It used to be possible to joke that piano exam syllabi, like busses, arrived three at a time. But with the addition of the Music Teachers’ Board to the mix and fresh arrival of a “classical” syllabus from RSL Awards (Rockschool), students and teachers have five fully and equally accredited UK boards to choose between.
A disclaimer at the start. Eagle-eyed readers will soon spot that in the nine RSL Classical Piano books the name Andrew Eales appears as a “syllabus consultant”. While I didn’t actually contribute directly to the syllabus, I did offer a little feedback in the later stages of its conception.
On the plus side this perhaps gives me particular insight, but at the same time I will try to maintain distance, as ever avoid bias, and focus on providing the independent factual outline that you need in order to evaluate for yourself whether the syllabus might be the right fit you.
Recommending a no-fuss scale book used to be a simple matter: just get a copy of the ABRSM Grade 5 book as was, and all the keys were there, clearly presented in order.
But following ABRSM’s 2021 piano scales revision this is no longer the case, their new graded scale books offering a shockingly slight smattering of just a few scales, as limiting as they are limited.
Good teachers everywhere are inevitably (if sadly) left looking for more helpful alternatives, and thankfully a number of well-known writers are presently forming an orderly queue to occupy the educational high ground that the exam board have so perplexingly ceded.
Paul Harris’s revised Improve Your Scales books look to a composite of all the exam boards for common sense, while Karen Marshall’s Piano Trainer series from Faber Music will soon add an all-purpose scales book specially devised to fill the gap. I will be reviewing both these resources in the coming months.
Meanwhile, here’s a new book from Catherine McMillan, whose unique take on learning scales will particularly appeal to children, and whose stunningly presented Piano Scale Mnemonics book is now a studio essential.
For piano players, like everyone else, 2020 has been a huge struggle.
We have needed to re-evaluate our goals and quickly change many of our plans. But in the midst of the turmoil, many of us have found a renewed enthusiasm for piano playing, while many more have returned to the piano or taken up playing for the first time.
We enter 2021 with growing numbers of pianists and teachers embracing a fresh direction and revitalised piano goals.
Whether disenchanted with a dull exam-driven formula or eager to disentangle from over-prescriptive methodology, many are now hungry for a more inspired musical approach.
We want to embrace a more motivated, positive version of ourselves at the piano!
Music from Chopin’s Land. In 2020 I was commissioned to record five short films showcasing piano music from PWM Edition. Captivated by the music, I asked to see a wider selection. This series was written independently to introduce this wonderful Polish repertoire to a wider audience…
Of the many excellent educational books in the PWM Edition “cat” range for young learners, Julius Łuciuk’s Children’s Improvisations for Piano is one of the most striking in every sense, from the stunning cover to the extraordinary music within.
In this article I will introduce the book, as well as including the PWM tutorial video featuring my French colleague and friend Ernestine Bluteau (with English subtitles).
Once in a while a music book comes my way which quite simply “blows me away”, and such a book is Little Stories, a new collection of 16 late elementary pieces by Polish composer Agnieszka Lasko, published by Euterpe and distributed by Universal Edition.
With it’s truly lush illustrations and presentation of Lasko’s highly original and attractive compositions, the book is a natural winner. The inclusion in several pieces of opportunities for children to improvise and compose takes the book to another level again, making it a truly essential addition to the childrens’ pedagogic literature.
Switching to video lessons at short notice is stressful!
I live in Frankfurt, Germany, where all the schools are now closed and I made the switch on Thursday afternoon. I’ve taught 6 lessons so far and overall it has gone pretty well. Here are some things I learnt that you might find useful…
“Installing air filters in classrooms can raise children’s scores in tests by the same amount as cutting class sizes by a third, research has found… Mike Gilraine, author of the paper and assistant professor of economics at New York University, said the improved scores were equivalent to ‘roughly two-and-a-half months of extra learning’.”
“The results indicate that air filter installation is a highly cost-effective policy to raise student achievement “
And it goes on to point out that several London schools, having installed air filters in classrooms. have reported reductions in absence because of sickness, which teachers attributed to cleaner air.
Given my previous writing about the centrality of breathing in piano playing, regular readers will no doubt anticipate that none of this comes as a surprise to me; indeed, I believe that quality of air in my teaching studio is a paramount concern, and have encouraged players and teachers to take the issue seriously long prior to these new findings.
In this article I will offer some simple advice about air quality and the need to create a suitable environment for piano learning. But rather than focusing on the educational benefits in isolation, we need to consider the health benefits first and foremost…
“Advice is like the snow. The softer it falls, the longer it dwells upon and the deeper it sinks into the mind”
Samuel Taylor Coleridge (1772-1834)
One of the key roles of a piano teacher is to help their students make direct improvements in their playing. To do this we must identify the priority areas that need attention, hopefully without turning into the scolding teacher in the photo above.
In this article I will share some suggestions on how to offer helpful criticism, encouraging positive progress and enthusiastic learning.
I will cover the following points:
Why Accuracy Matters
The Piano Teacher as “Critical Friend”
Golden Tips for Giving Constructive Feedback
Listening to our students play and offering suggestions for improvement is certainly not the whole of a piano teacher’s work, but in many lessons it will be a central feature…
One Saturday morning in March 2018, I learnt that my good friend the composer, author and educator Paul Harris had been rushed to our local hospital emergency department overnight…
Paul had for several months been battling non-Hodgkin’s lymphoma, a virulent cancer that had already seemed to take so much from him.
He was receiving excellent treatment at The Churchill Hospital in Oxford, but having taken a turn for the worse the previous night, Paul had been instructed to come straight to Milton Keynes, his nearest A&E.