Piano Perspectives | Issue 1 2018

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PIANO PERSPECTIVES The Magazine for Piano Teachers

Helping piano students

Let’s go shopping for

By Jane Magrath

Piano teachers survival

analyse and practice standard repertoire

a Piano!

How to make piano practice

guide – A journey for survival?

By E.L. Lancaster & Gayle Kowalchyk

The Graded Piano

more social for students

Choosing the right

beginning piano method for your students

Player

Piano Star: ask the editors

By David Blackwell & Aisling Greally

EDITORIAL

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PIANO TEACHERS

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TEACHING TIPS EDITORIAL

HELPING PIANO STUDENTS ANALYSE AND PRACTICE STANDARD REPERTOIRE

By Jane Magrath What is your goal for students when assigning a new piece? For me, it is to engage him or her by establishing an understanding on how to practice it before they go home. I might ask the following: “Let’s look at your new piece, and see what we can do to make it easier for you to learn.” That will get the attention of many students! Part of this is to leave the student with a slightly analysed score that will, in part, indicate how he should practice during the week.

This article will provide ideas for creating an analysed score with your students, using three pieces from the Masterwork Classics series.

Below are short teaching dialogues and ideas to leave a student with, along with a sample marked score for the student. Remember, these are only suggestions and you are invited to amplify them or omit something as needed!

EXAMPLE 1: IDENTIFYING PHRASES USING “DANCE, OP. 108, NO. 2,” BY LUDVIG SCHYTTE

1. Play the piece for the student or listen to the examples from the CD recording that comes with Masterwork Classics.

2. Ask, “How many measures are in each phrase? Let’s mark them with blue brackets.” (Note: Sometimes I tell them here that phrases are groups of notes that belong together.)

3. “Would you circle in pink the first two-measure phrase, both clefs?” “Now circle it every time it appears in the piece… Goodness, once you learn it, you will know 8 measures of the piece!”

4. “Would you circle the C five-note pattern in measure 1-2?” “Now, would you circle, again in the light blue, every five note pattern in this piece?”

“Did you find a total of 5 five-note patterns?” “Play them in order with the right hand throughout.”

5. “Let’s see if we can learn the first two measures of this piece before you go home.” Then you help the student learn just the first two measures, hands together, in the lesson—success!

EXAMPLE 2: RHYTHMS AND ARTICULATION IN “MARCH, OP. 140, NO. 2,” BY CORNELIUS GURLITT In Masterwork Classics, Level 3, approximately mid-way through the book, one encounters Gurlitt’s “March,” a piece where a student starts to coordinate more complex rhythmic figures and play chords. “March” is the first piece from Gurlitt’s well-known Album for the Young, Op. 140. Expect to hear excellent character pieces that represent the best of Gurlitt in his pieces in Op. 140.

As a teacher, I ask myself, “Based on past experience, what is the student performer most likely to have trouble with while learning this piece?” From my experience, it probably will be counting and playing the opening march motive with its dotted rhythm.

(Note: I am a fan of sub-dividing the counts for all measures in a piece using the smallest note value presented in the piece.) Here, it would be to count “1-e-&-a, 2-e-&-a,” and so on, or the teacher can use a similar division. Next, I know that many students can miss the articulation in the four-note descending PIANO PERSPECTIVES

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EDITORIAL

motive in measure 2. A lesson teaching scheme and dialogue with a student before taking it home could be as follows:

2. “What would you say the mood, emotion, or effect in this piece is?” I’ve labelled it as ‘exalted’ and have written it at the top of your score. The word ‘dignified’ could also work.

3. “Tap the rhythm of the first measure. I’ve boxed it in purple. Can you find any other measures in the piece that have the same rhythm, and if so, would you make them in purple boxes?”

4. “Goodness, every measure in this piece, except three measures have that same rhythmic pattern in the right hand?”

1. Play the piece for the student or listen to the examples from the recording that comes with Masterwork Classics.

2. “Would you circle it in pink the first time the march rhythm comes up—measure 1 going to measure 2?” “Now let’s find some more places it happens— would you circle them in pink?”

3. “Circle in blue the next motive—the slurred and staccato 4-note group going down in measure 2.”

“Now, let’s practice the blue-circled measures, being sure to get the right articulation.” “Let’s find other places this blue motive comes in and circle them in blue. (Note: This articulation may be hard for some, so drilling it in the lesson is important.)

4. “I think you’re ready to put these two ideas together in your practice for next week.” It is easy to look at the music now and how the circled measures help hold the piece together. Two main ideas to learn!

EXAMPLE 3: IDENTIFYING RHYTHMIC PATTERNS IN “HORNPIPE,” BY HENRY PURCELL In “Hornpipe,” by Purcell, in Masterwork Classics, Level 4, let’s look at a way to approach an elementary Baroque piece. We know that in Baroque music one effect or mood usually appears throughout the entire piece, except perhaps at a cadence where the music comes to a rest or a resolution. That is the case with “Hornpipe,” and the cadences show us easily the 3 sections below. The sample score is below in Example 3, and a dialogue with a student could be as follows:

1. Play the piece for the student or listen to the examples from the recording that comes with the book.

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5. “What happens in the 3 measures that don’t use that rhythm? To me, it seems that the music comes to a rest. In fact, there are measures only 3 times that don’t use that rhythm, three cadences—resting points—in this piece.”

6. “Mark the three sections in your piece as your big practice sections. They are the sections you’ll want to practice before putting the entire piece together.”

Masterwork Classics is a progressive, levelled repertoire series designed to motivate students while allowing them to progress evenly and smoothly from the easiest classics toward early advanced literature. These pieces are from the standard classical literature and will appeal to teachers and students.

The selections in Masterwork Classics, Levels 1-2, 3, and 4 form the core repertoire for an elementary student transitioning from a method to classics. Several teaching ideas for pieces in this article will demonstrate some of the technical and musical considerations from several of the repertoire pieces, as they progress in skill level required. It is akin to a piano method that uses the elementary through early advanced classical pieces by master composers paced evenly and progressively to help a student move through Levels 1-2 up to Level 10 smoothly.

If you would like additional practice suggestions for your students, see the Practice and Performance Guides—accompanying volumes presented as teacher and student practice guides (ideal for adults and older elementary students). Notice, too, the historical performance notes in Practice and Performance provided for the pieces in each of the four periods.

These separate teacher and student guides provide detailed practice steps for each piece in Masterwork Classics. Enjoy this music!

Jane Magrath is well known as an author, clinician, and pianist. Dr. Magrath’s work in the area of the standard classical teaching literature has been central to the revival of interest in this music throughout the country. She currently has more than 30 volumes published with Alfred Music, and her music editions are used widely throughout the U.S. and abroad.

PIANO PRACTICE

HOW TO MAKE PIANO PRACTICE MORE SOCIAL FOR STUDENTS

By E. L. Lancaster and Gayle Kowalchyk

Playing the piano can be a lonely activity. Students typically have a private lesson each week and then must practice by themselves at home until the next lesson.

This poses a potential risk in competing with other activities a student may be involved in, such as sports, when it comes to keeping students motivated and engaged. One solution? Piano duets.

DUETS AS A SOCIAL OUTLET We once interviewed a transfer student whose mother asked, “Is there any way you can take piano lessons without having to practice?” A closer look at the student’s after-school schedule revealed the real nature of the mother’s question: Her daughter was involved in dancing, cheerleading, and competitive diving. Every time she had to “practice” these sports, she was with a group of her friends. Piano practice was simply going to be “no fun” because she would have to practice by herself. Therefore, could she just skip the “practicing” part of the whole deal? In situations like this, piano duets can be a real “pupil saver” and “lesson saver.”

BENEFITS OF ASSIGNING DUETS In addition to developing musicianship and ensemble performance skills, duets also increase our students’ sight-reading abilities, musical understanding, rhythmic awareness, and listening skills. And perhaps, most importantly, they provide a social outlet for students.

The music written for piano duet (one piano, four hands) is extremely diverse and ranges in difficulty from beginner to concert artist. It includes music written for pedagogical purposes, music for social occasions (especially popular in the 19th century when pianos outnumbered bathtubs in homes), concert pieces, and transcriptions. The first known keyboard duets were written well before the piano was invented!

INCORPORATING DUETS INTO LESSON CURRICULUM A long-standing tradition in our studio was that February was Ensemble Month. Each year, after the winter holiday break, we assigned every student a duet. This created a “kick start” to the New Year.

During the months of January and February, students received three private lessons and one group lesson each month. The private lessons were used to hone their individual duet parts, and the group lessons provided the opportunity for the duet partners to rehearse together. Finally, at the end of February, a duet performance class was held where the students could show off their ensemble and musical skills with one another.

Bringing ensemble playing into the lesson is as easy as opening up the first level of the method book. Today’s educational composers understand the benefits of ensemble playing and often incorporate teacher duets into the lesson book at the beginning levels. From the very first lesson, Premier Piano Course provides an optional teacher duet for every piece in the Lesson Book. In addition to creating a steady rhythmic background, the teacher duets supply harmony and a variety of music styles so that the student’s ear is developed from the beginning as well.

As students progress, however, they can experience the joy of playing duets with their peers. Finding easy-level duets that with equally difficult primo and

PIANO PERSPECTIVES

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EDITORIAL

secondo parts can be hard. Keeping this in mind, we asked eight of America’s favourite supplementary composers to write easy duets that begin at the 1B level in Premier Piano Course. Each level contains music by Dennis Alexander, Melody Bober, Tom Gerou, Carol Matz, Martha Mier, Wynn-Anne Rossi, Mike Springer, and Robert Vandall. You can imagine that with this variety of composers, there is a wide range of styles in each volume as well. From lyrical ballades to jazzy, toe-tapping pieces, these books have it all and are now available through Level 6.

EXAMPLE 1: “SWITCHEROO BOOGIE” “Switcheroo Boogie” by Melody Bober from Premier Piano Course: Duets 1B is a fun boogie-woogie piece.

Not only will audiences enjoy its infectious style, but they will be delighted to see that the players actually trade places as they are playing the duet! Preparing the “switcheroo” carefully is critical to its execution and the success of the performance.

In measure 21 of both parts, the performers begin to move. At this measure, the primo player stands up and circles behind the bench. As the primo player is doing this, the secondo player is moving up the bench while playing measures 21-24. Each player must be in his/her new place by measure 25! It is helpful to mark this measure with a red arrow so that their eyes can find the new starting place easily. Also, choosing an appropriate tempo is crucial to executing this part of the piece. While it is marked “Lively,” a tempo that is too fast will make it difficult for the primo player to get up and around the bench in time to be seated for measure 25.

It is also helpful to mark on the score who is responsible for turning the page. During the performance, it is easy to be excited and forget this important detail. We sometimes even mark “No turn” on a part just to remind one performer to let the other person turn the page. In this piece, it is easier for the secondo player to turn the pages. When the secondo is thoroughly comfortable with the part, it may be possible to play the RH Middle C in measures 29 and 31 with the LH thumb, giving the player more time to turn the page with the right hand.

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EXAMPLE 2: “REACH FOR THE STARS” Many musical skills such as balance and shaping phrases can be reinforced when playing duets. A helpful rehearsal technique is to have students play only when the melody is in their part. This becomes a great listening activity as well. The lyrical “Reach for the Stars” by Dennis Alexander in Premier Piano Course: Duets 2A is a perfect piece for working on this concept. First, students must determine exactly what the melody is. Next, they go through the score and mark each melodic entrance with an “M.” Finally, they play the piece together, but only the sections marked with an “M.” This allows them to see and hear where and when they have the melody. Another helpful rehearsal technique is to number all of the measures.

Typically, measure numbers appear at the first measure of each line. Filling in the remaining measures saves time in the rehearsal by helping students pinpoint exactly which measure needs their attention.

Duets can be used as supplementary material for any method or course of study. In addition, they make excellent repertoire selections for group lessons, ensemble classes, recitals, or “monster” concerts.

Students will be motivated by music-making with their friends while developing skills in ensemble performance.

Dr. E. L. Lancaster is Executive Editor, Piano for Alfred Music and an adjunct piano faculty member at California State University, Northridge.

He has presented workshops for teachers throughout the United States and internationally.

He is the author or co-author of over 400 publications for students of all ages.

Dr. Gayle Kowalchyk is a member of the keyboard faculty at California State University, Northridge, where she teaches class piano, piano, and piano pedagogy. Her passion for piano teaching and music education has inspired her to write educational piano materials for students of all ages. She is the co-author of over 300 publications for piano.

CHOOSING METHODS

CHOOSING THE RIGHT BEGINNING PIANO METHOD FOR YOUR STUDENTS WHAT IS A PIANO METHOD? The function of a method book is to provide a logical progression for learning concepts and skills, and music for the practice of these elements. Choosing the appropriate method will help students move through the beginning stages with relative ease, while laying a strong foundation for future study. The student’s learning style, experience with music, understanding of the keyboard, aural and physical development, reading capabilities, and rhythmic maturity are all factors to be considered when choosing a beginning method. Teachers should consider individual needs to select a method that meets the requirements of each student.

The variety of beginning methods available today provides teachers with many choices.

Successful teachers are familiar with a number of beginning piano methods to assure that educated choices are made for individual students. Judging a method by teaching it is time consuming and sometimes places the student in

an experimental role. A preliminary review, using a specific set of criteria, is an excellent way to become acquainted with a wide variety of methods. Initially, three basic questions can be considered.

method, they must compare each piece to the preceding one to make sure it is only incrementally more difficult. Each new concept or skill should build slowly on what the student already knows.

IS THE METHOD SYSTEMATIC AND LOGICAL IN ITS PRESENTATION OF CONCEPTS AND SKILLS? The presentation of concepts and skills should be systematic and logical. For example, in many methods, beginning students learn to play pieces that use melodic 2nds only. Other intervals (3rds through 5ths) are added gradually, and larger intervals are introduced later. This is a systematic introduction to intervals. If, during the first weeks of lessons, the student has a piece that has 2nds, 3rds, and one 6th, the 6th is out of place since 6ths have not yet been presented. It is likely that the 6th would not occur again until several weeks or months later. Methods that include such out-of-order presentations are not systematic.

When teachers study an unfamiliar

DOES IT PROVIDE AMPLE REINFORCEMENT? Once each new concept or skill has been introduced, students should use it in a number of pieces, or several times in the same piece, to assure mastery. For example, if a tie is presented as a new concept and practiced in a piece, but does not appear again until several other new concepts and skills have been introduced, students will probably need to relearn the concept of a tie when encountering it the second time. Likewise, when any interval is introduced, there should be several pieces in which that interval is presented with increasing complexity, variety, and frequency.

No other significant new concept or skill should be introduced until there has been sufficient reinforcement of the new interval.

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DOES IT PRESENT A COMPREHENSIVE INTRODUCTION TO MUSIC THROUGH PIANO PLAYING? Methods that introduce concepts and skills in a way that helps students become complete musicians are superior to those that limit their experience to repertoire and technique. Students can simultaneously experience reading, rhythm, technique, ensemble, ear development, transposition, creativity, theory, and musical performance. For example, when each new interval is introduced, students can learn to read it, fit it into a rhythmic pattern, learn the technique for playing it, and play it in a piece.

However, they can also identify its sound, move it to a different place (transpose), use it as harmony as well as melody, and play it in various ways (loud, soft, short, long, fast, or slow). They can hear the interval in relation to the teacher’s duet part, find it in other pieces, write it, and create their own pieces with it. When a method provides this variety of experience in a single book, or through supplementary materials, the student receives a comprehensive musical education.

After the three primary criteria have been evaluated, teachers can further explore methods for other specific characteristics. The following twelve elements should be investigated and considered when evaluating a method.

Scope and Format – When 1. elements seem inconsistent with the targeted age group, the method loses its effectiveness.

Keyboard Exploration – 2.

Methods that limit students to playing only one section of the keyboard inhibit the students’ knowledge of musical sound.

Reading Approach – Explore 3. questions like, “Are the reading concepts introduced logically?” or “What is the reading approach?” or “Is there sufficient reinforcement for each new reading concept?”

4.

Rhythm – Consider questions such as, “Are rhythms introduced in a logical way?” or “How does the method build rhythmic understanding into the body?”

5.

Technique – In some methods, the technical exercises prepare for future needs, while in others, the technical exercises seem to follow their own independent order without a logical relationship to the pieces surrounding them.

6.

Musical Content – Originally composed pieces are often written to support the reading, rhythmic, and technical philosophies of the authors.

Aural Development – When 7. methods provide ways for students to develop their aural skills, they will make fewer mistakes, be able to correct the mistakes they makes, and learn to listen critically to their playing.

Development of Musical 8.

Playing – When methods make it easy to play musically from the very first lessons, learning will be satisfying.

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Creativity – Students 9. will understand concepts thoroughly when they create their own music from the musical ideas they are learning.

10. Musicianship – Students who learn about the music they play will become musically literate.

11.

Application of Learning Principles – Successful authors of beginning methods have observed principles of learning, leading students to learn efficiently.

12. Supplementary Materials – Supplementary materials enhance and make learning more enjoyable, assuring that no essential information has been omitted.

Using a beginning reading method is the most common approach to teaching beginners. Teachers must know how to choose the appropriate method for each student. When teachers take time to critically evaluate available methods, they’ll be prepared to build on the strengths of each method and will be ready to supplement where necessary to meet the needs of each individual student. For more information on how to choose the right method for your student, see Professional Piano Teaching, Volume 1, by Jeanine M. Jacobson.

R EV I E W

BY DR RITA CREWS OAM Creating Music - A composition guide for students by Richard Gill Book review by Dr. Rita Crews A review taken from ‘The Studio, Vol. 24, No. 1, February 2018’

In view of the MTA's forthcoming professional development session, this is a timely release by one of the most highly respected music educators in this country. Richard Gill's practical and no-nonsense approach to the subject of composition will both engage and inform students in what is not an easy subject to teach.

The book begins logically with a series of definitions including 'Music', defined as organised sound, perceived and understood aurally, passing through time, produced by acoustic or electronic sources such as voices and instruments, alone or in combination; 'Intervals and Clefs'; 'Melody', 'Harmony', 'Rhythm', 'Texture' and several other definitions and then begins with a discussion of monophonic music including the church modes. Examples of single line melodies are given and the student encouraged to sing and play the melodies and look for compositional structures such as repeated rhythms and pitch patterns. This first chapter sets the scene for the entire premis of the book.

There are 17 chapters in all and as each chapter progresses so its content centres around a particular aspect of composition with examples and exercises included to support that aspect. Some of the subsequent chapters include Early Polyphony, Elementary Improvisation, Ideas from Bartok and Schoenberg, Toward Harmony, Chords in Minor Keys, Ideas from Bach, Ideas from Debussy, Popular Style, Form and several more. The last chapter on Chorale Style has the emphasis on Bach's chorales which students need to understand if they want to acquire the skills for partwriting.

By using this book and following the exercises and suggestions and answering the questions on each chapter, the student will come to understand how music can be composed in a coherent fashion, whether single line or for a complex ensemble. The book is clearly written with numerous and clear examples from the literature. It is suitable for either studio or class use and is very highly recommended for either composition students per se or students simply needing an overall knowledge of how music is composed. Teachers of theoretical subjects will find it invaluable for students at any level - particularly to supplement basic texts - and those advanced students studying for diplomas in orchestration and composition will greatly benefit by absorbing the information contained in this publication.

Creating Music by Richard Gill is published by Devirra, RRP $60

KAWAI PIANO

LET’S GO SHOPPING FOR A PIANO! It’s a scenario that will be familiar to just about every piano teacher: your little Susie’s parents drop in after class, tell you that they’re looking at buying their first piano, and what do you suggest? It’s a lot of money, and they trust you; you’re an expert. Piano teachers are gatekeepers not only of method and repertoire, but of information about everything piano related, from how often an instrument should be tuned, to which apps are worthwhile for studying at home. We’re impartial, not beholden to the brands, and can speak honestly from our own years, or decades, of experience. It’s an important part of the job, and we owe it to our students and their families to give them honest, constructive advice that’s going to provide not just for Susie’s lessons today, but for her musical future.

We won’t be going into specifics in this article – what’s best for your student might be best for nobody else, and there’s no shortage of choice out there. Instead, we’re going to drill down into the issue of grey market imported second hand pianos, as it’s an area that is gaining increased attention in recent months, on the back of some seismic, if mostly invisible, developments in the piano industry here in Australia. Focusing on upright acoustic pianos – the most popular choice for first instruments – we’ll consider the wheres and whens of different instruments, issues of upkeep, and ultimately, the value proposition for a parent who really just wants their kids to flourish – whatever that might finally look like.

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Most of the new pianos coming into Australia are made in Japan, or at Japanese owned and operated factories in Indonesia, especially from the more established manufacturers; smaller numbers are imported from China and Korea, with a single model often badged and marketed under several different names. A very small number are made here in Australia each year. New pianos will come with a manufacturer’s warranty that’s usually around 10 years, and are sold through networks of authorised retailers, most of whom operate physical stores that you can visit to test play the instruments, and who employ specialist piano sales staff, people who are generally players themselves.

EDITORIAL

By contrast, imported second hand pianos are mostly coming from Japan and Vietnam, usually after receiving some cosmetic treatment before they arrive on our shores.

There are businesses that specialise in buying older instruments in bulk, refurbishing them, and exporting them to countries like Australia.

It’s a largely unregulated market, without the kinds of securities you’ll get with a new instrument.

Sometimes these pianos find their way onto the floors of reputable retailers too, though it’s not uncommon to find them sold online from warehouses or garages. Grey market imports are appealing because they’re bigger than comparably priced new pianos, and they’ve usually been given a thorough clean and refinish before they’re imported. Give it a quick tune here before it goes on sale, and you have an instrument that looks, and sounds, the part, at a tantalisingly affordable price.

On average, these pianos are between 30 and 40 years old, and a large proportion of them are sourced from universities and other institutions – that’s why they tend to be impressively large, professional grade instruments.

It’s also why they’ve often been exposed to heavy workloads, having remained in near-daily use literally for decades, and it’s one reason they can be so cheap:

very often, these instruments were nearing the end of a working piano’s expected lifespan long before they arrived in Australia, and it’s a rare few that come with the sort of detailed service history you’d rely on at, for example, a private sale.

The impact that a working history like this will have have on the action, in particular – an intricate mechanical device predicated entirely on the precision of its many moving parts – shouldn’t be underestimated. Nor the compromises to Susie’s technique, as she learns to negotiate with a keyboard long past its most consistent days.

So let’s talk about maintenance.

An upright piano needs to be tuned regularly, yes; it also needs to be regulated (the adjustment of those moving parts) and voiced (the softening/hardening of the hammer felts to achieve consistent tonal brightness), and this is where new pianos really come into their own. As in any industry, pianos made today benefit from developments in textile and manufacturing technologies that were pipe dreams in 1999 (look at Kawai’s carbon fibre parts for a good example). It’s a common misperception, grounded in a certain impulse to nostalgia that follows the venerable piano down through time, that older equals

more lovingly crafted, but the reality is that precision, speed, and durability are up, tolerances are down, and a good quality new piano will cost very substantially less to keep in good singing order than one bought on the grey market – costs that negate the perceived point-of-sale discounts that are the grey market retailer’s stock in trade.

Buying any piano usually comes down to a couple of common considerations: how much the player’s fingers and ears enjoy interacting with the instrument; cost, and aesthetics, and while the arguments we’ve made here may not apply to genuine second hand private sales, which can indeed be great value, it should come as no surprise that grey market imports really only win points for looking good. With so much going on under the hood, the “bigger is better” way of thinking can lead to serious, and costly, troubles down the track. You can do a lot worse for a piece of furniture, but inasmuch as the goal is Susie’s engagement with her music, her parents will thank you for your foresight in safeguarding their investment. And one day, so will Susan and her own kids.

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PIANO PERSPECTIVES

11

ering some of my own in return.

SURVIVING TEACHING

A JOURNEY FOR SURVIVAL

re recent presenting work and masterclasses over a number of years have given me the opportunity to explore as of teaching in even greater depth, to share ideas in more detail and to pass these on to other teachers, both in

by Anthony Williams UK and internationally.

It wasn’t long before I had a huge resource of material on all areas of piano performance, no teaching and piano technique and I found myself being contacted regularly by piano teachers asking for and eventually hopefully offering loved teaching but itnumerous was a hugetimes teaching p on specific areas of theirvividly, teaching. Keen to do Ithis, I also promised that I would I remember some of my own in return. responsibility and I fear I blued all my thoughts and pooled and with some knowledge in one place and the idea (though not the title) of The Piano Teacher’s my way through, always acutely vival Guide came to mind, andgiving for some time was an ambition close to my heart. A sabbatical and some muchMore recent presenting work and embarrassment, aware of my fallibility and failings. eded encouragement from Faber Music finally encouraged me to put in the work and master the book became a reality. classes over a number

my first lessons to young piano pupils in North London. As a young concert pianist I had no previous experience in piano teaching but parents who had heard me play thought that this gave me the expertise and understanding to teach their son or daughter.

12

PIANO PERSPECTIVES

Despite my best efforts to find out more about teaching at this level I found it very hard to glean Faber Music Piano Catalogue much advice from colleagues or to find any books which gave me the fundamental knowledge or appropriate musical strategies that I needed to teach young pupils.

In an effort to find out more, I made the development of a free and relaxed technique the focus of my Master’s degree and, whilst continuing a performing career, devoted myself to piano teaching and to developing my own expertise and understanding. I explored, researched and analysed recordings and videos of my own teaching to discover what worked and, of course, what didn’t, and I consulted with more experienced teachers. Eventually I found myself talking to and discussing teaching in seminars and became a mentor and tutor on a number of Professional Development Courses.

As a result I have had the privilege of sitting in on hundreds of piano lessons given by other teachers, naturally embracing some of their fabulous ideas to use in my own

of years have given me the opportunity to explore areas of teaching in even greater depth, to share ideas in more detail and to pass these on to other teachers, both in the UK and internationally.

It wasn’t long before I had a huge resource of material on all areas of piano performance, piano teaching and piano technique and I found myself being contacted regularly by piano teachers asking for help on specific areas of their teaching.

Keen to do this, I also promised numerous times that I would eventually put all my thoughts and pooled knowledge in one place and the idea (though not the title) of The Piano Teacher’s Survival Guide came to mind, and for some time was an ambition close to my heart. A sabbatical and some much needed encouragement from Faber Music finally encouraged me to put in the work and the book became a reality.

It’s not a ‘how to teach’ book, it’s a book of ideas, thoughts and fundamental principles, and yet I wanted it to be more than just a sharing of information

balanced and instinctive (rather than drilled) physical approach ty of the performer to emerge. This philosophy became the l the threads together.

not a ‘how to teach’ book, it’s a book of ideas, thoughts and fundamental principles, and yet I wanted it to be ore than just a sharing of information about piano technique and performance. years my inexperience “It’s In somy full early of wisdom, brilliant technique [and] energy...all a teacher meant I often neglected the musical imagination and creativity that inspires pupilsthe to information put in hard and is clothed in imagination ork and practice. I now strongly believe in putting communication, a love of advice the beauty of sound and an making t is everything that is perceived as difficult derstanding of the physical relationship with the piano at the heart of teaching to nurture a truly instinctive and , seem so simple, clear and obvious.” usical performer. Combine this with a relaxed, balanced and instinctive (rather than drilled) physical approach Hilary du Pré became the the piano and you allow the natural personality of the performer to emerge. This philosophy u Pré erwhelming context of the book and linked all the threads together. mple 9]

[Music exa

n: Musical

context and

practical

example Teaching effect pedal

Place the pedal down and experim a static ent with ted withthe sonorities using • Once the strings some free improvisation be articula have started vibratin It should g on or the first chord, they the keys). er-lift. then need virtually high fing ievedent with no 1, bar 10 1, Experim reinforcement at all hand and the effect of differe r: L’Orage cendo is ach to keep sounding nt Burgmülle so kerics, registe ue The cres dynam successive chords niq wea the tech rs and even the balanc can be much more ugh to Refined e of gently on placed. weight thro acti l g tura asin by rele more ges Notice of the • The lower the strings the ent the top. A signific at vem ant differe ers the more quickly the nce between the fing ular mo ich sustain d (wh resonance builds. ing vertical circ han properties of the lower involves a side of the bass strings re • Balance is crucial ed so the ards the out . Project the melody wrist tow note is play and to avoid Putethe up pedal muddy sonorities. ore the first down and by repeat begins bef t should com ing the same ater • ‘Effect’ pedal can ). The wris the effect of a continu d. Use a grechord, create be used is no accent ase of to blend adjacent rele ous chords in various ways; weight is bottom end represent round as a slow lift allows the es) at theThe pe. arpeggios is not instinct will be to play new harmony to rise erlap of not re sha text Rolling the accent legato (ov through the blurred a series of similarly it even mo ds; Music con win give the to weight io texture, a quick release ed weight, but you’ll s or howling the top of the arpegg unts of chords notice that the allows it to appear arrival at heavy sea sound builds ering amo entquickly suddenly. very e, more an s Use diff ral movem through each too definitiv Further idea d, amounts of late er to t han in the fing phrase. uld be kep behind the rgy (speed) fingers sho l, t and ene nique The sound. of the wris io is gestura ve and egg pes Basic tech arp sha t with acti keys. The give differen fingers but close to the ers into d across the Simple effect pedal of the fing slightly rolle vements : practical example (small mo fingertips

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ch “It’s so full of wisdom, brilliant ant technique [and] energy...all the on. information and advice is clothed in y imagination making everything that is perceived as difficult seem so simple, clear and obvious.” mple 10] [Music exa

14

d and Finger spee footer

agility

Refined technique There is scope to place the pedal with or just before the B which will give a warmer and more rounded initial tone.

Chords will need to match the decay of the B for a more evocat ive third bar and as the pedal is being held they will need to decres cendo to avoid a build-up of sound. Keeping an even balance in the chords enhances the atmosp here and stops them intrudi ng upon the melody .

Further ideas Experim ent with the degree of tone on the B and the initial placing of the pedal. Put the pedal down after the B and try different speeds of descent to see what audible difference you can discern.

63

Hilary du Pré

.com

n: Musical

“Once in a while a book appears which must be considered essential, an instant classic, and this is one such publication.

The Piano Teacher’s Survival Guide instantly establishes itself as the very best practical manual available for today’s piano teachers.”

context and

practical

example Teaching effect pedal

Place the pedal down and experim a static ent with ted withthe sonorities using • Once the strings some free improvisation be articula have started vibratin It should g on or the first chord, they the keys). er-lift. then need virtually high fing no 1, bar 10 1, achievedent with the effect reinforcement at all hand and do is Experim r: L’Orage to keep sounding of different The crescen Burgmülle so ker ue dynam successive chords niq wea ics, registe rs and even the balanc to the can be much more Refined tech e of gently ght through on wei placed acti l g . re gestura by releasin Notice of the top. A mo • The lower the strings the ent the signific at vem ant difference betwee the more quickly the fingers ular mo ich n the sustain d (wh resonance builds. ing vertical circ han properties of the lower involves a side of the bass strings re • Balance is crucial ed so the ards the out . Project the melody wrist tow note is play and to avoid Putethe up pedal muddy sonorities. ore the first down and by repeat begins bef t should com ing the ater create • ‘Effect’ pedal can ). The wris a grechord, Usesame the d. be effect used is no accent ase of of to blend adjacent a continuous rele chords in various ways; weight is bottom end represent round as a slow lift allows the es) at theThe pe. arpeggios is not sha instinct will be to play new harmony to rise erlap of not text Rolling the accent legato (ov through the blurred even more a series of similarly it ds; Music con win give the weighted io to texture, a quick release weight, but you’ll notice s or howling the top of the arpegg unts of chords allows it to appear that the arrival at heavy sea sound builds ering amo entquickly suddenly. very e, more an s Use diff ral movem through each too definitiv Further idea d, amounts of late to t the finger han phrase. uld be kep (speed) in behind the fingers sho and energy l, nique The the wrist sound. is gestura of io and egg pes Basic tech arp t sha with active keys. The give differen fingers but close to the ers into d across the Simple effect pedal of the fing slightly rolle vements : practical example (small mo fingertips

Speed in

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Andrew Eales, pianodao.com , bars 42 to 44

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result the notated too ght will give and will be reduced wei true legato a little not be a er wrist and ing as but it will ten scalic. A low hand, ligh brittle and the ind a more ght beh , will allow initial wei sses gre on pro pe. the figurati greater sha sound and ture will connected sense of ges into nique A of weight Refined tech A release an antithe effect. bined with enhance com es, lk the e not t will ‘wa the first thre g of the wris g erin low first groupin clockwise keys for the need the ss vers will iqua Fingers weight’ acro matic sem sonority. chro nuto the rite e iting tle text Exc of water ting a sub and enhanc Music con rd) ic cascade time, crea re (cho mat e mo dra the the wav slightly ma. represent face after to the dra off the cliff and adding different dripping ent with the s Experim lies vement of crashes in.

Further idea excitement , lateral mo fingers. ch of the of weight a more lift in the nique Mu amounts shaping so (speed) and Basic tech rgy er dynamic ene fing and thm . A high wrist and in the rhy is needed ch and s roa key app articulated rgy into the ed and ene lift with spe

a scale: mu

“Once in a while a book appears which t can be ‘dipped into’ it istechnique also a book can be read fromthis cover Combine with a relaxed, about piano andthat must be considered essential, an instant oth new andperformance. experiencedInteachers alike turn to when they need balanced and instinctive (rather early years my classic, and this is onemy such publication. pringboard for development, helpingmeant them to understand thephysical approach than drilled) inexperience as a teacher The Piano Teacher’s Survival Guide to the piano and you allow I often neglected musical pe it will encourage teachingthe that puts the pupil and teacher’s own instantly imagination establishes itself as the very the natural personality of and creativity that ery lesson. best practical manual available for the performer to emerge. inspires pupils to put in hard today’s piano teachers.”

This philosophy became the work and practice. I now strongly Speed in

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14

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e 10] sic exampl

from cover to cover. I hope that it will be the resource that both new and experienced teachers alike turn to when they need inspiration or new ideas, and that it will be the springboard for development, helping them to understand the Andrew pianodao.com challenges faced by young pupils. overwhelming context of the book believe in puttingEales, communication, Above all, I hope it will encourage and linked all the threads together. a love of the beauty of sound and teaching that puts the pupil and an understanding of the physical Whilst, as the into’ title suggests, is to that can be read from cover hilst, as the title suggests, it is to be a book that can be ‘dipped it is also aitbook teacher’s own personalities and relationship with the piano at the be a book that can be ‘dipped into’ cover. and I hope that it will be thetoresource turn to when needof ensive practical at they the heart heart ofguide teaching nurture athat trulyboth new and experienced teachers alike imagination it is also a book that can be read piration or new ideas, and that it will be the springboard for development, helping them to understand the ming to improve and develop every lesson. instinctive and musical performer. d and Finger spee footer

agility

Refined technique There is scope to place the pedal with or just before the B which will give a warmer and more rounded initial tone.

Chords will need to match the decay of the B for a more evocat ive third bar and as the pedal is being held they will need to decres cendo to avoid a build-up of sound. Keeping an even balance in the chords enhances the atmosp here and stops them intrudi ng upon the melody .

Further ideas Experim ent with the degree of tone on the B and the initial placing of the pedal. Put the pedal down after the B and try different speeds of descent to see what audible difference you can discern.

63

vival Guide

allenges byon young pupils. Above all, I hope it will encourage teaching that puts the pupil and teacher’s own the book faced focuses the best rsonalities and imagination e piano. Featuring many caseat the heart of every lesson. nics, this is a rich resource of g ideas.

he Piano Teacher’s Survival Guide

nthony Williams £12.99 €16.78

THE PIANO TEACHER’S SURVIVAL GUIDE

e Piano Teacher’s Survival Guide is a comprehensive and practical guide oviding essential advice for all piano teachers. Aiming to improve and develop nfidence in teaching skills and piano technique, the book focuses on the best The Piano Teacher’s Survival Guide is a comprehensive ys to support pupils and develop of the piano.

Featuring many case and practicaltheir guidelove providing essential advice for all piano dies, musical examples and problem-solving clinics, is a rich resource in of teachers.

Aiming to improve andthis develop confidence sicFaber principles, useful tools and skills thought-provoking ideas. the book focuses Music Piano Catalogue 5 on teaching and piano technique,

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the best ways to support pupils and develop their love of The Piano Teacher’s Survival Guide Williamsmusical £12.99 examples €16.78 the piano.

Featuring manyAnthony case studies, and problem-solving clinics, this is a rich resource of basic principles, useful tools and thought-provoking ideas.

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Faber Music Piano Catalogue

5 PIANO PERSPECTIVES

13

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THE GRADED GRADED THE PIANO PLAYER PLAYER PIANO Thebest bestof ofboth bothworlds? worlds?

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THE GRADED PIANO PLAYERThe The best of both worlds? on, presenting classic tunes and songs from Disney, How many times do piano students ask toto learn How many timesdo dopiano piano students ask tolearn learntheir theirfavourite favourite Disney, musical orpop pop songs or TVthemes? themes?

How many times do piano students ask to learn their favourite Disney, musical pop songs themes?

How many times students ask Disney, musical oror songs oror TVTV TV and film, jazz, pop and musical theatre that have their favourite Disney, musical or pop songs or TV Andhow howmany manytimes timesdodo doyou youstruggle struggletoto tofind findsomething somethingthat thatticks ticksallall allthe theboxes boxesfor forarrangement, arrangement,difficulty difficulty And how many times you struggle find something that ticks the boxes for arrangement, difficulty And been rigorously researched, edited and fingered by themes? And how many times do you struggle to find level andsuitable suitable technical challenge?

It’snot noteasy easytoto tofind find piecesthat that studentsare are enthusiastic about level and suitable technical challenge?

It’s not easy find pieces that students are enthusiastic about level and technical challenge?

It’s pieces enthusiastic about top pedagogues.

Thestudents pieces have been meticulously something that ticks all the boxes for arrangement, that double up as credible teaching material.

TheGraded Graded Piano Playerseries series addresses this headon, on, that double up credible teaching material.

The Graded Piano Player addresses this head on, that double up asas credible teaching material.

Piano Player addresses this head arranged to progress inseries line with the ABRSM and difficulty level and suitable technical challenge?

It’s The Trinity graded piano examinations Grades 1-5, and can not easy to find pieces that students are enthusiastic presenting classic tunes and songsfrom from Disney,TVTV TVand and film,jazz, jazz,pop pop and musicaltheatre theatre thathave have been presenting classic tunes and songs from Disney, and film, jazz, pop and musical theatre that have been presenting classic tunes and songs Disney, film, and musical that been be used for leisure, for exams or as fun and technical about that double up as credible teaching material. rigorously researched, edited and fingered by top pedagogues.

The pieces have been meticulously arranged rigorously researched, edited and fingered top pedagogues.

The pieces have been meticulously arranged rigorously researched, edited and fingered byby top pedagogues.

The pieces have been meticulously arranged repertoire between grades.

The Graded Piano Player series addresses this head toprogress progressinin inline linewith withthe theABRSM ABRSMand andTrinity Trinitygraded gradedpiano pianoexaminations examinationsGrades Grades1-5, 1-5,and andcan canbebe beused usedfor for progress line with the ABRSM and Trinity graded piano examinations Grades 1-5, and can used for toto leisure,for forexams examsoror orasas asfun funand andtechnical technicalrepertoire repertoirebetween betweengrades. grades. leisure, for exams fun and technical repertoire between grades. leisure,

Hakuna Matata, Auld Lang Syne, Hakuna Matata, Auld Lang Syne, Hakuna Matata, Auld Lang Syne, Hakuna Matata, Auld Lang Can you feel the love tonight, Close Can you feel the love tonight, Close Can you feel the love tonight, Syne, Can you feel the loveClose tonight, Close every door, every door, Summertime, All want, every door, Summertime, IIwant, every door, Summertime, AllAll I want, Summertime, All I want, wan’na be like you (The monkey IIwan’na like you (The monkey I wan’na bebe like you (The monkey I wan’na be like you (The song), Where love?, Memory, song), Where love?, Memory, song), Where isisis love?, Memory, monkey song), Where is love?, Deep river, Sunny afternoon Deep river, Sunny afternoon Deep river, Sunny Memory, Deepafternoon river, Sunny afternoon

The Lord my shepherd, Fly me The Lord my shepherd, Fly me The Lord isisis my shepherd, Fly me The Lord is my shepherd, to the moon (In other words), the moon (In other words), toto the moon other words), I II Fly me to (In the moon (In other words), I want, Streets of want, Streets of London, Wade want, Streets London, Wade want, Streets ofof London, Wade ininin London, Wade in the water, the water, Wouldn’t itbe be loverly?, the water, Wouldn’t loverly?, the water, Wouldn’t it itbe loverly?, Wouldn’t it be loverly?, Hushabye Mountain, Chim Chim Hushabye Mountain, Chim Chim Hushabye Mountain, Chim Chim Hushabye Mountain, Chim Cher-ee, Loch Lomond, Awhole whole Cher-ee, Loch Lomond, Awhole Cher-ee, Lomond, Chim Loch Cher-ee, Loch A Lomond, new world, Hedwig’s Theme Aworld, whole new world, Hedwig’s new world, Hedwig’s Theme new Hedwig’s Theme Theme

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14 PIANO PERSPECTIVES

Consider yourself,Feeling Feeling good, Consider yourself, Feeling good, Consider yourself, good, Consider yourself,Feeling Shenandoah, ruled the world, Shenandoah, IIruled world, Shenandoah, If IfIIfruled world, good, Shenandoah, Ifthe I the ruled the world, Bonny at morn, Bonny at morn, Circle of life, Bonny morn, Circle life, Bonny atat morn, Circle ofof life, Circle of life, Goldfinger, He’s a Goldfinger, He’s apirate, pirate, (They Goldfinger, He’s (They Goldfinger, He’s a apirate, (They pirate, (They long to be) Close long to be) Close to you, were long be) Close you, IIwere long toto be) Close toto you, If IfIIfwere to you, If I were a rich man, arich rich man, Doctor Who, Let itgo, go, man, Doctor Who, Let itgo, a aDoctor rich man, Doctor Let itme Who, Let itWho, go, Cry aCry river, and prejudice, me ariver, river, Pride and prejudice, Cry me ariver, Pride and prejudice, Cry me aPride Pride and prejudice, Wayfaring stranger Wayfaring stranger Wayfaring stranger Wayfaring stranger

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ISBN: 0-571-53942-4 ISBN: 0-571-53942-4 ISBN: 0-571-53942-4

£6.99 £6.99 £6.99

£8.99 £8.99 £8.99

Sample Pages

13

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Š 2013 Wonderland Music Company, Inc. This arrangement Š 2015 Wonderland Music Company, Inc. Warner/Chappell Artemis Music Ltd for Europe Reprinted with Permission of Hal Leonard Corporation for World excluding Europe, Australia and New Zealand Print rights for Australia and New Zealand administered by Hal Leonard Australia Pty Ltd All Rights Reserved Used by Permission

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29

T H E G RADED P IAN O P LAYERPIANO PERSPECTIVES

15

BOOKS FOR PIANISTS

Piano Star: ask the editors This new series offers three books of specially commissioned pieces to put young pianists on the path to success. Find out more from our Piano Star editors and compilers, David Blackwell and Aisling Greally.

How can Piano Star help young pianists develop their technique and musicianship?

David Blackwell (DB): The books are carefully written to progress step-by-step while introducing new technical features and aspects of musicianship.

So Piano Star 1 gradually adds more notes and dynamics, moves from pieces with separate hands to simple hands-together, and introduces staccato, legato, simple hand shifts and other techniques. In this way, young pianists naturally develop their technique as they move through the books.

Aisling Greally (AG): Technical elements are cleverly built into pieces right from the start. Incidental learning will take place and children may not even be aware that they are developing their technique.

The duets, to be played with the teacher, help children develop a sense of performance. They realise how important it is to play in time and keep going despite the odd mishap.

Moving through the series provides tangible evidence for teacher, pupil and parent of the learning journey from the early stages to Grade 1 level. And the more pieces a beginner learns to play well before taking a Grade 1 exam, the better!

What makes a good beginner piano piece?

DB: It needs to be written with a very clear understanding of the technical level of players at different stages, so that pianists recognise the notes and features of the piece and find them achievable.

16

PIANO PERSPECTIVES

A piece might also focus on and practise a particular point of technique (such as staccato or hand-crossing) or an aspect of music notation (such as a compound time signature or new notes). Finally, and most importantly, it needs to be appealing to young players and ‘hook’ them in, so they want to learn to play the piece! So it might have an attractive tune or rhythm or a strong image a child can identify with or words that appeal to them.

AG: A good piece builds on something the child already knows, so it feels familiar.

At the same time, it needs to introduce something new, giving the child a sense of achievement.

What makes a piece popular with young learners?

DB: It needs to be catchy in some way – pieces with a good tune or a jazzy rhythm are always popular.

Also, pieces that maybe sound harder than they actually are! We were fortunate in having some 20 leading educational composers to write pieces for us and as a consequence the

Do your pupils have any favourite pieces from the books?

AG: Piano Star offers moods and styles to suit all tastes, so children have no difficulty in picking favourites. Some of my pupils like the scary pieces best (Hiding in the Wardrobe, Haunted House).

Others like pieces that make them laugh (My Best Sandwich, Wonkey Donkey, Squirmy Worms). Familiar tunes with a twist are very popular (Old MacDonald Had a Drum, Twinkle, Twinkle Little Bat). And Scarlet Lanterns is a beautiful and easy duet placed very near the beginning of Piano Star 1 – the teacher holds the pedal down throughout and children love the resulting impressive sound.

Do you have any tips on how to get the most out of Piano Star?

DB: The series offers a well-paced, structured programme and working through the books will give an excellent scheme of work.

Equally, the books can be used alongside any tutor book, providing imaginative additional repertoire – both solos and duets – to enjoy.

For pupils who have progressed a little further, the books provide valuable sight-reading practice. There’s also an opportunity to sing the pieces that have words – you could teach these pieces in this way – and the singing will build confidence for aural tests.

“Piano Star is colourful, appealing, child-friendly and full of imaginative titles, words and illustrations, and a wide variety of soundworlds.”

Aisling Greally

EDITORIAL

books have a great range of styles and a wonderful variety of pieces – there’s something for everybody.

The activities attached to some of the pieces can help young pianists develop musical understanding and skills. There are opportunities to be creative and suggestions for developing technique or understanding theory. Finally, Tim Budgen’s wonderful illustrations will fire the imagination and inspire players to learn the pieces!

AG: I like to use Piano Star 1 in a similar way to a tutor book, so we start from the beginning and work through the pieces in order. Then I like students to dip into Piano Star 2 and 3 and choose pieces.

Sometimes they do this at home by reading the titles and looking at the pictures, so they are already enthusiastic about a particular piece which has captured their imagination.

My pupils have written lovely stories in response to the activity suggested for A Sad Story. This helps them understand that music can express emotions. For Scarlet Lanterns, they are invited to compose their own music using the notes of the pentatonic scale, used in the piece. To their surprise and delight they invariably produce a convincing piece of music themselves.

What happened behind the scenes to make sure Piano Star is a really useful tool?

DB: The series developed from discussions at ABRSM between the syllabus and publishing teams. The structure of the three-book series – a book at the very early stages, one at Prep Test level and one working up to Grade 1 – was set from the beginning, giving a strong, clear pathway for teachers and pupils.

As editors, Aisling and I then brought our combined skills and experience to the project. Along the way ABRSM staff gave feedback on pieces, and the contents were reviewed by experienced piano teachers, a process which included trying out the pieces with young players. All this has resulted in a thoroughly tested and well-thought-through collection. n David Blackwell is a widely experienced editor and publisher and a composer of educational, choral and church music. He was compiler of ABRSM’s Piano Mix books and co-writer of Fiddle, Viola and Cello Time with his wife, Kathy.

Aisling Greally is an ABRSM theory consultant and examiner.

She has a Masters degree in Child Development and is a highly experienced piano teacher who has guided many pianists, from age five to diploma.

9781848499249 | Piano Star Book 1...... $16 9781848499256 | Piano Star Book 2...... $16 9781848499423 | Piano Star Book 3...... $16 9781786011053 | Piano Star Five-Finger Tunes...... $16 9781786011060 | Piano Star Grade 1.... $16

All titles appearing in Piano Perspectives are available from Devirramusic.com

PIANO PERSPECTIVES

17

WHAT’S IN STORE

Piano Gallery FABER – PAM WEDGWOOD Piano Gallery is a beautiful collection of Piano pieces inspired by great works of art. By best-selling composer Pam Wedgwood, the intermediate-level pieces are accompanied by explanatory text and a stunning pull-out poster featuring all the paintings.

0571540481 | Piano Gallery............................... $25

Jazz on a Winter’s Night OXFORD UNIVERSITY PRESS Jazz on a Winter’s Night is a Christmas Piano album of stylish, swinging arrangements. Favourite Christmas carols and songs receive the complete jazz treatment, with rhythm, harmony, grooves, and solos all carefully notated.

The expertise of the arranger, celebrated jazz pianist and composer Nikki Iles, guarantees an authentic jazz sound, and a range of styles from Nat King Cole to John Coltrane. While paying homage to American Christmas jazz, the collection also reflects a European tradition, in such time-honoured classics as In the Bleak Mid-Winter.

Following the success of the first volume in Nikki Iles’s acclaimed Jazz series, this collection features sophisticated new Jazz arrangements of Christmas classics, including ‘Let it snow’, ‘Rudolph the red-nosed reindeer’, ‘Sussex Carol’, ‘We three kings’, and ‘Past three o’clock’.

The expertly recorded CD, by Nikki Iles, helps with interpretation and developing a real sense of swing. With fully notated rhythms, grooves, and improvisations, Jazz on a Winter’s Night 2 is the perfect collection for pianists looking for that authentic sound.

R FO 20 W 0 NE 18-2 20

Expert arrangements for players at intermediate level (Grades 4 - 8) CD of full performances, by Nikki Iles, to help with interpretation and feel 9780193365902 | Jazz on A Winter’s Night Book/CD................... $35 9780193517691 | Jazz on A Winter’s Night 2 Book/CD................ $35

Piano Stories Initial – Grade 3 TRINITY Featuring technical exercises, educational games, teacher-student duets, and a range of activities for developing musicianship, Piano Stories applies the concept of holistic music learning to Trinity’s core exam repertoire.

Beautifully illustrated in full colour throughout, each book is brimming with extra in-lesson activities that encourage students to explore, experiment, and look at the music they are learning in a new way, covering every piece in Trinity’s 2018–2020 piano books (Initial–Grade 3).

TCL018144 | Piano Stories Initial................................... $22

TCL018151 | Piano Stories Grade 1............................... $24 TCL018243 | Piano Stories Grade 2............................... $26 TCL018250 | Piano Stories Grade 3............................... $28

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PIANO PERSPECTIVES

Easy Concert Pieces Vol 1-3, Best of Piano Classics SCHOTT The Easy Concert Pieces series presents easy piano pieces for beginners in progressive order. These pieces are intended to complement a piano tutorial method and are particularly suitable for performance at auditions, concerts, competitions and examinations.

They offer varied repertoire in a broad selection of pieces from the Baroque, Classical, Romantic and Modern eras.

Volume 1 is meant for beginners. The pieces span a single octave and stay within five-finger positions. Other criteria for the selection of the pieces are simple rhythms and very easy chord playing. Crossing the thumb under, polyphony and pedal are not required yet.

Volume 2 extends the range to two octaves. Hand turns (crossing the thumb under), pedal, simple polyphony and three- or four-part chords all feature in Volume 2, as do simple ornaments, playing cantabile and differentiating between melody and accompaniment.

Volume 3 is aimed at advanced players who wish to refine their expression and personal interpretation. The pieces demand a great deal of dexterity, a high sense of rhythm, articulation and phrasing, polyphonic playing (polyphony even in one hand) and tonal differentiation of the piano setting.

ED22547 | Easy Concert Pieces for Piano Book 1 Book/CD..... $40 ED22548 | E asy Concert Pieces for Piano Book 2 Book/CD..... $40 ED22549 | E asy Concert Pieces for Piano Book 3 Book/CD..... $40

Scott Joplin: Ragtime – Easy Arrangements for Piano BÄRENREITER Most listeners associate “ragtime” with the music of Scott Joplin, one of the earliest African-American composers to straddle the divide between classical and popular music. It was Joplin who brought this musical style to the pinnacle of perfection.

The term “ragtime” stems from “ragged time” and describes the contrast between the sprightly syncopated melodies in the right hand and the accentuated “oom-pah” bass in the left. This collection offers deeper insight into Joplin’s art, a combination of folk music, African rhythms and classical piano music. Jean Kleeb has simplified the works and added fingering.

BA10644 | Ragtime Easy Arrangements for Piano......... $35

Edition in celebration of Joplins’ 150th anniversary in 2018 • 7 typical and wellknown pieces in their entirety • Difficult passages are simplified • With fingering

Bartok Mikrokosmos Complete CHESTER This brand new edition presents Béla Bartók’s Mikrokosmos, a progressive cycle of 153 studies for Piano, in a single volume for the first time. Designed to illustrate the musical and technical progressions suitable for beginner to advanced players, this complete collection is invaluable for every pianist.

All six volumes of Mikrokosmos are presented here, exactly as the composer intended them. Featuring beginning études through to technical tours de force, this unique publication also contains an extensive introduction, Bartók’s original preface and photography throughout.

Mikrokosmos evolved from the Piano lessons that Bartók gave to his own 9-year old son. Studies were written on the spot for young Peter Bartók to learn by next time. Over time, the 153 pieces took form, and they are collected here for beginner and advanced pianists to benefit from.

CH84491 | Bartok Mikrokosmos – Complete......... $64.99

Mikrokosmos lets students and teachers explore Bartók’s endlessly imaginative and inventive musical world as they develop their pianistic skills.

PIANO PERSPECTIVES

19

RICHARD GILL AO

CREATING MUSIC A Composition Guide for Students A NOTE TO TEACHERS This book is designed to acknowledge your autonomy as a music teacher.

Nobody knows your students’ musical capacities better than you and nobody knows how to assess them better than you.

principles of teaching. However, as the philosopher Michel Yquem Monatinge said: Que sais-je? What do I know?

In 1576, the French essayist, Michel de Montaigne chose as his maxim of scepticism the question Que sçay-je?

[What do I know?], which he had set on a personal medallion together with the Greek word epokhe [I hold back, or I reserve judgment], and on a pair of scales to remind himself of the potential equality of strength of two opposing arguments.

Therefore you will use the book as you see fit and adapt and adopt chapters appropriately.

Perhaps one day I will be proved wrong but until that day I will continue to teach using examples, thus this book.

Apart from the first four chapters which have been designed historically starting with the ancient oriental world and moving through to the late middle ages, the book moves around freely, its main purpose being to provide examples of music from primary sources which students can emulate, re-model, improvise on, change, adapt, arrange, re-arrange and so on.

At the time of writing this book, the need for a text at a more senior level is developing in my mind. I am formulating ideas senior students can apply to compositions using the concept of the small ensemble up to and including eleven players. This is foreshadowed, in part, by the reference to the Schoenberg Variations for Orchestra in the ‘ISMS’ chapter.

You also need to know that there is a school of thought that says this is not the way to teach composition. Students should be allowed to experiment freely, seek things which have never been done before, break barriers and new ground.

This implies that students know what has been done before, know the barriers they are breaking and know exactly what they are looking for. To ask a student to do something that hasn’t been done before is actually a pointless exercise in my mind and indicates a failure to understand even the first

20 PIANO PERSPECTIVES

The Second Viennese School did much to encourage writing for chamber ensembles and there is a strong argument to be made for encouraging detailed examination of this music, an exercise which is enhanced when students have a knowledge of historical and musical context.

When you teach or introduce students to composition, you breathe new life into their musical souls. They become creators and performers simultaneously. It is a very special act of teaching and in my view the real reason for teaching music.

Richard Gill

WHAT’S YOUR NEXT PIANO BOOK? The Top Ten Piano series.

One of the fastest growing series for piano players from Wise Publications.

There are options for pianists of all stripes, from jazz, to pop, to classical to film scores. The difficulty levels of each book ranges from beginner to intermediate, offering pianists chance to challenge themselves and grow with each title.

But wait! With so much choice, how will you work out which book is for you? YOU ARE LOST! But worry not, we have your back, with this specially formulated and scientifically tested* flow chart we can deliver you to the Top Ten that works for you in a matter of moments. Join us on a magical quest to FIND YOUR TOP TEN! AM1012484 | Top 10 Christmas Songs to Play on Piano................................................. $25.99 AM1012231 | Top 10 Classical Pieces Every Beginner Should Learn........................... $25.99 AM1012286 | Top 10 Contemporary Classical Pieces to Play on Piano................................................. $25.99 AM1012264 | Top 10 Film Themes to Play on Piano..... $25.99 AM1012308 | Top 10 Jazz Songs to Play on Piano....... $25.99 AM1012275 | Top 10 Love Songs to Play on Piano...... $25.99 AM1012253 | Top 10 Most Beautiful Pieces to Play on Piano................................................. $25.99 AM1012319 | Top 10 Most Calming Pieces to Play on Piano................................................. $25.99 AM1012242 | Top 10 Piano Songs of All Time.............. $25.99 AM1012297 | Top 10 Pop Songs Every Beginner Pianist Should Learn.......................................... $25.99

PIANO PERSPECTIVES

21

NEW ABRSM PIANO BOOKS

ABRSM NEW PIANO SYLLABUS

NEW BOOKS COMING SOON – PRE-ORDER TODAY! ABRSM is launching their new piano syllabus in June 2018 for use in exams from 2019 onwards. The 2019 & 2020 piano syllabus will include 100% refreshed repertoire – alongside well-known tunes, there will be a wider range of styles than ever before, including special commissions and arrangements. The pieces have been carefully selected to provide an attractive and varied range of music to perform in exams, concerts or anywhere else! With a broader range of styles than ever before, these books are an excellent source of repertoire to suit every performer. As well as new repertoire collections, the Teaching Notes make an excellent companion to the syllabus, giving piano teachers a wealth of creative ideas to inspire their teaching.

9781786010193 | ABRSM Piano Exam Pieces Gr 1 2019-2020 Book...................$17 9781786010209 | ABRSM Piano Exam Pieces Gr 2 2019-2020 Book...................$17

9781786010216 | ABRSM Piano Exam Pieces Gr 3 2019-2020 Book...................$20 9781786010223 | ABRSM Piano Exam Pieces Gr 4 2019-2020 Book...................$21 9781786010230 | ABRSM Piano Exam Pieces Gr 5 2019-2020 Book...................$23 9781786010247 | ABRSM Piano Exam Pieces Gr 6 2019-2020 Book...................$25 9781786010254 | ABRSM Piano Exam Pieces Gr 7 2019-2020 Book...................$29 9781786010261 | ABRSM Piano Exam Pieces Gr 8 2019-2020 Book...................$34

9781786010674 | ABRSM Piano Exam Pieces Gr 1 2019-2020 Book/CD.............$30 9781786010681 | ABRSM Piano Exam Pieces Gr 2 2019-2020 Book/CD.............$32 9781786010698 | ABRSM Piano Exam Pieces Gr 3 2019-2020 Book/CD.............$36 9781786010704 | ABRSM Piano Exam Pieces Gr 4 2019-2020 Book/CD.............$42 9781786010711 | ABRSM Piano Exam Pieces Gr 5 2019-2020 Book/CD.............$47 9781786010728 | ABRSM Piano Exam Pieces Gr 6 2019-2020 Book/CD.............$53 9781786010735 | ABRSM Piano Exam Pieces Gr 7 2019-2020 Book/CD.............$62 9781786010742 | ABRSM Piano Exam Pieces Gr 8 2019-2020 Book/CDs...........$72

9781786010759 | ABRSM Piano Teaching Notes 2019-2020.................................$25

22 PIANO PERSPECTIVES

Richard Gill Nursery Rhymes

and

Songs

Includes activities, and a CD featuring Monica Trapaga, Dan Walker, Julie Oguey, and members of the Sydney Symphony Orchestra!

BOOK & CD

9781922025975 | Twinkle Twinkle.................................. $25

9781922025982 | Little Star........................................... $25

BU COM Y THE PLE TE S ET FOR

$60

9781922025999 | How I Wonder.................................... $25

PIANO PERSPECTIVES

23

for

PIANO TEACHERS

If you are experiencing any difficulties obtaining our material, please feel free to email us on our dedicated email for piano teachers: piano@devirra.com or phone 02 8707 3650.

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P 02 8707 3650 | F 02 9793 1301 | piano@devirra.com NOT FOR SALE. ŠDevirra Group

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