Music Education
I favour a gradual, playful approach to teaching young children to play the piano, with an emphasis on a diverse range of musical skills and concepts. My ideal piano curriculum for young beginners includes exploring all the elements of music; experimenting with making different sounds; creating music; listening and moving
Music Education
What can little children do in music? May I present Lyonya Shilovsky, a three year old Russian drummer playing the ‘Can-Can’ tune from Offenbach’s Orpheus in the Underworld, along with an orchestra of adult musicians. I hope Lyonya wears ear protection! Is Lyonya unique, we might wonder, or are
Music Education
In the UK, the biennial BBC Young Musician of the Year returned this year with a difference. The Category Finals, broadcast in May, were recorded before social distancing came into place but the Semi Final and Grand Final have been postponed until later in the year. Thinking back to previous
Music Education
WHAT IS SIGHT READING? Sight reading is playing or singing music from previously unseen notation. The context could be playing a new piece, accompanying a soloist on piano, reading through an orchestral score or singing a new part in a choir. Efficient sight reading is very much like the process
Music Education
In Parts 1 and 2 we considered how the pedal works and its effect on tone, texture and legato. Now we will examine how pedalling applies to one of my favourite pieces, the Danza de la Moza Donosa from Danzas Argentinas by Alberto Ginastera. This dance is graceful and gentle,
Music Education
In the previous article we considered the tone enhancing function of the pedal and this time we will explore how to use the pedal for best results. It is essential, for correct use of the pedal, to have good use of the whole body. Although some professional pianists can adopt
Music Education
When we were children, my sister and I called the pedal on the left, the ‘soft’ pedal and the pedal on the right the ‘loud’ pedal. The left pedal on an upright piano is indeed the soft pedal but on a grand piano the mechanism is different and the correct
Music Education
Parts 1 and Part 2 covered what, why and how to practise and the final article explores the final stages of examination preparation. When to change the focus of practice Once the initial stages of learning are secure and the musical detail, phrasing, interpretation and speed are stylish, the focus
Music Education
The first of these articles discussed the need for practice to be relevant in terms of fluency and accuracy, musical detail, style and character. This article explains how to practise mindfully. How to practise Practice should be mindful, with clear objectives that take account of what needs to be learned
Music Education
Good practice techniques are essential for all sections of the examination and involve mindful concentration and clear objectives. A practice plan that aims for maximum success needs to address the following: * WHAT to practise What skills need to be practised, and in what proportion? * WHY we practise Formulating practice objectives.
Music Education
Everyone who takes a music exam hopes to achieve a distinction and this needs careful preparation of the supporting tests as well as the pieces. Sight Reading Sight reading is playing or singing a previously unseen piece. Sight reading is tested in practical music exams because it is an important
Music Education
Gaining a distinction in a music exam is a great achievement. A distinction means that the candidate has achieved a high percentage when measured against pre-determined criteria: ABRSM: A distinction mark is 86% or higher Trinity College London: A distinction mark is 87% or higher London College of Music: A
