Sheet Music Review
I recently reviewed the Rockschool 2019 Piano syllabus (please refer to that review here), and now have the opportunity to tell you about an alternative I mentioned in that review, offered by Trinity College London’s Rock & Pop Keyboard exams.
The disclaimers I made when reviewing Rockschool equally apply here: I haven’t entered myself or a student for the actual exams, and this review is based on the syllabus, publications and resources.
I also had the chance to chat to Trinity’s Head of Product Management Julia Martin and Product Support Manager for Music Govind Kharbanda, to whom I am most grateful for talking me through their syllabus and answering my plethora of questions.
As we shall see, the Trinity Rock & Pop offering has much in common with the Rockschool Piano syllabus, but there are also some significant points of departure. Together they occupy a unique space in the market; comparisons are inevitable, but I will aim to keep them for my conclusion!
Continue reading Trinity Rock & Pop Keyboards
Pathways for Teaching
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?
Continue reading Graded Exams: Friend or Foe?
Sheet Music Review
Piano Stories from Trinity College London Press is, without doubt, one of the most pleasant surprises to make an appearance in my post-bag recently, and for those who use the Trinity Piano Syllabus with younger children the series is an absolute godsend.
Continue reading Trinity’s “Piano Stories”
The publication of a new Piano Exam Syllabus is always (rightly or wrongly) a major event in the piano teacher’s calendar, a “big reveal” in which we learn the repertoire around which our musical curriculum might to some extent orbit for the next few years.
Judging by the response to my review of the current ABRSM Piano Syllabus, I am sure that readers will be keen to know my thoughts on the latest syllabus from their largest UK competitor, Trinity College London, published this month.
I must start with a disclaimer: as a teacher I rarely enter students for exams other than ABRSM. With that in mind, I am delighted that Karen Marshall has again agreed to offer her “Second Opinion” later in the review.
As in my recent review of Anthony Williams’ Piano Teacher’s Survival Guide, Karen’s contribution will take the form of an interview following on from my own comments. She will offer the perspective of a well-regarded teacher who has used the Trinity Syllabus with her students over many years.
But first, my thoughts, essentially coming to this syllabus fresh…
Continue reading Trinity Syllabus 2018-20: The Big Review
Guest Post by David Duncan
Publications Officer, LCM Examinations
Should we care about the representation of women composers in graded music exams?
Continue reading Women composers and Graded Exams