Piano Professional 53 interactive

APRIL 2020 | ISSUE 53 | www.epta-uk.org PROFESSIONAL Wendy Hiscocks in conversation Musicianship for Pianists Piano technique with Melanie Spanswick, Trevor Barnard and Penelope Roskell New teaching initiatives with ScaleTracks, Piano Marvel, Paul Myatt and Tim Topham Photo: Peter Nolan



APRIL 2020 | ISSUE 53 | www.epta-uk.org PROFESSIONAL 4 Editorial by Murray McLachlan Letter to the Editor 6 5 EPTA Festivals 6 Is Creativity the new buzzword in modern teaching by Tim Topham 7 Musicianship for Pianists Part 2: Pitch by Nancy Litten 7 11 Accelerated Learning for Pianists Part 2: Proficiency in Chord-Playing - 'from the Middle Out' by Alison Bowring 14 The Bridge Position by Melanie Spanswick 17 Wendy Hiscocks in conversation with Murray McLachlan 27 Nine-part lesson plan by Paul Myatt 30 Pedalling - responsible and educated 30 interpretation by Trevor Barnard 32 Ann Burden: My EPTA 33 Fowke Muses 35 EPTA feature: new teaching materials 44 EPTA UK Corporate News 48 EPTA UK regional events 49 Success for EPTA Essex / New Members 50 EPTA UK Bursaries / Services to Members 33 Piano Professional Design & proofreading All EPTA enquiries Please see the EPTA UK member Published by EPTA UK Ltd in January, April Helen Tabor, helentaborcreative.com The Administrator EPTA UK section for full membership and September. Free to EPTA UK members; 4 Guildford Road, Dukinfield information and how to join. annual subscription £12 (inc P&P). Advertising Cheshire SK16 5HA Marcus Netherwood Tel 08456 581054 The opinions expressed or implied, the methods Editor [email protected] (4p per min + your phone co. charge) or recommended or the advice given in this publication Murray McLachlan 07510 379286 (normal mobile rates apply) are not necessarily representative of EPTA UK Ltd Chetham’s School of Music Subscribers to Piano Journal: [email protected] and therefore EPTA UK Ltd takes no responsibility Long Millgate, Manchester M3 1SB Annual subscription is £7 (inc P&P) www.epta-uk.org for them. Appearance of an advertisement does not [email protected] Contact Nadia Lasserson Registered Company England 1945055 necessarily indicate EPTA UK Ltd’s approval of the Tel 01625 266899 34 Carver Road, London SE24 9LT Registered Charity 293698 product or the service. Tel 020 7737 7307 or 020 7274 6821 The editor welcomes letters from members but [email protected] Honorary Treasurer reserves the right to edit them for publication. Murray Wells This product is copyright material and may not be copied in whole or part for any purpose whatsoever without the permission of the copyright owner. www.epta-uk.org | 3

Murray McLachlan competitions. Everyone who plays receives a certificate and positive feedback as well as a brief verbal adjudication from a Editorial: distinguished musician. However, there is an added incentive for competitive entries in that all performers who receive an EPTA Festivals ‘Outstanding’ grade will be invited to perform at a prestigious future EPTA showcase recital, masterclass or workshop event. As we go to press, the world is struggling to cope In the past these have included London recitals at St Martin- with the horrors of Coronavirus. With a health in-the-Fields as well as concerts at the Royal Welsh College of and economic crisis of unprecedented global Music and Drama, Chetham’s School of Music and the Royal breadth, we live in troubled times. Many EPTA Birmingham Conservatoire. members face financial hardship and uncertainty, having to cope with all kinds of unexpected worries and challenges, The enthusiasm and camaraderie in our new EPTA festivals both economically and socially as well as in terms of their is infectious, showing that live performance can, should and health. Many freelance musicians and EPTA members are in indeed must be for all. EPTA Festivals welcomes adult amateur extremely precarious positions. As a charity and association players from pre-grade 1 to advanced levels for participation. for piano teachers and pianists, EPTA UK will do everything it It does not matter if you use music or play from memory, can in the coming weeks to help vulnerable members who are if you play a transcription or an ‘original piece’, if the piece struggling and need support at this terrible time. See p10 for is improvised, set for an exam or of a more popular nature. a message from our Joint Patron, Peter Donohoe. Let’s look forward to expanding and consolidating our freshly Now more than ever we need the power of music for our minted Festivals and take them forward for a long-standing spiritual and mental wellbeing. Music can empower us all. and invaluable means of giving as many pianists performance Certainly the start of 2020 has seen more ‘empowerment’ opportunities in their own terms as possible. around the country in terms of wonderful performances from EPTA UK members and their pupils: our new regional This jam-packed issue of Piano Professional is extended festival initiative has been launched up and down the country to include four features on new publications/products that to great acclaim. Following on from EPTA Bedford’s festival will be of particular interest to our readers: Penelope Roskell at the end of 2019, Manchester attracted over 140 entries and Ben Andrew are long-standing friends of EPTA and their in an extraordinary day of music-making that involved four considerable talents are being placed at the service of our adjudicators and repertoire ranging from Sharon Goodey’s profession through their invaluable new publications on Playing with Colour through to Bartók’s Third Concerto scales and piano technique. Nancy Lee Harper, Philip Fowke via ABRSM grade pieces, Chopin Scherzos and Prokofiev and Joseph Banowetz are also no strangers to the EPTA Sonatas! As we all know, the events are unique in offering community (Nancy and Joe are particularly associated with opportunities for players from pre-grade one level right EPTA on an international level) and their extraordinary new up to the most advanced levels. There are no ‘classes’, no book on fingering is eagerly awaited. This sneak preview ‘categories’ and no sense of students fighting/competing of their three-fold collaboration whets the appetite in against each other. Anyone who enters is pacing themselves anticipation of the book’s launch in summer 2020. Finally, on the road to excellence which is gauged exclusively by we have a wonderful new means of teaching sight-reading – the standards set by EPTA UK and not by any individual. Piano Marvel – which Carleen Graff describes persuasively. Both non-competitive and competitive entries are accepted. Non-competitive entries receive positive feedback and no Happy reading! ‘grading’ for their playing. Performers choose to enter classes that are organised exclusively by time limits (from three Murray McLachlan minutes or less up to a maximum of 30 minutes per entry). Chair, EPTA UK The project is expanding apace but so far, in addition to Bedford and Manchester, we have had festivals in Belfast, Letter to the EditoriionwnAwbIiftc(nlaaoebiwEhsscnTrCePiiAskntldsrhrTudotneaheoeAoeratorbveS.iftfP5toeienCuuihrov2rnc,aszleir,ohavtrtaatrJoeymlaunanlab’lrylgrn,dafenyr,thbeiiuaapistlceynlhaMiilicimmodesSareeuy,no,unenifLnelemz2ttotaoxrehau0uiroincrsontr2nteedsaycdno0dldou,bole)efentMelniooernMntosrtaiCtutnf,iMhnahnn‘uPeFdresureoiipoadnnfUdlii,anadrrrKstosyioiGrnu,nt’sasaPrgcgCn.IincrnhCsIoemddnaprsfeeisleoesraaapt,srmttt,isteriewaihvarodniehttnimyooanle. Buckinghamshire, Essex, West Midlands, Kent, North Yorkshire and Surrey among others, with festivals in Merseyside, Cardiff and Oxford to follow in October. The Festivals’ ‘anti-competition’ ethos is emphasised by the way entries are adjudicated: each performance is given positive feedback, and ‘competitive’ entries are awarded a grading according to the criteria designed by EPTA. This is similar to the British Federation of Festivals’ grading system, whereby exceptional performances are classified as ‘Outstanding’, very good performances as being worthy of ‘Distinction’, good performances as ‘Highly Commended’ and others as ‘Commended’. In EPTA Festivals there are no individual prizes and no rankings of performances in the day as in traditional 4 | www.epta-uk.org 4BACK TO CONTENTS PAGE

EPTA Festivals The recent EPTA Festivals and Competitions that have been held in the regions have been a great success. The Regional Organisers have worked hard along with the Adjudicators and helpers on the days to produce wonderful events celebrating piano performances in many forms. The performers who were awarded outstanding at these events will be offered an opportunity to perform at another venue. The ones who have achieved this so far are the following : BEDFORD FESTIVAL Jurand Dlugolecki (Fiefei Li) NORTH YORKSHIRE COMPETITION 1 December 2019 Daisy Sherman 22 February 2020 Adjudicator: Nancy Litten (Anna Korzeniewska-Kojder) Adjudicator: Timothy Barratt Jacob Philip (Sam Brook) Maia Elwin (Christine Walker)* Alana Craven (Amy Wakefield) Alexandra Yu (Paul Feehan) Ben Ward (Kate Elmitt) SURREY FESTIVAL NORTH LONDON COMPETITION BUCKS/BERKS 1 February 2020 23 February 2020 26 January 2020 Adjudicator: Dennis Lee Adjudicator: Robin Zebaida Adjudicator: Philip Jenkins Lin An Tran (Angie Tse) Felicity Lee (Danielle Salamon) Yazdi Madon (Patsy Toh) Connie Taylor (Alison Mathews) Max Lyne (Aisling Heneghan-Greally) Edward Carver (Muriel Levin) MANCHESTER FESTIVAL Frederick Masefield (Amanda Hurton) MERSEYSIDE COMPETITION 26 January 2020 Ursula Rose McAdden (Angie Tse) 14 March 2020 Adjudicators: Anthony Williams, Lily Rowell (Julie Cooper) Adjudicator: Robert Pell Nicholas Oliver, Murray McLachlan Edward Clark (Julie Cooper) James Morris-Weston (Angie Tse) Heidi Blades (Dianne O'Hara) Christo Harijan (Murray McLachlan) Vikram Tandom (Angela Fogg) Philip Kerr (Dianne O'Hara) Henry Lewis (Murray McLachlan) Anna Ho (Dianne O'Hara) Madeleine yen (Murray McLachlan) CAMBRIDGE COMPETITION Alex Robinson (Dianne O'Hara) Angelina Pavlou (Murray McLachlan) 9 February 2020 Luca Grianti (Murray McLachlan) Adjudicator: Penelope Roskell CARDIFF COMPETITION Daniel Liu (Murray McLachlan) 14 March 2020 Appollonia Ziemer Ellie Zhu (Ilga Pitkevica) Adjudicator: David Quigley (Anna Korzeniewska-Kojder) Sami Heath Wolsak (Jenny Macmillan) Edward Harris-Brown (Gemma Beeson) Ziruo Lin (Betty Power) Anton Velichko (Olena Shvetsova) James Chen (Simon Bottomley) Emily Pendley-Laws (Betty Power) Sophie Mae Evans (Hyelim Morris) Kaixin Dokter (Murray McLachlan) Anne Vinokurov (Jenny Macmillan) Sophia Benton (Alison Bowring) Crystal Liu (Simon Bottomley) Leo Yamada (Flora Tzanetaki) Tomos Boyles (Alison Bowring) Eleanor Corker (Susan Bettaney) Christian-Peter Hiemstra (Natalia Michael Korzeniewski (Simon Bottomley) Williams-Wandoch) * Teacher name in brackets Patrick Townsend (Simon Bottomley) Alicja Kojder (Simon Bottomley) BRISTOL COMPETITION Shelly Chen (Fiefei Li) 9 February 2020 Jia Ni Zhang (Fiefei Li) Adjudicator: Murray McLachlan Andrew Chen (Fiefei Li) Kayley Chen (Fiefei Li) Yuyinh Fan Sophie Liuxin Xue (Fiefei Li) Lucy Barratt Justin Haoting Lin (Fiefei Li) Many thanks to all who helped make these events happen and achieved such a high standard of excellence. There will be further Festivals planned - details of these can be found on the EPTA UK website. 4BACK TO CONTENTS PAGE www.epta-uk.org | 5

º Tim Topham *tIhseCnerwebautzizv*witoy*rd in modern teaching? MODERN MUSIC TEACHING once beautiful, emotive words: ideas, Nick Crocker, Melbourne partner in Image by Ritesh Tamrakar from Pixabay I’ve been blogging about more knowledge, imagination, passion. Blackbird Venutres, who backed Canva, creative approaches to modern music They’re imprisoned as business buzz says this. teaching and education since 2010. terms; their use ... is at ‘peak hype’. Eight years ago, there wasn’t much Crocker stresses people need to information about this idea online. On interviewing a TV writer in the stop thinking of creativity as if it’s Most teachers taught in a similar way article, Bevan Lee… something beautiful, aspirational. (and often how they themselves were ‘It’s about trying something…working taught) focusing their teaching on When Lee talks about his creativity, he out why it didn’t work…fixing it, trying reading, interpreting the masters and describes it as 20% magic “and I don’t again…working out why it didn’t work… performing from memory. Oh, and know where that comes from”, 30% fixing it again… It’s stepping into a exams, of course! craft and 50% sheer hard slog. I didn’t deep pool. It’s changeable, uncertain, I want to share with you today some create my first show until I’d done 18 it takes longer than you think. You’re thoughts from an article I read last years. never really happy. There’s always year, and let you decide how they relate fighting and scrapping… That’s what to modern music teaching. Quoting Steve Jobs… real creativity looks like. Creativity is just connecting things. CREATIVITY AND WHAT IT MEANS When you ask creative people how they WHAT DOES IT MEAN FOR TEACHERS? Nowadays, everything is creative. did something, they feel a little guilty Creativity is about opening up our And yes, perhaps I’ve contributed to because they didn’t really do it, they minds, finding connections in our this in our field. But that doesn’t mean just saw something… That’s because teaching, and inspiring our students in it’s just another buzz word. I believe they were able to connect experience a way that hasn’t been done before. the core meaning of being creative is they’ve had and synthesise new things. It’s why I have been talking about how we can become better teachers, And the reason they were able to this topic for eight years – it’s about and change the future of modern music do that was that they’ve had more imparting a love for music, educating in teaching. experiences or they have thought more a holistic, fun and engaging way. I was reading a really interesting about their experiences than other Working to exams can be tiresome, article entitled The great creativity turn- people. and that’s not what we want for our off in Good Weekend magazine, found in students. Being open, spontaneous, but The Age newspaper in Melbourne where On creative traits… also setting down that foundation of I live, by Shelley Gare. Intense focus, passion for what is knowledge is easily transferable into It was all about whether the word being worked on, rigour, master of the music studio. creativity had lost its impact given its the basics so there is a foundation of Once we set those building blocks ubiquity in…everything! knowledge (interviewees stress this with our students, the only thing Here are some key thoughts. repeatedly), spontaneity, an openness stopping us is our imagination. There’s never been more talk of to one’s own inner life and emotions, innovation and creativity, yet they’ve a questioning, curious outlook and the GET CREATIVE IN YOUR STUDIO never been harder to find. Could the courage to be independent. There are a number of easy ways to corporate co-opting of these terms be start off a lesson creatively, without the very cause of their decline? Talking to Sydney Neurosurgeon reinventing the wheel. Richard Parkinson… I have a range of resources to help ‘Innovation’ and ‘creativity’ (the latter you get creative, from Top 10 Pop Songs means producing something both How important is it? “It’s everything. for Piano Students, to 20 Creative Ways original and effective) have been It’s how I solve problems.” “The to Start a Piano Lesson (also featured joined in their new lives by other foundation of all brilliance is seeing in a back issue of Piano Professional connections when no one else does,” magazine). Visit topmusic.co for details. he stresses. As I leave, he rounds up. “Creativity is so important. It’s the only thing that matters.” 6 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Nancy Litten fMour spiicaiannissthsip Part2:Pitch GPITCH ood sight-readers imagine the sound the dots on the page should make before they produce them. That is how the professional accompanist sight-reads without needing to look down at the keys, or the brass player pitches notes. Sight-reading is internalised sight-singing. Singing has to come first. There is help in my book Choral and Vocal Warm-Ups for Pianists (Alfred 20143UK) if you have pupils who say they can’t sing! a) Beginnings · Basic up-and-down movement. Start with 1 line, 2 lines etc., gradually building up to 5. b) The most important thing to develop is a sense of key. · Learn ‘DNA’ of the major scale. Start with C, working through other keys gradually so that they all come to be recognised. · Differentiate between tones and semitones key signature F#, C#, G#, D#, &#### œ œ œ œ œ œ œ œ œE MAJOR notes used at this stage key note B C# D# E F# G# A B C# Semitone Semitone Sing to numbers: 5 6 7 1 2 3 4 5 6 · Sing scales not starting on the tonic · Play major and minor triads and develop the ability to recognise them. · Start minors with the natural minor; the semitones are between the same notes as in the relative major. · Explain accidentals in other minor forms, and also their use in modulation · Sing up diminished/augmented triads. Sing unusual scales (e.g. jazz/modes/octatonic) 4BACK TO CONTENTS PAGE www.epta-uk.org | 7

teaching c) Internalise pitch · Sing scales with some notes omitted, imagined. · One-Second Wonders. (For a 3rd there is one note to hum in between, a 4th there are two etc. 7ths can be accessed from the octave. Keep the intervals in key; that way the diminished 5th is noticed. Bb major 1. Play higher notes with the RH and lower with the LH, using the other hand to run up or down to the next note quickly. 2. Sing the notes as you do it. 3. Play the first note only and sing the notes in between, arriving at the new note at 1 second intervals. F minor d) Develop a memory for intervals. See sung Interval Exercise below. e) Access the key note. Strengthen the sense of key by knowing where the tonic is. Be able to recollect the tonic at any point and relate other notes to it. · Teacher plays a short passage that doesn’t modulate, stops, and asks the pupil to sing the tonic. · One-Second Triad Notes To be sung. If the wide intervals are found too difficult, start with the notes in close position. See below. The minor keys are usually found harder than the majors. · Look for triad notes in melodies · Spot passing notes. Are they accented passing notes or modulating notes? Sight-reading is internalised sight-singing. Singing has to come first. 8 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching f) Sight-reading: IDEAS · Note rows (see below) · Note cards treble and bass and both with intervals on · Improvise tunes in different keys (major/minor) · Sing a short made-up tune, repeat looking at the keys, then play on the piano 4BACK TO CONTENTS PAGE www.epta-uk.org | 9

teaching · Transpose easy pieces such as Dozen a Day Technical Exercises by Edna Mae Burnham. For further help with sight singing: · Work out favourite tunes at the piano and try them in different keys · Concentrate on the LH part; the RH part will take care of itself! g) Writing: IDEAS · Dictation of pitches · Write jingles (start with 3 notes). A new one to be remembered each day. · Sing telephone numbers (for this purpose the tonic is both 0 and 1) · Identify written intervals · Pupils write out the scales they are playing h) Playing · Look for sequences, patterns etc. · Sing fugal entries · Memorise a lower part from a short passage and then picture it as written. A message from EPTA Joint Happy 100th Birthday to Patron Peter Donohoe Dame Fanny Waterman Words cannot On 22 March our describe the distinguished Vice-President despair that the Dame Fanny Waterman coronavirus situation will have celebrated her 100th birthday. caused to vast numbers of Her extraordinary skills as people, including members a teacher, author, presenter of our own music world, its and founder-director of artists, promoters, educators, the Leeds International agents, recording companies - Piano Competition have the list goes on and on. That it had universal influence for is a fatal disease for so many is utterly dreadful, and the decades. She is a living legend. financial hardship it is causing others is appalling. All we can do is to try to look out for each other, take seriously I am sure that everyone the medical and scientific advice given re social- in EPTA UK will wish to distancing and self-isolation, and try to avoid feeling send profound gratitude selfishly inconvenienced by what is the most serious to Dame Fanny as well as disaster to befall the world for an unimaginable period. congratulations and warmest Remember that whatever may be wrong with what wishes. Editor politicians and others say about this situation, there is no precedent for these times; everything is a leap in the dark for us all, so we must all stick together, stop sniping, and look after as many as we can, in whatever way we can. Reprinted with Peter's kind permission 10 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Alison Bowring Accelerated Learning for Pianists Part 2: Proficiency in Chord-Playing – 'from the Middle Out' As an undergraduate pianist in the early 1990s, I inversions of the chord. It was surprising to notice that the recall finding it difficult to learn chord patterns best choice does not come naturally or instinctively for most with different fingering requirements; in students, regardless of age or level. The desire to play the particular, I struggled to read and memorise correct notes too often supersedes ‘how’ the notes are played. certain passages in the Debussy Sarabande from the suite Pour Le Piano. The bars of greatest frustration involved two- Noticing why an error is made can be enlightening and handed chord-clusters in the section marked Animez un peu. empowering for both the teacher and student; seemingly I did not have a method for memorising the rapidly-changing random mistakes are far harder to fix than those arising chords other than basic repetition; I stumbled through the from an identified cause. Pianists may feel annoyed or passage with much hesitation until eventually my hands disappointed when a mistake is repeatedly made, despite would find the correct position. My practice was neither diligent practice. Regardless of our level of playing, we all mindful nor efficient. feel heartened to know the underlying reason for an error, and this is what makes us willing to persevere and adjust our For pianists, the chords we play often have a range of an technique. octave or a sixth, and the Debussy Sarabande is no exception. Visually it is easier to judge the size or span of a chord than Chord-playing is rather complex, especially where two- the notes within. Once the inner notes are added, the chord- handed chords are concerned. Switching chord inversions reading is more complex. For me, the changing intervals of requires alternate or combined use of the ‘middle-hand’ the middle notes of the clusters were difficult to accurately fingers: the 2nd, 3rd and 4th fingers. A healthy fingering identify and locate. In order to accelerate my learning of the choice will always keep the hand centred, without twisting, Sarabande, I needed a tool to switch my focus to the middle and this may contradict the printed fingerings on the score. notes of the chord – visually, aurally and choreographically. It is important to note that a student may describe a finger as being ‘stronger’ and favour an awkward hand position, Fingering in chord inversions but this is often due to a tactile preference for one finger — In my early years as a teacher, I recognised the need frequently the 3rd — resulting in the neglect of another — the for pupils to embed a healthy fingering choice for broken 4th finger. Continued exclusion of a finger will naturally result chords; crucially, how the ‘middle’ finger changed in different in its feeling ‘weaker’ as the touch-sense is not developed. Noticing why an error is The asymmetry of chord-playing made can be enlightening A simple first-inversion chord played in both hands, unison, and empowering for both the requires an asymmetrical hand position and fingering. Unsurprisingly, the brain finds similarity and symmetry much teacher and student easier to coordinate, so an intended C major chord in first 4BACK TO CONTENTS PAGE www.epta-uk.org | 11

teaching inversion may be incorrectly played by a beginner student as Example 6 demonstrates how to play the first broken chord shown in the following example: in the Cramer extract with extra attention given to the middle note as indicated by the arrows; the first and third quavers of the broken chord are combined into one action, as shown after the slur: Example 4 shows how the error may occur while playing Here are the first two bars of the Cramer excerpt with broken chords, hands together. The desire to play with attention given to the middle note of each broken chord, symmetrical hand positions can result in incorrect fingering at presented as a series of slurred pairs. The hand position will the points marked ‘x’ in the left hand: be correctly centred from the middle note in each case: I frequently observe errors in chord playing with students The following example illustrates a two-handed at my private teaching practice and at the conservatoire. The desynchronised version (DES) of the middle-out technique mistakes are commonly the mis-reading of the middle note or and is an excellent tool for cognitive development and unsuitable fingering choice; frequently both. Reasons for the coordination; here it has been applied to the beginning of the mistakes will result from these modes of processing, either Cramer extract: individually or in combination: How to apply middle-out i) the visual processing of the score — pianists are I think of middle-out as a two-stage ‘drop-release’ motion. expected to process numerous pitches and durations, often in Place the hand a few centimetres above the keyboard for each complex combinations involving both hands. drop-release. The middle note is played firmly by the selected ‘middle finger ‘— the 2nd, 3rd or 4th — which is dropped onto ii) the motor processing required to coordinate the the key with a neutral hand position i.e. the fingers are relaxed hands — primarily playing asymmetrical chord shapes that and deliberately not extended. The idea is to avoid being ready demand a high level of motor control. to play the entire chord with the hand stretched out. Middle-out encourages movement through the chord rather Middle-out reduces errors than a prepared wide strike. After playing the middle note, Based on my experience of inefficient chord-reading in the outer notes of the chord should be played together as the Debussy Sarabande, I explored the idea of giving more the middle note is released; this is shown by the slurred attention to the middle of a chord. In 2013, while devising articulation in examples 6, 7 and 8. the sight reading element of my Keyboard Skills module at RWCMD, I introduced middle-hand-awareness using a Middle-out as a tool for sight reading Cramer Study for demonstration. It became clear that the Sight reading naturally requires our eyes to be on the score concentration needed to read ‘from the middle out’ was rather than on our hands. This means that we are unable to demanding, but effective. For maximum effect, this middle- check that movement is free and without tension. As a result, out technique can be applied three ways: hands separately awkward shifts in chord-playing create tension through or together and hands desynchronised. (The application of twisting and gripping. It is important to note that middle- DESynchronisation (DES) is explained on page 21 of the Piano out is designed as a releasing technique — one that allows Professional edition 52: January 2020). the greatest freedom of movement to the next chord. We In the Cramer extract below, the continually changing need accurate hand-centred leaps that release the key while interval span demands a high level of coordination when maintaining a stable frame so we able to move to the next playing hands together: chord without losing the natural alignment of the hand, wrist and forearm. 12 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching The connection between visual processing and note-location It is important to note that the middle-out technique is is fundamental to success in sight reading. Recognising the designed to be applied to the original repertoire without middle-position of a chord, whether a broken chord or single requiring a notated version. With encouragement, the student structure, improves accuracy in reading at sight. With regular will quickly become familiar with the new ‘middle first’ approach. application, middle-out practice trains the pianist to use a centred hand-position without looking at the keys. Focusing Middle-out in four-note chords on the middle of the hand position will facilitate optimal Let us reconsider example 1, the Debussy Sarabande, to fingering choice for the best keyboard choreography. see how middle-out can be applied to more dense chord structures. The four-note chord clusters in the Animez un peu Middle-out in graded repertoire demand visual, tactile and aural reinforcement, all of which To illustrate the middle-out technique, I have selected aids memorisation. several extracts from the current grade 4 repertoire; it is from this grade that chord-playing becomes standard. Walter By playing the middle two notes first, we can still apply Carroll’s ‘The Reef’ is an excellent example of the changing the two-stage ‘drop-release’ as explained earlier. The middle hand position and fingering needed for chord inversions and notes will centre the hand at the drop point while the thumb clusters. Here the hands can work the leaps using middle- and 5th complete the release. Desynchronised (DES) practice out as shown in example 10. Younger students will enjoy works particularly well here, and for all chord textures that middle-out as a ‘game’ that is both mindful and fun. It trains require both hands. the choreography of the hand much faster than standard repetition. There are many instances where the 2nd and 4th finger combined is more aligned than the 2nd with the 3rd, as Using middle-out will make the notes easier to find, and shown in example 14. Naturally, a healthy fingering will be this gives confidence while aiding fluency and accuracy. The dependent on the physical characteristics of the pianist’s LH triads of the first two bars are transformed into the drop- hand. For this reason, we must all be cautious in observing release action as shown: editorial fingerings that assume a ‘one-size-fits-all’. William Gillock’s ‘Holiday in Paris’ shows an alternative Since 2016 I have implemented practice surgeries at visual example of middle-out. A pupil may struggle to read RWCMD for undergraduate and postgraduate students. In the changing left hand pattern, not realising that the notes a workshop environment, students can explore middle-out, F and A are common to many bars in the extract. This means DESynchronisation and other tools to solve many a variety that the hand is at risk of twisting from a centred position of technical problems. In a recent session with Wai Yu, a as the pianist attempts to read each bar as a new chord Master’s student of RWCMD, we applied middle-out to a structure, from the bass note, rather than the middle note. difficult passage in Mussorgsky’s Pictures at an Exhibition. She commented, “It was extremely helpful; I practised middle- In bars 2-9, the left hand F is the middle note of each out for around an hour and it was much more useful than one chord. By applying middle-out, the F will be played before week of repetitive practice.” the other notes, and by the 2nd finger in each case. The hand will naturally drop at the same angle when playing ‘from the Finding alternative methods of problem-solving is rewarding, middle out’, which will encourage a centred hand-position. especially if they encourage mindful practice while speeding- up the learning process. Ultimately, techniques such as middle- out and desynchronisation promote cognition and increase enjoyment in learning, regardless of age or level of playing. Alison Bowring teaches piano and keyboard harmony at the Royal Welsh College of Music and Drama in Cardiff. She is currently working on a book outlining her unique approach to keyboard training. Suggestions are welcome for repertoire that might be workshopped in future articles. Contact: [email protected] 4BACK TO CONTENTS PAGE www.epta-uk.org | 13

Melanie Spanswick with conscious, focused practice and self-awareness, ThBe ridge a student will eventually discard old habits and form a fresh newly-rounded, comfortable hand position Position If you cast your mind back to when you started learning the piano, you might recall being informed about basic Whether fingers actually play independently or ‘on their hand positions by your piano tutor. It may have been own’ is a moot point for many, including myself, as they never during the first lesson, or certainly within the first few really act entirely alone, because they require much support lessons. Piano teachers, particularly those teaching twenty, and guidance from the hand, wrist and arm, to play accurately thirty or forty years ago, frequently espoused the necessary or and produce a rich tone. ideal hand position for piano playing as similar to ‘grasping’ or holding an orange in their hand, or perhaps they may When students don’t have a formed Bridge position, their mention that a suitable hand shape should be akin to that hand will tend to collapse and therefore any kind of finger assumed when one holds a tennis ball – maybe they even power or clear articulation will be a challenge. A common provided a tennis ball for you to try it out for yourself. One of issue for students, when the Bridge position hasn’t as yet my students seems to remember it fondly as being asked not been fully formed, is that fingers literally lean on each other to ‘squash the hamster’! for support. For example, the fifth finger, left to its own The hand position these descriptions are all referring to is devices, will tend not to function properly without employing more commonly known as the ‘Bridge’ position; this simply the same tendons as those used to play the fourth finger, means a hand position where the knuckles of the hand are rendering them permanently intertwined. This can cause injury visible or protruding above the hand, that is, forming a bridge and might certainly instigate weaknesses in those fingers. across the hand, from one side to the other, and therefore supporting a nicely rounded hand and curved fingers. In the A typical ‘knock-on’ effect from this problem is when following image (Photo 1), my knuckles are clearly sitting the fifth finger perpetually loiters in the air, ‘sticking-up’ ‘above’ or at the top of my hand, forming a reasonably instead of forming a relaxed position, and this is especially comfortable hand shape from which each finger is capable of problematic when using the fourth finger. We’ve all seen playing independently: students with finger positions awkwardly splayed outwards, and, similarly, if the hand is collapsed, that is, not in a Photo 1 the formation rounded position supported by the Bridge, tension is of the Bridge generally not far away either, which is relatively simple to relies on each spot, but much trickier to alleviate. finger having When helping students to develop the Bridge position, the a curved, issues are multifaceted. If a pupil is young, then they are rounded stance generally not so aware of these issues, which makes it easier to teach and implement, but once a student reaches teenage years, or is an adult returner, they usually know how the hand should ideally be shaped, and they become increasingly upset or anxious if their ‘Bridge’ has yet to appear, or if their fourth and fifth fingers aren’t working optimally. I try to avoid the inevitable illusion involving the tennis ball; in my opinion, it’s not sufficient simply to talk in passing about ‘holding an orange’ and then never mention hand positions in any further lesson. Implementing such a hand position takes patience and lots of regular work, both from the teacher and student. But with conscious, focused practice and self-awareness, a student will eventually discard old habits and form a fresh newly-rounded, comfortable hand position. 14 | www.epta-uk.org 4BACK TO CONTENTS PAGE

technique In the following photo (Photo 2), my hand is assuming This is demanding for the fourth and fifth at first, and will a position totally unsuited to playing the piano, but it is a require short bursts of concentrated practice; too much, and useful position to help students identify their knuckles and there is a risk of injury. This exercise can be practised hands how they might start to form a bridge: separately, too, in order to observe finger movement during key depression. Aim for pupils to be made aware of the corresponding knuckle, keeping it visible, so that it can support the finger. Connection with the key is also vital; a rich sonority will only emerge as fingers learn to plunge to the depths of the key, with the help of a loose, relaxed wrist and gently oscillating arm. Hand, wrist & arm moving to the right Hand, wrist & arm moving to the left & 44 3 ˙4 ˙5 ˙4 32 1 ˙ ˙˙ w Ex. 2 Photo 2 Ex. 2 is another simple note pattern, but by starting on the third finger, it will be acknowledged as an important ‘pivotal’ This involves keeping fingers straight, raising the hand a finger of the hand. In many ways, this finger provides balance little, almost as though the hands are being pulled in towards within the hand, and within the fledgling Bridge position. the body. Pupils can then refer to this position as a means of Some teach beginners by emphasising the third finger first for building an awareness of their own Bridge. As with much of my this reason as opposed to the thumb, as has previously often teaching, I aim to accentuate movements to aid flexibility and been the case. Ask pupils to play the first three notes of Ex. relaxation, and if a student learns the ‘feeling’ of a motion or 2 with their the fingertips, knuckles in place (that is, visible), movement, they are usually well on the way to adopting it. moving the hand and wrist very slightly to the right, using a lateral arm movement, supporting those fingers as they play As is frequently the case, taking a problem out of context, each key, on reaching the top note (C), change direction move providing exercises, and keeping the student buoyant and the hand and wrist slightly to the left, for the final four notes happy whilst working towards this goal, is crucial. It may of the exercise. This is ensuring that every finger is supported be done next to other technical tests, such as scales and efficiently by the hand, arm and wrist, free from tension and arpeggios, or it may be worked at in complete isolation. with a focus on the knuckles. Students eventually become accustomed to the very subtle movement required to position The reason the hand tends to collapse, making Bridge the knuckle optimally, and use it in conjunction with its formation challenging, is generally weakness in the fourth and corresponding finger. You can employ a similar exercise with fifth finger; the formation of the Bridge relies on each finger the left hand, too. having a curved, rounded stance. The fourths and fifths, or outer fingers, don’t always naturally sit on the keys in this manner, and When playing these note patterns, try to ensure that they also tend to be side-stepped during practice, with many the wrist and hand are ‘guiding’ each finger as notes are purposefully changing fingerings in order to not utilise these depressed. Use a rotational wrist motion between each fingers. But by doing so, we are ignoring the possibilities note; some call it a ‘wrist circle’, which is a flexible, circular of almost half of the hand! Surely, it’s better to develop the movement made with the wrist, alleviating any building fourth and fifth alongside the first, second and third? tension in the wrist or hand, between the notes, which can be especially useful when playing the fourth and fifth finger. The following exercises have been beneficial to my The development of this movement will be vital in the slow students: process of instigating firmer fingers. {& 44 -˙5 -˙4 -˙5 ˙-4 3 ˙-5 -˙4 -˙5 These exercises are simple and a good place to start. Once a ? 44 ˙- -˙ -˙ suitable hand position has been developed, fingers are firmer, 5 -˙ ˙ -˙ ˙ and more controlled. The hand will appear relaxed, resulting 45 in happier, more confident pianists who are hopefully free 4 4 ˙- ˙ from the tension caused by a potentially collapsed hand. 3 53 Ex. 1 Devised for the outer fingers, this very simple note pattern Melanie Spanswick is a pianist, teacher, writer and allows each finger to sink into the key bed; encourage composer. Her piano course for returning pianists, Play it students to focus on ‘how’ fingers strike the key; depressing again: PIANO, is published by Schott Music. This successful it using the finger-tip with a deep or firm touch (a tenuto three-book series takes students from elementary (Grade has been added for this purpose). Try to make pianists 1) to professional level (Associate diploma) via a large aware of the first finger joint (the one nearest the finger- anthology of repertoire, with each piece accompanied by tip), which must be working and fully engaged, so that a copious practice tips and ideas. Book 4 will be published ‘hooked’ finger shape aids finger-tip placement on the keys. in 2021. www.melaniespanswick.com 4BACK TO CONTENTS PAGE www.epta-uk.org | 15

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interview Photo: Peter Nolan WHiesncodcyks composer, pianist, enabler and innovator The piano is an amazing Murray McLachlan: Tell us about your involvement with the invention; it gives you the piano and your relationship with the instrument. range of an orchestra as well as a huge range of colour Wendy Hiscocks: It must have been around the age of three that I clearly remember a red wooden toy piano with white Teacher Wendy Blunt (far left) keys that struck five bells within the tiny frame. There was no piano in the house and I had never been to a concert that I can recall but I was spellbound! I have many people to thank for my lasting love affair with the piano. My mother was certainly the first followed by a string of local piano teachers living in Wollongong, the last of these being the adorable and individual Wendy Blunt, and phenomenal virtuoso Igor Hmelnitsky at the Sydney Conservatorium. The piano is an amazing invention; it gives you the range of an orchestra as well as a huge range of colour, the only drawback being its percussion roots which allows the sound to die once the note is struck; it is a trap lying in wait for the composer-pianist tempted to write too many notes to compensate for this quality. Another challenge is the level of detail involved in a piano score in order to achieve the right balance in voicing and touch. But the work is worth it and there is much to be learnt from the notation of composers such as Chopin, Ravel and Debussy in this respect. MM: Describe and talk us through your major works for solo piano and piano duet. WH: Over the years I have been privileged to create new piano works for exciting soloists: Roy Howat and Cordelia Williams (UK), Scott McCarrey (USA) and Vladimir Stoupel (Russia). Roy Howat was instrumental in championing Piper at the Gates of Dawn (1990–5), a four- movement suite based on a magical chapter from Kenneth 4BACK TO CONTENTS PAGE www.epta-uk.org | 17

interview Photo: Bridget Elliot Wendy with duo partner Roy Howat Copy Cat Explorer - Wendy and Jian Hui Mo Grahame’s novel Wind in the Willows and an early solo eventually renamed Rainforest Toccata (1987). This latter work Ghostly Steps Explorer - eventually found a home in a 35-minute collection of seven Wendy and Constance solos composed over many years for various virtuosi entitled Scenes from an Australian Childhood (1987–2013). Published MM: Do you introduce young piano pupils to composition by the most adventurous powerhouse of Australian music, via duet work? Wirripang, this substantial volume also includes Tarantella written for a young Cordelia Williams to perform in the BBC WH: Over many years of teaching, I eventually abandoned Young Musician of the Year in 2001 as well as Fire Haze at beginner tutor books. Instead, I put a pen in the hands of my Gerringong (2013) inspired by a Lloyd Rees oil painting. Other students and asked them to create their own music, simple highlights include sharing the piano duet stool with Piers music of maybe only two or three notes to start with but the Lane as the composer-in-residence at the 2010 Australian invitation to control this process has immediate appeal and Festival of Chamber Music. We were giving the premiere is empowering. Then I often composed or improvised simple of the English version of Four Portuguese Folk Songs for accompaniments. It’s the quickest way to engage, impart children’s choir and piano duet, the other totally memorable essential theory and reading skills, establish a concept of concert at the Festival being the world premiere of Shades of pulse and to allow the magic of music to happen. The level the Alhambra for clarinet, cello and piano with the amazing can adjust to the ability of the student and I always devote Michael Collins on clarinet who could transform any score into part of the year to creativity in the form of composition or sheer gold. improvisation especially after the taxing period of exam work when they need to relax but still make progress. This is the Composition, performing and teaching activities have ideal time to feed a young musical mind with new material blended new scores for young pianists, Cordelia Williams and open up new pathways in their thinking to help them being one of the youngest collaborators at the age of eight tackle the ever increasing challenges that lie ahead. for which I wrote Two Pieces for Cordelia (1996–7). Then there is Light: six easy pieces for piano (1996) commissioned by the Canadian teacher Eleanor Drover as well as two piano trios Vibrancy (1999) and Kumas Dziesma (2000) composed in response to the Schubert Ensemble’s Chamber Music 2000 initiative. Piano duet and piano duo repertoire largely shaped my performing career after my move to London in 1987. This was purely spontaneous and developed from the sheer joy of exploring piano duet music with pianist Roy Howat. MM: Tell us more about your duet work with elementary players. WH: Piano duets form an important part of my teaching, an activity I have engaged in for periods of time since the age of fifteen when my parents first encouraged and helped me to build my own private teaching practice from home. It is the quickest way for a teacher to impart flow, an all-important element of music, and to establish a good sense of rhythm while drawing attention to the fine details of touch and dynamic through example. With four hands at the piano, a beginner is able to make a good sound with only a simple part to play themselves. 18 | www.epta-uk.org 4BACK TO CONTENTS PAGE

interview Pianist Meets Composer: Cordelia Williams on her long-term association with Wendy Hiscocks Wendy is a friend of my family. I was interested in her music because she was the first real dance for Shakespeare’s pure-hearted Cordelia, and for the composer I had met. I was seven at the young artist who commissioned the piece. Blue stars are the youngest and hottest of the stars in the universe. On time. She and I talked a lot about learning attending an exhibition of astronomical photography, I felt and performing on the piano, about other 20th-century a connection between the brightness and energy of the blue composers and about how the visual arts might influence stars and the talented young Cordelia Williams.” and express music and sound. I particularly remember sitting Soon afterwards, my little brother Gregory and I played on the floor and using paint, brushes and paper to envisage several of Wendy’s short piano duets in music festivals and how musical gestures, flourishes and structures might look in we both learnt pieces from her beautifully-decorated book colour. This was very formative for me, and in fact I’ve been Light. The third solo piano piece that Wendy wrote for me was thinking about this memory more in recent years as I explore Tarantella, which I performed during the BBC Young Musician more deeply the instinctive and visceral core of piano playing. of the Year competition. I felt excited to be the first performer The first piece I played by Wendy was called Cordelia, for of music that was especially mine, and more generally that whom the angels dance, which I played in a recital on my her music is extremely colourful and imaginative in its eighth birthday, shortly followed by The Blue Star. Wendy soundworlds. Being able to discuss interpretation with her wrote the following about the two compositions: “Cordelia, was particularly fun and inspiring as a young pianist. for whom the Angels Dance is not a tragic or sad piece: it is a www.cordeliawilliams.net Piano duets form an important part of my teaching Tabby cat of duets entitled Explorer which is published by Revolution helper Arts. We always seem to be worrying about the student’s well-being, but I am equally concerned about the teacher! It Wendy the illustrator is soul destroying for a pianist of ability to sit week after week verbally instructing a student at the piano without being able MM: Tell us about your Explorer duets for young pianists. to play themselves and it is not to be recommended. And let’s How do they fit in to lessons? remember that a teacher who loses the joy of music making is hardly an inspiration to their student. WH: How many times has a teacher worked with a student who for one reason or another has invested little or no MM: Can you give us a summary of what Explorer contains? practice time in the week preceding their lesson? It’s at WH: Explorer, for adventurous teachers and students, offers moments like this that I often pull out a piano duet score. It 27 duets to help fill in the gaps of a lesson when a student’s was with this in mind that I set about writing my recent book concentration may wane, when a new challenge needs to be introduced or when no practice has been done but it’s still important to impart something new for a feeling of progress; it’s designed to introduce scales, technical challenges (for example strengthening or swivelling on the thumb), and the concept of different keys. Teachers play imaginative accompaniments; gone are the five note patterns in C major and there is a wide range of styles with emphasis on sight- reading skills. No expense was spared in the making of Explorer and it is printed on quality paper decorated by my own hand-drawn colour illustrations. MM: How can piano teachers in this country obtain copies? WH: Explorer can be bought easily from the Revolution Arts website. It has still to be officially launched in the UK but it has been received with open arms... So I am using this feature to introduce readers to the next, soon-to-be-released publication, Explorer goes East. These are four piano duets not so much for teacher and student this time but for more advanced performers able to negotiate more complex music 4BACK TO CONTENTS PAGE www.epta-uk.org | 19

interview Explorer Piano Duet Challenge, Indonesia Signing Explorer Nicholas Keyworth, Director of Revolution Arts, promoting and longer durations using sounds from China, Indonesia, publications in Asia Cambodia and Mongolia. It is soul-destroying for MM: What plans do you have for the future? a pianist of ability to sit WH: Certainly more in the Explorer series for teachers week after week verbally and students but I’m also excited about new developments instructing a student at the stemming from my experience as a pianist improvising live piano without being able to for silent film. Turning up to venues such as BFI Southbank play themselves and it is not or at the Barbican Cinema with no score tucked under my arm has been a strangely liberating experience and at times to be recommended. requires you to play without a break, in the case of the German classic Pandora’s Box, for two-and-a-quarter hours 20 | www.epta-uk.org 4BACK TO CONTENTS PAGE in a blacked-out room. Perhaps it appeals to my synesthesia that merges colour, sound and movement into an all-sensory musical experience which has found a new medium for expression – that of the moving image. So stay tuned for a new branch in my compositional life: that of audio-visual material accompanying a live performance, ideal for serious performers wanting to push into new media and engage new audiences. The work is in progress and poses many challenges but watch this space…

interview Wendy Hiscocks Music for piano Bombo quarry, PIANO SOLO filming new audio visual Alice in Wonderland (2010) project Score available from the composer and recorded on a BFI archive release of the 1903 film Alice in Wonderland. Viewable on YouTube Silent film accompaniment for Eisenstein and on the BFI DVD and Blu-ray release of Jan Svankmajer’s film Strike, Barbican, September 2017 Alice (1988) with the composer performing. Light: Six Easy Piano Pieces (1996) The Earth; The Seed; The Light; River of Gold; The Bird; The Moon and the Moth; The Apple Tree Score of the French version available from Editions Combre; English version from Wirripang; The Apple Tree features in a collection published by Allens Publishing. Scenes from an Australian Childhood (1987–2013) Tarantella; Trees & Lightning; Garden Orb Web; Rainforest Toccata; Wombeyan Caves; Lanterns on Lake Illawarra; Fire Haze at Gerringong Score available from Wirripang or via the Australian Music Centre. A recording accompanies the score with Scott McCarrey as soloist. Rainforest Toccata is also recorded by Jeanell Carrigan on the CD Spin VAST029-2 on the Vox Australis label. The Piper at the Gates of Dawn (1990–5) Prelude; Nocturne; Caprice; Finale Score available from Wirripang or via the Australian Music Centre. Recorded by Jeanell Carrigan on the CD But I want the Harmonica... VAST023-2 on the Vox Australis label. Toccata (1983) Score available from Wirripang. Recorded by John McCabe on Métier Records MSV 28585 (available from www.divineartrecords. com); Yvonne Lau on the CD First Light by the Fellowship of Australian Composers; Sally Mays on Anthology of Australian Music on Disc, Vol. 3 Two Pieces for Cordelia (1996–7) Cordelia, for whom the Angels Dance; The Blue Star Score available from AMC. Pavane op. 50 by Gabriel Fauré arranged for solo piano by Wendy Hiscocks. Score available from Edition Peters. CAM recital With four hands at the piano, a beginner is able to make a good sound with only a simple part to play themselves 4BACK TO CONTENTS PAGE www.epta-uk.org | 21

interview PIANO DUET Two Shakespeare Songs (1992) for voice & piano When icicles hang by the wall; Where the bee sucks A Dance for David (1998) Score available from Wirripang or via AMC. Score available from AMC. CHAMBER MUSIC WITH PIANO Four Portuguese Songs (2004) for children’s choir (unison voice) & piano duet Coral Fantasy (1994) for violin, cello & piano O grilo (The Cricket); Na Primavera (Spring); Tres Pintainhos Score available from AMC. Recorded by Madeleine Mitchell (vln), (Three Little Chicks); Pastorinha (Shepherdess) Brian Mullan (vc) and the composer on Symposium CD 1389. Score with text in Portuguese or Spanish available in a printed edition from the composer; English version available from AMC. Dry White Fire (2010) for violin & piano Score available from Wirripang or via AMC. Four Rustic Dances (1990) East Ukranian Dance Tune; Kolo; Tarantella; Kruhove Tance Kumas Dziesma (2000) for violin, cello & piano (or vln, vla & pf) Score available from the composer or Wirripang. Score available from Cadenza Music. Explorer: duets for adventurous students and teachers (2018) Nocturne (2007) for violin & piano 27 piano duets - see example pages overleaf. Score available from Wirripang or via AMC. Recorded by Madeleine Score available from RA. Mitchell (vln) and the composer on Symposium CD 1389. Explorer goes East (2020) Shades of the Alhambra (2004, 2009) for clarinet, cello & piano Kangding Love Song; Gamelan: Khmer Circle Dance; Mongolian Eve of Saint John; Zorahayda; The Taper; Lullaby of the Gothic Horsemen Princess; Boabdil Score available from RA. Score available from Wirripang or via the AMC. Recorded by Sarah Thurlow (clarinet), Brian Mullan (cello) and the composer on Melodious Exercises for Piano Four Hands op. 62 by Hermann Symposium CD1389. Berens edited by Wendy Hiscocks 12 piano duets Songline (2018) for cello & piano Score available from RA under the title Discover Duets. Score available from the composer or AMC. Recording by Coral Lancaster (vc) and the composer on the composer’s website. Danse macabre by Camille Saint-Saëns arr. for piano duet by Wendy Hiscocks The Flame (1999) for violin & piano Score available from Edition Peters. Score available from AMC. SONGS WITH PIANO Vibrancy (1999) for violin, cello & piano Score available from Cadenza Music. Recorded by the Schubert Bush Christmas (1994) voice & piano Ensemble on NMC CD Bright Future. Score available from Wirripang or via AMC. List of Publishers: Elegy (1993) voice & piano Allens Publishing: www.allanspublishing.com.au Score available from Wirripang or via AMC. AMC (Australian Music Centre): www.amcoz.com.au Cadenza Music: www.cadenza-music.com I Look Out & See (1996–7) for bass or baritone & piano Editions Combre: www.editions-combre.com Grace in the Bush; I Sit and Look Out; The Dream; Lover’s Gift Edition Peters: www.editionpeters.com Score available from AMC. RA (Revolution Arts): www.revolutionarts.co.uk Wirripang: www.australiancomposers.com.au/authors/hiscocks Mother and Child (1999–2000) for soprano, clarinet & piano Benediction; My Song; The Champa Flower; The End Please note, all scores and the Symposium CD can be Score available from AMC. Recorded by Rachel Nichols (soprano), purchased from the composer by contacting her via the Sarah Thurlow (clarinet) and Wendy Hiscocks (piano) on website: www.wendyhiscocks.com Symposium CD 1389. The Twenty-ninth Bather (1995) voice & piano Score available from AMC. Two Poems by Nefra Canning (1994) for voice & piano Winter; Friendship Score available from AMC. 22 | www.epta-uk.org 4BACK TO CONTENTS PAGE

by Nancy and Randall Faber The teaching method of choice at leading university programs and music studios around the world, Piano Adventures is the student- centred approach that uses analysis, creativity, and expression to develop a “musical mind and heart.” Delightful, pianistic pieces and creative theory pages, combined with an outstanding technical approach, encourage practise and progress. And the pedagogy of Piano Adventures, which so effectively combines the strengths of intervallic, multi-key, and Middle C approaches, has set an exciting musical standard for today’s piano teacher. We invite you to explore our curriculum and connect with us at a live event, on social media, or by email. All-in-Two Editions with Two Books Per Level • Lesson & Theory • Technique & Performance Correlated Supplementary Library for Student Motivation • NEW Disney • NEW Hits FABERLook inside at pianoadventures.co.uk. Teacher evaluation copies upon request.

interview PIANO DUETS FOR ADVENTUROUS STUDENTWSEANNDDYTHEIASCCOHECRKSS Teacher Mirrors q = 120 A brisk march with a clear beat œ. œ. œ. œ. œ. œ. {? ## 4 ∑ ∑ œ. œ. œ. œ. ŒÓ 4 œ. œ. œ. œ. œ. œ. œ. mf ? ## 4 œ. œ. œ. œ. œ. œ. œ. œ. >œ. >œ. >œ. >œ. 4 œ œ œ. œ. œ œ œ œ. œ. œ 6 {?## œ. œ. œ. œ. œ. œ. œ. œ. >œ. >œ. >œ. >œ. >œ. ∑ f >œ. >œ. >œ. ? ## >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. Œ Ó >œ. >œ. 34 24 | www.epta-uk.org 4BACK TO CONTENTS PAGE

interview ABC interview mid-concert, live at AFCM 2010 Rehearsal with Victoria Hodgkinson for CAM, 31 August 2019 Wendy Hiscocks was born in Wollongong and studied composition with Peter Sculthorpe at the University of Sydney. In 1988 she moved to London and has received commissions, premières and broadcasts from distinguished soloists, ensembles, choirs and festivals from around the world. As a performer, she has recorded the music of Chabrier with her duo partner Roy Howat for Edition Stil and has performed at venues ranging from London’s Purcell Room to the Kusatsu International Summer Academy and Festival in Japan. As well as being Chairman of the British Music Society, Wendy is Artistic Director of Celebrating Australian Music (CAM). She has written and presented an ABC documentary on the life of the Australian composer Arthur Benjamin as well as completing a doctorate and she is working on the first biography. For more information visit www.wendyhiscocks.com Mirrors Student q = 120 A brisk march with a clear beat {&## 44 1 œ œ œ. œœ œ. œœœœœœ œ. œ œ œ. œœ œ œ œ œ œ œ œ. œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. ? ## 44 mœ.f œ œ œ. œ œ œ. œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ. 1 {6 ## œ. œœœœœœ œ. œ œ œ. œ œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. œ œ œ. œ. œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. & œ œ œ. œ. œ. >œ. >œ. >œ. >œ. >œ. >œ. ? ## œ. œ œ œ œ œ œ œ. œ œ œ. œ œ. >œ. >œ. >œ. >œ. >œ. >œ. >œ. f >œ. 35 4BACK TO CONTENTS PAGE www.epta-uk.org | 25

2021 – 30th anniversary 2021 16TH INTERNATIONAL Chamber Music Competition for Piano with Strings David Parkhouse Contact us for details of the next course dates 1930-1989 The winning ensemble is presented in prestigious venues in London and the North of England, plus further opportunities. To be eligible, ensembles must have been playing together during 2019 and 2020. TheFAeidnDmrTaieahaanlAeswdiSlTul:wewiCnrdmSitruoewieisptunpC.fFioopsoochruriatanecenrardi@dsrtkpbaathypbtAgi1loolebipnc0uTzrarsu.iAtldesiotpea2nmrw0sil2ao1,r1n1dD.pc.iecnomcoe.cummaekbtneWtrra2ig0l m2L0oonrdeoHnall Registe1r0e1d4C2h8a4rity Recital Pieces and Jazzy Arrangements Jakub Metelka HBaevewetihtFohUvNen Modern Piano Studies Jean Kleeb With illustrations by Andrea Tachezy Beethoven. Around the World BA 11559 ♦30 studies – 30 technical problems 9 Popular Arrangements for Piano BA 10931 to practice ♦All major and minor keys covered, ♦ Beethoven themes merge with genres from countries pieces mostly of moderate all over the world technical di culty ♦ Of moderate technical di culty Graham Buckland Ancient Modes Beethoven goes Jazz of Transport BA 10930 Eight Pieces for Piano Four Hands ♦ Jazz/classical fusion, particularly (Piano Duet) BA 10932 appealing to students ♦Character pieces based on ♦ Of moderate technical di culty 2 types of modes; Bärenreiter Ltd., Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX, UK modes of transportation and Tel. 01279 828930, [email protected], www.barenreiter.co.uk church modes ♦Of easy to moderate Errors excepted; delivery terms subject to change without notice technical di culty Bärenreiter Your next performance is worth it. 26 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Dear Piano Teacher Like me you’re probably really busy just keeping upPawuitlhMyatt students as well as your own personal commitments. If you’ve downloaded this lesson plan, I commend you for Nine-part lesson planexploring some new strategies for teaching piano rather than just read then play. to create new strategiesLearning music and piano has many benefits to the life outcomes of our for teaching pianostudents. Engaging your students using Whole Body Learning strategies, which are based on the pedagogical approaches of Orff, Kódaly and Dalcroze, has been shown to offer students many of the eleven education elements for optimal brain cognitive development*: Instrument Pedagogy Context Dear Piano Teacher, LearnPAat:1ort–r1eT–ahPdermempeaurs–aitcbioynTfhoormleaarsnLfAirnetogtam:wrnoYionodguTinubael)esson (ie not Like me you’re probablyPrelaalylyinbgusaynjuinstsktreuempinegnutp with students as well as your own personal commitments. This lesson plan is for anyone wanting to explore some new AAtPAt:wld1adoy–otIThd&hiseVtm7oeipnl–aDybimyngaTjhaoorD.mmasajAoPtrltaswcyoailonediEnnthseemRHbales a(fnor piano strategies for teaching piano rather thanAj:u1s–t rTehaedmthee–nbpylaTyh. omas eWbopPiIlueenehNLldetsameocSnatyaolrTgeieusrnmRnonhmBgUtgieoonseaiMswcdgnnfaoEonytmlfNrLtaoouToepupsaporitrcrfniLmPsofmaeiteEanuuanDracsgrddlsAhinecbtsepGutntrsiorOadtaasoierGnnt.efLLyLnoeYEacOeeeetgndhosraiaaagaegfmrrrrfassns,nnn,gaimKiitwinnnfnióavoyhgggdelLfCnireoraceOyyosduufhlaaoysNmbessrtouanvheTmaiiPbPUAsPnrnnrYetinelnEendaaueanotslggdidrr(dyXedtognettieetuebIeftTrrupln12hi&DiTsiSMaeuttmintndmssu-–ansaVsvintoadeLnb7eaooPeluderteictneesdrignipornnvnermts)itlngeotapDitoisaettynnn:azrTnhnidmoinourdognegdeagnuaisgtn,utifjcaochgiiclho/anriea2DD.eofnnadgtofed-msfittm3ooooaSinrjntnoiahnalrliengistsatyciaWCpLos.nrhasngoalefeeaoirnenmtmaid7nhgmeoere:taanehnkrymWeluatbPsAbAPPUgyotilhlendaaslRuneayfPsbPUPAo:ottdedrrUdHnytiv1rltetdnaadruaeattseeiedtoIgttdgtdrrndlyenartraern21htte&ee–essaeslInuttimdyctrrrsn21shf-–raa&snsopsVwsoauTtieennttadLsls7r–-sruoaPntatVadtrrehiatneamydhaSLasri7orinioPpsrnnlbdenreevtteisoaeinulsrnietorngeditpanrpnD,neelsatemsraetidfyinlianngeeatrTanpDcenimaonsaienatowfyihnradnrgarTnedntiagnomtlioaridinsoigrdxhneannuvautijdlgagncaoateigeiirc–ygnnpuyo/stiajngaryecaoedDD.giwcoinno/dasrnpbgeeentDDof.asodmnnrtrdofttymdtosyofroodooaTmtatSfhtgtmttaiinorhojoponogtanoirTmSnahineenarjlnterrdpineoiliegshanhginsaealtsirslatieneiynagciisfoaaptscc.nto.grhcatayuschiantt/g.nmlalgrhafeeiisaatinicnrDgalynnmesatuetiiryatnnhgnmowetoheiosrenshge:teciaenomenlhresal:rtaynfWelh,A.lhauyrceyiiWelaaItsRysnalscsiSooutiv.fsiRHntsvsortelraattoeHtitpvedwtsrgayguaa.tinaudtgnsstesa.Ihplafdotsesud.flaopcwoeofanoophdleorreaenylrraamayredSinalnrmteySpttornuleerthttou,mutlserrrtfs,sialsnorscefsniansa,cebaogsgatattlgihaintheetlvaturhiheverueaneiyteeceyniedwyscvsdwkpiesaipse.erranyioscrr,ynosttvgttataghoptiarringoeertnonedpeesdap.sirsdyniratslrnabtgceurthgfcwfthaetiioecoxcneiiycnieeycrleartwtlhpdwskhmmsmecihecliallsltalfaalhfuualeoh)useatvsaytsusnv,u.v.erei-reeccea.aa.aeIIflf Learning Weekly lesson Play in using Singing Ensemble (for Learning You’ll notice an exploration of chords and harmony from start, starting thispianoPasrttu2d:eLnisttesn to the piece and singPLaPyrartrict2s2:&: LL/oiissrttesenonltfoatoothrteshopelifeepcgeieeacned asinngdLsyirnicgs &Ly/orircssol&fa/oorrssoolflefgaeor solfège using Moving in Grade 1 will set your student up for success in higher grades and forthis cOapntiobne1: Learn for a playinSigngwthiethmade up lyrics minimum of 2–3 years learning pop music.backiwnhgentsriangcikngs.)Here is a oalnoengcliwpit(ohfathYeoumOPTauaOSwpnbrSiyhnteptiegoitn2cinoonlt:ighlnpsniLnie.n1ietRs1gm:)hte:i:neamhegdntet.empmtHusoeb:pa/re/teldyhryoirteesiouca-tspiuunoai.ceblnploecuen/edlNgcyelaiHwprtnhDiit(dceoh7sfYasaatrihatWnYiecolgu1oumlpTLanazutysinbgoryeincowcsnlii&lpitn./heRo)e:ramhsteYtopmlosfb:au/e/oyTrortuoustbiuon.elcbfleeuc/dgNleeiHpthD.e7YaartWicu1lpaztsion bCoemfomreetnhTceehaigse proSpcteuerfdsoersnmttsaanhckaevees a while to get used to, but I can confirm after teachingRoOwSihnnepegtmeinothnsceienl1migm:pinabgd(eo.eHrfuepttroehlyierisincasmcoallnauoenndgcyeliwpotit(hohnfealtihYnaeoerumt)Tai:ucnbhyuetolctanliplptins.ieoR:)/e:n/mhytwetopmhsub:/ete/ynurot.ousbtiiuenn.cb/gleuN/idNnHeHgtDhD.e77HYaYareatWircWeu1lpa1iztssipoanzs of 7 wlikoertthhitshoicefoep.onpecorixenrart3mvtus5nes,i,estytitecems. ,aersn,twoifthyothuer student successes I have had, it is definitely time and energy to explore and implement. Learn froFmeel free to find me and message me at facebook.com/pauljmyatt an expert ie. ssoommeeopneedKawgihnoogdhyarsegards training You’ll notice an exploration of chords and harmony from wholeLbesosdoynlepalranninsgby Paul Myatt wholebodylearning the start; starting this in Grade 1 will set your student up for incorporating the brain proven strategies of incorporating the brain proven strategies of success in higher grades and for learning pop music. Orff • Dalcroze • Kodály Orff • Dalcroze • Kodály This process takes a whPilaeutol gMetyuasettd to, but I can confirm Option 2: LessSoinnpglantshbey sPaoullfMèygaett the A section in sol-fawholebodylearning after teaching like this for 35 years, withLetsshoen psltanusdbey nPatul Myatt for incorporating the brain proven strategies of (moveable do) or successes I have had, it is definitely worth the investment of Orff • Dalcroze • Kodály your time and energy to explore and implement. Feel free to find me and message me at facebook.com/pauljmyatt. solfège (fixed do). If you prefer moveable do, sing the words I have created a page for teachers to use a backing track in the middle section, as this is a modulation and the tonal to play along with this piece, available here: https://www. pianoteachingsuccess.com/theme-by-thomas-attwood centre for the middle section is A major, ie A would become “Do”, and bar 9 would be “So, So, Mi, So, etc”. This would be confusing for most students in Grade 1. 4BACK TO CONTENTS PAGE www.epta-uk.org | 27

• Discuss Andante, poco rit. and a tempo. Suggestions: “poco rit” is like lightly putting on the breaks in the car and “a tempo” is going back to the original speed. “Andante” is walking pace. Not walking in a hurry, just normal walking pace. Ask your student to demonstrate, Andante walking along to you playing the piece (or YouTube), try slower and faster in time walking with the playing. • Discuss the form, Ternary. Ternary has three parts, an A part, a B part and a re- peated A part. Ask the student to identify where each part starts. Ask them why do they think that? Is it because they can see it in the music or because they can Opttioena2 ching hear the different part in the middle? • Discuss the key of D major and that the B section is in a different key. You can see that because there is a G sharp in the LH. Show the student the circle of 5th and Sing the solfege for the A section in sol-fa (moveable do) or solfege (fixed do). If you explain tChairtcAlemoafjoFrifitshasrWelaotrekdshkeyet(next door) to D major. prefer moveable do, sing the words in the middle section, as this is a modulation and the Circle of Fifths Ptboaenr“atSl co3e, nS-tore,SMfionir, gSthoe,temhtcied”d.mlTehseiselcwotioodunlydisbwAehmcoialnjoefur,spiienlgAafyworionmulgodsbtteshtcuoedmebenlt“soDincok”G,racandhdeob1ra. dr 9swionuldthe LPHar.t 3 - Sing the melody while playing the block chords in the LH. F CG D A7 AE Option 2 Sing the solfege for the A section in sol-fa (moveable do) or solfege (fixed do). If you Bb 101 DIV I prefer moveable do, sing the words in the middle section, as this is a modulation and the Eb tPoanratl c4e-ntOrepfeonr tthheemmidudsleicsaenctdiodniisscAovmearj!or, ie A would become “Do”, and bar 9 would 22 be “So, So, Mi, So, etc”. This would be confusing for most students in Grade 1. Ab AV3 3 (7) 44 PPOinaantrrchttee3a4m-sut-SsuidicOn.egDpntietschcnaoenvtesmirhnetgehleoamndfodylulpowlswahiyinciLgleH:apcnhldaoyrddinsigospctehonevthbeelrom!cuksicchtooerdxpsloinretwhheatLiHs h. appening 5 6 5 V of V On•ceNasaa?Dm(Dsett&uheAd7neocntheotsrdicnsa)thAnecAkLs7nHionwwghleicdahgnenodthteapstlstahtaeyystLthueAHdesancmthaeol?rerWaddhsyatkonaorpewetshntehEyetthhcheeosramdms,ueasll ic E ftoolelox•wpilTtdhnoeifeafgreycerh:heantwhvt.eehdtaoiftfdeoriesinsthcpoaantpvteeprrtnetihnneiimsnogtlaotiiaonnnautlbshienergtimtbhaeuswss.hIidoclee.nkDtiefyiysbwochaoerrdve.etShrteatrpthawteittehrn2 is Pa•r t 4 -nNOoatpemes,ntehtehtneh3e,mthunesonict4.eaSnsedeindbeistlochwoe:veLrH! which notes stay the OBanrc6e -a2sstnuoadtmeens tec?anWsinhgaatndarpelaythLHecyhotrhdes ospaenmthee amsu?sic(tDo e&xpAlo7recwhhaotrisdhsa)ppening D b BiBBBnaaat•rrrh 666e••---m234unaTtNdcTAkbnnnhsesoioohoiaeefea?ccaftttmteye.coyaeekes(DrhsDssehsbescrn,aintdt&h.tsohovhhtcIs.eeeeoaAwtd,nvdt7nrhoelaeido3fcerefd,tlnhe.tedltohordthsSetegriiendiisthfnnffetsaoycef)tp4olhreAtlya.owntehctrSvwtkLhewheeeainHnrernaetotnigwbtwtvtr:tihhenehleheeplioicmdse2tathwoghottl:ensnaoteottdtoeiahtouepnoratnsdnteaausitelstbhtssiaitne,ennycergttsttoitrihhutsabnhenedoaleesvrnsilanwsseeam.th3artIdaedot,idl?leiroeetftynWnahfkhtdieekhfeeyyuyarnnbmtweksoonahni4aornweetrtw.rdgoe.tss.ShtSteteahthtyhehaenertepethcbaahewwtoleitstbreahldhrmoesn2oO,wreialstnel:icl e2431s....tuPSPPdilllenaaanyyygOttLtsthhnhH132ceeecaw...LLnRe HHh:HilsaaemPPStlnosudeillinnnaaldogpgyygdoeiwnyinnLtgittithhnhHtotseoawer whoYtcLRhuorahdeHmuHsnTimmluaa:emunbinnsdegsie/cdroitelwnhrocpehsogGFdooirRliedl#byfHinainpn/gimglstanoeyootlilfrwnooergSdgohuytephruedemrsmmmeatrnuoindnsoig/cmotewrhsheoiRllefHap/mlsaoeyllifonèdggye Then move to t4he. nexPt lpaaryt. the LH along with a YouTube recording or BBaarr 66 -- 35 nnootteess Lesson plans by Paul MSyuatpt ermetrownhoolemboedylearning incorporating the brain proven strategies of Orff • Dalcroze • Kodály Then move to the next part. Bar 6 - 4 notes Part 5 - Learn RH LBeasrso6n- p5lannostebsy Paul Myatt wholebodylearning 1. Have the student sing through the melody and follow the incorporating the brain proven strategies of notes on the page while teacher plays or use a YouTube Orff • Dalcroze • Kodály clip. Remember all singing should include articulation. • Once the student can play LH, teacher can sing alongLesson plans by Paul Myatt 2. Look at the articulation of RH. Where are the notes wholebodylearning staccato; where are they legato? Ask the student to listen incorporating the brain proven strategies of to a YouTube clip and analyse whether the performer had Orff • Dalcroze • Kodály the staccato and legato in the correct spots. the words/solfa/solfège of the RH. Encourage the 3. Orient the student to Treble Clef notes and ask them to sing the note names. Remember to sing the articulation. student to do the same. This will help the student A note on teaching staccato. Technique is important - there are many views on the way of teaching technique. internalise the music. Here are a couple of videos that teach staccato technique quite well. • Look for and identify dynamics in the music. Chen Piano • Discuss Andante, poco rit. and a tempo. Suggestions: https://youtu.be/2JG8KcVinnM Irina Gorin poco rit is like lightly putting on the brakes in the car https://youtu.be/K73Gaxn2iKI Personal note on the Irina Gorin video. I believe Irina’s and a tempo is going back to the original speed. Andante process is excellent. As a male teacher I would never touch a student in the way Irina does in her video. Perhaps you is walking pace. Not walking in a hurry, just normal could involve the parent in this teaching process. walking pace. Ask your student to demonstrate Andante, 4. Discuss the hand position (5 finger position) that their hand will be in ie. Bar 1, A position, Bar 4, D position walking along to you playing the piece (or YouTube); try with a change in the middle. Back in A position for the B section. This orientation helps the student to see phrases slower and faster in time walking with the playing. rather than just individual notes. • Discuss the form 'Ternary'. Ternary has three parts: an A 5. Play the Right Hand. When required drill the change of hand position. Here is an example of how to do this. part, a B part and a repeated A part. Ask the student to identify where each part starts. Ask them why do they think that? Is it because they can see it in the music or because they can hear the different part in the middle? • Discuss the key of D major and that the B section is in a different key. You can see that because there is a G sharp in the LH. Show the student the circle of 5th and explain that A major is a related key (next door) to D major. 28 | www.epta-uk.org 4BACK TO CONTENTS PAGE

https://youtu.be/2JG8KcVinnM teaching Irina Gorin https://youtu.be/K73Gaxn2iKI Part 8 - Improvisation Personal note on the Irina Gorin video. I believe Irina’s process is excellent. As a male teacher I would never touch Part 7 Performance Practice a student in the way Irina does in her video. Perhaps you could involve the parent in this teaching process. HOPEPfanaaenmcrrroittlceyu77,oraaamPPtgreeseepcrrthffhlaoooeeorrftmmple,iaoeaawrtennncncc.itoeeds ftePPotarraaahssccke:ttiitcceheeexiracmhil,drsetnutodepenrftosrmcoasuolfdtenstaas rptostsoibliem, foprrforievnidsse, . 4. Discuss the hand position (5 finger position) that their hand will be in ie. Bar 1, A posi- tion, Bar 4, D position with a change in the middle. Back in A position for the B sec- Encourage the parents to ask their children to perform as often as possible, for friends, tion. This orientation helps the student to see phrases rather than just individual notes. 1EPfPfaan.aammcrroiittllyyu87,,Praaa-PlttgaeIssmyccrthhfhpotooerhooromplle,,vaeeairssttenccanac..ttmesiotPnoeraacsckhtitocherdir cshtilrdurecnttuorpeerifnormthaes oLftHen. aTsopomssaibklee, fiotr feriaensdies,r 5. Play tUheseRigrhetpHeatnidt.iWonhean nredqutirreydadtrillmthaenchyandgieffoefrheanndt poocstitaiovne. Hsearecirsoasns OE1fPPa.naamncrrPoicttllyoua88,ycmryaaho--tptghauIIlseemmecntthmsihppogoaenrrmoiioopnlgo,evvafgehiircssttehhtcaanto.etthtlrsiiiedooektxnnosaetrmrahutscksoyttuttuhgrhdeeeomiirnnctbsthohaiclefdocruLkteHlhdn.testoTotoanpbrmtoeltarootfkoeceirmskmitpiecarnoashvsotoiiesfhetrre.deynHosfaue.isrrmeSpsitaogtrashes4rtiabtli–lkfewee,5wfitootibdrhgefaroairesbsn.ad.csk, to pexiaanmotp.hleeopf hiaownoto. do this. Use repetition and try at many different octaves across the POOannrbacctnlooo8Hmmecxk-eppaIcllrmeemhettopiipoo’rlsednnro:saoo.vffnSisttthhaaeeerttxieeowaxxniaamthmmcpsshttlauuendd:geeinnnttgss tcchooeuullrddhyssttthaamrrtt ttooof iitmmhepprrnooovvtiiessees..inHHeethrreee aafirrreestaa4ff-eeww5 biiddaeersaa.ssH.. ere’s 1. Play the same chord structure in the LH. To make it easier you might like to go back to 1O.n bPclloaomycktphclehtosioardnmsoe. fSctthaoertredwxsiatthmruccshtaunrdegeiinnntgsthtcehoeuLHlrdh.ysTttohamrmt taookfeitmhietpernoaovstieesesr .yinHouethrme iafgirhestta4likf-eew5tobidagerosa.sbH.aecrke’tso abnloecxkacmhoprled:s. Start with changing the rhythm of the notes in the first 4 - 5 bars. Here’s 1. Panlayextahme psalem: e chord structure in the LH. To make it easier you might like to go back to block chords. Start with changing the rhythm of the notes in the first 4 - 5 bars. Here’s an example: 22.. TryTursyingudsiifnfegrendt infofteesrebnuttfrnomottheessbamuetcfhroordm. Iet.hUesesAaomr Feshcahrpofrodr ,Diech.ourdsaend oAfCAthseohAarr7pFcEhsoohrrdaGtropfromfmaoktreheDit Aac7lihtctohleorerdda.saYieonrudtomApalyaCyn.esehdatorpexEplaoinr tGhatfrthoemE wtahselefAt o7ut LesPsoanrptla6ns-bHyaPnaudl Ms ytaottgether wholebodylearning 2. TATrryyCcuuhssshiionnaggrrpdddE.iiffffYoeerorreeGunnttfrmnnooomatteeytsshbbenuuAett7effrrcoodhmmotrttodhh.eeeYssoxaaummpmleeaacciyhhnoonerrtddeh..dIIaeet..otUUetssxheepeAAlaiEoonrrtwFFhaassthhstaahrrleppeEfffootwrr aDDosucclehhtfootorroddfuaatnndd incorporating the brain proven strategies of 2. Orff • Dalcroze • Kodály AofCtthhseheAarA7pc7EhoocrrhdGotofrrdommatkoteheimt Aaa7liktcthleeoeridta.saYieorluittomtpalelyayne.eaedsiteorextpolapinltahyat. the E was left out 1. Start by reminding the student of legato playing in the LH 2. oTrfythuesinAg7 dcihffoerrdentot nmoatekse bituat flirtotlme ethaesiesar mtoepclhayo.rd. Ie. Use A or F sharp for D chord and and staccato playing in the RH. A C sharp E or G from the A7 chord. You may need to explain that the E was left out of the A7 chord to make it a little easier to play. P2a.r t 6W- Hoarnkdisntofogeutrh-ebrar phrases. Attempt the first four bars 3. Try new rhythm and new notes. then teach something else - then come back to it. Only 333... TTrryyTnnreeywwnrrhheyywtthhmmrhaannyddthnneemww nnaoontteedss.. new notes. 1. Starttebay crehmifnodiungr sbtuadresntaotf laegtaitmo pela.yWinghinentheteLHaacnhdinstagccbataorpsla6yin&g 7in,thteryRH. 2. Wbaocrstkkhttiouneid4tp.ebOranonrtlcpyhecterasaassncehsbp.4eAlbatltaoyersmweaptaftaocththriemrfpeier.shptr4eabtsiaetrsi,otahnesnkatnetahdcehamscocmtueotrhapinclgyae.ylOsewn-ictthehentthchoeemier 3. Try new rhythm and new notes. Wstuhdeeenyntteecasacnhciplnolgasybeearadsch6op&rh7pra,ustrety, taahsekbptohreoomckestosabbpeloaloyvwweiftohtrhtrheeepiierrteihtyioeasnncadlnodsse.adccourrpaucyt.aObnocoekthe above their hands. 4. Making up some new words and rhythms - or try these: 4. Making up some new words and rhythms - or try these: 4. Making up some new words and rhythms - or try these: 4. Make up some new words and rhythms - or try these: 4. Making up some new words and rhythms - or try these: Lesson plans by Paul Myatt wholebodylearning incorporating the brain proven strategies of Orff • Dalcroze • Kodály LLPeeassssrootnn9ppllaa-nnTss rbbayynPPaasuupll oMMsyyaaitttttion wholebodylearning wholebodylearningincorporating the brain proven strategies of Orff • Dalcroze • Kodály incorporating the brain proven strategies of Orff • Dalcroze • Kodály L1e.s sonTprlyanps blayyPianulgMtyhatet same song in the tonicwholebodylearning minor (D minor) ie. incorporating the brain proven strategies of Orff • Dalcroze • Kodály PPaarrtt 99n--oTTrrFaannssshppaoorsspiittiiaoonnnd an added B flat. Explore the mood. What 1. Try ipslaTyihngotmheassamfee esolninggin?thPeetrohniac pmsinyoro(Durmsintour)diee.nnto cFoshualrdp adnrdaawn aadded B 1. ffpTllraaiycttt..ppuEEliraexxcyppttillnouoogrrdreeetehttshhetceerosibammmdeooeetoohsddseo..cmnWWrgiohhboiaanedtt tiiohsstefhTTthhtehoooenmmmsicoaaossmngoffieen.deeollriionn(Dggf??mtPPhieenerrohhraas)ppioess.nyyngooouu.rrFssstthuuaddreepnnatt nccdoouuallndd addradweda B draw a picture to describe the mood of the song. 2. 222.. . TTrryyTsttrhhoyeeusstnoohnndeggdiisnniofCCnfemmgraaejjioonnrr..tCHHtoomoww ayddoojooeeussr.rppHllsaatyyouiinnwdgg eiidnnnoCCte?mmsaapjjoolrrassyoouuinnnddgddiiinffffeeCrreennmtt ttaoojyyoooruurr ssttuuddeenntt?? 3. Many students will often try to play more bars to impress you. If they do, celebrate 3. thatMinadenpyensdteuntdleeanrntisngwwiitlhl aorfetweanrd.try to play more bars to impress you. If they do, celebrate that independent learning with Lesson palarneswbyaPradu.l Myatt wholebodylearning incorporating the brain proven strategies of Orff • Dalcroze • Kodály Part 7 - Performance Practice Encourage the parents to ask their children to perform as often as possible, for friends, family, at school, etc. 4BACK TO CONTENTS PAGE www.epta-uk.org | 29

Trevor Barnard Pedalling – responsible and educated interpretation It is necessary that the two techniques of direct and legato pedalling be introduced first, since mastery of the Pedalling is an area of piano teaching that other two techniques cannot be achieved until the former unfortunately seems to receive scant attention are understood and fully in control and the student has from many teachers. My article on the subject, progressed to more advanced repertoire where half- and published in Clavier in September 1998, covered all flutter pedalling would come into their own. its techniques in their basic form. In this essay I propose to go a stage further by examining aspects emanating from the Regarding the question of pedal familiarity, another aspect basic knowledge of those techniques that will challenge the is that some pianos only have two pedals, whereas others performer. have three. During the course of my examination duties I find that lack of confidence and/or nerves may sometimes result in Learning to pedal would normally begin when the student candidates, when meaning to use the damper pedal, putting has progressed from the beginning stage to an intermediate their right foot on the incorrect pedal. It may be that their level. At the beginning of this stage I believe the teacher own piano has only two pedals, but confusion or ignorance should first explain the reason for using the damper pedal (or can intrude if the examination piano has three pedals. On sustaining pedal as it is often referred to), and then convey an upright piano the middle pedal is usually a practice pedal the four different techniques in gradual stages. Those pedal where the sound is muted upon its depression. In a recent techniques are: examination I took pity on a candidate who accidentally put her foot on the practice pedal, something I quickly corrected • Direct pedalling without penalty. • Legato pedalling (also called syncopated pedalling) • Half-pedalling Direct pedalling • Flutter pedalling I first introduce the student to the easiest of the pedalling techniques, direct pedalling. This consists of going down with While students may develop proficiency in pedalling, this the foot at exactly the same time as playing the chosen sound, expertise is normally restricted to the familiarity of their own then releasing when appropriate; this means that there is a and their teacher’s piano. One burden a pianist has to carry gap in sound before the next directly-pedalled sound. Such during a playing career is that other pianos have physical a procedure is used for enhancing tonal colour, whereas differences – subtle to flagrant – from the ones the student is this is often of secondary importance with legato pedalling used to, so that an actual performance may have to be given (discussed below). That brings the question of interpretation on an instrument that is inherently different in responses to into the picture. In music of the Baroque and Classical demands placed on it. periods, using direct pedalling might offend some with a more “purist” viewpoint. Since it is often arguable to say absolutely This experience is often brought home to me when which is “wrong” or “right”, the interpreter makes the final conducting piano examinations. It may be that the candidate decision after hopefully giving the matter responsible and has the correct foot timing with pedal changes, and yet educated consideration. there is still some muddiness of sound when doing so. This is because the foot does not allow the pedal to come all the Legato pedalling way up during changes, suggesting that there is a small, yet I next introduce legato pedalling, since a high level of significant, physical difference between the student’s own precision is required in this technique which creates a smooth instrument and that used in the examination. transition from one sound to another without a gap. To achieve this cleanly requires a change of pedal immediately This can be overcome by telling students of this possibility after the new note, interval, or chord is played.When the in advance, and training them to consciously be sure to come tempo is slow this is easy for the ears and eyes to assimilate. all the way up when changing, with the proviso that the However, with a faster tempo where more rapid changes take foot should never be separated from the pedal at any time. place, it is sometimes difficult to actually tell whether this Of course, this absolute approach applies to the technique of legato (syncopated) pedalling; a similar, yet modified approach would need to be taught when later introducing the more advanced techniques of half- and flutter pedalling. 30 | www.epta-uk.org 4BACK TO CONTENTS PAGE

technique method is being used accurately enough; only the resultant pedalling suggests itself in Notturno from Grieg’s Lyric Pieces, sounds will tell if the results are successful. Op. 54 (see Excerpt 2). Many students find it hard initially to change pedal ff ™™ ff. #ff. ff. ff ™™ ff. ff. ff. ff ™™ ff. #ff. ff. ff ™™ ff. ff. ff. immediately after a new sound is played. The tendency is to {& “up-down” with the foot on the actual change itself instead cresc. molto f nf f #f ‰ & f f f #f ‰ ? f f f #f ‰ of afterwards. To help overcome this, I devised a three-part ? f f f #f ‰ method. First, after the sound change takes place I ask the student to count two seconds before the pedal change, °tre corde ignoring the inevitable blur of sound. Next, I ask the student to count just one second. Having practised these preparatory { >ff ff nff ff ff ff ff ff ff ff ff ff >ff ff ff ff ff ff ff ff ff ff ff ff ff- ff- ff- Œp™ oco rffitff. ff Œ™ steps, the student is more mentally and physically ready to & take the final step of changing immediately after. Persistence ff f ff- ff-ff- Œ™ ? ff ff ff with this method usually results in the student changing the > & >f pedal cleanly and confidently on a regular basis. ? >fø More advanced techniques: Half- and flutter pedalling >f f nf f >f f f f f Œ™ A passage from La cathédrale engloutie from Debussy’s >> > > > > > Préludes, Book 1, suggests the use of half-pedalling. The score indicates that the bass C-octaves have to last through the Excerpt 2: Notturno from Lyric Pieces, Op. 54, No. 4, by succeeding chords (see Excerpt 1). Edvard Grieg, bars 27–33. Sonore sans dureté At bars 29–32, the pedal instruction in the score indicates that the damper pedal should be held down without any {& Ó FFFF FFFF FFFF ™™™™ ffff ffff ffff FFFF FFFF FFFF change for all the measures. If followed literally, extreme ?Ó FFFF FFFF ™™™™ ffff ffff ffff FFFF FFFF muddiness of sound will occur during the last two bars. w-v ™ ff w™ FFFF ™ Alternatively, if a full change of pedal takes place in the w penultimate bar, there will be an unnatural emptiness of FFFF sound. Neither way is musically satisfactory. 8a basso With short quick movements from the foot that cause the dampers to regularly brush the strings, the music’s continuity ?{& ffff ffff FFFF™™™™ffff ffffFFFF ™™™™ffff wwwwFFFF bbFFFF FFFF FFFF wwww FFFF is maintained and unpleasant blurriness is avoided. The w™ ffff wwwwF w FFFF bFwFFF ™ FFFF FFFF Fwwww w FFFF interpreter should always keep in mind that composers and editors do occasionally err, like all humans, so an informed 8a basso 8a basso adjustment on occasion is quite in order. Excerpt 1: Préludes, Book 1, La cathédrale engloutie, by Una corda I have always followed the principle that when the Claude Debussy, bars 28–34. composer inserts pianissimo then the use of the soft pedal (una corda) should be considered, but actually implemented It is obvious that full legato changes for each harmonic only when appropriate to the musical context. For example, change will result in the original bass notes immediately if there is activity taking place in the upper treble area or the disappearing, so a series of half changes can prevent this section is extremely short, then there is little advantage in from happening completely. Again, the responses to the foot the pedal’s use. movement can vary from instrument to instrument, so the I hope my comments here are of some assistance since player needs to always be alert to this possibility. confident, accurate pedalling is one essential element to achieve quality of performance. Happy practising and teaching! There is also another option. The middle pedal of a grand piano is often the sostenuto pedal which can hold the bottom Cs, Permission to re-publish this article is granted with gratitude from both allowing the “escaping” chords to be pedalled without blurring. Clavier and Clavier Companion in relation to a combination of excerpts An interpretative decision has to be made as to which option from the following issues: CLAVIER: Basic Pedaling Techniques: Vol. 37, is taken. However, one must keep in mind that if use of the No. 7 (1998); CLAVIER COMPANION: Pedaling - Responsible and Educated sostenuto pedal is planned, it is possible that the performance Interpretation: Vol 5. No. 2 (2013) piano will not provide such a facility. A further consideration is that the sostenuto pedal sound will be less atmospheric and English-born Australian pianist Trevor Barnard was drier (Debussy’s pianos didn’t even have them). It’s also a good a faculty member of the New England Conservatory in idea to check the performance piano beforehand to ensure Boston and Pianist-in-Residence for Boston University that the sostenuto pedal is fully functional. Radio between 1967 and 1972. In moving to Melbourne in 1972, he taught full-time and consecutively at tertiary Once a student has developed sufficiently in the normal institutions until his retirement in 2003. He records for course of events, the use of flutter pedalling is a useful tool The Divine Art, and is the author of the repertoire guide to have in reserve for the appropriate occasion. By that time A Practical Guide to Solo Piano Music, and the booklet the student should be sufficiently developed musically to Neglected Areas of Piano Teaching. make interpretive decisions that, on occasion, may seem contradictory to what appears in the printed score. Flutter 4BACK TO CONTENTS PAGE www.epta-uk.org | 31

EPTAAnn Burden:My Our vibrant new administrator with special responsibility for the regions and competitions, Ann Burden, talks about her commitment and passion. Ihave been working for EPTA It has been a steep learning curve for UK for a few months now and us all this year, but we have had some my role in the organisation is evolving constantly. My amazing turn-outs at these events primary goal is to support the Regional Organisers who are the backbone of finances and accounts. Murray Wells My work with the LCM as an area our association. They provide so many (our honorary treasurer) and I have representative, which I have been opportunities for teachers and their tried to make the process of dealing doing for around ten years now, has pupils! My role is to help them get these with annual returns easier for Regional helped prepare me for my work with events onto various platforms. I help by Organisers and more transparent for EPTA UK. I have a good understanding advertising upcoming events as well as auditors. of what is required for promoting being there to support them if required. and preparing for events. As a piano We held a General Council meeting Boosting membership is something teacher I would categorise myself as a last September which had a fantastic else I am passionate about. In my role grass roots teacher. Playing the piano attendance. Bringing many of the with the London College of Music I am was always my passion as a child … regional organisers together was an promoting EPTA UK to the teachers. I but teaching was never my aim! It was extremely positive thing to do. We feel EPTA UK provides community as therefore something of a surprise that were able to discuss so much. It was well as administrative and legal support I seemed to drift into the role of piano so good to hear views and ideas as well for all piano teachers, students and teacher as an adult. As time progressed, as to discuss new and exciting ideas their pupils. I discovered that teaching was, for changes within EPTA UK’s piano unexpectedly, something I was good competition. Many of the regions have Going forward I am keen to help at. I gain so much from my students, embraced the idea of hosting regional streamline some of the roles for who range from pre-school age to festivals, and the results so far have the Regional Organisers such as the pensioners. Each one of them teaches been overwhelmingly successful. It emailing of members, facilitating easier me something new by the way in which has been a steep learning curve for communication between the regional they learn. This helps me to hone my us all this year, but we have had some organisers to help promote and share teaching methods for each individual. amazing turn-outs at these events. events, and also sorting some of the I am currently putting together the regions into more manageable sizes. I am very pleased to be part of the next meeting which will give us all an This process has already started with EPTA UK team and look forward to opportunity to discuss the new festivals some areas having more than one seeing how the role develops. Let me and how each region felt it worked for regional organiser. We have introduced close with a special ‘thank you’ to all the them. smaller satellite regions to maximise Regional Organisers for their fantastic Part of my role is to help make things contact with members. I am keen to patience and support. easier. This includes support with hear any new ideas from Regional Organisers and members and happy to assist the implementation of them. 32 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Fmouwskees... Philip Fowke remembers Her sporadic and frequently cancelled appearances were Madame Wanda Fumberland-Lapps never less than illuminating, if on occasion unsettling, and her unique approach to presentations of the dangers that crouch in the musical memorisation undergrowth waiting to pounce on the unsuspecting. It has been said that in over forty years of public performances, There was considerable excitement recently she has never reached the end of a piece, without fascinating following the announcement of a rare appearance diversions and tortuous excursions into pioneering harmonic to be given at the Hammerhead Academy of realms. She has always had an enviable ability for navigating Pianomics by the world’s leading expert on the her way through treacherous performing waters with a kind art of memorising. The reclusive Wanda Fumberland-Lapps, of dreamy disdain for any semblance of musical structure known for her research into the darkest recesses of the or coherence. This, combined with her cool detachment mind, has made an indelible mark on generations of aspiring from what has been described by less charitable pundits as performers. Rumoured to have had no musical training psychodrivel, has given her appearances, often of extreme whatsoever, her demonstrations over the years have proved length, a kind of hypnotic allure which has drawn thousands conclusively that playing from memory is not only a risky of admirers from all over the world. It can truly be said that business but also, on her own incontrovertible evidence, a of her many outstanding performances, not one was ever less highly questionable one. She, more than anyone else, has than unforgettable. had the courage to expose the horrors which beset those who undertake performing from memory without scrupulous Now retired, she has become a notable horticulturalist preparation, technical assurance, and basic harmonic grasp. tending her garden of subtropical plants at Forget-Me-Not Many years of detailed research and study have enabled cottage in the Cotswolds. She makes few appearances these Madame Fumberland-Lapps to develop an unusually days, so it was with keen anticipation that a large audience individualistic approach to the complexities of memorising. gathered in the Sala Grande at the Hammerhead Academy last month for what promised to be a memorable evening. She has always had an enviable It was a grave disappointment to the assembled throng that ability for navigating her way Madame Fumberland-Lapps failed to turn up owing, it was later reported, to an unfortunate administrative oversight. through treacherous performing waters with a kind of dreamy Philip Fowke is one of Britain’s most outstanding disdain for any semblance of pianists and distinguished musicians. Known for his many BBC Proms appearances, numerous recordings and broad musical structure or coherence. range of repertoire performed worldwide, he is currently Senior Fellow of Keyboard at Trinity College of Music. He is also known for his teaching, coaching and tutoring in which he enjoys exploring students’ potential, encouraging them to develop their own individuality. He is a regular tutor at the International Shrewsbury Summer School and Chetham’s International Piano Summer School. 4BACK TO CONTENTS PAGE www.epta-uk.org | 33

Music Case #Practiceimproved 83% abrsm.org/musiccase of students say Download the free app today! that Music Case is an e ective tool to improve their practice and progress ABRSM supports the teaching and learning of music in partnership with the Royal Schools of Music. www.abrsm.org /abrsm @abrsm ABRSM YouTube 34 | www.epta-uk.org 4BACK TO CONTENTS PAGE

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS EPTA feature: new teaching materials First Tracks, ScaleTracks JAM approaches scales from the creative aspect Now Blocks of improvisation. This simple-to-use app features a huge number of improvisation backing tracks, which users can Ben Andrew in conversation with jam along to. Each backing track can be transposed and the Murray McLachlan about ScaleBlocks, relevant scales are displayed on screen which can be used as his exciting new initiative a starting point for improvisation. Whether it is pentatonic, natural minor, blues scales or more, there are lots of options Murray McLachlan: How did your passion for scales to choose from in addition to the epic backing tracks. We will pedagogy start? be releasing updates for both apps over the coming weeks which will include enhancements for the latest devices as well BA: I first developed an interest in scales and arpeggios as new and exciting content. during my teenage years and although I was studying for various music exams at the time, there seemed to be a MM: What is the reason for your presentation of your missing link between scales and music-making. Despite scales pedagogy in this new format? the fact that the vast majority of repertoire I studied was based around a given scale, I always saw scales (as I think BA: As a piano teacher, I have often been slightly dismayed many young learners do) as a kind of bolt-on to repertoire: at the lack of resources available for both teacher and student something I was required to trawl through in order to pass when it comes to scales. There are so many compendiums on my exams. It wasn’t until I joined a band at school when I the market which contain vast numbers of scales, arpeggios, truly unlocked the power of scales. Up until this point, I had broken chords etc, but there are relatively few books which become so accustomed to reading the dots of a Beethoven focus on ‘how’ to practise. With ScaleBlocks, the process of Sonata for example, that my mind was blown when these practice lies at the very heart of the book, and whilst the dots had been swapped for chord charts. The chord symbols full-colour presentation of the book provides a much-needed provided me with a blank canvas and I could paint my own aesthetic boost, the coloured diagrams are central to the musical picture using scales. With the chords there as a guide, method I have created and they help the learner to see the I was able to use my own imagination to make music using shape of a scale like never before. scales. So in essence, it was musical-based creativity which fired me up about scales, as opposed to criterion-based study MM: What is new and different? for a music exam. BA: It is easier to memorise a phone number or postal code when we separate it into groups of letters or numbers. In the MM: Your scale tracks package has been hugely successful same way, ScaleBlocks breaks down scales into manageable over the past few years. Remind us about the gestation and blocks of notes. For example: every time you see a red note, history of this. it is played with the 1st finger. Blue notes are played together as chords with either fingers 2 and 3, or 2, 3 and 4. There is BA: The two iOS apps ScaleTracks (iPhone & iPad) and usually a one-off fingering in every scale (at either the top or ScaleTracks JAM (currently iPad only) were designed to make bottom) and these are yellow notes. scales and arpeggios a musical experience for musicians of As an example, F major can be represented as follows in the all ages and abilities. My app-developer genius brother-in- right hand: law David Denning was responsible for coding both apps, whilst I wrote the content and created the design and Once the ScaleBlocks have been mastered, it is easy then to interface. I wanted to capture the sense of fun and creativity play it as a scale. QR code interactive video links are featured I experienced during my formative years and share it with for every scale and arpeggio. Try it for yourself and scan the others, both teachers and learners. ScaleTracks features QR code with a smartphone camera to access the video. around 1000 backing tracks for scales and arpeggios in a huge variety of styles. The user has the ability to transpose the In addition to this new way of displaying scales, there are backing track into any key, change the tempo of the backing several other unique features of my book including: track on-the-fly as well as choose the number of octaves to play along to. This means that a beginner pianist can make - Every scale and arpeggio is assigned a group which links music with a one-octave major scale by playing along to a full it to other scales which share the same fingering or basic symphony orchestra. Likewise, a more experienced pianist can shapes; find enjoyment in playing a four-octave melodic minor scale along with a Bossa Nova ensemble or an epic film orchestra. - Loads of creative, enjoyable and most importantly, musical Each degree of the scale or arpeggio is harmonised and rather ideas for scales practice; than being a scale tutor, ScaleTracks provides a musical reward for those who practise scales. - An emoji system to help keep track of progress; - A tutorial for practising all scales continuously, modulating through all keys. 4BACK TO CONTENTS PAGE www.epta-uk.org | 35

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS MM: For whom is the new project specifically aimed for? The Performing Pianist's BA: I have endeavoured to make this book as accessible as Guide to Fingering possible and it is therefore ideal for all pianists, young and old and beginner to advanced. The feedback I have received so by Joseph Banowetz, Philip far has been overwhelmingly positive from both teachers and Fowke and Nancy Lee Harper students. It is ideal for teachers who are looking to motivate and inspire their students to practise scales more effectively, A Preview by Nancy Lee Harper as well as students working towards a graded music exam. L-R: Joseph Banowetz (music.unt.ed) • Philip Fowke (quazoo.com) • MM: How does it tally with the work you have already done? Nancy Lee Harper (researchgate.net) BA: ScaleBlocks has been a labour of love for me over the past eight years and it has seen several unpublished A great pianist was once asked, iterations since its inception. I am delighted to finally make “What is the one thing that a my work available to the public in this brand new full-colour virtuoso wants in performance?” The edition. With ScaleBlocks focusing on the effective practice simple answer was surprising: “To be of scales, ScaleTracks on the reward of making music with comfortable.” scales, and ScaleTracks JAM opening the door to improvising and composing with scales, teachers and students now have The soon-to-be released book on access to three powerful tools that work exceptionally well Fingering (Indiana University Press, together or indeed as stand-alone products. 2020) promises to be a valuable guide for advanced pianists “to MM: How do you hope your new initiatives will positively be comfortable” in performance. change the lives of young musicians who embrace your work? The book, co-authored by Joseph Banowetz, Philip Fowke and myself, BA: If, through these three resources, I can instil even a tiny is a rich source of practical advice bit of the excitement I felt as a child when I first unlocked the covering almost three centuries of power of scales, I will have succeeded in my mission. My goal repertoire performed on the piano. is to bridge the gap between technique and music, to teach my students to think ‘within a key’, whether they are learning The book is divided into three parts by the three repertoire, composing or improvising. Unlocking the power of authors. Banowetz’s offering guides the pianist through scales is the start of unlocking the power of music itself. multiple facets of fingering. A large part is devoted to “redistributions”, or in Fowke’s words: “To cheat, or not to MM: What do you say to people who question the value of cheat.” These redistributions include: To avoid rolls; Large scales? chords and intervals to obtain clarity, clean pedal changes, and to avoid unwanted rolls; Aids for achieving a better hand BA: I would ask them what music they like playing or position in preparation for making jumps, moving to large listening to… The chances are the vast majority of music they chords, and positioning the hand for large intervals; Aids enjoy is based on a key, and thus elements of a scale will in achieving controlled voicing and technical clarity; Better likely be the building blocks of it. I would ask them to listen shape, slur or phrase endings; Clarity, to relieve stress, for to Beethoven’s Moonlight Sonata so they can hear how the speed, for accuracy; To keep clear textures and rhythms; To humble broken chord can be transformed into a masterpiece, facilitate finger pedalling. or Schubert’s Impromptu op. 90 no. 2 – where a simple undulating E flat major scale becomes a work of heavenly SOME OF THE TOPICS DISCUSSED BY BANOWETZ: beauty. Scales represent the foundation of western music as we know it, so to discount their value is to discount the DNA · Changing a finger on the same note for legatissimo of music itself. · Crossing fingers over or under · Changing fingers on repeated notes in chords · Playing slurred octaves · Retaking notes silently · Positioning with fingering for a jump or change of hand position · Playing legato chords that span an octave · Using pattern fingerings in passage-work 36 | www.epta-uk.org 4BACK TO CONTENTS PAGE

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS · When to avoid playing low notes of chords with fifth fingers scales between the hands) and 2) “inappropriate facilitation” · Playing more than one note with a finger (Beethoven, op. 111, opening: dividing the opening octaves · Using 5-3 instead of 5-4 to project topic melodic tones between the hands, thereby negating the “danger” and thrill · Block fingerings of the opening statement). He relates a story from his teacher · Chromatic scales in single notes Gordon Green (1905–1981) who saw the Russian pianist · Taking top notes of rolls, runs and arpeggios with strong fingers Sviatoslav Richter (1915–1997) boldly play the left-hand · Playing rapid mordents, mordent figurations and turns melody with the right hand in Beethoven’s op. 2/1 sonata, · Fingering turnabout patterns for clarity first movement (bars 8–11), for security in performance · Finger extended tremolo passages (“justifiable enablement”). · Playing legato octaves · Playing “blind” octaves Moiseiwitsch occasionally does more than redistribute. In · Skipping a finger to the next note for clarity the Romantic concerti listed above, he unabashedly cuts and/ or recomposes. While pianists today might find this to be and possible emphasis scandalous practice, the study of historical documents such · Using the same finger for portato touch as Fowke has afforded us, allows an intimate insight into · Composers’ indications for fingerings the Romantic performance practice of the 19th and early 20th · Vladmir de Pachmann’s Redistributions in Chopin’s Prelude, centuries. op. 28, no. 2, as notated by Leopold Godowsky Nancy Lee Harper includes a brief overview of Baroque fingering then poses problems for pianists who perform this Banowetz first advises the pianist to consider all fingering repertoire on the piano and proposes some possible solutions. options not slowly, but in concert tempo. This may seem counter-productive, but is in line with what some recent HARPER EXAMINES BAROQUE ISSUES: researchers have also advised – that certain repertoire, or passages, is better learned by the brain in a quick tempo · Fingering for articulation (attack, decay, lifting, phrasing) rather than a slow one. Another counsel is to know the tempo · Hand splitting, Redistributions, Stemming, Cross Hands and dynamics of the piece, for a successful fingering must · Crossing and turning of the fingers function with these parameters in place. Understanding the · Repeated notes, Glissandi, Sequential fingering, the Overdot composer’s musical intent is also paramount when choosing a · Fingering in Ornamentation: Scarlatti’s Tremolo fingering. Of the utmost importance in choosing a fingering is · Fingering in Chordal Realizations avoiding any kind of pain and not being fooled by the thought · Bach’s Poetic Meter and Notes inégales that the muscles will have to be strengthened to achieve · Singing with the fingers: Finger substitution, Finger slides, comfort. Finally, creativity and originality must enter into the equation of finding the best fingering. Finger pedal · Dancing with the fingers: Domenico Scarlatti sonatas Banowetz intriguingly affords the reader historically replete examples, some taken from videos, some from recordings, Harper notes the significance of the Baroque period when some from editions, and some from his personal experience. she affirms that for pianists the 18th century signals not only Regarding editions, he cautions the performer against blindly the dawn of the piano but many “firsts” as well (first piano accepting the fingerings given, which in some cases may sonatas; first virtuoso etudes, etc.). No-one expected this be by a scholar with less performance experience or by a originally puny instrument, invented at the end of the 17th famous pianist whose fingering does not fit the performer. century, to usurp the great popularity of the harpsichord. But Banowetz’s own examples are taken from Urtext editions. He it certainly did! also encourages the performer to study historical editions, such as those by Bülow, Busoni, Cortot, Godowsky, Mikuli, HARPER’S FOUR CHOICES FOR PERFORMING Moszkowski, Sauer, Schnabel and others. BAROQUE MUSIC: – to play in a “purist” way, trying to imitate the Baroque Fingering, for Banowetz, is an intrinsic musical aspect not to keyboard instrument be taken whimsically. Clearly, it is a subject he has considered – to play with a continuous legato and using the piano’s with much thought and experience. pedal capacities to their fullest; – to arrive at a combination of the first two in a Philip Fowke’s short and enlightening contribution lends historically-informed-performance; worthwhile consideration to performance practice through – to NOT play Baroque music on the piano, but rather use Moiseiwitsch’s pianistic interpretation. transcriptions THE FOUR CONCERTOS MOISEIWITSCH RECORDED For many pianists, the third option may be the best Fowke DISCUSSES: solution. However, it is also the one that requires the most work. Understanding cultural aspects and performance · Beethoven Piano Concerto No. 5 in E-flat, op. 73 practices has been aided by concerts, recordings, and videos · Tchaikovsky Piano Concerto No. 2 in G Major, op. 44 on period instruments. Yet personal decisions have to be made. · Rachmaninoff Piano Concerto No. 1 in F-sharp Minor, op. 1 · Rachmaninoff Piano Concerto No. 2 in C Minor, op. 18 We await the publication of this inspirational, comprehensive and empowering book with great interest (editor). Introducing the questionable usage of redistribution, Fowke speaks of two situations: 1) “justifiable enablement” 4BACK TO CONTENTS PAGE www.epta-uk.org | 37 (Beethoven op. 53, third movement, glissandi played as

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS The Complete Pianist: The Complete Pianist is the book From Healthy Technique that I would have liked to have to Artistry when I was younger Murray McLachlan interviews Penelope Roskell about achieve specific musical effects. Piano playing is a hugely her new, eagerly-awaited book for Edition Peters. complex activity involving sound and movement, which is challenging to describe in words. Teachers, for instance, Murray McLachlan: Penny, your articles for Piano often have a very clear idea of what they want to achieve, but Professional over many issues were extremely helpful and struggle to express that clearly to their students. This very very popular. I know you have been working on this new, practical book has an accessible text, which is illustrated by monumental and comprehensive book for a number of years. many exercises, musical examples and access to 300 videos For whom is it intended? which I demonstrate myself. Penelope Roskell: The Complete Pianist is suitable for Secondly, I feel that pianists and teachers play the piano all pianists – from professional to amateur; teachers and more effectively if they understand why they are making students. Each chapter has something for all levels, beginning certain movements. The book addresses all aspects of playing with some basic exercises, before moving on towards more from a holistic, healthy starting point, and throughout I give complex examples. Many of my students are themselves explanations of why we need to move in specific ways. In teachers who have used the basic exercises very successfully order to do that, I had to set aside all pre-conceived notions with students at all levels. of acceptable piano technique and look afresh at every aspect of piano playing from first principles. MM: Why is the book important? PR: I think the book is important for two main reasons: I MM: How did you get started writing about piano playing call these the ‘hows’ and the ‘whys’. and piano technique in particular? Firstly, this is a very practical book which explains very clearly how to create sounds at the piano. Many great pianists PR: I have been researching how to play and teach the piano have written excellent books about piano playing, but few for over forty years. The first book I actually wrote was The have succeeded in explaining clearly and precisely how to Art of Piano Fingering, in 1995. I had been teaching fingering to a number of students and suddenly realised that there 38 | www.epta-uk.org 4BACK TO CONTENTS PAGE were some general underlying universal principles that apply

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS throughout, especially in scale playing. I found that many of and try to work out the best solutions for myself, in a way that the fingerings we had all learnt were based on convenience suited my own musical personality, rather than taking any of learning, rather than musical and ergonomic reasons. For one teacher’s advice as gospel. However, I do not recommend instance, we have all been taught that, in the left hand, ‘D this approach for everyone – I think every pianist needs a major starts on 5’, but in fact we can play the scale much regular, committed teacher who can oversee their longer-term more evenly if the thumb is placed before the black notes, on development. E and B. As no-one had written about this I decided to analyse fingering further and turn my findings into a book. As far as books are concerned, as a teenager I found The Art of Piano Playing by Heinrich Neuhaus and The Teaching of Artur This was followed in 2003 by my Yoga for Musicians DVD, in Schnabel by Konrad Wolff very inspiring musically. However, which I put forward my ideas on how yoga principles can be what I felt I really needed was a book that explained to me applied to instrumental playing in general. After completing in detail how to achieve at the piano all the sounds that were that, my next main task was to create something much more in my imagination. At the time I found the anatomical books specific on piano technique. Over about ten years I wrote by writers such as Matthay and Gat very hard to understand. regular articles for Piano Professional magazine, which form I think this feeling of frustration is what ultimately led me to the basis of some of the book, then about five years ago I create a book which would fill this gap. The Complete Pianist is started writing The Complete Pianist in earnest, working on it the book that I would have liked to have when I was younger almost full-time. and I was pleased to see that Peter Donohoe echoed this in his endorsement to my book ‘I wish I had had access to her Initially I intended the book to focus mainly on how to book when I was younger’. achieve an effortless technique, but Peters Edition were very keen for it to be as comprehensive as possible. So the book MM: Tell us about the history of your involvement with just grew and grew, to include almost every aspect of piano yoga and how it has influenced your approach in the book playing, and to become the 570 pages it is now. and in your own playing and teaching. MM: Is there anything you feel is incomplete about The PR: I studied yoga for many years with a wonderful teacher Complete Pianist? called Eve McFadyen, and this led to the creation of my Yoga for Musicians DVD. Since then I had some lessons in Alexander PR: The Complete Pianist is being described as ‘the most technique and, more recently, tai chi. I find tai chi fascinating comprehensive book on piano playing every written’. It because of its use of natural, rounded, flowing movements, covers everything from healthy piano playing, study methods, which are precisely the kind of movements I like to use at the technique, interpretation, playing in ensembles, performance piano. I also collaborate with an osteopath and work in a joint and injury prevention. Aspects of piano playing that I was not pianists’ clinic at the British Association for Performing Arts able to include are improvisation, composition and playing Medicine with Mark Phillips, hand surgeon, who has helped to ‘prepared piano’ in contemporary music. I have not written in clarify my understanding of anatomy. However, it still took many detail about the specific challenges of playing early keyboard years of research and experimentation before I could work instruments, electronic keyboard or the organ, although many out how to apply all this knowledge directly to piano playing. of the physical and musical issues are also relevant to these instruments. There is also much that is relevant to pianists MM: How do the exercises and principles in your book who play jazz and popular music, although most of the contrast with the lessons and approaches you were given by musical examples are from the classical genre. your own teachers? MM: Tell us about all the influences that are noticeable PR: In his endorsement of the book, Havilland Willshire in the new book - all your own teachers, plus all articles, said that my book ‘explodes the myths that have for so long features, books and videos that have a presence. For example surrounded the piano and how to play it’. Historically, pianists you mention Neuhaus and The Art of Piano Playing. have been taught to play with excessive finger movement, and not enough engagement of the upper arm. Even those PR: I was brought up in a small seaside town, and was teachers who have encouraged their students to play with extremely lucky to find an excellent teacher, who had studied a soft wrist, but omitted to comment on the elbow and with Tobias Matthay at the Royal College of Music and gave shoulder. I myself was also encouraged in the belief that if I me given a very sound foundation. I later studied at the Royal worked extremely hard and practised for long hours I would Northern College of Music as a junior, then as a senior and achieve my goal. But this isn’t always the case – just working postgraduate student. The teachers who most influenced me, hard with a faulty technique can lead to serious tension and whom I quote many times in the book were: Sir William problems, fatigue or pain. My aim throughout the book has Glock (a Schnabel student) who worked a lot on phrasing, been to show how to coordinate the hands and arms at the George Hadjinikos who was a very philosophical musician and piano in the best possible way, in order to achieve maximum Guido Agosti who was the pinnacle of refinement. Perlemuter musical effect with the minimum of effort. gave me a direct line to Ravel (he studied all Ravel’s works with the composer himself) and French music in general. MM: How many exercises are there in your book? Many of them have wonderful titles. Tell us about some of them! Each of my teachers had a different approach and at one time I even worked with Hadjinikos in Manchester and PR: There are 250 exercises in the book, most of which Agosti in Rome – two very contradictory teachers – almost I have devised myself to show pianists and their teachers simultaneously. This worked surprisingly well for me as the simple ways to overcome all the common pianistic challenges. contradictions stimulated me to question everything further 4BACK TO CONTENTS PAGE www.epta-uk.org | 39

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS Fingering, technique and even been learnt, then the movement can be put into a wide range musical interpretation all of repertoire, or into longer studies. need to be modified to suit a MM: How do the studies of Cramer, Clementi, Czerny, pianist’s musical personality Mosekowski, Chopin and Liszt fit in with your book? and hand shape PR: Some studies are very beautiful works of art (the Chopin Etudes are particular favourites of mine) but I think that long, The exercises may appear rather simple, and some of them boring, mechanical studies should be avoided. I do agree with have quite whimsical, quirkly titles, but a lot of very serious Czerny when he says ‘Each musical piece… is an exercise in thought has gone into each of them. itself and often a much better one than any professed study: because it is a complete composition, in which melody is All the exercises are based on the concept of Natural intermixed with passages; and because a pupil will certainly movement – the kind of movements that we use in our practise such a piece more willingly than any studies.’ everyday lives, but refined and combined in subtle ways to produce every nuance of sound. When these movements are Studies should be seen as consolidation – they should only absorbed into our daily practice, a pianist can play with ease be learnt once the technique has already been well learnt and and avoid tension and injury. can be played with ease. There is no point in practising several pages of a study if the technique is fundamentally flawed. I also focus on maintaining a balanced use of muscles: if the sitting posture is out of balance, if hands are regularly MM: In hindsight do you feel that some of the teaching you twisted, or the wrist is consistently high or low, some muscles experienced had a negative effect on your playing? end up working harder than their counterparts and all sorts of problems can arise. All my exercises work around the PR: When I became a full-time music student my teacher balanced, neutral position. really wanted to push me technically. I had to learn numerous Chopin etudes and other difficult works in a very short Another unusual feature of the book is that I take into space of time, without being given the necessary technical consideration the enormous variations in hand size and understanding to play them with ease. The result was that I shape amongst pianists. Fingering, technique and even became at that time increasingly tense, and also started to musical interpretation all need to be modified to suit suffer from back ache and tenosynovitis. This is what led me a pianist’s musical personality and hand shape. This is to search for solutions, not only for myself, but also for my particularly important when working on octaves – pianists own students. I am now sharing this knowledge with pianists with small hands need to learn how to release the stretch everywhere, in the hope that they will be able to avoid wherever possible – ‘The Splay’ is a very valuable exercise for problems in the future. this. Many of the major books on piano playing have been written by men with very large hands – my book is one of MM: Your book contains excellent advice and exercises for the few publications to address seriously the challenges of students suffering from hypermobility. How did this evolve? playing with medium or small hands, and to give alternative approaches where necessary. PR: The students I have taught have varied considerably, ranging from the very talented to the struggling, and from I think the three categories of finger touch I describe very stiff to very flexible. A surprisingly high proportion of are particularly important, and unique to this book. I am pianists are hypermobile (Asian students in particular tend particularly proud of the ‘Parachute touch’, which teaches to have more flexible hands than Caucasians). This gives how to use arm weight, to keep a soft wrist and hand, create increased flexibility which can be an advantage at the piano, a cantabile sound and shape a phrase beautifully – all in one but may also come at a cost. Hypermobile pianists may have exercise. For years, I, like many other teachers, struggled to difficulty achieving a full, rich sound and find some of their work out how to teach arm weight in particular. The method joints hyperextending involuntarily (for instance, thumb joint I had been taught at college just didn’t work. I think pianists collapsing inwards or knuckles sinking down). The more I tend to think in terms of using full arm weight or none, learnt about the anatomy of the hand, the more I realised the whereas the reality is that great pianists use shifting amounts necessity of developing safe exercises to develop the intrinsic of weight, depending on the demands of the music. For forty hand muscles in particular, which support the hand arch and years I experimented over and over again with ways to teach finger action. this, until I arrived at ‘The Parachute touch’ in its final form. MM: Is it ever too late to change your technical approach? I am also particularly fond of the chapter on ‘Rests and PR: It is never too late to modify technique. All the great eloquent silence’ – nearly all pianists underestimate the pianists and teachers have continued to work on aspects of musical and emotional importance of rests. their technique throughout their lives. As long as you have the will to change, and the patience to persevere and avoid MM: Do you value exercises more than studies? slipping back into old habits, then change is easier than you PR: I find that, on the whole, exercises are much more think. With all my students, we modify their technique step- useful than longer studies. As the exercises in my book by-step as the need arises. They then work on putting each are short and quite simple musically, you can focus on the new technique into practice for at least a week in order to sensations of movement, rather than worrying about note embed it fully within their playing. learning and accuracy. Once the correct co-ordination has 40 | www.epta-uk.org 4BACK TO CONTENTS PAGE

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS MM: Do you require exceptional patience to work through Innovative Practising the exercises in the book? How quickly can ‘results’ by way and Sight-Reading with of improvement in technique come through practising the Piano Marvel exercises? Piano Marvel is an innovative methodology designed PR: Most of the exercises in The Complete Pianist can be by professional piano teachers to improve the way learnt very quickly. However, every pianist is different and students learn music. This interactive programme inevitably with some exercises it may take a little longer constantly assesses one’s performance. Students can learn before the right balance of movement, effort and relaxation at their own pace and/or take lessons with a teacher who can can be found. combine this approach with a traditional one. Four main areas are featured on the Piano Marvel Dashboard: MM: When would dipping in to the book be preferable to 1) Method – learn notes and rhythm basics with hundreds of systematically working through it? If readers choose the latter approach, how much practice time should be devoted exercises and videos exclusively to the book? 2) Technique – practise rhythm, scales, chords, cadences, PR: The book is extremely substantial – it covers 570 ear training and more pages. It has a natural structure which progresses from an 3) Sight-reading – practise and test sight-reading understanding of general concepts about how to coordinate 4) The Library – choose from thousands of songs to learn the whole body, through study methods, technique, interpretation and performance. Some readers will wish to and play. read from cover to cover, others may wish to use it more as a reference book and just dip in and out as the need arises. Or A motivating and encouraging you can do both. factor within this software is earning trophies. It is much more fruitful to focus on one chapter at a time and try out all the exercises thoroughly (maybe for a week or Piano Marvel grades each performance, tracks progress of more) than to skim through several chapters in one go. each song or exercise and shows exactly where and how to fix mistakes efficiently. It is designed to challenge everyone MM: What about future projects and aspirations? Are you from young beginners to seasoned professionals. I have interested in writing more? If so what would you write about? used the programme with young students to supplement their regular lessons and as a requirement for college piano PR: The Complete Pianist is so comprehensive that I do classes. My piano majors have benefited from the sight-reading not see myself writing another major book after this one, programme, often spending hours trying to reach higher levels. although I may end up writing some shorter books on specific topics. For instance, I recently completely a small companion Piano Marvel is designed for use with a digital keyboard book on preventing and recovering from specific injuries. that can be connected to a PC, Mac or iPad. Acoustic pianos can be used in Book Mode, but assessment is left to the I hope to create a fully digital version of The Complete student or teacher. Pianist in the near future, and Peters Edition are working towards translating it into Mandarin and German. Method and Technique Technology has impacted our lives today and certainly I am also committed to training teachers in my approach to has changed how students learn. Piano Marvel combines the technique. Next winter, my new teachers’ training course will addiction and challenge of video games with the benefits of take place over four weekends in London, in which teachers more traditional lessons. There are 60 lessons with hundreds can learn more about how to teach all the exercises in the of exercises and video tutorials. The programme tracks book. This course will focus on specific aspects of technique accurate note reading and rhythm so students will work so will complement the teacher training courses already in toward the highest score possible. It tracks practice time and existence. scores each exercise or piece. Teachers can view scores in their Reports. MM: What is the retail price and where can we buy it? The lessons within the piano software are broken up into PR: The Complete Pianist costs £44.95 and is available from Peters Edition www.editionpeters.com/roskell, from local 4BACK TO CONTENTS PAGE www.epta-uk.org | 41 music shops and online stores. Details of all my books and courses are on www.peneloperoskell.co.uk. It is never too late to modify technique ... As long as you have the will to change, and the patience to persevere and avoid slipping back into old habits, then change is easier than you think.

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS I have seen huge jumps and Sight-Reading gains from students who have I was first attracted to Piano Marvel because of its outstanding worked with Piano Marvel Sight-Reading features: the Standard Assessment of Sight- two types – method and technique. The method training Reading (SASR). Your score is covers theory, musical notation and learning different songs. compared and your progress The technique section focuses on different playing styles, is tracked so you can see playing by ear, sight-reading and much more. There are six improvement over time. Each time levels each for the Method and Technique categories. Each the SASR test is taken, you will get a sight-reading score and level is subdivided into five sections and each section has 20 a chart showing your progress. It features over 2,000 sight- lessons. reading excerpts divided into 18 levels with 90 sublevels. As you take the SASR test, Piano Marvel will automatically Each section has a unique set of compositions and exercises assess your sight-reading and determine the excerpts for your designed to make students well-rounded pianists. Video customised level. Tutorials are provided as a guide on the fundamentals of I have seen huge jumps and gains from students who have piano playing: hand position, finger placement, dynamics, worked with Piano Marvel and taken the SASR test at least music-reading skills, etc. These exercises include practice once a week. I have witnessed how obsessed my piano majors and mastery for sight-reading, ear training, flash cards, and class piano students became while trying to better their harmonisation, scales, arpeggios, and call and response. scores each week. Taking the SASR and reading other pieces from the library has helped the dedicated students improve A motivating and encouraging factor within this software is their sight-reading abilities. earning trophies. The lessons are set up like games, and at the Boot Camp is an immersion approach to sight-reading end of a lesson the score is calculated into a percentage. 80% practice and is designed to be used as a supplement to lessons. and higher will earn either a bronze, silver or gold trophy. It was inspired by the immersion approach commonly used in learning a language. There are a series of Boot Camps available: Practice techniques and tools are built into Piano Marvel. Popular piano solos, More Popular Piano Solos, Classical Boot You can listen to a piece and then adjust the tempo for Camp, Hymns Boot Camp and Christmas Piano Solos. practice (slower or faster). There are flash card exercises, and specific practice sections to help students learn to practise Library specific spots. In addition, there are accompaniments for all Finally, the Library is where you’ll find performance music. of the method and technique exercises. Different ways for The ever-expanding library of songs will ensure that you never creative practice are: Practice Mode – a way to break up a song run out of pieces to play. There are over 3,000 compositions into bite-size pieces for perfect practice, and Mince – practise and exercises within the music library that can be download each hand separately. Many of the songs can be printed from for free. Most of the free songs are classical (original and the website with pdf links. arrangements) that include video tutorials and sheet music. You can purchase popular songs for a small price. The Prepare Mode is a relatively new feature, which makes compositions within the library are from all genres including learning new pieces even easier by providing instant jazz, blues, classical, holiday, popular and rock and roll, feedback and allowing students to play at their own speed. ranging from beginner through professional levels. Prepare Mode also shows which notes are played correctly As an example, there are over 50 Chopin pieces ranging or incorrectly, helping correct mistakes before they become from the easier preludes and waltzes to several etudes, bad habits. This Mode allows students to learn in a sequence nocturnes, polonaises, and the first Ballade. If you scroll called VPA (Video, Prepare, Assess) which helps students through the library and can’t find a song you want, a request learn to play challenging songs much faster. In Prepare can be made. You can also upload your own scores and Mode, students choose the tempo and have the ability to exercises from Finale or MusScore. expressively slow down and speed up. Prepare Mode is available on all songs and exercises in Piano Marvel! The compositions within the library are from all genres 42 | www.epta-uk.org 4BACK TO CONTENTS PAGE including jazz, blues, classical, holiday, popular and rock and roll, ranging from beginner through professional levels, and hand shape

NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS • NEW TEACHING MATERIALS There are frequent Practice Challenges throughout the AVAILABLE FROM FABER MUSIC: year. Recent ones have included: Song of the Week, Dennis Alexander, 30 Day SASR, and Practice Minute Challenges. Based on McLachlan’s long- Also available in Winning an iPad is often the incentive. standing and acclaimed the series: series of articles for There are three types of accounts: free, monthly premium International Piano, this and yearly premium. The free account will give anyone a good innovative approach is sampling of the contents in the method, technique, sight- for everyone interested in reading and the library of hundreds of pieces, from level 1-9 piano playing and teaching. of the 18 possible levels. There is so much more within Piano Marvel that you will discover for yourself as you manoeuvre this exciting and inspirational way to practise and sight-read. https://pianomarvel.com/ ISBN: 0571532756 £9.99 The Psychology of Piano ISBN: 0571539351 Technique deals with a £12.99 large range of topics and problems which pianists of all levels constantly face. It takes a technical perspective on what have traditionally been seen as psychological issues, presenting a new approach for performing musicians ISBN: 0571539637 and their teachers. £9.99 Carleen Graff is Professor of Music Emerita at ISBN: 0-571-54031-7 Plymouth State University (1973–2019 ) in Plymouth, New Hampshire, where she taught piano performance, £12.99 OFFER: ALL FOUR BOOKS FOR £40* piano pedagogy and class piano. She is the recipient of the Master Teacher Certificate from the MTNA, the SPECIAL * Offer only available MTNA National Fellow Award for Distinguished Teaching, from EPTA UK. the NHMTA Teacher-Member of the Year, and the 2017 Steinway Top Teacher Award for outstanding instruction and leadership in piano education. Contact Carleen by email at [email protected]. www.epta-uk.org 4BACK TO CONTENTS PAGE www.epta-uk.org | 43

EPTA Corporate Members: Making our EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS NB: Because of uncertainties with BPSE performed by Callum McLachlan Coronavirus, all events are subject to Op. 31 No. 2 in D minor ‘Tempest’ cancellation/reschedule. Please check The Beethoven Piano Society of performed by Ilya Kondratiev with the website and local regional Europe celebrates the 250th Birthday of Op. 54 in F organiser before booking or attending Ludwig van Beethoven (1770–1827), for performed by Dinari Klinton any of the following advertised many people still the greatest composer activities. Many thanks for your who ever lived, with “35 Pianists for Friday 14 August 2020, 1pm | understanding at this difficult time. 35 Piano Sonatas”. Over 15 concerts Regent Hall, London (W1C 2DJ) Editor in London, we present every one of Op. 10 No. 3 in D the great composer’s Piano Sonatas, performed by Minyung Baek BÄRENREITER including the three teenage “Bonn” Op. 101 in A Sonatas, played by a magnificent array performed by Vassilis Varvaresos Ancient Modes for Piano Duet of pianists, including international With a clever play on the words artists, former prizewinners of the BPSE bpse.org Intercollegiate Piano Competitions and “Ancient Modes”, Graham Buckland BPSE Committee Members. CAMBRIDGE PIANO WEEKEND presents eight character pieces for piano duet which effectively portray Concerts in the spring and summer: Cambridge Piano Weekend 2020 various mythical modes of transport and Monday 20 April 2020, 1.10pm | 11-13 September at the same time are based on church St. James’s Piccadilly, London (W1J 9LL) Anglia Ruskin University modes. Op. 10 No. 1 in C minor Cambridge CB1 1PT performed by Tolga Atalay Ün cortotheritage.com The transport scenes are all about Op. 22 in B flat Minimum level: Grade 7 distinction/ locomotion aptly described by the performed by Lee Jae Phang equivalent. music: you hear the flowing movement of the swimmers of Gilf Kebir (known Wednesday 15 July 2020, 1.10pm | Passing on the pianistic ideas and from the movie The English Patient), the St. James’s Piccadilly, London (W1J 9LL) ideals of legendary French-Swiss pianist gait of the galloping Bucephalus and the Op. 31 No. 3 in E flat and teacher Alfred Cortot, Cambridge marching step of the March of the Ten performed by Rose McLachlan Piano Weekend’s fourth year welcomes Thousand. Sonata Op.53 in C ‘Waldstein’ with great pleasure the immense pianist performed by Florian Mitrea Eric Heidsieck, who studied directly with The pronounced subtle humour of Cortot, to give public Masterclasses on native Englishman Graham Buckland is Friday 24 July 2020, 1pm | Saturday 12 and Sunday 13 September. inscribed in these pieces which are of Regent Hall, London (W1C 2DJ) easy to moderate technical difficulty. Op. 14 No. 1 in E major The most promising pianist will be performed by Yoko Misumi awarded a recital in the Anglia Ruskin - Character pieces based on 2 types Op. 14 No. 2 major University Lunchtime Concert Series. of modes: modes of transportation and performed by Sebastian-Benedict Flore Georges Todica was the 2019 winner. church modes Friday 31 July 2020, 1pm | Patrick Hemmerle, leading French - Piano duets ideal for teaching and Regent Hall, London (W1C 2DJ) pianist, from Cortot’s direct line, will be student recitals Op. 79 in G teaching assistant to Eric Heidsieck. performed by Maksim Štšura - Easy to moderate technical difficulty Symphony No. 4 in Bb major, Op. 60 Facilities include one practice piano transcribed for four hands by Franz per participant and a Recital Hall (with Ancient Modes of Transport for Piano Xaver Scharwenka wonderful acoustic!) equipped with a Duet performed by Tessa Uys and recent Steinway D Concert Grand. Ben Schoeman BA 10932 | £14.00 Not a prodigy, Cortot was admitted Friday 7 August 2020, 1pm | to the Paris Conservatoire at 14 years www.barenreiter.co.uk Regent Hall, London (W1C 2DJ) old on his second attempt, and awarded Op. 7 in E flat the year’s only “premier prix” at 18. “Patron Saint” of all who find the piano difficult, Cortot characterises technique as a “horrific hundred-headed hydra”! Simplifying problems, Cortot developed students’ sense of their personality and the “intelligent use” of their faults. Claudio Arrau: ‘Cortot knew exactly how to do everything, he wrote all those exercises .... ‘ Stephen Hough: “I’ve loved Alfred Cortot’s playing from an early age and 44 | www.epta-uk.org 4BACK TO CONTENTS PAGE

business your business... I never tire of hearing his recordings, FINCHCOCKS If you would like to find out more, EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS particularly Chopin and Schumann from please contact Jenny on 01580 428080 the 1920s and 30s”. “Cortot had a vision Thriving on stage: A course for teachers or [email protected] or visit the which went beyond the academic or and professionals Finchcocks website: finchcocks.com the theatrical to some wider horizon of creativity from whence the composers Managing performance anxiety is PIANO TEACHERS' COURSE UK themselves might well have drawn a challenge that applies as much to inspiration.” professional pianists as it does students Inspirational, motivational and taking their ABRSM exams. transformative for today’s piano teachers Eric Heidsieck’s world-class pianistic career included study with renowned The good news is that there is so Courses starting September 2020: Beethoven interpreter Wilhelm Kempff. much we can do to help ourselves · Cert PTC This is a unique opportunity to play/ manage our nerves. Even the most · ABRSM Teaching Diploma Course observe the public Masterclasses, a nervous of performers can reach a place · Teaching LRSM Course direct line from Chopin. where the stage is somewhere that Enrolment for all courses for 2020-21 is no longer terrifies them. At best, we now open, with a 10% early bird discount Alfred Cortot on Masterclasses: “One can feel a form of safety on stage that available until May 2020. can block off dangerous paths, and dead enables us to play at our best. Now in its 12th year, The Piano ends, and open up salutary new horizons.” Teachers’ Course UK (PTC), introduces This May we look forward to teachers to the latest and best in CHETHAM'S SCHOOL OF welcoming back internationally- piano teaching ideas and methods. MUSIC, MANCHESTER renowned performance coach Charlotte Through a holistic philosophy, well- Tomlinson for a weekend residential structured Guiding Principles and clear John Mortensen gave special course at Finchcocks. Aimed at advanced demonstrations, students take away improvisation workshops to the players and piano teachers, Charlotte’s ideas and skills that can be put to Chetham’s Keyboard department, and course will be entitled Managing immediate practical use with their own there were visits from Martin Roscoe, performance anxiety with a focus on how pupils. In this way, experienced teachers Ian Jones, Graham Scott and Anthony to thrive on stage. As well as a one-to- are refreshed, beginning teachers are Hewitt. Year 9 student from Shanghai one lesson, Charlotte has designed three given guidance, and everyone is able Rebekah Tan performed Grieg’s Piano workshop sessions which help tackle the to develop confidence and expertise in Concerto with the Chetham’s Sinfonia key topics that relate to the challenges both their teaching and performing. after winning the school’s concerto of playing in front of others: how to “There’s an extraordinarily wide range competitions, and all of the year “own the stage”, tools for managing of expertise from inspirational tutors, all 13 pianists enjoyed a special ‘away nerves and the best techniques to use of whom are at the top of their game – day’ trip to Steinway Hall in January when practising for a performance. without egos!” – PTC 2017-18 student where they were warmly received Every PTC student is assigned a Tutor by Keith Glazebrook: Luca Grianti, Courses at Finchcocks offer an who supports them throughout and Rose McLachlan and Mariam Loladze- inclusive, encouraging atmosphere in gives the individual guidance they need Meredith performed in an evening which to nurture visiting pianists. Tutor throughout their course. The residential recital in the recital hall and Charles groups consist of no more than nine, weekends also provide the perfect Owen gave an inspirational masterclass and there is no pressure to perform opportunity for students to share ideas, during the visit. unless you would like to... or until you learn from and support each other. are ready! Strong connections, friendships and a sense of community are formed in what Charlotte’s course starts at 7pm on can otherwise be an isolated profession. Friday 15 May and will finish at 3.30pm “The course is by far the best source of on Sunday 17 May. Prices from £525 are inclusive of tuition, food, wine and beautiful en-suite accommodation in the Finchcocks Coach House. Finchcocks offers guests the use of their own grand piano for the duration of the course, including access to a Steinway model B. EPTA members benefit from a £50 discount on any course. T+Cs apply. 4BACK TO CONTENTS PAGE www.epta-uk.org | 45

Making our business your business continued... EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS information on piano teaching that I have J. G. WINDOWS fascinating workshop based around found yet during my 8 years of teaching. her Play it Again! series, published I feel I have gained many years’ worth This January we launched our new by Schott Music. This was attended of knowledge and experience in just one Windows Music Academy! Over the last by teachers and learners who left year.” – PTC 2018-19 student few months we’ve been busy creating inspired and full of praise for Melanie’s five new teaching rooms and hiring presentation and enthusiasm. We’re Courses take place at The Purcell some talented teachers. Based at our planning more workshops this year, School of Music, Bushey. branch in Newcastle’s City Centre, we including Piano Adventures on 25 April, provide one-to-one tuition on a range and LCM, and we are pleased to be To find out more about the course of instruments, currently piano, guitar, holding an event in conjunction with and day workshops please visit www. bass, drums and woodwind, with more EPTA in the autumn. We also hosted pianoteacherscourse.org or contact instruments coming soon. Having Japanese pianist Mami Shikimori for Rhiana: info@pianoteacherscourse. provided instruments, vinyl, printed a performance in the shop, and we’re co.uk; mobile: 07833 687473. music and more to the North East looking forward to more afternoon for over a hundred years, we’re really concerts over the coming weeks. Follow UNIVERSAL excited to introduce this new chapter in us on Facebook or join our mailing list our history, and provide another service information on future events! It is Beethoven year and while we do to Newcastle’s musical community. have a new edition in Wiener Urtext of In printed music news, ABRSM’s new the complete piano sonatas, I want to We were very happy to welcome Core Classics series is now available! draw your attention here to two new Melanie Spanswick to our Newcastle This is a set of seven books containing composers for piano that you won’t shop this February, hosting her a selection of pieces from the ABRSM know. Martin Doepke is well known back catalogue, chosen by leading in Germany for writing the music for educationalists as a ‘teacher’s toolkit’, the original German version of Beauty with pieces gradually increasing in and the Beast. Now we have published difficulty throughout. UE38066 Piano Tales which has thirteen enchanting pieces that will lead you Finally, watch out for our new website into a world of fantasy. Each piece tells which is launching this spring! We’ve a new story and players will encounter been working really hard to get the tens the genre of the musical and film music. of thousands of printed music products This publication is suitable for ABRSM ready to buy, so we’d love you to take a grades 3 to 7 and will be useful to look. enhance any music lesson. Then we have another new publication by Aleksey Newcastle: [email protected]; Igudesman UE38047 Insectopedia, 0191 232 1356. Metrocentre: metro@ ten pieces giving us a rich picture of jgwindows.com; 0191 493 2244. the insect world with pieces like Bread and Butterfly, Helicopter Dragonfly CHETHAM’S INTERNATIONAL PIANO and Bug Hug. The internationally- SUMMER SCHOOL and JUNIOR PIANO acclaimed pianist Yuja Wang has stated, ACADEMY in August 2020 now “Reminiscent to Bartók’s Mikrokosmos, you will have a lot of fun with this little ONLINE! album.” The pieces in this publication are ABRSM grade 2 to 4 in level. So Artistic Director: Murray McLachlan if you would enjoy a break from the music of Beethoven this spring, then I 8–13 August 2020 | Junior Piano Academy can highly recommend both of these publications.” Open to under 18s only. 14–20 August 2020 | CIPSS Part 1 20–26 August 2020 | CIPSS Part 2 ■ Timetabled individual online lessons with the faculty ■ Daily welcome, news, live coffee mornings & announcements ■ Daily technique tips from the faculty & practice advice sessions ■ A combination of live stream and recorded performances every evening (CIPSS) ■ Evening online bar (CIPSS) ■ Online Resources and videos Faculty includes: Dmitri Alexeev, Peter Donohoe, Christopher Elton, Gordon Fergus-Thompson, Margaret Fingerhut, Norma Fisher, Philip Fowke, John Lenehan, Joanna MacGregor, Wolfgang Manz, Noriko Ogawa, Ronan O’Hora, Steven Osborne, Pascal Nemirovski, Jason Rebello, Martin Roscoe, Graham Scott, Craig Sheppard, Martino Tirimo Booking deadline now extended to Thursday 9 July. www.pianosummerschool.com 46 | www.epta-uk.org 4BACK TO CONTENTS PAGE

www.dogsandbirds.co.uk Playful and systematic method for teaching piano Developed for 3–7 year olds: no need to know the alphabet Three tutor books, a teachers’ guide and a sol-fa book Small Animal Tiles: aid reading, ear-training and composition Provides a strong foundation for singing and learning music Rapid progress and fun guaranteed New PP Ad 134 x 89.indd 1 12/07/2015 21:51 4BACK TO CONTENTS PAGE www.epta-uk.org | 47

EPTA Regional Events Please check with with the Regional Organiser if the event is still taking place before planning to attend. BEDFORD DERBY MANCHESTER SUSSEX W For forthcoming event details, contact For forthcoming event details, contact For forthcoming event details, contact For forthcoming event details, contact Kate Elmitt, 01462 622222, Melanie Marubbi, 07966 367767, Susan Bettaney, 0161 427 6706 Sarah Plumley, 01903 883265 [email protected] [email protected] [email protected] [email protected] Bev Preece, 07446 363774, [email protected] Sun 12 July, 3pm MERSEYSIDE Sun 28 June Celebrating Beethoven’s 250th For forthcoming event details, contact Concert by Teachers and Students BELFAST Birthday Playing Group Bernie Hailwood, 0151 342 6918 and Interview with Beethoven For forthcoming event details, contact [email protected] John McParland, 028 9058 3997, Sun 13 September, 3pm Sat 21 November [email protected] Playing Opportunity NORTH EAST EPTA West Sussex Festival For forthcoming event details, contact Regis School of Music in Bognor Regis BRIGHTON DEVON Janet Nicolls, 0191 281 8048, For forthcoming event details, contact For forthcoming event details, contact [email protected] SWANSEA Helen Burford, 01273 732727, Ekaterina Shetliffe, 07505 884271 For forthcoming event details, contact [email protected] [email protected] OXFORD Hyelim Morris, 07949 684401 Joanna Highley, 01548 830800 For forthcoming event details, contact [email protected] BRISTOL [email protected] Julie Craven, 01235 765728, For forthcoming event details, contact [email protected] WEST MIDLANDS Daniel Lloyd, [email protected] EAST MIDLANDS For forthcoming event details, contact or Sophia McKett, For forthcoming event details, contact SCOTLAND E Philippa Rainbird, 024 7667 4118, [email protected] Susan Grange, For forthcoming event details, contact [email protected] 0117 946 7641 [email protected] Margaret Murray McLeod, 0131 441 3035 / 07715 287930 WESSEX BUCKS/BERKS ESSEX [email protected] For forthcoming event details, contact For forthcoming event details, contact For forthcoming event details, contact Sue Craxton, 01258 451764 / Richard Heyes, 01234 712599 / Sharon Goodey, 01245 420110, SCOTLAND W 07976 315954, [email protected], 01582 414818, [email protected] [email protected] For forthcoming event details, contact Lynda Smith, 01722 325807, Emma Sinclair, 07799 100867, [email protected] CAMBRIDGE HERTS [email protected] For forthcoming event details, contact For forthcoming event details, contact YORKSHIRE CEN Ilga Pitkevica, 01954 210189 Helen Collins, 01582 401403, SHEFFIELD For forthcoming event details, contact [email protected] [email protected] For forthcoming event details, contact Simon Burgess, 0113 287 6126 Pearl Woodward, 0114 266 0399, [email protected] CARDIFF KENT [email protected] For forthcoming event details, contact To book these events, please contact YORKS N David Pert, 029 2052 0736 / Nancy Litten, 01622 682330 SURREY For forthcoming event details, contact 07786 998454 [email protected] For forthcoming event details, contact Matthew Palmer 01302 726991 / [email protected] Julie Cooper, 0208 397 5655, 07913 234919 LANCASTER [email protected] [email protected] CHANNEL ISLANDS For forthcoming event details, contact EPTA UK REGIONAL EVENTS For forthcoming event details, contact Yvette Price, 07932 962360 Sun 3 May Alan West, 01481 249371 / [email protected] Explore EPTA UK’s Teacher’s choice 07781 411119, [email protected] Piano collection 1 & 2 Yvette Price is trying to organise with Nadia Lasserson St James Concert and Assembly Halls events and would love to hear from The Fanny Davies International any members with ideas to help take Sun 17 May Piano Series 2020 the region forward. Douglas Finch Piano Concert and 28 Apr Alexander Panfilov (Russia) Performance Workshop 7 July Eylam Keshet (Israel) LONDON N For forthcoming event details, contact Sat 20 June, 6pm We are sorry to have to announce Gillian Sonin, 07956 281188 Pupils’ Junior Concert that events at St James have had [email protected] to be postponed and Adam Davies' Sun 12 July piano recital for the Fanny Davies LONDON S Pupils’ Junior Concert for Pupils of International Piano Series on 28th For forthcoming event details, contact EPTA Teachers April will have to be rescheduled next Frederick Scott, season. Please reach out to St James fredscottmusic2gmai.com SUSSEX E for information about how to transfer For forthcoming event details, contact or refund tickets. LONDON W Kevin Smith, 07583 251118, For forthcoming event details, contact [email protected] Alberto Portugheis, 020 7602 9515 [email protected] Sun 28 June Concert by Teachers and Students 48 | www.epta-uk.org 4BACK TO CONTENTS PAGE

A resounding success EPTA ESSEX EVENT for EPTA Essex Arecent recital by pianist Nicholas McCarthy, organised by Essex regional organiser Sharon Goodey on 29 February, had a very successful reception. Nicholas was born in 1989 without his right hand and only began to play the piano at the late age of 14. Having once been told that he would never succeed as a concert pianist, he went on to study at the Royal College of Music in London. His ongoing commitment to encouraging new audiences to classical music along with his work with young people through music education is ever present in his schedule. Sharon had sold family tickets to encourage children to come along and consequently had an audience of 40% children. The youngest was five years old. Without exception they remained fully engaged the whole time and most of them queued up to buy CDs at the end. Here is a sample of the feedback emails she received: \"It’s the first time myself and \"It was a tremendous evening and was thoroughly enjoyed \"My daughter loved my seven-year old daughter by all. Nicholas was an intelligent, engaging, and informative hearing pieces that she have had the opportunity to presenter and his piano playing was superb. My two boys (9 would not normally be hear a concert pianist play and 7) were enthralled from beginning to end and asked to exposed to in our non- and we were mesmerised stay for the second half after I suggested it was time to go musical household... by the talent displayed by home at the interval. When we arrived home they discovered she particularly enjoyed Nicholas McCarthy. Not only I had not bought a CD, so persuaded me to pop back to get Rachmaninov which was did he play a varied repertoire one - we are very local!!! This morning (4 days later) I found a big surprise!\" of pieces, he also gave an my 7-year old trying to play the only piece he knows (mission interesting commentary of impossible).... with his LEFT hand! Live performance is SO \"Thank you to Sharon and his journey to becoming a powerful for children and stays with them for such a long EPTA for a great opportunity. pianist and his career so far. time. Keeping the ticket price low was very helpful, and we The experience has meant that Nicholas also opened up had a hugely memorable evening.\" I as a parent will now look out the floor which meant that for more opportunities for us the evening was much more \"Thank you for your efforts in organising as a family to see pianists play. interactive than I expected. It the piano recital / lecture given by Nicholas My daughter continues to adore was great that the youngsters McCarthy.\" the piano and the experience ( and adults) were able to ask has enthused her further!\" questions in the intimate and non-intimidating setting.\" EPTA New Members Fiona BARTLETT Richard DINSMORE Helen JONES William STUBBS EPTA UK NEW MEMBERS [email protected] richarddinsmoremusician [email protected] [email protected] Surrey @gmail.com YORK PORTISHEAD, Bristol MANCHESTER, Lancashire Gillian BECKWITH Maria KESIAK Bin TAN [email protected] Niall DOHERTY [email protected] [email protected] BELFAST [email protected] CHORLEY, Lancashire WALLINGTON, Surrey COVENTRY, West Midlands Alison BESTOW Jasper MINTON-TAYLOR Russell THOMPSON [email protected] Lynnette FARKAS [email protected] [email protected] IPSWICH, Suffolk [email protected] OXFORD, Oxfordshire FINCHAMPSTEAD, Berkshire HEREFORD, Herefordshire Chrissie BIGGS Silvia PALOMBO Richard UTTLEY [email protected] Michiru GEORGE [email protected] [email protected] BOVINGDON, Hertfordshire [email protected] LONDON LONDON HALESOWEN, West Midlands Chris CATON-GREASLEY Rosalind ROWE Joshua WILKINSON [email protected] Talia GIRTON [email protected] [email protected] DUKINFIELD, Cheshire [email protected] WARRINGTON, Cheshire LONDON ALFORD, Lincolnshire Anne CLARK Garrett SNEDEKER [email protected] Fiona GOULD [email protected] Helen WOOD IPSWICH, Suffolk [email protected] DEPTFORD, London [email protected] WHITLEY BAY SMETHWICK, West Midlands Elena COBB Jeremy STANTON [email protected] Lorraine HOWARTH [email protected] Agnieszka ZIMNIAK Staffordshire [email protected] BEDFORD [email protected] WIGAN, Lancashire YORK, North Yorkshire Imelda COLLINS Michael STEMBRIDGE-MONTAVONT [email protected] Emiko IGUCHI normandypianocourses BELFAST, County Antrim [email protected] @hotmail.com LONDON TAUNTON, Somerset 4BACK TO CONTENTS PAGE www.epta-uk.org | 49

EPTA BURSARIES EPTA UK Bursaries There are four main bursaries ■ Mark Ray Memorial Fund circumstances but is not a relative. available to EPTA UK members, This fund could support applications Applicants should have been studying which you or your students for the PTC course and may cover some, the piano for at least two years and may want to use. if not all of the cost of the course. should be under 18 years of age. We are in the fortunate position of ■ John Bigg Scholarship Fund ■ CPD Bursary being able to offer bursaries at the This fund has in the past helped This is available for Continuous beginning of each academic year for students who may otherwise not Professional Development (CPD) talented pupils of EPTA UK members have chosen to enter the professional support of members, which could who may be having difficulty in paying route – although you don’t have to include participation fees for courses. for their piano lessons. be a budding professional to apply for one! However, bursaries are ■ Young EPTA UK Travel Bursary Fund Should you apply for any of these awarded only to applicants who show Pupils of EPTA UK members may apply bursaries you will need to download true commitment to the piano as for assistance with travel when taking a form from the EPTA UK website or their first and preferred instrument. part in EPTA UK events. The maximum ask the EPTA UK office to send you Nominations are invited for a limited award for each application is £75. one, and on return of the form we will number of bursaries for 2020-21. A assess it. There should be a financial minimum standard of approximately Please contact Carole at the EPTA ‘need’ to qualify to be eligible and all grade 5 is expected. The bursaries will UK office, [email protected] / tel: decisions in this respect are up to the be awarded on the basis of a letter 08456 581054, if you want to have EPTA UK Management Committee. of recommendation from the teacher an explorative chat about whether A more detailed description of each together with a letter of intent from you or your student might be eligible. bursary can be found in the members’ a parent or parents and a letter of Alternatively you can email Beate handbook. support from another professional Toyka on [email protected] person (e.g.school teacher, doctor) if you would like to find out more. who is familiar with the family’s SERVICES TO MEMBERS EPTA UK BURSARIES & SERVICES TO MEMBERS ADVICE NOTES PUBLIC LIABILITY ALL EPTA UK ENQUIRIES: exclusively to membership groups. Advice notes on a number of Members are fully covered for Public The Administrator EPTA UK The arrangements provide EPTA UK subjects are available on request Liability while teaching in their 4 Guildford Road, Dukinfield, members and their families with a (please see Handbook for details). own studio, at their pupils’ homes, Cheshire, SK16 5HA simple means of securing the high at all EPTA UK meetings and other Tel: 08456 581054 quality benefits and services offered BURSARIES 2020-21 and THE JOHN professional gatherings and for all Email: [email protected] by HMCA at the special EPTA UK BIGG SCHOLARSHIP FUND other activities associated with their www.epta-uk.org rates. The schemes on offer include Details above. profession as a professional musician Registered Company: England 1945055 the following health-related Plans: HELPLINE THE PIANO TEACHERS’ Registered Charity: 293698 n private healthcare For advice on professional matters INFORMATION CENTRE n travel insurance related to music and teaching please is housed at the Royal College of MEMBERSHIP n personal accident call the Administrator: 08456 581054. Music, Prince Consort Road, London, Membership for UK residents only: n term life SW7 2BS. It contains a valuable Full £70 (Joint £90 for two members n income protection LEGAL EXPENSES INSURANCE reference collection, listed on the at the same address) Affiliate £30, n dental This covers legal advice, expenses EPTA UK website, of books, music, Student £10, Corporate £130 n hospital cash income and costs of representation at a teaching methods, audio and video tribunal in the event of employment tapes. For more details please call the ADDITIONAL BENEFITS An excellent Vehicle breakdown disputes; also in pursuit of a civil Royal College on 0207 591 4300. FOR EPTA(UK) MEMBERS recovery club is also available. The claim for damages incurring death Members are reminded that EPTA UK HMCA Helpdesk can be contacted or injury caused by negligence to STATIONERY has for many years been participating on 01423 866985, for further themselves or their family. It also A range of stationery, including in the member benefit schemes information, and online enquires covers legal and accountancy costs forms for reports, contracts and offered by HMCA (The Hospital & can be made via the special HMCA in the event of a part or full Inland statements, is available from the Medical Care Association). HMCA is website for EPTA UK members – Revenue Investigation. Administrator and on the members’ regulated by the Financial Services www.hmca.co.uk/eptauk.htm area of the website. Authority and is a specialist provider of benefits and services 50 | www.epta-uk.org 4BACK TO CONTENTS PAGE