In addition to the embarrassment of riches already on offer at the Chetham’s International Summer School and Festival for Pianists (read all about it in my review here), organisers Kathryn Page and Murray McLachlan last year added a Piano Teacher Course to the menu.
Led in its first year by Margaret Murray McLeod, the course attracted some 35 teachers from around the world. This year Karen Marshall and Mark Tanner took the reins, and the organisers plan to involve different course leaders each year so that returning attendees can learn from a range of perspectives.
In the UK we have a rapidly growing number of well-regarded piano teacher training opportunities and courses (though sadly not a widely supported and accredited qualification), and the choice can be bewildering.
The availability of a credible training course with the benefits of a residential (rather than remote online) setting, held at such an ideal time in the calendar, and with such an impressive roster of world-class concert pianists on tap is certainly very appealing.
Could this be an obvious first choice for teachers looking for further training? As part of my visit to the Summer School, I was able to join the course for several sessions. Here’s what I found out…
ABRSM’s Piano Star series of books for children have been warmly received since their introduction a couple of years ago, their pieces regularly appearing in student concerts, festivals, the Prep Test and Grade 1 exams.
Last year the original series of three progressive books of fresh new repertoire grew to include a book of “Five Finger Tunes” at the entry level, and a “Piano Star Grade 1” book at the upper end (reviewed here).
And now there’s another addition: the Piano Star Theory primer is published this week. Let’s take a look…
It’s become something of a cliché to say that the life of a piano teacher is a terribly isolated one, implying we have little or no meaningful contact with colleagues, operating entirely off our own steam, without support.
In this article I am going to consider from a personal perspective why I don’t personally feel isolated as a piano teacher, and hopefully offer some useful tips for those who do.
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?
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…
Here’s a very positive trend within the world of piano education: many teachers are enthusiastic about refreshing their skills by attending training courses and seeking out a mentor who can support their ongoing professional development.
Unfortunately though, while there are plenty of courses to choose from, finding a suitable mentor isn’t always so easy. In this post I will consider the qualities to look for, but first of all we need to ask: what is a mentor?
The Oxford English Dictionary tells us:
“A mentor is an experienced and trusted adviser.”
With this definition in mind, I will begin by sharing my own journey…
Can it really be a year since I last reported from the annual ABRSM Teacher Conference? Apparently so! But once again this year I was delighted to be invited along to report from the event, share ABRSM’s latest news, and generally reflect on the day.
This year I had the added pleasure of a sit-down interview with ABRSM Chief ExecutiveMichael Elliott on the day, and I’m grateful to him for graciously giving up time to answer my questions. Thanks too to Penny Milsom and Kerry Sheehan for their support.
I’ve said in previous years, but it bears repeating: ABRSM really know how to put on a fantastic training day for instrumental teachers, building on their experience as world leaders in the music education sector, and with their fine pedigree of in-house and associated presenters.
A pleasure, too, to be back at London’s Grange Tower Bridge Hotel, once again proving to be a superb venue to host an event on this scale. As usual, the food was splendid, and every need of both hosts and delegates was anticipated and smoothly met. As for ABRSM themselves, the event was as flawless as in previous years, even though there was a noticeably and considerably larger audience this year (the conference sold out well in advance).
The rear cover of the glossy conference programme included the following important reminder of just how extraordinary ABRSM’s global reach is, summed up in these staggering statistics:
Over 40 million exams since 1889 600,000 exams a year More than700 examiners 1,200 books published 1,000 different assessments for 43 instruments Exams in over 90 countries
I feel ABRSM are quite right to celebrate these achievements, because they don’t simply underline their success as the world’s largest examination board, but equally our success as musicians and teachers.
Not that we can rest on our laurels however; there is always more to learn, to do, and to achieve. As Michael Elliott explains in his introduction to this year’s conference:
“As music teachers, you have a vital role to play in passing on and nurturing a knowledge and love of this wonderful thing we call music. It’s a role that’s very much about giving and sharing. But it’s also about reflecting on what works and what doesn’t, discovering and implementing new ideas, and finding new sources of inspiration. Today we offer you a chance to do just those things in a conference packed with insights and top tips from a range of expert music educators.”
So without further ado, here’s the Pianodao report from the day…
“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.”
Joan Last 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…
In the minds of many students (and in the case of children, their parents), two questions are constantly lurking –
How well am I doing? and,
How can I improve?
I believe teachers should routinely answer these questions, but how best to frame those answers? As a general principle I would suggest that pupils will gain confidence if they have a clear, honest perception of their progress, and goals which are detailed and encouraging.
Graded exams can offer one way – and an important framework – for pupils to gain the meaningful, quantative answers that help foster confidence.
While exams are certainly not without their issues, most of the concerns I see raised relate more to their misuse than to their appropriate use.
In this article I will consider both, and offer a personal perspective on some of the most common concerns. And in conclusion, I will try to provide an answer to the question: Graded Exams – Friend or Foe?