Tag: Piano Grades

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In recent years, Edition Peters have been publishing anthologies of selected ABRSM Grade 8 pieces, a stroke of publishing genius predicated on the following ABRSM Syllabus statement:

“Candidates may use any edition of the music, except where a particular arrangement or transcription is specified. Editions quoted in the syllabus are given for guidance only and are not obligatory”.

With one of the most extensive music back-catalogues, Edition Peters have found themselves brilliantly placed to jump in with varied anthologies of the best syllabus choices, offering larger compendiums than ABRSM’s own publications (which offer just nine pieces).

With the advent of ABRSM’s 2023-24 Piano Syllabus (reviewed here), Edition Peters are back with a new set of publications which expand on their previous effort in two important ways:

this time, there are collections for Grades 5, 6, 7 and 8
in each volume, Edition Peters include a few own choice pieces in addition to the highlights of the published syllabus

Edition Peters would thus seem to have a more ambitious vision for this series, making it an ever more intriguing proposition. Some will see these books are alternatives to ABRSM’s official syllabus publications, while others will welcome them as hugely useful supplements that present a wider range of alternative piece selections.

In this review, I will offer a side-by-side comparison, listing the included repertoire so that readers can make an informed choice about which to buy, or indeed whether to purchase both…

A Streak of Calm

PATHWAYS FOR WELLBEING

Living Beyond the Notes
Written by ANDREW EALES

A few years back I purchased an app called Calm, which has subsequently become one of the most popular mindfulness apps available on iOS and other digital platforms. With its range of guided meditations, ambient music, soundscapes, breathwork exercises and ‘sleep stories’, Calm has grown to become a superb lifestyle resource, and a deserved success.

Interestingly though, Calm also delivers user stats after each session, with a badge showing one’s ‘streaks’ of consecutive days of practice. I’ve regarded this feature with vague amusement; it seems to owe more to the culture of the gambling arcade than to the ethos of the meditation traditions.

There’s even the opportunity to share your official streaks on social media platforms, something I recently did myself having reached the modest achievement of 100 consecutive days, and curious to see whether it would generate much discussion with friends.

But then an odd, and instructive thing happened: it must have been less than a week later that I ‘missed’ a day…

Essential Piano Teaching Resources 2022-23

Supporting Educators • Promoting Learning
Written by ANDREW EALES

It can be overwhelming keeping track of all the latest and best resources for piano teaching. As we enter another academic year, I am therefore sharing this list of some of the most essential educational resources and piano music publications of the last couple of years or so.

To read my in-depth evaluations of each publication shared below, and to get a better understanding of whether it will suit your and your students’ particular needs, simply click on the titles to open the full reviews. Better still, right-click to open in a new tab.

Please bookmark this page so that you can refer back here as need arises.

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The Gamification of Musical Learning

Supporting Educators • Promoting Learning
Written by ANDREW EALES

The rise and rise of electronic video, console and computer games over the last two decades has been spectacular. From Pokémon to Grand Theft Auto, and from Minecraft to Wii Sports, games have become hugely popular and lucrative, and some academics even suggest that they are now the dominant cultural form of the 21st century.

In his much-discussed paper Manifesto for a Ludic Century, Eric Zimmerman suggests that while the twentieth century was the age of information and of moving pictures, the twenty-first is the ludic (play-centric) century. He enthuses,

“Increasingly, the ways that people spend their leisure time and consume art, design, and entertainment will be games, or experiences very much like games.”

We certainly see growing evidence of gamification in music education. In this article I consider the transformative impact this may be having, for better or worse…

Nikki Iles & Friends: Easy to Intermediate

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Reviewing the first two volumes in the ABRSM series Nikki Iles and Friends when they appeared in April 2021, I concluded:

“I have no hesitation in declaring this series an “epic win” for ABRSM. Don’t hesitate in getting copies!”

Suitable for intermediate to advanced players (UK Grades 4-8), the books have proven popular with players in my studio here in Milton Keynes and elsewhere. You can read my full review here.

Somewhat sneaking under the radar, a third book has now been added to the series. Nikki Iles & Friends: Easy to Intermediate will, I am certain, have huge appeal to players who are less advanced.

The sensibly age-neutral cover matches the designs of the previous two books, but beyond that there are some points of departure worth noting, so let’s take a closer look…

Singing in Aural Tests: the Bottom Line

Supporting Educators • Promoting Learning
Written by ANDREW EALES

The topic of singing in aural tests has long been a contentious one, but has become more so in recent years. Not only have growing numbers of teachers noted how unpopular the singing tests are, but research in the field of cognitive science now casts doubt on the previously assumed validity of such tests.

In this article I will explore the requirements of the five main boards, consider the links between singing and “audiation”, touch on some basic scientific research (with links for those wanting to read more) and suggest change.

The Mosaic Series

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Mosaic is a series currently comprising four music books, each showcasing fresh and varied repertoire newly commissioned and composed by piano educators from around the world.

The pieces are loosely graded, arranged in order of difficulty, compiled as books suitable for elementary, intermediate and advanced players, and published by Editions Musica Ferrum. A fifth book (reaching towards Grade 8 level) is currently planned.

I am honoured to be one of the composers featured in all four books, alongside such well-established names as Barbara Arens, Ben Crosland, June Armstrong and others.

The collections are a natural addition to the Pianodao Music Library, and while I obviously cannot ‘review’ them in quite the usual way, this article will introduce the series with an overview of the concept, several recordings, and hopefully sufficient information for readers to decide whether to take a closer look.

Women Composers: A Graded Anthology

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Hot on the heels of Karen Marshall’s lovingly curated HerStory from Faber Music, which I recently reviewed here, Schott Music bring us three brilliantly compiled and vividly presented collections of music by neglected female composers past and present.

Melanie Spanswick’s Women Composers: A Graded Anthology is equally as groundbreaking, and being a larger series these books offer space to a wider and more diverse range of repertoire, particularly in their inclusion of playful jazz and 20th century piano works.

It is interesting to note that of the 30 works in Marshall’s book and the 52 more here, not only are there no actual duplicates, but few of the composers themselves appear twice, an extraordinary confirmation (were it needed) that the pool of neglected music by female composers is a deep one indeed.

So let’s cast an eye over Spanswick’s series…

Adventures & Accolades

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Composer James Welburn (whose Musical Escapades collection I reviewed here, and his Reflections in Waltz right here) continues to impress with his latest publication.

Written “for the aspiring virtuoso”, this new addition to Welburn’s catalogue is alliteratively titled Adventures & Accolades. Comprising 14 short pieces, the collection is once again brought to us by the ever-brilliant Editions Musica Ferrum, while the recordings of the pieces are available on the composer’s website, or here:

In common with Welburn’s previous two publications, the music is suitable for intermediate players, although the pieces here are shorter than in his earlier collections, and have a wider variety of style, tending perceptibly towards the more jazzy.

LCM Piano Syllabus 2021-24

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London College of Music Examinations (LCME hereafter) bill themselves as a progressive, friendly exam board offering a wide selection of graded music exams and professional diplomas. Founded as far back as 1887, the board arrived on the scene two years before ABRSM, and ten years after the first board, Trinity College Exams.

LCME pride themselves on continuing to lead the way in developing exam options that are relevant to today’s global world. Indeed, the performance grade options that other boards have introduced in the last year follow a blueprint LCME laid down years ago.

Uniquely, having become part of the University of West London, LCME are now the first and only exam board whose qualifications are awarded by a University. Conducting exams in more than 80 countries around the world, LCME retain their traditional qualities while being widely praised for fielding examiners known for being warm and approachable, ensuring candidates are put at ease and able to perform to their full potential.

With such particular strengths, it is perhaps odd that relatively few teachers are aware of their offer, but the recent arrival of the 2021-2024 Piano Syllabus and accompanying Handbooks offers a timely opportunity to take another, closer look…

Achievement, Assessment and Motivation

Supporting Educators • Promoting Learning
Written by ANDREW EALES

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 confirmed that these are the words of their Chief Examiner, John Holmes, quoted from a presentation at an 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. These issues are of course also of interest and importance to the parents of any child learning to sing or play a musical instrument.

Together, let’s begin to unpack some of the many positive ways that we can all celebrate our childrens’ and our own adult achievements.

ABRSM’s Performance Grades

PATHWAYS FOR PLAYING

Supporting Your Piano Playing Journey
Written by ANDREW EALES

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 writers lament a perceived decline in music education and single out ABRSM as being uniquely responsible. However, the very different solutions they propose point to the significant challenge that the board will face in charting a path that reconnects with all their stakeholders, and which restores confidence following their difficulties during the pandemic.

It is certainly beyond doubt that many in music education are reflecting anew on the role, relevance and value of music exams. For one thing, a lot of players continued to make excellent (sometimes better) progress in the absence of graded exams, discovering renewed enjoyment by focusing on a broader, less prescriptive curriculum.

On the other hand, the challenges of recent years have seemingly led to a diversification of approach, a confusing smorgasbord of options now available both online and face to face, offered by a growing number of exam boards who are equally accredited (if not all as widely known), and with a fading sense of a common recognised standard.

In this article, I will be reflecting on ABRSM’s new Performance Grades, and considering where they fit into this complex picture…

Gradebusters 2

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Of the various books to have appeared in the last few years offering easy arrangements of favourite popular songs for elementary players, Hal Leonard’s Gradebusters Grade 1 quickly became a favourite here, and a runaway success with my students.

When I reviewed the book here, I loved everything about it, and hoped that a promised Grade 2 book would quickly peek its head around the corner. It’s taken a while for the second book to arrive but I’m very happy to report it’s been well worth the wait, and is a sequel to celebrate!

Improve Your Scales!

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Since the ABRSM exam board significantly reduced their piano scales requirements last year (read a full analysis here), many have agreed that their requirements alone no longer provide the solid framework players need for the development of technique, an awareness of keys and assimilation of archetype fingering patterns.

Of the respected educators who have subsequently sought to fill the void with superior learning resources, I have already covered Catherine McMillan’s gorgeously presented Piano Scales Mnemonics (reviewed here) and Karen Marshall superb Piano Trainer Scales Workbook (reviewed here).

Joining these excellent resources, Paul Harris has now completely rewritten his popular Improve Your Scales! series, and like McMillan and Marshall has eschewed the ill-conceived limitations of ABRSM to embrace a more comprehensive and educative approach.

As Harris announces a the start of each of the six books in his new series, which cover the Initial to Grade Five requirements for all major exam boards,

“Scales, arpeggios and broken chords are important. And if taught and learned imaginatively, they can be fun!”

This is another of those moments where a disclaimer is required; Paul invited my feedback on his ideas while developing his vision for the new series, and as a good friend welcomed my help with the proof reading.

The genius in these books is all his though, so let’s see how he’s done things differently from others, and establish why these books stand out as another teaching studio essential…

Piano Sight Reading: A Progressive Method

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Few professional musicians would question the value and usefulness of sight reading, meaning that skill which allows us to play music that we’ve never heard, just from the notation, and without preparation.

As a teacher who allows my students considerable freedom to choose the music they want to learn and bring along to the lesson, I find myself relying on this skill very regularly. And yet some teachers and students treat the development of sight reading as an afterthought, and a rather dull one at that. Compounding the problem, while sight reading has traditionally been an element of public grade exams, it is decreasingly so.

Trinity College London include sight reading as an optional test in their piano grade exams, but some teachers choose only to introduce it with “serious students” after intermediate level, and on the basis that players will at that point miraculously “get it”.

Perhaps this lack of enthusiasm will change with the launch of Trinity’s excellent new series, Sight Reading: A Progressive Method, a suite of three books offering a clear route for teaching sight reading skills from the get-go.

In common with most sight reading resources the series is linked to the grade exams, but happily it goes far beyond specimen tests and basic exam cramming, and can be used as a powerful resource to actually teach and develop sight reading ability.

As Trinity explain,

“The study of sight reading is valuable because it enables musicians to enjoy music that is new to them, either on their own or in a group. As with any other skill, confidence in sight reading comes with training and regular practice.”

So let’s take a look and see how the series can support teachers and students in those aims…

The Piano Trainer Scales Workbook

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A couple of years ago I suggested to author Karen Marshall and publishers Faber Music that it would be really useful to have an all-in-one scales manual within the popular Piano Trainer series. And here it is!

According to Faber Music,

“This all-in-one workbook for scales, arpeggios and broken chords includes all the keys and basic shapes piano students should learn. With clear scale notation, easy-to-visualise keyboard diagrams and excellent theory activities to consolidate understanding and underline the importance of writing music. It is ideal for developing a bespoke scale curriculum.”

The Piano Trainer Scales Workbook is certainly all of this, and the 72-page book is chock-full of neat ideas and judiciously selected material, so let’s take a closer look…

Trinity Piano Syllabus 2021-23

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Sometimes, like buses, exam syllabi arrive more than one at a time. If it seems as if it were just last month that I wrote my bumper review of the 2021-2 ABRSM piano syllabus, well… that’s because it was.

And now here is the new syllabus from Trinity College London. TCL tell us that this is their biggest ever piano syllabus, so there will be a lot of ground to cover in this bumper review.

Although I am going to integrate my material, I will tackle the review from two perspectives, trying to answer questions and pick up on the headline news for:

existing TCL exam users; and
those new to grade exams, or considering a switch to TCL from ABRSM or another board.

So let’s discover the big stories in the TCL Piano Syllabus 2021-3…

ABRSM Piano Scales 2021

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With the publication of their 2021-22 Piano Syllabus (reviewed in full here), ABRSM have given their scales requirements a significant overhaul, also publishing new scales books and resources.

In this review I will consider three main areas of this development:

The new syllabus requirements
The new ABRSM Piano Scales & Arpeggios books
Scale Explorer for Piano – a new series of five graded books written for ABRSM by Alan Bullard

Let’s get straight to it…

Schott Music’s Mini Maestros

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Those looking for good anthologies of easy piano music are fairly spoilt for choice these days. Latest to arrive, a set of three new books from Schott Music, compiled by the ever-prolific Hans-Günter Heumann, and collectively titled: Mini Maestro.

With each of the three books containing 50 solo pieces and 3 bonus duets, Mini Maestro certainly offers great value and plenty to dig into, so let’s take a look…

Paul Harris: A Piece A Week

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Paul Harris’s series of A Piece a Week books have been appearing at regular intervals over the last few years. Faber Music have just released the Grade 6 book, so let’s consider the series as a whole…

I’ll start with a quick reminder that while the books appear in the best-selling Improve Your Sight Reading series, they are not sight reading practice books per se. Rather they aim to support the broader development of music literacy.

In this review I will first explain the concept behind A Piece a Week, give an overview of the actual material included in the books, and explain how they develop to offer superb material across the range of playing levels from UK Grade 1 to the new Grade 6 book.

Teachers’ Choice Piano Collections

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Hot off the press from Faber Music, and certainly not to be missed, the two books that make up the Teachers’ Choice Piano Collection have just appeared in partnership with EPTA UK, the European Piano Teachers’ Association.

Between them they include 58 pieces ranging in difficulty from Elementary/Grade 1 to Advanced/Grade 8, “selected by piano teachers for piano teachers”.

I must confess that when I first heard about these books a few months ago, my hopes for them were rather modest, but as soon as the finished collections arrived in the post I realised that they far exceeded my expectations. I think they are really wonderful!

So let’s take a closer look…

Play it Again: Piano