players, Teachers, Students & Enthusiasts


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”….

Continue reading Musicians Who Teach

Developing Fluency

PATHWAYS FOR TEACHING • by ANDREW EALES
Lessons & Advice • BOOK A CONSULTATION


“I begin every lesson by having the pupil play the whole movement through without any interruption (no going back if you make mistake, as in practising). So we start with the experience of performance – and then turn to the details.”

Fanny Waterman: International Piano, Sept/Oct 2010

I vividly recall how, as a student at the Royal College of Music, my harpsichord teacher would ask me to play a piece, only appearing to listen to the first few bars. Indeed, he often seemed quite distracted, checking the room humidity, rifling through the paperwork on his desk, pacing up and down, and generally appearing to have other things on his mind.

Once I reached the end of the piece, however, he would invariably have the most perceptive comments to make about my performance – before turning back to the first page and looking at the piece in more detail.

My own approach as a teacher is not dissimilar (including my tendency to fidget!). I’ve always felt that if a student has practised a piece, I rather owe it to them to listen to what they’ve achieved and develop an overview of their progress before interrupting and interjecting with comments or suggestions for improvement.

I am perhaps unusual in this though; often when I have observed other teachers they have seemed ill-at-ease simply enjoying their student’s playing.

I once heard OFSTED’s Chief HMI for Music (at the time) say that one of the biggest problems observed by inspectors visiting music lessons in schools was that pupils rarely played a piece in its entirety, so neither working on structural awareness and pacing of the composition in their lessons, nor fluency in performing.

It is too easy to get so bogged down in the detail that we fail to observe the big picture, and no longer see the wood through the trees. And I’m sure there are still more clichés to describe this common problem!

Whether practising or teaching, let’s be more careful to develop fluency, without sacrificing accuracy in the process. In doing so we are more likely also to develop fluency in our appreciation of great art – and that’s a tremendous goal!

How often when you are practising do you play pieces all the way through, simply observing the music without criticism? Teachers – do you make it your habit to listen to pieces in full before commenting?


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