Sheet Music Review
A couple of years ago I reviewed Rosamund Conrad’s Delightfully Easy Duet Books along with several other duet publications (read the review here), concluding,
“I would highly recommend having a look at the two books – I don’t think you will be disappointed!”
At the time I also received a copy of Rosa’s beginner piano book Fun Games and Party Pieces, which I was equally impressed with but didn’t manage to review. Now however, Rosa has brought out a “Second Edition” of Fun Games and Party Pieces, including 50% extra, new material!
And again, it is well worth a look …
Continue reading Fun Games and Party Pieces
Bernice is a 76-year-old learner who took up the piano about 5 years ago. She has made steady progress, is now early intermediate level, and particularly enjoys playing traditional classical favourites.
Bernice’s Wrist Problem
Bernice has recently developed some physical problems in her wrist area. On the right wrist, she has a large ganglion close to the base of her thumb, which cases mild discomfort. The surgeon she has consulted is going to remove this soon.
On the left wrist she has a more chronic problem. Here there is a ganglion just below the fifth finger, not noticeable to the eye, and a scan has revealed that it is pressing against a nerve. There is possibly also minor swelling in the tendon. The medical specialist cannot operate, but has suggested that with care and anti-inflammatories the problem may dissipate.
The mention of tendons might be enough to convince some that piano playing should be avoided altogether. It is natural that we teachers don’t want our students to experience pain, and most of us will be aware of the real danger that tendonitis presents to pianists.
However, the medical advice here is that it is fine for Bernice to continue playing the piano, provided she is careful and exercises moderation. The hospital specialist has pointed out that such problems, as well as arthritis, might become an ongoing issue, but that these need not stop her from pursing her love for music (which is real and important to her).
Happily then, we can assume that Bernice’s medical problems are essential “minor” at present. But this doesn’t diminish the discomfort she reported when coming to her lesson, nor her fear that she might not be able to continue playing.
Continue reading Simple fixes for easing piano pain
Wonderful news: the latest figures from the BPI reveal that sales and streaming of recorded classical music grew by 10.2% in the last twelve months.
This compares to the much lower 5.7% growth in other genres. In fact, classical CD sales grew by 6.9%, while most other genres actually saw a decline in sales. And online streaming of classical music grew by a whopping 42%, compared to the 33% rise in the overall market. These figures are presented and discussed in this BBC News article.
Some will no doubt quibble over the specific artists and composers featured in the statistics, and we must admit that the categories formulated by salespeople and marketeers rarely tell the whole story.
But those of us who really believe in classical music won’t be surprised by its upsurge and enduring popularity. We know that once people encounter good music, it can wield its transformative power.
It is odd, then, that some piano teaching colleagues seem to avoid classical music, unless and until it is specifically requested by a student or otherwise required. Why is this?
Continue reading Do you believe in classical music?
Sheet Music Review
One of the most exciting developments during the span of my piano career has been the huge increase in adults taking up lessons.
There are no doubt many reasons for this; many regret not learning when they were younger, while for others, taking up piano as an adult is the next chapter in their growing musical interest.
Whatever the reason for starting lessons, the last thing most adults want is to be presented with Jimmy Timpson’s First Piano Lessons for Tiny Tots, or a minor variation with the word “adult” cannily stamped on the front cover.
In this feature, I will showcase seven of the very best adult methods available for those starting lessons in 2019.
But first, let’s consider what a really good adult method might look like…
Continue reading Which Adult Piano Method 2019?
The other morning, while enjoying my first cup of tea for the day, our puppy Bella Bardóg decided to keep nudging me for attention, distracting me from reading the book in my hands. I rather thoughtlessly responded with,
“If you want the book, how about you read it to me?”
Bella looked somewhat forlorn, and my wife Louise chipped in with,
“Don’t humiliate her! You know she can’t read!”
This slightly daft domestic anecdote illustrates a hugely important truth: when we ask somebody, anybody, to do something we know they are incapable of, we humiliate them.
How often, perhaps inadvertently, do we do this to our students?
As well as an aspiring dog-whisperer, Louise is a clinical specialist in child and adolescent mental health, and it is only fitting to credit her for many of the thoughts which follow, emerging as they did from our discussion that morning…
Continue reading The Piano Student’s Humiliation
Guest Post by Karen Marshall
A Student Perspective
Have you ever asked your student what makes a good instrumental lesson?
A number of years ago I did just that in a secondary school. There was a whole class full of students of different ages, learning different instruments with a variety of teachers.
Their feedback was enlightening. Here are the main themes, the messages I believe are still valuable.
Whilst revising this, from a personal perspective, it was a useful reminder to ask and listen more to the needs of my students and to think more creatively – especially when teaching sight reading and scales.
So, what did they say …
Continue reading What Makes a Good Lesson?
When I started teaching a quarter of a century ago, the bulk of my students were children. They and I depended on their parents for payment and support, which sometimes also meant direction. And the crucial (if at times complex) triangle relationship between teacher, pupil and parent was a fundamental in almost every private lesson context.
Today the world has changed considerably, and one of the many differences for teachers is that the network of relationships around the private lesson context has become a far more complex and diverse one.
Continue reading Parents, Partners & Supporters
Guest Post by Alison Mathews
including Free Sheet Music and Lesson Activity downloads
With Halloween approaching, it is an excellent time to engage pupils in some creative work and explore the evocative and haunting sounds the piano can make. I’d like to share a short story and resources that may inspire you and your pupils to be creative!
Continue reading A Halloween Treat
Sheet Music Review by Karen Marshall
In my own selection of educational music, I must have over 20 Sight Reading Schemes. I see which is a best fit for my student and then get them to order a copy.
However, I still loan out many to help the student get a very varied experience. Just like reading, I think it’s important that students get a varied amount of material.
With quite a lot available out there, in order to impress me, a sight reading resource needs to be something special.
Well congratulations Sandy Holland and Peter Noke, I am impressed! Here’s why………….
Continue reading Learn to Sight Read
Pathways in Teaching
“Very young beginners, of five years or under, sometimes appear to make remarkable progress at first, and can be taught up to a point by imitation or ‘rote’. A large part of their lesson is taken up with rhythmic training and singing.
In actual piano-playing they progress a certain way and then they appear to stand still and, very often, to lose interest.”
The Young Pianist (Oxford University Press, 1954, 1972)
Rote learning seems to be very much back in vogue, and the remarkable progress which Joan Last writes of is something many teachers will be familiar with. Indeed, it is perhaps because of this ‘quick win’ progress that a number of prominent writers and trainers recommend teaching “by imitation or rote”.
The benefits would seem to include:
- Building pupil confidence and ongoing enthusiasm;
- Playing more advanced, expressive, interesting and impressive music than the pupil can presently read;
- Exploring keyboard geography and developing physical freedom;
- Developing musical memorisation ability;
- Providing an inclusive option for students who struggle with reading;
- Focussing more on technique and ear training;
- Delivering quick results that impress parents and encourage students.
With such wonderful benefits, shouldn’t we all embrace rote learning as a core element of our teaching practice?
Certainly there are many who would answer that question with a resounding “yes”, but Joan Last points to a significant fly in the ointment: after progressing a certain way, players “appear to stand still and, very often, to lose interest”.
Martha Beth Lewis, a US pedagogue with more than 50 years experience teaching children, puts it far more bluntly on her advice page for teachers:
“Position playing and rote learning are mostly wastes of time. I think such methods are used by teachers to convince the parents that the teacher is doing a good job because the child can “play a tune” very soon. Such systems do NOT serve the student.”
So let’s take a deeper look at the subject, and consider why such esteemed writers and experienced teachers have spoken out against this approach…
Continue reading ‘Rote Learning’ – a waste of time?