Your Stories No.16
Swan Kiezebrink is a Suzuki and traditional piano, voice and theory teacher in BC, Canada. Here she shares her piano story …
Sheet Music Review
Bartók’s seminal collection For Children is, in my view, one of the few absolute essential classics of the piano pedagogy repertoire – a work which has in equal measure both charmed and challenged generations of young pianists, and seems as popular with my students today as ever.
Two new versions of this milestone have appeared in recent months: a single-volume complete edition from Boosey & Hawkes, and a brand new urtext edition from Henle Verlag in partnership with Editio Musica Budapest.
In this review I’m going to present each, with some concluding thoughts on their relative merits, and recommendations of which edition will suit whom.
Guest Post by Karen Marshall
Is this something you are experiencing in your studio?
I recently attended a teacher meeting where a teacher was relaying her recent experiences with a very difficult parent of a young 6-year-old student. As I pondered the topic I realised that ‘pushy parent syndrome’, luckily, has not been something that I’ve recently encountered as regularly as in my young teaching years.
I felt it may be helpful to share some practices I’ve developed which have certainly made my teaching life far easier.
My approach is partly a conflict resolution one. I would add its a “work in progress” – I would never claim to have all the answers and I’m still learning constantly after over 25 years of piano teaching!
I say conflict resolution because a relationship between a teacher and parent has potential for conflict, simply because the parent purchases the lessons and the child receives them. The relationship is a triangle – if anyone has ever had a dotted line with two managers you will know first-hand the problems that can cause.
Before you know it, you are jam-sandwiched between the child and the parent. So, what are the practical things I try to employ to make things easier and – most importantly – best for the student whilst maintaining good professional practices?
Guest Post by Roberta Wolff
In my previous post, which you can read here, I considered the importance of reflecting, both in teaching and learning. As such, it was a thoughtful and ‘serious’ article. However, that is not necessarily the best way to approach teaching reflection to our students. Nothing engages the student and gets the message across like a bit of creativity and fun.
This article, therefore, is focused on incorporating reflection as part of the lesson and practice process.
The trouble with reflection is that it often seems long-winded. All the amazing advice along the lines of think 10 times play once is actually very hard to carry out. Whereas, it is very easy to get locked into a cycle of thinking with your fingers – at least then it sounds like something is happening!
In teaching students to incorporate reflection, unconscious learning with the support of tools to interrupt the spell of trial and error practice is immensely productive and enjoyable.
The Musician’s tool bag, The Box and the Language of Reflection are all ways to unconsciously build in reflection time.
Guest Author: Simon Reich
There we sat in the dark. My Mum and I had been looking at the local Church hall for half an hour now and nobody had arrived, the building still in darkness.
I could tell my mum was getting more and more upset as the minutes ticked by. But to understand the full gravity of the situation, we now found ourselves in, we need to go back in time a little bit.
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.
Sheet Music Review
Concluding my review of Levels 1 and 2 of Hans-Günter Heumann’s new method series, Piano Junior (published by Schott), I wrote:
“I have often said that teachers owe it to themselves and their students to have a few different methods to draw on, remembering that one size does not fit all. And I strongly recommend that teachers consider including Piano Junior among their options…
My own view is that Piano Junior has in many respects raised the bar, in some ways perhaps even setting a new standard by which piano courses for children will be judged.”
Those who followed my suggestion and took a look for themselves will be keen to hear that Level 3 is now available. Once again, there are four books, covering Lessons, Duets, Performance (additional pieces) and Theory. Let’s take a look…
Every aspect of music is personal.
A good performance depends on the player’s personal interpretation of the music. Enjoyment, for the listener, depends on their personal response to the music. Which in turn is informed by personal musical taste and experience.
And in the same way, learning to play a musical instrument is a highly personalised experience. In this post we’ll consider why that is true, and what it means in practice.
Sheet Music Review
Bartók’s Mikrokosmos has – since the first half of the 20th century – been a potent force in the pianist’s repertoire, hugely impacting pedagogy worldwide, while his charming collections of pieces For Children have delighted elementary to intermediate players of all ages. But what of his other little collection, The First Term at the Piano?
Largely overlooked, except as a curiosity for completists to consider, this seemingly innocuous sequence of 18 short pieces has passed under the radar of most piano teachers, and even though some of the pieces are brilliantly inventive and melodic, they have too rarely surfaced in other collections, exam syllabi or student performances.
Now the US-based pianist, teacher, lecturer and editor Immanuela Gruenberg is looking to turn the tables, resurrecting this work for a new century, and for a new audience.
Her stunning new edition of the pieces – which comes with complete commentary, imaginative lesson plans, and a series of online videos – has recently been published by Hal Leonard in association with Boosey & Hawkes. And as we shall see in this review, it is a genuine must-have purchase for anyone who teaches beginners.