Piano Professional 55 interactive

JANUARY 2021 | ISSUE 55 | www.epta-uk.org PROFESSIONAL Isata Kanneh-Mason in conversation Piano technique with Jenny Macmillan, Melanie Spanswick and Nancy Litten A focus on composer–pianist– teacher Alison Mathews A lullaby for solo piano by Colin Riley News from EPTA Corporate Members, CD & sheet music reviews and a special lockdown poem for piano teachers Photo: Robin Clewley

Specialist Music lies at the heart of Wells Sejin Yoon and Bridget Yee BBC Young Musician 2020 Piano Finalists Wells is one of the four English Specialist Music Our state-of-the-art performing and recording Schools supported by the Department for venue, Cedars Hall, has hosted many recitals and Education, and has specialist music places available masterclasses with the following musicians: as part of the government’s Music and Dance Scheme. Pierre Laurent Aimard, Martin James Bartlett, In the keyboard department there are specialist Imogen Cooper, Peter Donohoe, Barry Douglas, schemes of study available on piano, organ Mei Yi Foo, Benjamin Grosvenor, Christian and harpsichord. The department enjoys an Blackshaw, Stephen Hough, Angela Hewitt, international reputation as a centre of excellence Elisabeth Leonskaja, Alexander Melnikov, and in recent years 12 Wells pianists have reached Steven Osborne, Yevgeny Sudbin, the finals of the BBC Young Musician Competition. Mitsuko Uchida, Roger Vignoles, Ashley Wass The School has close links with Wells Cathedral, providing unrivalled opportunities for organ scholars. Generous financial bursaries of up to 100% of fees and music tuition are available across all instruments. Wells musicians receive a first-class, pre- professional training from teachers who are world- class musicians themselves, many of whom are active performers and teach at UK conservatories.

JANUARY 2021 | ISSUE 55 | www.epta-uk.org PROFESSIONAL 4 Editorial by Murray McLachlan 5 The Online Piano Teacher by Suzanne Munro 6 6 Why teens quit piano by Tim Topham 16 24 8 Alison Mathews in conversation 12 Isata Kanneh-Mason in conversation 16 Make Mozart fun - Minuet in C K.6 by Paul Myatt 20 No Longer a Flower by Colin Riley 24 The Thumb by Melanie Spanswick 26 Alberti Bass by Jenny Macmillan 28 Questions in the Piano Lesson by Michael Griffin 29 Musicianship for Pianists Part 4 by Nancy Litten 32 Ready for a Music Examination: Practical, specific indicators by Amy Boyes 34 Mindfulness for Musicians Part One by Susanne Olbrich 37 Fowke Muses 38 Reviews 32 43 Regional news 44 Corporate News 34 50 EPTA UK Bursaries / Services to Members 51 New Members 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). All advertising enquiries Cheshire SK16 5HA Helen Tabor 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 HELEN TABOR Welcome to 2021 and the 55th edition of Piano Professional Happy new year to all EPTA UK members and Piano education shown by our members during the unprecedented Professional readers. 2020 was utterly horrific challenges of 2020. And, of course, special thanks to Talia in many ways. In 2021 I am sure everyone will Girton, Regional Organiser for South London, for compiling sincerely be hoping that things surely can only the concert videos. get better. Following the tragedies, stresses, uncertainties, and ‘unprecedented’ change and turmoil we have been EPTA UK has been able to support its members through through, we have had to adjust, adapt, relearn and rethink so 2020 and, through the tremendous support of the much. Having said that and as I write we have just enjoyed a management committee, as Chair it has been a huge wonderful EPTA UK event that shows how amazing our piano relief to see that our association has managed to support community truly is: on the weekend of 18–20 December membership and their pupils and families as best we can. EPTA UK hosted four Seasonal Celebration online concerts We have the excellent, caring, intelligent and crystal-clear with performances from across the country provided by organisational support of Murray Wells, our treasurer, as association members and their students. There were some well as a great admin team with Ann Burden, Carole Booth 114 performances, submitted by 37 teachers. This generated and – more recently – Liz Giannopoulos as superb stalwarts. more than five hours of music ranging from Jingle Bells Boogie Early on in lockdown the COVID-19 committee, under the to Rachmaninov’s Prelude in C# minor. The four broadcasted chair of Karen Marshall, went much further than an extra concerts were hosted by members of EPTA UK’s management mile in supporting the membership, and our new webinars, committee and thoroughly enjoyed by members, performers instigated by Anthony Williams and superbly supported and their families. after the initial stages by Nicole Wilson of Musical Orbit, have been a spectacular success. Above all else, EPTA UK has We’d like to extend our thanks to all the teachers who proved to be a caring, members-first-style charity. We are encouraged their students to participate. This was a not in the business of being coldly corporate and uncaring. wonderful testament to the continuing dedication to music Our administrators always put the individual members first. Indeed, on more than a few occasions during the first Dame Fanny Waterman few weeks of lockdown, Ann Burden in particular went out (22 March 1920 – 20 December 2020) of her way to give direct advice and support to members who had not used Zoom before, directly guiding them over Dame Fanny Waterman, legendary teacher, writer, pianist the telephone to be able to connect with students and so and founder of the Leeds International Piano Competition, continue giving piano lessons. sadly passed away on Sunday 20 December at the age of 100. As we enter 2021 EPTA UK is in a very strong position Dame Fanny was vice chair of EPTA UK. Here she is at indeed to continue giving vital, personal, friendly and efficient the 2008 Liverpool EPTA Conference where she gave an support and inspiration to all its members. With an AGM inspirational masterclass. Also in the picture are EPTA Patron coming up in early February 2021 it is therefore with a very Ronald Stevenson with his wife Marjorie, former vice chair heavy heart that I must now announce my resignation as of Susan Bettaney, EPTA Scotland’s Sheena Nicoll and Callum (8) 31 December 2020 as both chair of EPTA UK and editor of Matthew (7) and Murray McLachlan. On hearing Matthew and Piano Professional. Ultimately, I believe that my departure Callum perform Ronald Stevenson at the conference, Dame from these roles will make very little difference to our Fanny advised them both to ‘make sure you practise every day’. membership, because the association is now in such a strong, happy and vibrant place. Our numbers are nearing the peak of 1,500 achieved in 2012. Our finances are in great shape. The management committee has extremely talented members and our reputation and standing in the music community and profession is widely respected. I have been privileged to work in my capacity as editor of Piano Professional and Chair of EPTA UK for nearly 15 years. All things must come to an end, and ultimately, I have placed family commitments, needs and circumstances at the forefront of my considerations in resigning now. But please make no mistake: I will continue as a trustee of EPTA UK until the AGM in February, and thereafter will be a stalwart and dedicated member and supporter, not only of EPTA UK but also of the wider international EPTA family that continues to expand and flourish globally. 4 | www.epta-uk.org 4BACK TO CONTENTS PAGE

we have had to adjust, adapt, relearn and rethink This current issue contains ongoing articles and features The Online Piano Teacher... from friends and colleagues old and new. Our cover star is the young, vibrant and colossally talented pianist Isata Kanneh- A lockdown song/verse by Suzanne Munro (April 2020) Mason. At the end of 2020 we were able to announce with huge excitement and delight that Isata Kanneh-Mason had Piano lessons with running water been appointed as EPTA UK’s ‘Youth Ambassador’. It was And squabbling sons and squabbling daughters both a privilege and joy to interview Isata for this issue of the And siblings running round in ‘jamas - magazine and she has so much to say that is of interest and But piano teachers are not alarmist direct relevance to us all in the EPTA community. It is also And take everything in their stride, wonderful to welcome Jenny Macmillan back for an exciting And are not fazed by the tide new series of articles, just as Nancy Litten’s musicianship Of oddities from on-line teaching; series draws, sadly but inevitably, to an impressive close. Mild eccentricities that are not far reaching Philip Fowke and Melanie Spanswick remain in full flow (For they stay within music room walls) with their ongoing and much-loved contributions, always As I listen to the calls of family communication, pasting these pages with pianistic panache and persuasively Confined to our homes, as we are as a nation. empowering prose. A new series from Susanne Olbrich on Shirtless torsos and uncombed hair, mindfulness is welcomed as a long overdue new dimension to But the piano teacher doesn’t care: the magazine. Amy Boyes writes with clarity and illumination They’ve seen it all before: on exams, whilst we have a trio of Australian pedagogues So no matter I am beyond closed door, offering sparkling insights in Michael Griffin, Paul Myatt and Sibling squabbles and music lost; Tim Topham. Please do not miss the outstanding and vibrant Sometimes order, sometimes chaos - composers’ competition which all our pupils would be inspired Cooking tea with the piano lesson, to enter: ‘compose yourself’. Alison Mathews (featured In a next door room the Zumba session... composer this issue) and Lindsey Berwin (to be featured in Chatting to friends, and family life, the next issue) have produced an outstanding event and their Unmade beds and other halves in dressing gowns efforts are to be clapped to the echo. Elsewhere we have a All could cause a teacher strife. beautiful piece well within the capabilities of many of our Piles of cushions on ill-fitting stools, pupils by internationally-acclaimed composer Colin Riley and Many young players have neither music nor tools - a feast of reviews in our extended features section. Alison Things not printed: Bowring's wonderful series returns for its next instalment in No pianos for some... the Easter issue of the magazine. All could make a teacher rather glum. I am taken upstairs to rummage for music To close what will be my last editorial for Piano Professional, And to talk to Tee-shirtless brothers; our wonderful colleague and fellow EPTA UK member Suzanne Parents are elsewhere: to be searched for has kindly given permission for this witty and amusing poem And messages bellowed to fathers and mothers: (reproduced in full below) to be published. I hope it brings You assume they will re-appear in a bit - a smile at the start of an uncertain year, and I wish you all But then get a message health, safety, energy, resilience and a wonderful 2021. “MUM SAYS HE’S ON THE TOILET!” There’s yelling, to “keep the music down!” Rest assured my heart will always be with EPTA members To siblings - enough to make the teacher frown: and the needs and aspirations they and their wonderful pupils But we are trained as musicians to not be distracted: have. Happy teaching and all the very best for 2021 and So shouting; calling; pyjamas: half naked beyond. Does not mean that we will not make it To the end of the lesson: Yours always, ....KEEP CALM, CARRY ON, and give the impression You have seen, and heard nothing - Murray McLachlan “There’s more music to do....” Chair, EPTA UK Even when you’re told “DADDY’S ON THE LOO!...” 4BACK TO CONTENTS PAGE www.epta-uk.org | 5

Tim Topham Teens quitting If our students are really motivated piano: to play, they'll make the time for it Is it just me or is it getting Reason 1: You aren’t teaching them their worlds. One teacher described it harder to stop teens the music they want to play as “an accurate view into the mind of a quitting piano lessons? middle schooler”. No one has any time, teens This might be the single, most frequent cause of non-practising Have pieces in your back pocket are more stressed than they were ten and then quitting: your teen student before their lesson day: Plan A, Plan B, years ago, and practice always takes doesn’t like (or can’t manage) the and surprise piece Plan X. a back seat to everything else that’s pieces you’ve chosen for them. going on. You may need to play/demonstrate/ Ask Your Student What They Would show on YouTube a number of pieces Teacher: “So how did your practice go Like to Play and Be Open to Teaching It – before they find one that clicks with this week, Luke?” Even if It’s Outside Your Comfort Zone. them. Search YouTube for ‘piano tutorials’ – these are normally the Luke: “I didn’t really get any time.” Listen to the music your students like most popular pieces, but you’ll need (cue: sheepish look) together and work out an approach for to stay current. My channel, TopMusic, learning it. Yes, you can use lesson time! has many quick-wins with these teen Teacher: “Really? Not even 30 minutes favourites. on the weekend?” I get really excited when students bring in new music that I’ve never Admit That You Don’t Know Luke: “Well I had to play basketball for heard of before. Everything! school on Saturday morning, and then on Sunday it was football with my local If you don’t let teenagers play at Teaching has changed in this century, club, and then my grandparents were least a few pieces they want to learn, for the better. But that doesn’t mean down from the country, and we had to do you’ll lose them very quickly. When they you’re unqualified if you’re unversed in things with them all afternoon and…” bring in a piece that’s way too hard for jazz band piano, improv pattern fills, or them, help them to simplify it. Even if how to teach DAW and your student is You get the idea. they only learn the chord structure or keen to try it. The real issue for students like Luke the melody, they’ll re-engage in their is motivation. If our students are really learning and practice. Share the learning journey with them motivated to play, they’ll make the time as a facilitator. You’ll gain much more for it. Make Sure You Have Lots of Cool respect from students and a deeper So how do you motivate teens? Repertoire up Your Sleeve. connection with them and their music. In my experience, teens drop piano In the process, you’ll grow as a teacher. study for three reasons: Even if they choose a piece they Isn’t that what effective teaching 1. You aren’t teaching them music they want to play, you’ll need other options should be all about? want to play, to keep them engaged in the middle- 2. You aren’t making music relevant, longer term. Ps. I’ve found that some teens who 3. You aren’t keeping up with start out wanting to play pop music technology. For one, teenagers love choice. often lose interest in it after a while So let’s sort through these three But also, shy or bored teen students when they realise that great piano common reasons to understand the may choose the easy (or safe) answer of solos and classical music can be much disconnect teens can experience in “I don’t know” or “I don’t care.” more fulfilling to play. piano study, and find real solutions I’ve Explore more about this mindset with used with my students. the book Not Much, Just Chillin’ by Linda Use pop music as your “in” while you Perlstein, about how teens think about slowly introduce great piano solos into the mix. You’ll have them hooked! 6 | www.epta-uk.org 4BACK TO CONTENTS PAGE

surprising teaching reasons you need to know Reason 2: You aren’t making music while and is starting to fade, you might handle on a hook from a pop song relevant have missed the signals about what or video game clip. they’re really interested in. • iRealPro – play lead sheets with Teenagers need to see the relevance backing tracks from an open- in what they are doing, and they need A little research will go a long way! source library, from jazz standards to be working towards goals that they to 12-bar blues to praise band set themselves (with your help, of Reason 3. You aren’t keeping up chart hits. course!). with technology Consider using a method or supplementary music with backing If all they do when they come to Piano as a hobby can easily feel tracks. The list is ever-growing, but lessons is to show you something embarrassing to teens (who hate to here’s a starting place: they’ve composed, then teach them be singled out for doing something • Carol Matz interactive piano method more about composing. If they suspected to be uncool). Modernising • Mike Springer “Not Just Another” always come to lessons having learnt your studio and lessons experience series for Christmas, Jazz, and something by ear, encourage it and with updated technology goes a long Praise give them a deeper understanding of way in this department. • Daniel McFarlane’s Supersonics harmony and form to enable them Pro app to make their own arrangements of Here Are Easy Ideas to Incorporate • Faber’s entire line comes with melodies they can play by ear. Better Technology Into Your Teaching: a really solid play-along app • Wunderkeys Rock Repertoire books I’m not saying that just because Billy This is quite simple, but start with • Jerald Simon’s Cool Songs likes playing by ear that we should drop upgrading your sound system. I • Handy tip: Piano Maestro all attempts to teach him anything else. recommend avoiding playing examples includes a ton of backing tracks in off of a laptop. Instead, buy something the methods segment (Hal Rather, use his natural style of with a decent subwoofer like the Leonard method, Piano Pronto, learning to motivate and engage him Logitech Z623. The better sound Supersonics, Alfred, Jennifer in other aspects of music: e.g. reading, quality will instantly elevate the sound Eklund books, and even Irina composing, improvising, etc., while you level of whatever you’re doing in the Gorin’s Tales of a Musical Journey). work on the thing that motivates him studio, and teens love it. each week to play the piano. Conclusion Try my must-have apps. Here’s I hope some of these tips will help Teens are much more open to doing a shortlist of apps I love for teens spark an idea the next time you have the “boring” stuff like learning to read specifically: a teen on the rocks in lessons. Visit music if it’s part of a lesson that’s TopMusic.co to find more ideas and based predominantly on their intrinsic • MusiClock – make scales more quick wins to motivate and retain your motivation and musical passion. interesting and create cool backing teen students. tracks How do you find out what motivates • ForScore – mark up and organise your teens? their music. • SuperMetronome Groovebox – put If he/she is a new student, just ask. away the stodgy metronome beat I’ve developed a questionnaire for and use drum & bass instead. incoming students so I can quickly • AmazingSlowDowner – highly learn the music they’re most motivated useful when you’re trying to get a to start playing. If the student has been with you for a 4BACK TO CONTENTS PAGE www.epta-uk.org | 7

interview Composer– Pianist–Teacher Alison Mathews in conversation with Murray McLachlan Piano Professional continues its ongoing series of features MM: When did you first start to compose? What were your on leading composers in music education with an interview first pieces? with Alison Mathews. Alison’s beautiful compositions have gained wide acclaim and appeal over the years, with AM: Composing really came out of teaching, though I’d examination boards selecting a significant number of her write things for my own pleasure as a teenager. At first, I works for use. Her sensitive control of colour, sonority, shape started to arrange music for my pupils or would inevitably end and characterisation, allied to her natural understanding up re-writing passages of music to solve problems for pupils. of how the piano works technically for pianists in their I then began writing short, descriptive pieces for specific developing years, makes her the ideal composer for pupils who had difficulties in their learning or who needed a budding pianists to explore, perform and champion. It was particular way to be engaged. I was also keen to introduce fascinating to catch up with Alison and find out about her my beginners to the wonderful sonority and colour that the life and career from the early years to the present. different registers of the piano have. Murray McLachlan: Tell us about your family and early None of my piano teachers introduced composing or years. When did you first get interested in music? improvising into my lessons, beyond preparing me for the ABRSM practical musicianship exams. It was only when I AM: My father, who was in the RAF, was a wonderful started at RCM and began to study techniques, which involved amateur organist who wasn’t able to train as a professional learning to write in various styles and forms, for example a musician, though that had been his ambition. He was actively classical sonata movement or a contrapuntal piece, that I involved in music-making at all his postings and the piano realised this was something I enjoyed and was surprisingly travelled to all the different RAF bases that were our homes. successful at. I also found that the academic work I did He started teaching me when I was about six and after – analysis – gave me not only an excellent understanding moving to London a year later I began lessons with a local of musical structures but also a deep appreciation of how teacher. As a child I was given as much encouragement and composers developed different aspects of their compositions. support as possible by both my parents, though funds were tight. I learnt the violin, joined a local choir and, eventually, MM: Who has been your most significant mentor in the Surrey Youth Orchestra. Much of my time outside of composition? school was taken up with musical activities! The schools I attended didn’t have a strong tradition of music-making, so AM: My most significant mentor isn’t a composer or everything developed outside of school. directly related to composition but was my supervisor at RCM - Roderick Swanston. At the time he was director of the MM: Who were your pre-College mentors and what did you Academic Pathway of the degree course, which I followed. I learn from them? was lucky enough to have his support and individual attention throughout my four years there. In hindsight I have so much AM: The teacher who took me through my diploma and the to be grateful for - his wide interest in so many subjects audition process was David Ward, an expert in the repertoire beyond music and his phenomenal knowledge sparked my of the fortepiano. He helped to undo a lot of physical tension I interest in researching into the links between art, philosophy had developed and patiently rebuilt my technique. He guided and music, something which I did for my master’s degree. He me in interpretation, gently encouraged me to perform as I was able to see both my potential and shortcomings - how my was a shy and nervous young woman. I definitely developed perfectionism and self-criticism could hinder me. I will always an appreciation of Mozart, learning quite a bit about the remember his advice - “be a square peg in a round hole”. He performing conventions of classical music. had a lasting impact on my development, though I didn’t recognise it at the time. 8 | www.epta-uk.org 4BACK TO CONTENTS PAGE

I place great value on supporting those that are less able and finding ways to instil a love of music MM: Tell us about your experiences at the Royal College of a pupil parameters or steps to follow, finding a theme that Music. inspires or perhaps a style of music, demonstrating ideas and guiding them positively works for all. For those that are less AM: I was overwhelmed when I first went, excited to confident we may start with a hand position that is familiar have been given a place at such a historical institution. I and that they can use to improvise over an accompaniment. have fond memories of weekly sight-reading classes in my From there we may take part of the melody they like and first year, which meant playing through arrangements of explore how it can be developed into a phrase, for example Beethoven symphonies for four or six pianists. The sound in using question-and-answer or perhaps a sequence. I would the teaching rooms was incredible! I enjoyed the opportunity always demonstrate and ask the pupil to listen carefully and to accompany, which was my second study, and singing in the make considered choices. We may also look at exploring the choir was a brilliant experience. piano for suitable descriptive sounds and work that into the structure. For example, a beginner pupil recently wrote a piece MM: How did you start to teach? about her favourite animal - a python. She tried out different AM: I started teaching a couple of neighbours when I hand positions, finally settling on a C major five-finger finished school and then began studying for a teaching position to create a song about her python enjoying the sun, diploma with David Ward. I was unsure what I wanted interspersed with sounds describing the animal slithering, to study, whether to take art or music and so took time pouncing, sleeping. The repeated melody alternating with the to complete my Diploma before auditioning for RCM. I sounds gave a natural structure. This is only one way - there taught throughout college and it always been central to my are many ways to do it, depending on the age and level of professional life. your pupil. I would always provide a framework - giving pupils boundaries can feel safe but can also be pushed against, so MM: How has your teaching developed over the years? being flexible is important! AM: My teaching has always included creative activities and it’s always been important to adjust to the individual needs MM: Your website, alisonmathewspiano.weebly.com, is of a pupil but over time I relied less and less on following a model of its kind - full of exceptionally useful resources, methods or exams as a type of curriculum. I feel I have inspiration and information. How did it evolve and how has it slowed down the pace of lessons, feeling less pressure to fit developed? everything into a short lesson time, giving time to what is needed at that moment. I’ve also become adept at finding AM: This began primarily as a way to communicate with ways to adapt my teaching to pupils’ needs or find material pupils and parents and as a way to share the music they were that will work for them. I’m also aware that I need to match learning or composing and to celebrate achievements. It was my teaching pace to the pupil as I’m sure I had a tendency to also a way to encourage a sense of togetherness within my rush or assume knowledge that wasn’t secure! studio as learning the piano is mainly a lone activity. Over time I added resources, for example, advice to support exam MM: How do you introduce piano pupils to composition? preparation or how to continue playing over the summer AM: I recently found a handmade book that I’d created for break. All the sorts of things needed for pupils and parents my pupils from their composition in the early 1990s, with to make the most of lessons! Using social media prompted scores written by them, with illustrations. Clearly, composing me to also upload resources I was happy to share with other with pupils has been part of my teaching for some time! Some teachers and that had been tried and tested! pupils are natural explorers or improvisers, and some are less confident, so my approach differs; however, in general, giving 4BACK TO CONTENTS PAGE www.epta-uk.org | 9

interview Announcing... MM: What musical and pedagogical values do you hold COMPOSE YOURSELF! most deeply? A 2021 Composition Festival to Inspire Young Pianists AM: I firmly believe that everyone should be given the opportunity to learn music as the benefits are immeasurable Compose Yourself! is an online composition festival and can be life-long. This has meant that I place great value created by established composers Alison Mathews and on supporting those that are less able and finding ways Lindsey Berwin, to reflect their passion in encouraging to instil a love of music. Having a pupil achieve what they creativity in composition from an early age. Alison and need, rather than external awards, is important. I’ve always Lindsey most generously created and shared fantastically aimed to foster a love of reading, if at all possible, as this useful and inspirational resources for teaching and really opens up a whole world of exciting music as well as encouraging composition with EPTA UK members last year. independence for pupils. I would also say that developing expression and interpretation is very important. At all levels, They are inviting submissions from pianists aged 5 to pupils should be thoughtful about how they perform a piece 18, to be received no later than the deadline of 31 May, and how they can communicate through music. These values in both the competitive and non-competitive categories. prompted one of my first books – Doodles – having been Once pupils are ready, submit a video of them playing written for my pupils to support their reading development, their composition. An accompanying score is required to be expressive in their playing, encourage creativity and for those entering the competitive category but is not explore the piano. required (though welcomed) for all other entrants. All entrants will receive an encouraging comment sheet by MM: Tell us about your plans for the forthcoming our adjudicator, the composer June Armstrong, along composition competition. with a certificate and a piece of music specially written by a leading contemporary composer. Winners in the AM: Setting up a composition festival has been an ambition competitive category will receive a selection of inspiring for quite a while. I know from experience how composing music books at their playing level. can open up an area of musical learning for pupils who may struggle in other areas, as well as bring together different “Composing is a wonderful way to learn about how aspects of musical learning in all pupils. Having found a fellow music is ‘put together’, to learn about how to construct teacher and composer, Lindsey Berwin, who feels the same, musical sentences, to phrase and to punctuate, but more we decided to organise a small online event in 2020 which importantly, how to makes sounds which please the ear and was very successful. After being offered sponsorship by EPTA delight the senses.” - June Armstrong we decided to organise a UK-wide festival in 2021 for all young pianists. The website has articles and free printable resources to help support teachers to introduce composition in a One exciting part of the festival is the involvement of a simple and engaging way. For more information on wonderful collection of leading contemporary composers. how to enter and to register your interest please visit Along with the usual certificate and comment sheet, all www.composeyourself.net. entrants will receive a specially-composed piece of music from one of these composers. We hope this will help inspire pupils to continue composing and is an extension of the idea of sharing music - from students to published composers. We have also been very fortunate to have the support of publishers in giving music as prizes, such as Faber and Trinity College London. Ultimately, we would like to inspire as many teachers as possible to introduce their pupils to the joys of composition. Both Lindsey and I feel it should be a normal part of a pupil’s musical learning - you never know where even the smallest steps into creativity may lead in the future for a pupil! We thought it important to have a non-competitive and competitive category to accommodate differing pupils’ and teachers’ needs. It is important for us to be inclusive as well as provide a platform for those seeking a challenge! MM: What are your plans for the future? AM: I am keen to develop the composing festival and see it grow in the future. I do have several books in various stages of completion waiting to be finished and published, which given some quiet time I’d like to get back to! I’d also love to establish a duet partnership or play with others for my own enjoyment. It’s something I’ve wanted to do for some time but with the current situation may well take a little longer! 10 | www.epta-uk.org 4BACK TO CONTENTS PAGE

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interview I can’t ever remember a time where there wasn’t music in my house Photos: Robin Clewley Murray McLachlan in conversation with Isata Kanneh-Mason EPTA UK is delighted to welcome celebrated get started: when and how did you start to get interested in young pianist Isata Kanneh-Mason as our Youth music and when did you start piano lessons? Ambassador. Isata Kanneh-Mason’s phenomenal talent as IK-M: Music was always a part of the environment of my a pianist has seen her decorated with accolades from a house when I was growing up. So, I can’t ever remember a very young age; holding the Elton John Scholarship for time where there wasn’t music in my house, whether just on undergraduate studies at the Royal Academy of Music, she the CD player or in real life. I started the piano when I was was also a category finalist in the BBC Young Musician in six, but before then I was having recorder and theory lessons, 2014. She has recently completed her postgraduate studies and being exposed to constant music, both classical and at the Royal Academy of Music and continues to perform non-classical, that my parents would play on the CD player, extensively both at home and abroad. Her critically-acclaimed or in the car. The pieces that stand out in my memory are debut album, Romance, entered the UK classical charts at No. Schubert’s Trout Quintet and Death and the Maiden String 1 when it was released in July 2019. Isata made her televised Quartet, Dvořák and Elgar Cello Concertos, Mendelssohn BBC Proms debut this summer as one of a select number of and Beethoven Violin Concertos, and my favourite the artists chosen to perform at this year’s revised virtual Proms, Rachmaninoff Second Piano Concerto. There was also Peter performing in an empty Royal Albert Hall to an audience on and the Wolf by Prokofiev and lots and lots of Bob Marley, radio and television. Queen, Shaggy and more. Starting an instrument therefore felt very natural! Murray McLachlan: Welcome to EPTA UK, Isata! It is absolutely fabulous to have you with us in the new role of MM: Did you take to practising easily? What kept you Youth Ambassador, and terrific now in this interview to learn going? How did your parents react to your music-making? more about your musical life and memories. Of course, we want to hear about your plans and aspirations too! So, let’s IK-M: I think during the initial stages of practising I didn’t really feel like I was practising, because I spent most of the 12 | www.epta-uk.org 4BACK TO CONTENTS PAGE time “composing“ - in other words improvising random songs

interview and chords and patterns on the piano. I would spend much be prepared for my concerts, whilst still never neglecting the more time on that than on my official pieces that I was meant detail and depth in the music. to be learning! MM: Tell us about influences from other musicians. MM: When did you realise that you wanted to be a IK-M: As a musician it is important to always have external professional musician? inspiration. Growing up I was primarily influenced by the pianists Martha Argerich and Vladimir Ashkenazy, alongside IK-M: It wasn’t until I was about eight, and I realised Jacqueline du Pré, Itzhak Perlman and Alfred Brendel. But that music was something that one could actually do as a now who I am inspired by changes on a weekly basis, from professional career that I started to properly practise. I knew hearing a great recording of the Ébène Quartet, or watching by then that that was what I was going to be when I grew Kirill Gerstein in a concert, to non-classical musicians such as up. It was then that I first heard about the Royal Academy Esperanza Spalding and Lianne La Havas, to authors such as of Music, and was desperate to get a place at the primary Toni Morrison and Chimamanda Adichie. department. So I started practising properly for two hours a day, and I remember my Dad would sit with me for the MM: How did you cope with the demands of weekly travel entirety of that time, helping me practise. I would frequently to the Saturday junior school at the Royal Academy? cry whenever I felt that I couldn’t do something, and I don’t think I was that good at concentrating and would often have IK-M: Travel is always a big part of a musician’s life, and I to be told to focus. So although playing and enjoying music experienced it from a young age with weekly trips to London came naturally, practising certainly didn’t! I don’t think I for my lessons at the Academy. I always struggled with the ever had trouble reading music, because I started theory early mornings, and would struggle to sleep the night before from such a young age, and so although I loved composing because I would be so stressed about waking up at 5am. and improvising, I still didn’t mind learning pieces from the However, once I had slept for the entire train journey there score. It was more the working aspect of practising that I I would feel awake enough to really enjoy my day at the found tiring. Luckily, with the help of my parents, I managed Academy. This also meant that the train journey back was lots to practise enough to get into the Royal Academy and started of fun. having weekly lessons with Patsy Toh. I think during the initial stages MM: Tell us more about Patsy and your lessons with her? of practising I didn’t really feel IK-M: Lessons with Patsy were a revelation. I learned how to round my wrist properly, how to press my fingers into the like I was practising, because key to create different tones and colours, and how to phrase I spent most of the time properly. Practice was less of a chore now that all these exciting possibilities had been opened up. Patsy gave me a “composing“ - in other words proper musical and pianistic development, and set me up improvising random songs and for life! My technique gradually became more fluid over the chords and patterns on the piano years that I spent with her, and I also learned more effective ways to practise. I will always owe much of my musical MM: Tell us more about your family travels, concerts and development to her. adventures together. MM: Have you had other teachers who had a deep influence IK-M: I have so many fond memories of those Royal on your development? Academy Saturday journeys with my Dad and all my siblings, playing games, making videos, sometimes doing homework IK-M: After I finished studying with Patsy, I started the but mainly just having a great time and swapping funny Royal Academy full time with Hamish Milne. I remained with stories from the day at the Academy. We would also support him for three years, at which point he very sadly became too each other if one of us had something stressful coming up, ill to continue teaching. I feel incredibly grateful to have been which was frequent. And the concerts that I always feel lucky enough to be taught by him right at the end of his life! happiest about are often those during which I play with my What I remember most about my lessons with him was the siblings. We have been playing together for almost as long as sheer level of detail he would find in a single phrase, bar, or I can remember. I started playing in a trio with Braimah and even note. My mind was opened to levels that I didn’t realise Sheku when we were 8, 9 and 11. At first we would just mess existed, and I still have new realisations now just by using my around, then the boys would mess around and I would angrily memory of those lessons - suddenly understanding things try to get them to concentrate. One of our first concerts was that I was too young to understand at the time. Hamish also for a children’s TV show called Yo Gabba Gabba and we still had a wonderful dry humour and a caring spirit. When he left have the video now, which we look back on with humour. the Academy I started studying with Carole Presland, another Sometime after that, the boys started to concentrate too wonderful teacher. Carole was a teacher who would never let and we started being more professional. Now that we are all me settle, who was always pushing me to the next level and older there are many combinations of chamber music within taught me to always demand more from myself. She also the family: two piano trios, different duos and sometimes all came at a time when I was starting to get more concerts, and seven of us together. Whatever the combination, everyone was amazing in showing me how to learn repertoire fast and 4BACK TO CONTENTS PAGE www.epta-uk.org | 13

interview if you are doing music because you are passionate about it, can’t imagine doing anything else, and want music in your life, then that is enough to stay motivated to practise is always very focused and professional during rehearsals, felt that it should be more commonly played, and so wanted even if it’s just at home and we were playing a game directly to record it. Although Clara Schumann’s music has been before! quite neglected, perhaps in part due to her husband Robert Schumann’s overshadowing, it is wonderful music, and I hope MM: Do you look back on particularly on any important to continue playing it throughout my life. competitions, concerts and masterclasses that happened after you started going to Saturday junior academy each MM: What other recordings and concerts do you have week from Nottingham? planned and how badly has COVID-19 affected engagements this year and next? IK-M: Once I started going to the Academy, concerts, performance classes, masterclasses and music courses IK-M: Many of my concerts were of course cancelled this were frequent parts of life. In the early years I had many year, just like everybody else, due to COVID. However, I spent of my performing experiences at places like the Suffolk the time recording instead, and doing many online concerts, and Grantham music festivals, and at music courses like and I am hopeful and optimistic that next year will be much Chetham’s Piano Summer School, and Uppingham Piano better. I have concerts planned in many different places, and Summer School. These were all big events for me, as they hope to get back to performing live again as soon as possible. marked the early stages of getting used to performing in public. Later, I would enter the BBC Young Musician MM: Is music valued highly enough by society? competition, which was a huge turning-point for me, as it was IK-M: As a young musician contemplating a career, it the biggest competition I had ever done! Since then, however, can be difficult as you may find yourself met with many I haven’t done any competitions, and instead look back at barriers, whether financially, or simply through other people important concerts such as the first time I played at the telling you that becoming a musician is too difficult. I was Wigmore Hall, my first concerts abroad and concerts playing met with both barriers and more. However, if you are doing pieces I love such as Rachmaninoff’s Second Concerto. music because you are passionate about it, can’t imagine doing anything else, and want music in your life, then that is MM: Tell us about your current musical education. What enough to stay motivated to practise, and to be proactive with repertoire do you take to play to others? applying for things such as competitions, festivals or courses. IK-M: I have now left the Royal Academy, and have monthly MM: In society as a whole, we are constantly learning of lessons with Alasdair Beatson. I have only had a few lessons the struggle for funding in the arts, of cutbacks in schools for with him, but he is a really wonderful musician and is music provision, and of a general lack of opportunities and gradually opening me up to deeper and more exciting ways support for children who may show talent at music. What of playing. Even though I have finished officially studying, I would you like to see happen? What can and what should the think it’s important to always keep learning. government, Hubs and local authorities do? MM: Tell us about your recording of the Clara Schumann IK-M: There are of course financial barriers that are in place concerto with the RLPO. What does the work say to you? That due to a significant lack of funding for the arts, and I believe extraordinary long duo between solo cello and piano makes that the improvement must start in schools. When my parents it rather unique. Why do you think the piece has been so were at school, individual music lessons were free, due to neglected? being subsidised by the government, but now they are either expensive or not provided and people have to search privately. IK-M: About a year and a half ago, I made my first recording I feel deeply sad that music is not seen as a core subject in which was an all-Clara Schumann CD, including her piano schools and believe that it isn’t respected enough by society. concerto with the RLPO. Recording was a novel experience The emotional and intellectual benefits of music on a person’s for me, and both a challenging and exciting process. I fell in brain are huge, and I believe that if this was more widely love with the piano concerto the first time that I heard it, and 14 | www.epta-uk.org 4BACK TO CONTENTS PAGE

interview known, then governments and local authorities would give I feel deeply sad that music is more to make music more accessible to all. I believe that we not seen as a core subject in can encourage greater respect for the arts by exposing it to more children, because once people see the effect that music schools and believe that it isn’t has on their emotional well-being and also their intelligence respected enough by society then I think that music will be much more valued by all. I try to play in schools and to young people as much as possible, Romance - The Piano Music of Clara Schumann but it is always important to do more. https://www.amazon.co.uk/dp/B07RBJY827/ref=cm_ sw_r_em_api_fabc_efY1FbX0W68BC MM: What are your dreams, hopes and desires as a pianist House of Music: Raising the Kanneh-Masons and musician? https://www.amazon.co.uk/dp/1786078449/ref=cm_sw_r_ em_api_fabc_GeY1Fb5QAP4NW?_encoding=UTF8&psc=1 IK-M: As a pianist I hope to encourage a wider range of www.isatakannehmason.com people to love classical music as much as I do, and for more young people to desire to take up an instrument. I also want 4BACK TO CONTENTS PAGE www.epta-uk.org | 15 to always have enough time to go into depth and detail with the music I play, rather than over-performing. MM: Have you given masterclasses and have you taught? If not, is this something you would like to do? IK-M: I would also like to give more masterclasses in the future to young people - I have done some in the past and always really enjoyed it. I think that teachers are also not respected nearly enough by society, and the impact that they have on young people’s development is so crucial for the future of any field, and so to do some teaching of music would be wonderful for me.

Paul Myatt tcomes of our ning strategies, Kódaly and leven education xt fun - g in a lesson (ie not ouTube) Ensemble (for piano ts this can be play- h backing tracks) ts have performance unities, ie. exams, Makets, etc. tart, starting this Mozartrades and for m after teaching d, it is definitely Minuet in C K.6andimplement. uljmyatt (from ABRSM 2021 Grade 1) Let’s face it, engaging today’s screen-driven children is difficult most of the time, let alone when preparing for piano exams. After 30 years of teaching, I have found one strategy that works with every student. It’s called Whole Body Learning and it is based on the approaches of three music educators: Zoltán Kodály, Émile Jaques-Dalcroze and Carl Orff. The secret added ingredient is technology and you’re probably using that technology right now! 16 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching Whole Body Learning offers teachers a strategy that: Download the • scaffolds learning to cater to all learning styles, handouts ages and abilities • builds an auditory vocabulary (harmonically and Initially this will be to listen to the Minuet in C played on melodically) for future development a harpsichord and then on a piano. Listen to hear how the • creates pathways to notation harpsichord version has virtually no dynamics, due to the way • offers the opportunity to explore and develop the instrument creates sound. improvisation and composition. On the Active Listening Handout there is a QR code to find What follows is an example of the Whole Body Learning out more about the harpsichord in an interesting video called approach to A:2 Minuet in C by Mozart from the 2021 ABRSM 'The Harpsichord’s Historical Pickle'. Piano Syllabus. There’s a QR code so you can download the handouts including the FastTRACK Skeletons. These are Once your student has simplified versions of the piece which help to develop reading. completed the listening assignments, a movement Preparation: or “off the bench” activity to explore rhythm, motor Playing Mozart takes precision and good technical co-ordination and engage the ear is available. You can see the development to produce a quality performance. video of how to do this in the link above. This piece was originally written for harpsichord. Harpsichords do not have hammers that hit the strings and are not able to play louder or softer. They have a plectrum which plucks the string when the player depresses a key. When the key is released and returns to its rest position, a felt damper stops the string’s vibrations. Finger changes on the same note were often necessary to play at speed due to the mechanical action of the instrument and in particular the returning key. If a keyboard player left his/her finger slightly pressing the key down, in preparation for the next note, the mechanism may not fire properly. Hence finger changes on the same note became common practice. The technique for playing repeated notes at a fast speed is useful for music from any period. One 3 2 One 2 is a quick study piece to practise the finger-changing skills required for this Mozart Minuet. When teaching this quick study, encourage your student to sing the finger numbers. One 3 2 One 2 has a fun House-Funk-style backing The backing track captures the fun of the little Wolfgang track which students can play along with. You can access writing this piece at the age of seven. Teach your student the those through the website notes. There is no charge for two hand-clapping patterns. There is a practice speed in case EPTA members. You’ll be amazed how students' rhythmic you need it to stay in time with the music. Once the student development improves from playing with backing tracks as can do this, try changing where you play on the body or try well as their concentration and engagement. with percussion instruments. Stage 1 - ACTIVE LISTENING Continue this movement activity at every stage of learning until your student can perform the movement effortlessly. The initial stage in Whole Body Learning is to engage your student in a listening-with-purpose activity that introduces Stage 2 - FastTRACK Skeleton 1a & 1b your student to one or more of 13 parts of music-learning experience. Introduce the concept of a sequence in the first two bars and the next two bars. You’ll notice that the melody is simplified and very easy for a student to sight-read. Teach the remaining RH. Focus on correct fingers. Notice and explain the sequences and the transposed phrases. Play with the backing track. When your student is confident with the RH, playing with 4BACK TO CONTENTS PAGE www.epta-uk.org | 17

teaching correct fingers while playing along with the backing track, add the LH rhythmic activity from FastTRACK Skeleton 1b. Your student should pat the rhythm of the LH on their left leg whilst playing the RH along with the backing track (if they can!). Minuet in C - Level 1b (excerpt) Once your student has mastered 6, 7, 8 & 14, 15, 16 the next step is to play hands together of those sections. Continue on to teach the remainder of LH. Play with backing track. Only move to the next stage when your student is confidently able to play this level with the backing track. Stage 4 - FastTRACK Skeleton 3 Give a copy of the FTS Level 3 score to your student to write in the dynamics in this score. These activities are definitely worth investing time in as Ask the student to identify the differences between the they help to embed co-ordination skills for present and future FastTRACK Skeleton Level 2 & Level 3 scores. development. Give your student a couple of minutes to work out how to A theory activity may include writing the scale degree play Level 3 by themselves. numbers of the notes under bars 5–8 (G major) and then under bars 13–16 (C major) to acknowledge and discuss Remember to ensure that your student is playing the transposition. repeated notes with correct fingers. If you explained why the repeated notes are played with different fingers in the Remember, mastery of one phrase at a time and then preparation stage ask why this is an important skill to learn. If playing it in the whole piece with the backing track builds they have played the quick study One, 3, 2, One 2 your student understanding of form as well as the ability to start in the should be reasonably confident. middle of a piece rather than only from the beginning. Adding simple complexity (ie. left hand rhythm) develops co-ordination, prepares for future learning and requires student focus. Play along with the backing track at every opportunity. Stage 3 - FastTRACK Skeleton 2 Give your student a copy of the FTS Level 2 score to write in the dynamics in this score. This is a constant reminder of the dynamics that are required in the ABRSM exam. Teach the LH. Initially with the focus on bars 6, 7 & 8 and then 14, 15 & 16. Discover that they are the same shape but just transposed. Ask your student to play those phrases with their eyes closed. 18 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching Stage 5 - FastTRACK Skeleton 4 Give your student a copy of the FTS Level 4 score to write on the dynamics in this score. The FTS Level 4 score is essentially the same as the printed www.dogsandbirds.co.uk music, however it contains more details to assist the student. Playful and systematic eg. finger numbers, appoggiaturas written out in full. method for teaching piano Ask the student to tell you the differences between Level 3 Developed for 3–7 year olds: & Level 4, then give your student a few minutes to work out no need to know the alphabet how to play Level 4 by themselves. Three tutor books, a teachers’ Always ensure that they are playing with correct fingers and guide and a sol-fa book dynamics. Small Animal Tiles: aid reading, Stage 6 - Self-evaluation ear-training and composition Provides a strong foundation for Video your student’s performance and ask him or her to self assess. Things to remember in this piece: ends of phrases, singing and learning music correct fingering, dynamics and articulation. Rapid progress and fun guaranteed New PP Ad 134CxH89E.inTddH1AM’S INTERNATIONAL 12/07/2015 21:51 PIANO SUMMER SCHOOL and JUNIOR PIANO ACADEMY in August 2021 will be ONSITE and ONLINE! Artistic Director: Murray McLachlan The friendliest piano summer school in the world! Stage 7 - Perform, perform, perform 7–8 & 13–16 August 2021 | Junior Piano Academy Open to under 18s only Encourage the student to find as many opportunities to 16–21 August 2021 | CIPSS Part 1 perform for an audience as often as possible. Regularly 21–26 August 2021 | CIPSS Part 2 play with the backing track which will help to cement the style, dynamics, phrasing and articulation into the student’s ■ Over 50 outstanding faculty memory. ■ 15 course options including jazz, composition, harpsichord and Paul Myatt is a passionate teacher, performer, author, organ, piano teachers’, aural, sight-reading and theory composer & workshop facilitator. He is a co-founder of ■ Over 25 faculty recitals - all live streamed Forte School of Music (established 1994) which has over 7,500 students in the UK, Australia & New Zealand. Along Faculty includes: Katya Apekisheva, Boris Berman, Ronald Brautigam, with Gillian Erskine he is co-founder of Piano Teaching Peter Donohoe, Christopher Elton, Margaret Fingerhut, Peter Frankl, Success and Q+A TV. Carlo Grante, Grigory Gruzman, Michael Lewin, Paul Lewis, Joanna MacGregor, Wolfgang Manz, Leon McCawley, Pascal Nemirovski, Nikki Iles, Noriko Ogawa, Steven Osborne, Charles Owen, Martin Roscoe, Sandro Russo, Graham Scott, Balázs Szokolay, Martino Tirimo Booking now open www.pianosummerschool.com 4BACK TO CONTENTS PAGE www.epta-uk.org | 19

repertoire Colin Riley No Longer A Flower Piano Professional is delighted and honoured to 'Beautiful, clever and direct’ (Classical Music Magazine) present a short lullaby from a set of six by the distinguished composer Colin Riley. 'Riley is that rarest of birds, a genuine original.’ It is a privilege and delight to share this exquisite (London Jazz Blog) miniature with the EPTA UK community. Colin Riley is an exceptional composer and we are touched by his generosity. His music is hard to classify, drawing on a mix of influences: text, technology, improvisation, song-writing and large-scale classical form. Recent works include a double concerto for Gabriella Swallow and Guy Johnston, song-cycle for Melanie Pappenheim, violin concerto for Philippa Mo and a new orchestral work for the Helsingborg Symphony Orchestra, Sweden. He is Senior Lecturer in composition at Brunel University. Colin writes a regular blog about composing called Riley Notes and his music is published by Composers Edition. www.colinriley.co.uk 2021 International Summer School Piano 8th to 13th August For ages 13 to 17, Grade 7 and above Led by the faculty of Scotland's National Music School For more information and to register www.stmarysmusicschool.co.uk/summer2021 www.stmarysmusicschool.co.uk 20 | www.epta-uk.org 4BACK TO CONTENTS PAGE

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Melanie Spanswick The Thumb Thumbs. We know they form an important part of our hand, but how often do we focus on all four tension. The hand should ideally feel completely loose when fingers, with the intention of creating ‘firmer’ attempting these exercises: digits, yet ignore the thumb? The thumbs protrude at the side of each hand and we just expect them to naturally Photo 2: support the fingers. Recently, I’ve been working with several students, with the aim of solely developing more active When placing the thumb on the keys, encourage students to thumbs. allow only the corner of the thumb to come into contact with An active thumb movement can make a colossal difference the key: to many aspects of piano technique; they essentially steer our hands, due to their dominant, yet slightly lower position Photo 3: than the fingers. Alberti bass accompaniments, octave playing and pristine rapid passagework are just a few of the typical piano elements demanding a clean, well-formed thumb. In my teaching, I’m very aware of a student’s movement as they play the piano. Demonstrating to pupils ‘how’ and ‘where’ to move is, I feel, an issue which must be constantly addressed. Without correct, helpful movement, technique really can’t be developed. This is certainly the case with our thumbs, and they require a different approach to the fingers. Whereas fingers are frequently encouraged to play with all joints active, that is, not collapsing, and on the tips (or finger pads), ensuring firm contact with the key, the thumb will, by necessity, play almost on its side. However, like fingers, they are still best utilised with the joints fully engaged for optimum movement. If we allow our thumbs to just ‘hang’ or lag behind our fingers, or even worse, ignore them altogether, they will be unable to articulate with clarity and precision. Here are a few ideas to encourage clean thumb playing: To be aware of thumb movement, start by asking students to move their thumbs freely from the bass of the thumb; this exercise can be done away from the keyboard. Sway the thumb back and forth under the hand (photo 1), gradually building flexibility, keeping the fleshy part of the hand, that which is connected to the thumb, relaxed: Photo 1: It can also help to move the thumb in a circular motion over This takes some practice but will preclude ‘flat thumbs’, the hand too, moving it up and down gently, again from the where the thumb is literally lying flat on its side, which can bass of the thumb, but aim to do this carefully and free of any result in uneven playing. 24 | www.epta-uk.org 4BACK TO CONTENTS PAGE For thumb development, it can be beneficial to implement scales with special fingerings. Taking a C major scale, try this fingering, for the ascending scale pattern: 1, 2, 1, 2, 1, 2, 1, 2 or even: 1, 3, 1, 3, 1, 3, 1, 3. The thumb and second finger, or thumb and third finger can work for the left hand, too. Here, the hand will need to adjust to a constant wrist and forearm movement or very small rotation, but the frequent placement of the thumb on the key is excellent practice for learning to position it optimally. Ensure the touch is equal on every note,

For thumb development, it can be beneficial to technique implement scales with special fingerings and aim to keep the student’s arm movement smooth. Ex 2: This works well with a chromatic scale, too. It may feel a This builds on the arpeggio idea suggested above, using the little unorthodox to begin with, as the movements required thumb to constantly turn under the hand, or the hand turning will test the thumb, encouraging it to ‘move’ out of its over the thumb in the left hand. Play bar one and three with comfort zone, and play with precision on black keys. But a totally smooth, legato touch, and then the final bar (five), provided this is done with total flexibility in the wrist and arm, with the thumb playing the top notes (F and E), whilst the and without tension, the thumb should feel more controlled: second and third fingers play the C. These note patterns should ideally be held as a chord, with the hand, wrist and arm Ex. 1 completely released and relaxed. This takes some practice, and I normally have to work hard with students, encouraging This exercise can also be practised replacing the second the muscle/tendon release. But the exercise sets students finger for the third, and should be used in the left hand, too. up nicely for a loose, flexible hand and arm movement when practising scales and arpeggios. Creating an easy relaxed movement as the thumb works its way under the hand is crucial for piano technique Finally, find an Alberti Bass pattern (a broken chordal development. Firstly, ask students to experiment at the piano accompaniment figure) which requires the use of thumbs. with four notes, C, D, E and F, using the right hand. Try this Here’s a left-hand example from Beethoven’s Sonata in C fingering: 1, 2, 3, 1. The first and last note will be played by minor Op. 10 No. 1, first movement (Allegro molto e con brio): the thumb. When playing the third finger on the E, lift the wrist slightly allowing the thumb to go under the hand to play Ex. 3 the final note, but don’t let go of the E. You’ll notice that this position, that is playing and holding the E and F together with A weak or flabby thumb is very obvious in this pattern; the third finger and thumb, will contort the hand, therefore generally the thumb would play the repeated middle Cs in try to ensure the hand muscles and tendons, especially Ex. 3. It must skim the keys lightly yet very precisely and those around the thumb joint, are pliable and flexible, so rhythmically. After blocking out the chordal pattern, or playing this position feels comfortable. The movement will require the notes in each bar altogether, harnessing an awareness of a ‘letting go’ or releasing of the tendons and muscles within the fingering and note patterns, ask students to play deeply the thumb joint in order to feel relaxed. This is best done into the keys on every note, with a heavy tone. Accenting can whilst keeping both notes depressed, and it feels easier if the help, at first just on the thumb, ensuring it employs the right- student ‘drops’ their hand and wrist (as opposed to keeping hand corner of the nail and with a good connection to surface them in a stiff position), releasing tension. Now try this of the key. Now accent every note, employing a very free exercise with the left hand. rotating wrist movement throughout. Lastly, accent the lower note, keeping the Cs played by the thumb, lighter. You can also use this concept to experiment with arpeggios; using the right hand, play a C major arpeggio: middle C with Once the fingers have been given a thorough workout, the thumb (1), E with the second finger (2), G with the third play the note patterns again very quickly and lightly, finger (3), and C (above middle C), again with the thumb (1). ensuring a tight rhythm. It’s essential to balance the hand in When you reach the G with the third finger, turn the thumb passagework such as this, so a combination or finger/thumb under the hand, leaving both finger and thumb in place, as power and wrist rotation will be crucial. But without an active shown in photo 4: thumb, achieving evenness will be almost impossible. Photo 4: I hope these suggestions might be implemented in to a student’s practice sessions. They will at least draw attention to the plight of the thumb, so it hopefully won’t be a bystander during piano practice. As always, aim to keep the hand loose and relaxed as both Melanie Spanswick is a pianist, teacher, writer and notes are depressed. It’s the release of tension in the hand composer. Her successful three-book piano course for and thumb joint as the notes are held which will help and returning pianists, Play it again: PIANO, is published encourage easy thumb movement. Now try this with the left by Schott Music. Melanie teaches the piano at Junior hand, too. The following exercise might also prove helpful for Guildhall School of Music and Drama as well as at Eton students: College. She is also Honorary Master Teacher at the Tom Lee Academy in Hong Kong, and she will host the Piano Teachers Course at Chetham’s International Piano Summer School in 2021. www.melaniespanswick.com 4BACK TO CONTENTS PAGE www.epta-uk.org | 25

Jenny Macmillan First Lessons: A new series of articles from Jenny Macmillan Part One: Alberti Bass An Alberti bass – such a simple concept – is a think of the four notes of chord broken into its individual notes to add a an Alberti bass as being one smoothly flowing movement and/or rhythmic drive to a melody. Used extensively by the unit – four syllables of one Venetian Domenico Alberti (1710–1740/46), this type of word such as caterpillar accompaniment was a hallmark of many classical composers including Haydn, Mozart, Clementi and Beethoven. by keeping the finger much closer to the key (hardly raising Just as a superb soloist requires an excellent accompanist it above the surface of the key) for a soft sound. The tricky who will practise their music thoroughly, a pianist needs to finger is always the thumb (short and dumpy!) which usually, work carefully at their Alberti bass (usually in the left hand) to in an Alberti bass, is required to play softly. I find it helps to offer a musically-satisfying accompaniment to their melodies keep the thumb quite standing up – not lying flat – to play on (usually in the right hand). Alberti basses occur in simple time the pad at the corner of the nail – in order to control the soft such as in duple and quadruple and in triple time. They also sound. And certainly I find it invaluable to stretch forwards appear in compound time, such as 6/8, when the Alberti is with the middle finger (usually finger 2 or 3) for the third shaped as in triple time. beat – this means the sound can be slightly stronger than the What sort of sounds do we expect from the four notes of thumb (on weak beats 2 and 4) but also, more importantly, an Alberti bass in quadruple time? The first answer is sounds it means the hand is continually moving, which produces a that are varied – certainly not all four notes sounding the smooth sound. Bring the finger down for the singing first beat same. That would be monotonous and wouldn’t enhance the (often finger 5), then point the thumb for a soft second beat, melody. The Alberti accompaniment needs to give the pulse stretch in smoothly for the medium third beat, and point the – it needs to sing out the first beat of each bar. That means thumb for a soft fourth beat (I like the second thumb to be the melody doesn’t necessarily have to be strong on each first played further in than the first thumb). And then we come beat – it can have its own natural shape while the pulse is back down for the strong first beat with finger 5. provided by the accompaniment. Not surprisingly, the shaping of an Alberti bass reflects Continually moving in and out while maintaining a supple the pulse of a typical bar of quadruple time – strong-soft- wrist is a way to avoid any tension creeping in. Also a fluid medium-soft. movement will produce a fluid sound. Think of the four notes of an Alberti bass as being one unit – four syllables of one Different teachers will teach different ways of producing word such as caterpillar rather than four separate words stronger and softer sounds. The way I like to play is by such as cat sat on mat. Listen carefully for smoothly flowing straightening the finger more, stretching it forwards (so it musical sounds. is pointing at its own reflection in the fallboard) for a strong sound (like taking a tennis racquet back further for a longer, There are various ways of practising an Alberti bass. One is stronger hit, or the leg back to kick a football further), and to play the first bass note with a deep sound, wait, then play the remainder of the broken chord softly and lightly, keeping 26 | www.epta-uk.org 4BACK TO CONTENTS PAGE the fingers close to the keys:

technique the melody can have its Practise Alberti basses at different speeds – but still own natural shape while listening carefully for the strong-soft-medium-soft or strong- the pulse is provided by the soft-soft sounds. Practise them with eyes closed so you can feel and hear more clearly, and for security. accompaniment Always remember that a beautiful melody deserves a Less intuitively, you could also practise waiting on any one beautiful accompaniment. Give as much attention to your of each of the four notes (the C, or the first G, the E, or the accompaniments as to your melodies. Then your melodies second G). will sing through even more beautifully. Another way is to play only the lowest (bass) notes of each The next article will discuss balance between hands. broken chord with a deep sound; then play only the remainder of each chord very softly, listening carefully to the sounds you You can watch an eight-minute video of Jenny produce: demonstrating what she explains in this article on https://youtu.be/PygYuVUuVz4. You can emphasise any one note of each of the four-note pattern: These different ways of practising are helping to develop technical control of the notes, and also offer an opportunity to listen carefully to the variety of sounds. Alberti basses also come in triple time. To give the pulse here, we need to think strong-soft-soft or strong-soft-ly. As with the quadruple-time Alberti, the first note is the You can read more of Jenny’s ideas for practising in her important one for the pulse, so stretch the finger and play book, Successful Practising: A handbook for pupils, parents strongly, then stay close to the keys to play a soft middle and music teachers, available from www.jennymacmillan. finger and reach in further with a soft pointed thumb. I find co.uk. myself making small circles with my wrist, thus keeping it very supple. Jenny runs a Suzuki piano teacher training course, currently online, from her studio in Cambridge. Practise three-time Alberti in the same way as four-time Alberti – waiting on any one of the three notes, playing just the bass note or just the second and third notes, or accenting any one of the three notes. There are benefits to practising broken chords as solid chords. This can help when learning the notes, for forming the correct hand shapes and movements, and for memorising chord sequences. It’s useful to seesaw back and forth between pairs of chords, for example the first chord to the second chord, and then the second chord to the third chord. a beautiful melody deserves a beautiful accompaniment 4BACK TO CONTENTS PAGE www.epta-uk.org | 27

in the PIANO LESSON by Michael Griffin Feedback and associated questions apply to both the competent and less-competent aspects of playing. Many How often do you use deliberate questioning as a teaching teachers are clear with feedback on weaknesses, but less tool? The most effective teachers ask lots of questions in specific on what was good about the playing. They say things their interactions with students, even as much as 90% of like, “That was good. But this section…” What was good about the time. Wherever possible, they replace an instruction it? Students need to develop an acute awareness of the with a question. Whilst questions serve to check for competent aspects of their playing, as well as the weaknesses. understanding, the most important benefit is that questions Students can be tough critics of themselves. The request “Tell engage student thinking to a much greater degree than do me three good things about your playing just now” prompts a instructions. Having a thought is not thinking. Thinking is positive focus. Progress must be visible and articulated often. an internal conversation, a debate of ideas, considerations, Should the student perceive they are not making progress, and viewpoints. Thinking precedes action, which precedes they may well stop learning altogether. Perception of progress learning. John Dewey said, “You do not learn from experience, is the greatest motivator. but from reflecting on that experience.” I take it a step further: “You do not learn from experience, but from When asking questions, teachers should increase the ‘wait’ reflecting and then acting upon that experience.” time for an answer before butting in. The longer the wait time, the more opportunity to think and explore possibilities. A good opportunity for deep questioning is when giving Students can be very quick to say, “I don’t know”, effectively feedback. Quality feedback is essential for student progress. halting the thinking process. We cannot accept this. Thinking Feedback needs to be quick, regular, consistent, and accurate. needs time. However, before the teacher imparts their wisdom to the student, intelligent questioning allows for self-evaluation. Sometimes an instruction is more appropriate than a Most students have a lesson once per week and are their own question. For example, “Have your music ready please” rather teachers for the remainder. They need to be able to monitor than an unnecessary question “Have you got your music out and self-evaluate their progress without the aid of a teacher. yet?”. Monitoring and evaluation, along with goal setting and Questioning is the essence of Socratic teaching. Plato reflection, are the essential metacognitive components tells the story that Socrates would teach without imparting for self-directed learning. For self-evaluation, the question information or answers. He would ask questions alone, could be as simple as “What do you think?” or “What are your allowing students to construct their own learning. thoughts?”. The best teachers continue this questioning process, driving deeper learning for understanding and I cannot teach anyone anything, I can only hope to make insight. They tell their students almost nothing, prompting them think. – Socrates and probing, drawing as much as possible from the student without providing answers. It’s a little like delaying the final Studies on instrumental music teaching reveal that perfect cadence! These teachers do not accept shallow or increasing the quality and quantity of questioning in lesson superficial responses, and they have high expectations of the time is, for many teachers, an area for improvement. When student. Intelligent questions suggest no teacher judgement teacher talk dominates the lesson, at best shallow learning or expected response, allowing for greater freedom of results. Metacognitive teaching approaches, like questioning, response. Useful questions include: foster how to think rather than what to think, resulting in a greater engagement, motivational autonomy, and capacity to ∑ What makes you say that? (Harvard’s favourite question generate ideas and solutions. for driving thinking deeper) Michael Griffin is a pianist, educator, author and speaker. ∑ What are you thinking? His books “Learning Strategies for Musical Success” and ∑ Tell me what you hear. How does it sound to you? “Developing Musical Skill – For Students” are available by ∑ Can you explain to me what you are doing? emailing [email protected] or ∑ Is how you are practising working? Why? Why not? through Amazon and Alfred Music. Michael is offering a 20% ∑ What can you do to learn this passage thoroughly? discount on all online courses for EPTA members and their ∑ Can you show me how to do this? students. Register at https://courses.professional-development. ∑ What goals would you like to set this week? com.au/ entering the discount coupon code 'epta20'. 28 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Nancy Litten Musicianshipfor pianists Part 4: Analysis and Resumé ANALYSIS – FEATURES DYNAMICS • Look for landscape (hills and valleys). Is there gradual or sudden dynamic change (- escarpment)? • Sometimes the whole level of the piece is at one dynamic; sometimes the dynamic changes are repeated, indicating the structure. See below one way of playing Très Vite by Telemann: • Make sure that pupils insert dynamics in pieces from the earliest stages or they won’t recognise them when they hear them. If memorising, it is important to include the dynamics in the process, and to keep referring to the printed copy so that the performance details are not forgotten. TEXTURE This could be (to use examples from this series of articles): 1. monophonic (start of Debussy’s La fille aux cheveux) 2. homophonic (start of Brahms’ G minor Rhapsody) 3. polyphonic (middle part of Telemann’s Très Vite) 4. tune and accompaniment (Shostakovich Piano Concerto No. 2 mov 2) Although we teach the predominant type of texture for each period, they are not necessarily set in stone. For example, a Handel aria will fall into category 4 and his Dead March into no. 2; Mozart became increasingly contrapuntal towards the end of his life; romantic composers like Schumann, Mendelssohn and Brahms loved fugal writing; 20th-century composers may employ all or none of these (such as minimalism). So, familiarity with a composer’s style and idiomatic use of harmony/melody/voicing comes into play. Also relevant is the ‘thickness’ or ‘thinness’ of the texture, the range of the piano used, and whether the harmonies are ‘rich’ or sparse (is there the lushness of doubled major 3rds, for instance?) Pupils often fail to hear the entries of different voices when listening to a fugue; but they will not if they have themselves worked hard at this genre. 4BACK TO CONTENTS PAGE www.epta-uk.org | 29

teaching ARTICULATION The linking or detaching of notes is just like the pacing of words when we speak. (‘Well, I, never!’ is very different from ‘WellInever’) Articulation plays its part in giving impressions of vitality, or otherwise. Definition such as staccato can give the impression of liveliness or jollity, even without a fast tempo. Staccato has a huge range of type, from the semi-staccato of the Baroque era to the spiky staccato suited to Prokofiev’s wit, or the ‘stroking’ staccato within a sustaining pedal during the Romantic era. • The articulation may be the way fugal entries are defined; particularly the case on the organ • Two-note slurs and ‘feminine endings’ will be an important feature of the Classical period • Long, legato melodies abound in the Romantic era, particularly those over detached chords played within the same hand (Schubert was the first one to do this) • It is worth teaching the word ‘detached’ for use in verbal analysis; most pupils know ‘staccato’ better. MOOD, STYLE AND CHARACTER • Analyse how the composer gets his effect • Make up a story to fit the music • Involve the composer’s life and personality. What was happening at the time of the composition? • Think about the era; what was happening in the arts, beliefs and social manners? • Is it a dance, and if so, which kind? It is important to know about the most common dances within a baroque suite: Minuet (triple time), Gigue (fast compound), Gavotte (duple time starting on upbeat), Sarabande (triple time, slow), Allemande (duple time, moderate tempo), Courante (triple time, flowing). 20th-century composers loved these dances and often provided their own ‘take’ on them, resulting in an intriguing mismatch between period and style. It could be a nationalistic dance such as the Polonaise (stately triple time) or the Mazurka (vigorous triple with beats 2 and 3 stressed). Schubert developed the Ländler, faster and ‘earthier’ than the minuet; the Waltz will be faster still. Perhaps it is a March (4/4) or a Polka (2/4). COMPOSITIONAL DEVICES • Spot differences in similar material, sequences, repeated rhythmic motifs etc. Sometimes a composer will repeat the melody with an altered accompaniment. Here is an example from Liszt’s fourth Consolation: • Work out the length of phrases and mark them into the score if the composer has not done so. • Make up your own tunes to learn compositional techniques. Understanding is by doing. PERIOD • Lend CDs to pupils or give them a list of pieces to find on YouTube/Spotify. It is a good idea to soak yourself in one composer or period at a time. • Always draw attention to the period of pieces studied • Don’t forget to discuss Renaissance music, with its minor/major confusion, ornamental cadences etc. It is the one that tends to get overlooked. Encourage pupils to explore the pieces in the FitzWilliam Virginal book. • Could it be jazz, a rag, or ‘easy listening’ popular music? It helps if these have been experienced at the piano. Teach pupils how to ‘vamp’ from pop chord symbols (e.g. Gm/F, Em7-5) It informs pedalling to know which harmonies are held together. In a late Romantic piece there could be a really extended chord within one pedal, for example, the ‘Scriabin chord’: C, F#, Bb, E, A, D (often interpreted as an Augmented 4th, diminished 4th, augmented 4th, and two perfect 4ths) FORM Be able to analyse structure (binary, ternary, sonata, fugue, theme and variations, ‘through composed’ etc.) • Effective composing has the perfect balance between novelty and repetition. (An example is Beethoven’s Für Elise. Learn its Rondo form AAB ABA C ABA D ABA, which helps you with where to vary the dynamics.) • Learn Sonata form. Look for surprises (e.g. Mozart Sonata in Bb K570 mov 1: sudden shift to Db major) 30 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching It is a good idea to soak yourself in one composer or period at a time. RESUMÉ In these four articles I have dealt with musicianship under the headings Pulse, Pitch, Harmony and Analysis. • ‘Expression’ in playing needs to match the structure, or else it sounds wrong. • Draw brackets round repeated sections; they don’t need to be practised! The benefits of musicianship could be: as an end in itself (leading to a career in musicology); as a way of understanding and reading better what we play; or as a way of linking our practical experience with our aural experience. We hope that through its study, our pupils’ engagement with and enjoyment of music will be lifelong, whether or not they continue to work at their instrument. As in the country walk where they can put a name to what they see, whenever they hear music, they will have the tools to make that experience more interesting than it would otherwise have been, to see signposts and to realise how the composer is achieving his/her effects. • Start from earliest lessons • Use the pieces you have • Connect the sounds with symbols and vice versa. • Analysis is an important strand in memorising. Safe memorising incorporates several elements: aural (what it sounds like), tactile (what it feels like), visual (what it looks like on the page), and analytical (the form/ changes of key/different sections etc.) 4BACK TO CONTENTS PAGE www.epta-uk.org | 31

Amy Boyes Ready for a Music Examination? Practical, specific indicators Amusic examination is a third-party assessment of a student’s progress. In the best-case scenario, the examination grade level is appropriate, the student is well-prepared, and the examination is an affirmation of the learning process. But this is only the best-case scenario, and several questions should be asked by teachers and parents when considering music examinations. What is the motivation for taking the explores the theoretical and musical only prepared for a single event. examination? concepts required for a specific As a colleague put it, “As teachers, examination, the student might Examination preparation can, in conclude that the purpose of music we should be teaching music, not itself, be a powerful motivator for lessons is to complete examinations. examinations. If examinations serve music students. Having a deadline Worse still, if that student falters the purpose of teaching music, then let often encourages diligent practising. because of nervous anxiety, he or she us pursue them, but not for any other However, some music students lose may decide that examinations are the reason.” interest if they are only taught the problem, the cause of the pressure. material required for an examination. They may assume they are “bad” Is an examination acting as a “cover” This kind of focused teaching might be musicians or “not serious” students for what a student hasn’t learned? called “Teaching to the Test”. if they don’t excel or choose to forgo examinations in the future. Occasionally, students are missing Academic, Richard Phelps, an fundamental skills necessary for advocate for standardised testing Unfortunately, I’ve had students proficiency at their assumed grade in American schools, identifies two quit music lessons after high-level level. For example, by the time a potential pitfalls in “Teaching to the examinations because they don’t have student completes an elementary Test”: “[1.] Excessive preparation that time to practise the next level, and music examination (perhaps Grade focuses more on the format of the test they didn’t see the point in continuing 1 or 2), they should be able to read and test-taking techniques than on the lessons if not preparing for an individual notes on the grand staff, subject matter, and [2.] the reallocation examination. Examinations for them perform simple rhythms involving of classroom time from subjects on had become their motivation, not the several note values, and maintain a which the students are not tested to love of music, a desire to learn, or a consistent pulse. They may not be able those on which they are tested.”1 passion for sharing music with others. to do all these things correctly in every They just needed a box to tick, an circumstance, but their understanding While it is nearly impossible for a achievement to celebrate. of these elements should be well in music student to perform well without place. Establishing these fundamental a thorough understanding of “the Instead of treating examinations skills takes time, sometimes more time subject matter”, it is easy for a music as the singular motivation for music than I, as a teacher, realise. teacher to devote instruction time to lessons, a teacher might recommend teaching only the skills needed for an examinations as objective third-party However, I might assume a student examination. For example, because assessments, intended as “check- is ready for their first examination practical music examinations usually ups” throughout a student’s musical if they’ve taken music lessons for a test interval identification but not journey. If the student learns much few years. I may be wrong though improvisation or harmonisation skills, more repertoire than the examination and, in my haste to produce results, music teachers might avoid teaching requires, applies musicianship skills in I may push a student to complete an the latter to save lesson time. This more ways than the examination tests, examination that is too challenging for tendency is not necessarily the fault of and has many positive performances them. If the student passes, with even examination requirements but, instead, unrelated to the examination, the modest results, they may then falsely is a symptom of “Teaching to the Test”. student can be confident in their believe they are ready to complete the overall musical development. Their next grade level when, in fact, they are Also, if a student is only taught self-worth as a musician will not be still not grounded in the fundamentals. repertoire necessary for examinations, tied to examination results and their only performs those pieces, or only understanding of concepts and skills Furthermore, parents may well expect will be much stronger than if they had tangible results from their child’s 1 Phelps, R. (2011). Teach to the Test? music lessons. Yearly examinations The Wilson Quarterly (1976-), 35(4), 38-42. fulfil that expectation and provide 32 | www.epta-uk.org 4BACK TO CONTENTS PAGE

A student can be discouraged after examinations attempting an examination prematurely parents with evidence their child is styles of compositions. For example, caprices of an unfamiliar instrument progressing. However, if the grade level an intermediate-level pianist might on examination day. The flexibility of of an examination is not appropriate relish the quick figures of a Baroque their approach and adaptability of their to the student’s ability, the student’s toccata but struggle with the voicing of technique is key to their success in an performance will suffer and the results a Baroque aria. Yes, both pieces fulfil examination. will be modest at best. What could have the same repertoire requirement for been a success will feel like a failure. an examination, but their technical 3. Technical exercises and challenges are very different. musicianship skills should be practised The only failure in this hypothetical regularly and mastered well in advance situation, though, is my failure as Twentieth-century music offers of an examination. a teacher to address the student’s an even greater range of styles. technical and theoretical deficiencies The demands of a graceful waltz, In my teaching studio, piano without succumbing to pressure (real impressionist piece or tango will vary students must complete all technical or imagined) to prepare them for an widely. Some styles will suit the student exercises at least twice before we unrealistic examination. I need to better than others, so a student must consider a final review in preparation honestly explain to parents if more learn many pieces before selecting for an examination. The first time study is required before the first examination repertoire. through, we focus on perfect notes, (or next) examination is attempted. fingering and hand position. At this Although this conversation might 2. The student should regularly stage, I’m not concerned that the dishearten parents, the student will be perform, leading up to an examination. student completes the exercises at the a better musician in the long run, and required tempo as I know we will circle the eventual examination result will be Researchers found, unsurprisingly, back. Instead, we focus on the logic and stronger. that symptoms of performance anxiety memory behind each component. were more prevalent when participating It is too easy when a student isn’t musicians performed in front of an No matter how logically and progressing well, to congratulate audience, versus when they practised methodically technical exercises are oneself that at least the student alone or played for only one person.2 taught, though, the thrill of practising completed an examination; at least The reverse is also true: if a student them is felt only minimally by many there are tangible results for their performs many times for an audience students. The creative teacher might music study. However, it would be before an examination, the prospect of initiate milestone awards or other better to help the student solve their performing for one or two examiners incentives to be sure the material is technical or musical issues, regardless will feel less daunting. learned promptly. of the amount of time required than to push them through an examination Researchers also discovered that If the student is unable to attain with unsatisfactory results. students who were familiar with their these specific indicators satisfactorily, performance space and/or repeated then perhaps the student is not ready The pursuit of tangible results, like concerts felt less performance anxiety to complete an examination. A student music examination assessments, is not than those who did not have those can be discouraged after attempting the fault of any examination system, experiences.3 Although it may not an examination prematurely. That but rather a symptom of poorly- be possible for a student to perform negative experience can colour their communicated expectations between in the examination centre before an entire musical education, causing them the teacher, the student and the parents. examination, teachers should conduct to give up, not just examinations, but “mock” examinations repeatedly so music lessons altogether. When is a student ready to take a the student gains experience and music examination? confidence. However, if a student is well- prepared, performs confidently and To ensure a satisfactory examination Also, musicians such as pianists who receives an encouraging critique, experience, teachers might consider perform on a variety of instruments are then an examination affirms that the the following: better able to adapt their playing to the learning process is going well, that the teacher is communicating expectations 1. The student should be confident 2 LeBlanc, A., Jin, Y., Obert, M., & Siivola, clearly, and the student is rising to in many styles of repertoire. C. (1997). Effect of Audience on Music challenges. The experience will be Performance Anxiety. Journal of Research in rewarding for everyone, but more than The total mastery of many pieces Music Education, 45(3), 480-496. that, the student has become a better may not be possible at all grade levels, musician. but a familiarity with a variety of styles 3 Boucher, H., & Ryan, C. (2011). Performance is essential for well-rounded artistry. Stress and the Very Young Musician. Journal of What more could we ask for as Within historical eras, there are many Research in Music Education, 58(4), 329-345. teachers? Amy Boyes is a private music teacher in Ottawa, Canada. Her time is split between teaching, examining, adjudicating and writing. Her work has been featured in the American Music Teacher Magazine, Piano Magazine (formerly Clavier Companion), Canadian Music Teacher Magazine and Humber Literary Review. Amy holds a B Mus from Brandon University, M Mus from the University of Alberta and diplomas in piano performance and teaching from the Royal Conservatory and Trinity College, London. 4BACK TO CONTENTS PAGE www.epta-uk.org | 33

Susanne Olbrich Photo: Adrian Hollister Mindfulness for Musicians: Part One Can Mindfulness Practice Support Musicians? Mindfulness practice was relatively unknown a decade ago. In recent years, however, there has These experiences encouraged me to bring mindfulness been a surge of public interest. Much has been practice into my educational work. From 2012 onwards, I written about mindfulness, and mindfulness- offered several weekend retreats titled ‘Sounds and Silence based approaches have been adopted in healthcare, – Mindfulness and Music’ and, together with colleagues psychology, business, education, and other areas of society. from other art forms, ‘The Heart of Creativity – Mindfulness So the question arises, has mindfulness practice something to and the Arts’. These were opportunities for musicians, offer to musicians? artists and the general public to explore music-making and creative practice alongside contemplative practices such My own journey with mindfulness began in the summer as listening meditations, mindful movements, breathing of 1996 when a colleague invited me to join her on a and walking meditations. Feedback forms and informal mindfulness course in France. Not knowing anything about conversations revealed that for many of the participants, it – hardly anyone did in those days – spending time in creative exploration in the context of a shared mindfulness the south of France seemed to be a good proposition for practice was valuable, stimulating and in some cases even a holiday, so I joined her. Introduced to the practice of transformative. I was left with curiosity: what is the nature mindfulness, I experienced how the simple act of conscious and potential of the link between mindfulness, music practice breathing resulted in new levels of aliveness and connection and creativity? with myself, others and the world. Back home, I felt inspired to make mindfulness part of my daily life and joined a Motivated by the wish to advance my understanding, I weekly mindfulness practice group. Over time, I noticed completed teacher trainings in Mindfulness-Based Stress beneficial effects not only in my personal life, but also in my Reduction (MBSR), the Mindfulness-Based Living Course musical practice. These include greater ease in performance (MBLC), and the Zen tradition of Plum Village. At the same situations, fine-tuned listening and bodily awareness while time, I felt the need to ground my work in scientific evidence playing and teaching the piano, a kinder relationship with in order to contribute to best practice in music education. myself and others, and greater courage to follow my creative So I embarked on a part-time Master’s course, Postgraduate ideas and inspirations when composing.1 Studies in Mindfulness with the University of Aberdeen. In 2019, my final year, I conducted a study on mindfulness 1 Olbrich, 2019 and musical creativity at the University of Aberdeen, which developed into my Master’s thesis. 34 | www.epta-uk.org 4BACK TO CONTENTS PAGE

For the study, I devised an eight-week ‘Mindfulness for mindfulness Musicians’ course with a threefold purpose: to support participants in cultivating mental and emotional wellbeing, to mindfulness practice improves equip them to deal more efficiently with stress and difficult musicians’ psychological emotions, and to assist them with performing to the best of their abilities in a range of professional situations. I delivered wellbeing and benefits their the course to a group of students at the university’s music musical practice department and afterwards explored their experiences through interviews. investigated the link between mindfulness and musical practice. Results are promising – several authors argue that Findings suggest that mindfulness practice contributes mindfulness practice improves musicians’ psychological to musicians’ creativity and wellbeing in a number of ways. wellbeing and benefits their musical practice, both on and The music students reported beneficial effects in the areas off stage.3 Improved awareness, embodied presence and a of performing, instrumental practice, composing and reduction of destructive self-talk were found to be among teaching. These included greater involvement with music, outcomes of mindfulness courses – important resources for new possibilities for expression and interpretation, increased musicians, it turned out, who as a result experienced less confidence and enjoyment, and improved coherence and anxiety, freer musical expression, refined listening, and a resourcefulness while teaching. Here are a few examples from deepened awareness of musical detail while performing and the young musicians’ accounts (all names are pseudonyms). composing.4 Well-known pianist and composer Rolf Hind described the benefits of his long-term mindfulness practice Linda, a flautist, suffered from debilitating performance as follows: ”A sense of clarity and control, less neurosis about anxiety. The only way she felt she could cope was through ambitions and ‘career’, greater efficiency, awareness and body medication. At the end of the ‘Mindfulness for Musicians’ sense as a pianist. As a composer, I’m more in touch with the course she reported that she had just experienced a time of sources of my own creativity.”5 performing every night without reaching for her pills. She said that learning how to embrace her catastrophising thoughts There are signs of music education beginning to embrace with kindness and being able to put them into perspective mindfulness. Guildhall School of Music and Drama has been made all the difference – finally she was able to enjoy her running successful mindfulness courses for a number of music-making on stage. years. Pianist, composer and educator Mark Tanner has explored the intersections of mindfulness and music-making Martin found that his instrumental practice was more in a couple of publications.6 But compared to the vibrancy of effective and efficient when he started with a short period other expanding fields, such as mindfulness in business or in of mindful breathing. He talked about noticing more details general education, these examples are few and far between. of movement and playing technique, of tone and sound production. Less distraction and mind-wandering made him While the principles of mindfulness are deceptively simple, feel more involved with the music both on and off stage. it takes time and practice for mindful awareness to take root and replace old, unhelpful habits, so that new mindful choices Rob, a composer, spoke about his excessive self-criticism, can become available in stressful situations. Making time to which often blocked his work. He linked this to a fear of being practice mindfulness for even ten minutes a day with the help judged. Exploring attitudes of curiosity, non-striving and of pre-recorded meditations was a challenge for some of the acceptance as part of the mindfulness training turned out to students in my study. While all research participants reported be helpful for him, as he discovered new perspectives and a some benefits after the course, it was clear that those who deepened sense of appreciation for his musical ideas. had engaged more regularly with mindfulness practice experienced more significant outcomes. Zoe found that mindfulness helped her to be more present in her group teaching. She described how taking regular As music teachers, we know a thing or two about practising! ‘mindful moments’ – slowing the pace, taking a couple of Mindfulness is not a panacea, as sometimes portrayed, but it mindful breaths and bringing awareness to a situation – offers a range of benefits to those able and willing to make allowed her to deal with challenges more appropriately, the time to engage with it. instead of becoming stressed. In spring 2021, I will offer the 'Mindfulness for Musicians' It is worth noting that improved mental health and eight-week course online, as well as 'Spacious into Spring', wellbeing also were among the outcomes of students’ a one-day mindfulness retreat for musicians together with mindfulness practice. According to a large 2016 study EPTA member Anna Mavromatidi Whyte. Please find further conducted by the University of Westminster, musicians are up details on www.susanneolbrich.net/events/. to three times more likely to suffer from depression, anxiety and related mental health problems compared to the public.2 3 Farnsworth-Grodd, 2012; Steinfeld and Brewer, 2015; Czajkowski, My research confirms what has been suggested in previous 2015 & 2018 studies – that mindfulness practices along with learning about mental processes and the peer support of a group 4 Oyan, 2006; Newton, 2015 can make a valuable contribution to the stress and anxiety 5 Hind, 2011 management of musicians. While this was a small study and 6 Tanner, 2016 & 2018 more research is needed, my case is for making mindfulness practice available during the training of musicians, as well as 4BACK TO CONTENTS PAGE www.epta-uk.org | 35 for continued professional development. While research on the effects of mindfulness has grown exponentially, so far just a small number of studies has 2 Gross and Musgrave, 2016

mindfulness REFERENCES OYAN, S., (2006). Mindfulness meditation: Creative musical performance through awareness. (Doctoral dissertation). CZAJKOWSKI, A.-M. L., (2018). Mindfulness for musicians: Louisiana State University, USA. http://digitalcommons.lsu. The effects of teaching 8-week mindfulness courses to student edu/cgi/viewcontent.cgi?article=4921&context=gradscho musicians in higher education. Doctoral dissertation. University ol_dissertations. of Leeds, UK. OLBRICH, S., (2019). Dare to Create! Meditation, Insight and CZAJKOWSKI, A.-M. and GREASLEY, A., (2015). Mindfulness Creative Processes in Music. In: T. Barrett, V. Harris and G. for singers: The effects of a targeted mindfulness course on Nixon: Mindful Heroes. Stories of Journeys that Changed Lives. learning vocal technique. British Journal of Music Education, 32 Aberdeen: Inspired By Learning. (2), pp.211-233. TANNER, M., (2016). The Mindful Pianist. Focus, practise, FARNSWORTH-GRODD, V. A., (2012). Mindfulness perform, engage. London: Faber Music. and the self-regulation of music performance anxiety. Doctoral dissertation. ResearchSpace@ Auckland. https:// TANNER, M., (2018). Mindfulness in Music: Notes on Finding researchspace.auckland.ac.nz/bitstream/handle/2292/19993/ Life’s Rhythm. London: Leaping Hare Press. whole.pdf?sequence=6&isAllowed=y. Susanne Olbrich is a pianist, music educator and GROSS, S. A. and MUSGRAVE, G., (2016). Can music qualified mindfulness teacher. She holds a Master's degree make you sick? Music and depression: A study into the in Music from Oldenburg University (Germany) and an MSc incidence of musicians’ mental health, part, 1. https://www. in Mindfulness Studies from the University of Aberdeen. musicmindsmatter.org.uk/the-study. She teaches mindfulness to indviduals, organisations and communities, with a particular focus on applications in HIND, R., (2011). Head first: mindfulness and music. The music, creative practice and education. She has published Guardian, Thursday 16th June 2011. https://www.theguardian. a book chapter on mindfulness and musical creativity and com/music/2011/jun/16/mindfulness-meditation-music. offers webinars and talks on the subject. Her website is www.susanneolbrich.net 36 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Fmouwskees... Philip Fowke's 2020 Reflections Few could have imagined this time last year what Teaching online ... can be a lay before us. Despite considerable political, social productive, if occasionally and economic uncertainties, life continued much as usual; plans were made, exams timetabled, holidays challenging undertaking anticipated. With the arrival of COVID-19, all this changed. Initially there was a certain incredulity, a reluctance to modify difficulties the student faces playing to a computer whilst our way of living. As the months passed with daily, gloomy simultaneously knowing there is a human agency lurking statistics and confusing governmental directives, new ways and listening. It is a disorientating, somewhat unnerving had to be found to carry on our ordinary lives. experience, so comments need to be sparing, well-judged and diplomatic. In the world of teaching and performing, opportunities offered by social media have become as necessary as they are The COVID-19 pandemic has been a time of reflection and inescapable. We have been experiencing a cyber revolution opportunity. The world has been taken off-guard, forced which has changed many aspects of our lives. Teaching online to take stock. The pressing issues of the day seem to have for example, far from being a remote undertaking, can be a become ever more urgent: conflicts; social injustice; housing; productive, if occasionally challenging experience. the unemployed; the disabled; the elderly; the environment; climate change. Perhaps we have needed the events of Working in an unfamiliar idiom, often having to listen 2020 to reappraise our own lives and priorities in a world of to incomprehensible sonic distortions, can foster a new bewildering change. level of aural awareness and tolerance. New skills need to be developed, as do approaches to listening and critical observation. Online teaching requires an awareness of the 4BACK TO CONTENTS PAGE www.epta-uk.org | 37

reviews Amy Wakefield reviews very well-designed refresher course on Many students think that repetition is Michael Griffin’s online points you may already know but which something very much in the present course ‘Teaching are phrased in a clear way and easy to (playing something over and over..); Musical Skill’ pass onto your pupils. It also has useful however Griffin puts into words the ideas for one’s own practice for the more various types of repetition which are It was a pleasure recently to review active pianist. Many of the activities great to introduce in discussion with this three-hour online training course reflect on past experience of your own your pupils. aimed at music teachers. It is suitable practice too, which I found very helpful for both instrumental and vocal teaching for self-reflection in my own teaching The importance of getting pupils at primary and secondary school level, practice. to discover patterns and, of course, in the classroom and the studio. I slow practice is also explored with would also hasten to mention that it is For the less experienced teacher/ nice examples of quotes from famous directly relevant for piano teachers at pianist, I feel it is helpful and very composers/pianists to mention to the any stage in their career. This course well structured and there are copious learner. Key point here - ‘Unlearning explores the most significant factors for amounts of important topics which could is more difficult than learning!’ which musical improvement, and the teacher’s keep you inspired for years to come! many of us know only too well, however role in enhancing student practice and helpful to have the reminder! performance skills. Some key learning points which I took away from this… The last three units explore the So how easy was it to enrol? Overall, importance of practice time, models the website is user-friendly and it was • ‘Forgetting is the friend of learning’ and emotions/expression. Interesting fairly straightforward to enrol and begin - very useful way of explaining that research on the amount of time required learning. The course consists of eight actually part of the learning process is to make it to certain levels (questions units, each with instructional videos and actually forgetting it and then returning which are many-a-time asked on Social follow-up activities. The activities are to this repetitively until one has a more Media!) and the importance of sleep and embedded within the course but can also ‘long-term’ memory. how this relates to practice. We’ve all, be accessed as downloads. I’m sure, come across those poor pupils • Types of repetition in practice - who are yawning throughout (only to Advantages… variable and spaced repetition find out they have been playing on their • It was extremely useful to be able iPad’s all night long!)! Emotions and to ‘dip in and out’ and the fact that it is • Interesting links to the science expression, the importance of singing conveniently split up into smaller units behind our amazing brains! and using aural skills are all very worthy means one can log in at any time to ideas to add the pot of wisdom here. continue with the course (much easier to • Why not get your pupil to observe fit around a working day etc). your practice? E.g making a video and So to sum this up… I would say a very • Well-paced video explanations which sending it to them on WhatsApp. I have worthwhile course, which would suit are clearly presented and easy to follow already tried this and found it to open any pianist-teacher to help with self- • Easy to access, technology-wise; up fantastic points for discussion. After reflection, evaluation of one’s teaching it worked really well on my iPad and all, who isn’t curious to watch how other practice and revising the essentials my laptop. Griffin does suggest for the people practise or to be a ‘fly-on-the- which need to be communicated so listener to use headphones, however I wall’ in the practice room of their most clearly to pupils to ensure they can did find the sound to be fine either way. admired concert pianist?! essentially teach themselves in their own • I felt this was reasonably priced, practice between lessons. What does as I have personally used some of these • A certificate for my music room wall! one look for in a course? Inspiration, a ideas since. This, to me, is never a waste new way of looking at things, something of money if it has created inspiration for A little info on the content… practical which they can take away and my teaching, my own practice and most Each unit begins with a video, each use in lessons. I think Michael Griffin importantly something valuable to pass fairly short, and ends with an activity or has certainly ticked all those boxes here onto my pupils! questionnaire to help discover what you and I would absolutely recommend this • I did find myself wholeheartedly may have learnt. It took me about an course to any colleague! agreeing with many of Griffin’s ideas hour to complete the first four units. and his innovative ways to explain them, It begins with an introduction Link to website: https://courses. along with practical advice on how to regarding the motivation and mindset professional-development.com.au/ implement this in your teaching. of a musician and thinking about the courses/teaching-musical-skill/ question, why are particular people so Why take the course? good at music? Unit 2 was particularly Contact: michael@professional- I would suggest that for the more scientific and discussed the chemical development.com.au. experienced teacher/pianist this is a myelin and how this works within the brain as part of the process of learning Michael is offering a 20% discount on with repetition (definitely new to my all online courses for EPTA members and limited knowledge of biology and rather their students. Register at https://courses. technical but very interesting to know!). professional-development.com.au/ Unit 3 continues with the theme of entering the discount coupon code epta20. different types of repetition which I thought was explained very well. 38 | www.epta-uk.org 4BACK TO CONTENTS PAGE

reviews CD ROUND-UP unaccompanied six J. S. Prelude (French Overture with the ensemble. Using a Bach ‘cello suites (some 36 style with an amazingly string ensemble of 9-9-7-6-4 An introduction to the piano movements) on piano is not terrifying tonic pedal point) and with the timpanist on hard Christopher Northam quite so strange as might and extraordinary tonal and sticks makes for a sparkling Pied Piper Classics ARCD first appear. Bach himself articulative subtlety in the overall sonic approach in which 19454 was a master transcriber, dance movements. Bindman clarity is the byword. Hough’s and there have been many plays the notes as though fastidious attention to detail A feast of all the favourites successful performances of she has lived with them for can be heard throughout - piano teachers know like these masterpieces on both her entire musical career. Her listen to the exposition of the the back of their hands! classical guitar and double commitment and intensity fourth concerto, for instance, This collection begins bass over the years. Eleonor of expression is deeply in which the articulation with excerpts from the Bindman informs us in her convincing. markings have rarely been Anna Magdalena book and most detailed and eloquent presented with such poignancy proceeds, via Schumann’s liner notes that Joachim Raff In sum, a real find for and definition. He is ably Album for the Young and floridly arranged all six suites pianists of all ages and supported with warmth, Beethoven’s ever ubiquitous for solo piano (1869–71) and stages. Less experienced structural cohesion, and variety Für Elise onwards, grade by Leopold Godowsky created players who find the demands of colour from Lintu and the grade, towards the dizzy transcendental transcriptions of fingering the three-part Finnish Radio Symphony, who heights of Debussy’s The of the second, third and fifth inventions and Well-Tempered seem to bring more intensity Cakewalk (Grade 8). The suites (1924). But it was the Clavier too much may well as the cycle continues emphasis is very much on much more spartan, pure and prefer to try this fare instead. through to the ‘Emperor’. the earlier grades, and in 45 loyal arrangements made by The 124-page piano score of tracks Christopher Northam Alexander Siloti in 1914 of Bindman's transcription and There are lots of admirable proves that he can lift over- four individual movements commentaries is available and delightfully surprising familiar music off the page that most influenced in both PDF download and ‘moments’ throughout the and create real energy, Bindman, encouraging printed-on-demand hard cycle. In particular look out vibrancy and characterisation. the present project. Using copy versions. More details at for Hough’s own quirky, It is lovely to hear his freshly- a beautiful Bösendorfer https://eleonorbindman.com/ harmonic wrong-turning and minted, enthusiastic energy instrument and benefitting music/bach-cello-suites-for- always idiomatic cadenza at work in pieces as ‘simple’ from a gorgeous acoustic, piano-solo-score/. for the second concerto as the famous Grade 2 Bach the tonal variety and range of (Beethoven’s original always Musette, or Clementi’s F major characterisation proves to be Beethoven The Piano seems more like a dry run op. 36 Sonatina. Northam totally convincing, gripping Concertos for the ‘Hammerklavier’ is especially tender and and illuminating throughout. Stephen Hough, Finnish Sonata finale than an coaxingly poetic in many There is an aristocratic Radio Symphony Orchestra, appropriate bedfellow for of the slower numbers sense of authority about Hannu Lintu the early period), the spread (particularly touching is his everything that Bindman Hyperion CDA6829/3 first chord at the opening Pachulski C minor Prelude does, and even though of the fourth concerto, the and John Field B flat minor) remarkably little is done to In Beethoven’s 250th long pedalling immediately though in the process of adjust the actual notes of the anniversary year it is wonderful after the cadenza in the first communication, he often original, the variety of touch to embrace this freshly- movement of the third, and makes the music much more is persuasively arresting. Of minted, sensitive, lean, clean the admirable changes in transcendental than any course the range of the music and thoughtfully-idiomatic dynamic and characterisation prospective young exam itself – the baritone register new Beethoven concerto to each return of the Rondo candidate could ever hope to of the piano – is extremely cycle from the extraordinary theme in the third concerto. emulate (Schumann’s Wild resonant and sonorous. pianist-composer-author Horseman in particular will Bindman makes the most of Stephen Hough under Hannu A totally reliable, most never be quite the same for the opportunities possible Lintu with the Finnish Radio enjoyable, and thoughtful me again after hearing it from ornamentation on Symphony Orchestra. Their cycle that apparently uses the here!). the repeats, often bringing collective stamina and focus new, authoritative Bärenreiter her own originality and are extraordinary when one edition. It will unquestionably Bach Cello Suites for solo flair to notes that are very realises from the booklet be returned to by listeners for piano familiar but yet appear notes that this three-disc set repeated hearings and is an Transcribed and performed totally rebranded in this was recorded complete from exceptional achievement. by Eleonor Bindman exciting presentation. 3–7 June last year (i.e. one 2 CDs Grand Piano GP847-48 For me, a highlight of the concert per day in a remarkable Howells: Piano Music 1 two-disc set is the fifth ‘working week’!). The piano Matthew Schellhorn This was a total revelation suite in C minor, with the tone is distinctive (Bösendorfer Naxos 8.571382 – and a beautiful one – extraordinary drama of the rather than Steinway perhaps?) from start to finish. The and Hough never loses This is a sheer delight concept of performing the intensity, integrity nor rapport from start to finish. 65 minutes of totally unknown 4BACK TO CONTENTS PAGE www.epta-uk.org | 39

reviews but ravishingly eloquent, recorded standard repertoire monumental masterpiece: a Ducasse was capable of distinctive, characterful and (including Brahms and 55-minute solo piano work achieving in works as subtle decisive solo piano music Mussorgsky) as well as his which was later orchestrated, as the three Barcarolles played as though entirely own compositions, this new and which derives all of its and two Arabesques show familiar and natural fare by issue on the Métier Jazz melodies from an opening the influences of French the outstanding Matthew label shows him to also be an five-note germinal cell. The impressionist writing, with Schellhorn. All of the tracks extraordinarily persuasive, music is fresh, effervescent, an often surprising diverse are world premieres, which talented and communicative sparkling, exquisite, ravishing, sense of contrasted sections says much about the neglect improviser. Throughout the uplifting and invigorating (Arabesque one) as well as the of so much English piano 56-minute-long eleven-track in turn - a true celebration ability to totally transform music. The variety here recording, Demopoulos of nature and the power the characterisation from embraces the influences of probably spends as much of creation! This is hugely paragraph to paragraph Ravel on the one hand and the time inside the piano creating ambitious, but extremely (Arabesque two). The climax Fitzwilliam Virginal Book on extraordinary sonorities accessible for the listener. A of the second Barcarolle the other. We have impressive as he does depressing the true forgotten masterpiece makes a strong impression student etchings (‘Summer keys alone. The colours and of the early twentieth- which would doubtless bring Idyls’ from 1911) alongside textures are extraordinary, century repertoire which is much excitement to a live more concentrated and ranging from quasi banjo and most magisterially realised concert, as would the more economical outpourings from guitar evocations through by the excellent Patrick subtle third Barcarolle, with much later (‘Petrus Suite’ to sounds that seem to Hemmerlé. Some effective, its extremely secretive triple from the 1970s). Throughout emerge from beyond the immediate, and rather naïve pianissimo ending. A most it all we can detect the solar system! Demopoulos but charmingly exciting enterprising release from reflective traits of the English is ‘finger-plucking good’ (to studies by the young Franco- a refined, cultivated and Pastoral school - but that is misquote the strapline of a Ukrainian composer Dimitri thoughtful pianist. not to deny the wide range rather famous multi-national Tchesnokov, subtitled La Neige, of emotion and content fast-food chain) to a degree prove to be effective fillers. Schott celebrates its 250th that is presented. There is a I have never previously anniversary percussive, punchy quality to encountered (and I have Roger-Ducasse: Works for the ‘Pavane and Galliard’ of heard Henry Cowell as well Piano Solo World-famous publishing 1964 that contrasts heavily as the opening sections of Patrick Hemmerlé house Schott needs no with the wistful revery that is Ronald Stevenson’s second Melism Bo7RH69FBW introduction here, but the much earlier ‘Harlequin piano concerto). Intensity readers may be surprised to Dreaming’ or the restless and pacing in this always Recorded in Paris at learn that it celebrated its bitterness of the harmonic communicative ‘concert’ the Temple St Marcel on 250th anniversary alongside flow in 'Finzi: His rest’, written seem to pivot towards the a persuasive, individual Beethoven in 2020. Schott in 1956 after the cruelly fifth and sixth tracks. ‘One Bechstein, this recording is synergises via incorporation premature passing of his o’clock: then’ lasts nearly a wonder to behold in terms over twenty music-publishing friend and rival Gerald Finzi in ten minutes on its own, of sonic beauty, refinement brands but started in 1770 the same year. A most and is unquestionably the of expression and total as a family-owned business attractive, impressive and high point of the disc. An conviction of the challenging, in the German city of Mainz. fascinating recital. outstanding achievement highly individual, often Currently it is headed by that you will want to return to complex music. The music of President and managing Nina’s clock: piano time and time again. It could Jean Roger-Ducasse (1873– director Dr Peter Hanser- improvisation prove a fantastic ear-opener 1954) is clearly an acquired Strecker. Schott provides Panayiotis Demopoulos for pupils unaware of the taste, mixing romantic angst theatres, opera house and Métier Jazz mjd 72405 huge range possible from the with intellectual strength, a orchestras internationally piano when it is approached fresh approach to harmony, with performance material ‘I arrived at Macclesfield from the inside as much as often ravishing textures for almost 10,000 concert and around white o’clock; my the outside. and colours, as well as a stage works. In addition to bad hand was in pain. At certain ‘difficult’ streak its hugely comprehensive and two o’clock I met with Piano Modern Recital which sadly makes some impressive music-publishing Valerie and she gave me a Vol. 1: works by Novak & of the music on this most catalogue, with sheet music, sandwich, a life bone….’ So Tchesnokov exquisitely well-prepared books on music and CDs, begins the surrealist sleeve Patrick Hemmerlé disc rather unmemorable on there are digital products, notes for this fabulous, Indé sens www.indesens.fr a few hearings. Is this music music apps, eBooks and innovative, exciting, thrilling that listeners could grow to escores. and smile-inducing CD from Here is a truly exceptional love? Is the voice distinctive the Kozani-based Greek find: Vítězslav Novák enough to take more than Despite the restrictions composer-pianist Panayiotis (1870–1949) was a student occasional performances? inevitably imposed in Demopoulos. Having already of Dvořák, and Pan is his Certainly the mastery Roger- 2020 by lockdown and the cancellation of public 40 | www.epta-uk.org 4BACK TO CONTENTS PAGE

reviews celebrations and parties, skills in chord progression most famous D minor organ harmonies, is most striking. Schott has managed management at the keyboard Toccata in either the Dover or In addition to the extended to impressively mark are not. They should be, the Breitkopf editions. Now – and highly virtuosic – its extraordinary and and this is a fabulous way we have a persuasively clear finale by Carl Czerny, there significant anniversary year for pupils to become much text from Henle, accompanied are unpublished variations with some wonderful new more aware and articulate by an extended, inspirational from Xavier Mozart (son of printed publications. It has as keyboard players and informative introduction Wolfgang) and Gottfried launched, for the first time, and musicians. Strongly from Christian Schaper and Rieger. Xavier Mozart also an extensive biography of recommended. Ulrich Scheideler to consider. appears in the ‘official’ work, Schott’s history in a new Busoni’s own dedication alongside many fascinating anniversary publication. It Totally different but to the 1900 edition is curiosities, such as a brilliant is fascinating to follow the arguably even more reproduced and Marc-André bravura pair of variants in development of the much- impressive is the collection Hamelin provides intelligent, semiquavers from Carl Maria loved publishing house from of fifteen encores, salon carefully considered, often von Bocklet and Leopold its founding 1770 by the miniatures, arrangements, stylistically sensitive Eustachy Vincenty Czapek young engraver Bernhard and virtuoso showstoppers, fingering. The presentation and an extended ‘Quasi Schott, through to the mainly from the nineteenth is clear, generously spacious Overture’ which stretches modern, international media century in the volume Joy - and seems to invite the over some 167 bars from a company of 2020. Exploring of Music. Discoveries from prospective practiser to get certain Joseph Drechsler. images and documentation the Schott archives edited going and start working Not that the latter is the gives a touching and by Wilhelm Ohmen and at the keyboard. A most longest contribution to illuminative perspective Robert Schäfer (ED 23307). inspirational, elegant, and the set - Emanuel Aloys on music publishing over In addition to works by powerful new release. Förster’s Capriccio variant two-and-a-half centuries. Beethoven, Czerny, Liszt and lasts for nearly 300 bars! www.250.schott-music.com Thalberg, the music, though Beethoven 33 Variations This is a particularly striking takes you on a digital journey quite demanding (Grade on a Waltz op. 120 and contribution to the project with many of the major 5-8 level for the most part), 50 Variations on a Waltz and makes for very exciting Schott composers and their includes such rare delights composed by Vienna’s Most exploration. In total contrast, music featured in fascinating as Le Chemin de Fer, Étude by Excellent Composers and Johann Evangelist Horzalka’s glimpses of the distant and Charles-Valentin Alkan and Virtuosos A flat major Adagio variation not-so-distant past. Le Banjo. Esquisse américaine Bärenreiter BA 9656 is deeply expressive, by Louis Moreau Gottschalk. surprisingly quixotic, and Let us look at two strikingly I am especially partial to This is a tremendously strikingly persuasive. Overall, persuasive new 250th Gounod’s Méditation sur le 1er exciting and innovative this is a remarkable musical celebration Schott releases Prélude de J. S. Bach so was publication, bringing together melting pot of discovery. that will be of unquestionable delighted by its inclusion, a state-of-the-art scholarly, The edition, with its detailed interest to PP readers and and also thrilled and touched editor-interference-free commentaries and citations their pupils. ‘Happy Birthday to enjoy and savour with edition of Beethoven’s of editorial decisions, is a Schott Music’ by Carsten my fingers for the first Diabelli variations, (arguably work of art, and one that Gerlitz (ED 23321) is a time Giovanni Sgambati’s his greatest masterpiece every serious pianophile collection of ten ‘piano bar’ eloquent and inspirational for piano) with complete will surely wish to own. An arrangements of well-known Mélodie de Gluck. A delicious offerings – individual essential purchase indeed. Schott melodies including birthday banquet from an variations – from the fifty Ode to Joy, Carmina Burana, extraordinary music house. other composers to whom Classical Vienna Kreisler Liebeslied, Elgar Many happy returns indeed to Diabelli sent his waltz back Well-Loved Solos Arranged Salut d’amour and the Bach- Schott! in 1819. To examine all for Piano Trio Gounod Ave Maria. Audio this fascinating material Nancy Litten tracks from Gerlitz are also Murray McLachlan together next to Beethoven’s Alfred Item Code: 20206UK offered in a most persuasive well-known masterpiece is and elegant celebratory issue SHEET MUSIC fascinating, insightful and Everyone who teaches that will be of tremendous deeply inspiring. There are piano to younger players in use and fun not only to Bach-Busoni Toccata in D lots of names whom many chamber music groups with players used to music with minor for Organ BWV 565 will never have heard of. At strings will know how hard simple chord descriptors over G. Henle Verlag the same time, there are it can be to find material each major progression, but variations from extremely which the pianist is not also for students in need Henle continues to take famous names too – Franz overwhelmed with notes. of a basic understanding of over the entire repertoire with Liszt contributed as a child, String parts in Haydn trios how harmony and indeed the its authoritative rebranding whilst Schubert’s offering, can be modest, but almost language of music works. makeovers of standard fare. with huge stretches and invariably pianists find The tunes are universal, but For generations we have been deeply expressive chromatic themselves used to studying Busoni’s celebrated reworking of the 4BACK TO CONTENTS PAGE www.epta-uk.org | 41

reviews facing considerably more that started this whole toddler groups. ’Wobble, prior to formalised piano difficulties. Nancy Litten project off in the first place. wobble Jelly on a plate’, lessons - rather than teach is well known as a writer, ‘Cobbler, Cobbler mend my this alongside other material. teacher and examiner but Bravo Nancy and looking shoe’, ‘Hey Hey Look at me’. Lots could be achieved this book evolved from her forward to more in this Finding patterns, assimilating by using part two with experience as a performing vein - the scope and indeed rhythms, memorising and improvisation and general chamber musician. She was the need for material would clapping. All fantastic things discovery tasks both at the looking for a short encore appear substantial. to do - even for terrible keyboard and away from it. for the end of a piano trio two-year-olds that will Aural and rhythmic games concert but found it hard to Ready to Play off we go! 1 never go near music lessons along the Kodály, Orff and find something suitable. In Sally Cathcart ever in their lives. Every Dalcroze approaches when the end she arranged the slow Alfred Item Code 2021UK child – musically inclined combined with the material movement of Beethoven’s or otherwise – could surely herewith is surely enough? Pathétique herself for the Those of us over a certain benefit from going up a piano Cathcart introduces the concert, and this proved to age remember Listen with keyboard and finding the Pentatonic Scale sensibly, and be the initiation that led to Mother on Radio Four, ‘Music, groups of two and three notes she certainly deserves to get the present anthology of Mime and Movement’ at in turn. a gold star for the way she seven short trios. They are all school, and classrooms in present seconds and thirds on beautifully constructed and which every teacher had One only need remember lines and spaces! It’s lovely should present no particular their own upright piano. tales from Soviet Russia to see the tenor and alto clefs problems to pianists and Singing happened every day and their old system to being introduced along with string players around the and all pupils (in Scotland worry about the national the G and F clefs - maverick in grade 6–7 mark. This equality at least) were offered the implications of this book. a traditionalist’s perspective of technical challenge is a opportunity of free one-to- There is a lot of sense in perhaps, but another Gold very positive thing. Litten one instrumental lessons. much of what we hear about Star to Cathcart as far as I has potentially solved one In 21st-century Britain this the old Russian system, am concerned here too. The of the overriding difficulties all seems like a wild Utopian whereby no child was ever Sol fa approach used is, of facing all chamber music fantasy. Time and time again allowed near an instrument course, super… and it is lovely education when pianists are we hear of cutbacks, of no until they could clap and sing. to see composition guidelines considered, and for this we class singing… even of no So why wait till you start and theory gradually coming should be extremely grateful. music lessons whatsoever ‘piano lessons’ before trying into their own in the later In addition to cleverly in certain state schools. Of out the tasks in this book? I stages of the 58-page book. constructed transcriptions for course, there are wonderful would argue that everything Though I remain unconvinced trio of the last movement of things happening in certain in it should be compulsory by the way dotted rhythms Haydn’s Hob XVI 37 Sonata, circles - but the broad circular for every child in the UK. If a are introduced, I am sure we have the famous finales perspective is far from playgroup or a parent really there is room for differences of Mozart’s K545 and 331 musical, and that is a huge cannot cope with these very of opinion here, and there Sonatas, and from Beethoven concern. basic things with children in is no doubt that both this the Menuetto from the op. 49 their care, then they most and this first volume, with G major sonata (also used in Enter Sally Cathcart and certainly need Cathcart’s tremendously colourful Beethoven’s Sextet) the first her two books. The first one book! It worries me that it and attractively presented movement of the Moonlight is surely not meant to be would ever be reserved for illustrations, are positive and the slow movement of the exclusively for pianists. How use in formal piano lessons. additions in a world where Pathétique, the latter as already could it be?! It is dealing So, the book makes for a sad music is sadly shrinking from mentioned the arrangement with things any caring parent reflection on the times we live general education. would surely introduce their in. The truth is that it should child to as soon as they are not be necessary. Sadly, it up, crawling, and ready for may very well be for many, so the book has full blessing when required. Ready to Play moving up! 2 Sally Cathcart Alfred Item Code 2021UK With part two Sally Cathcart moves into slightly more sophisticated territory. I still feel that teachers should be strong and introduce much of the presented material 42 | www.epta-uk.org 4BACK TO CONTENTS PAGE

EPTA Regional News Many thanks to all the regional organisers for their work over this difficult period. Many regions have been providing online get-togethers for members in the form of coffee mornings and playing groups. We have even had a few online festivals. Amy in Manchester did a superb job of organising the first joint EPTA/ESTA Manchester Zoom Christmas concert which had a staggering 28 performances (piano and violin) and lasted for two-and-a-half hours! The newly-established region in Norfolk, headed by Benjamin Howell and Matthew Preston as the Regional Organisers, is a welcome addition to our established regions and we look forward to working with them. They are already planning an event in the new year for the EPTA Norfolk members which is a webinar with Lucinda Mackworth-Young, who has kindly offered to lead a workshop called ‘A day to inspire and refresh your teaching and performing’. Further details will follow on the website. Other regions are now looking forward to planning events in 2021. These will initially be online events and your local festivals and competitions we be announced as soon as the dates have been set. We all look forward to live events at a time in the future when it is safe to hold them; in the interim we have our wonderful online platforms to keep us all connected. BEDFORD DERBY LONDON S SURREY Kate Elmitt, 01462 622222, Beate Toyka, Frederick Scott, Julie Cooper, 0208 397 5655, [email protected] [email protected] fredscottmusic2gmai.com [email protected] Bev Preece, 07446 363774, [email protected] DEVON LONDON W SUSSEX E Ekaterina Shetliffe, 07505 884271 Alberto Portugheis, 020 7602 9515 Kevin Smith, 07583 251118, BELFAST [email protected] [email protected] [email protected] John McParland, 028 9058 3997, [email protected] EAST MIDLANDS MANCHESTER SUSSEX W Susan Grange, Amy Wakefield, 07888 710012 Sarah Plumley, 01903 883265 BRIGHTON [email protected] [email protected] [email protected] Helen Burford, 01273 732727, [email protected] NORTH ESSEX MERSEYSIDE SWANSEA [email protected] Bernie Hailwood, 0151 342 6918 Hyelim Morris, 07949 684401 BRISTOL [email protected] [email protected] Daniel Lloyd, [email protected] SOUTH ESSEX or Sophia McKett, Janet Kelly, NORTH EAST WEST MIDLANDS [email protected] [email protected] Janet Nicolls, 0191 281 8048, Philippa Rainbird, 024 7667 4118, 0117 946 7641 [email protected] [email protected] HERTS BUCKS/BERKS Helen Collins, 01582 401403, OXFORD WESSEX Richard Heyes, 01234 712599 / [email protected] Julie Craven, 01235 765728, Sue Craxton, 01258 451764 / 01582 414818, [email protected] [email protected] 07976 315954, [email protected] KENT Lynda Smith, 01722 325807, CAMBRIDGE Nancy Litten, 01622 682330 SCOTLAND E [email protected] For forthcoming event details, contact [email protected] Margaret Murray McLeod, Ilga Pitkevica, 01954 210189 0131 441 3035 / 07715 287930 YORKSHIRE CEN [email protected] LANCASTER [email protected] Simon Burgess, 0113 287 6126 Yvette Price, 07932 962360 [email protected] CARDIFF [email protected] SCOTLAND W David Pert, 029 2052 0736 / Emma Sinclair, 07799 100867, YORKS N 07786 998454 LONDON N [email protected] Matthew Palmer 01302 726991 / [email protected] Gillian Sonin, 07956 281188 07913 234919 [email protected] SHEFFIELD [email protected] CHANNEL ISLANDS Pearl Woodward, 0114 266 0399, Alan West, 01481 249371 / LONDON NE [email protected] 07781 411119, [email protected] Talia Girton, 07467 152188 [email protected] EPTA UK REGIONAL EVENTS 4BACK TO CONTENTS PAGE www.epta-uk.org | 43

EPTA Corporate Members: Making our EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS ACKERMAN MUSIC BÄRENREITER CAMBRIDGE PIANO WEEKEND Happy New Year! As we cross into the Scott Joplin: Ragtime - Easy September 2021, in association with new year it is natural to have a period Arrangements for Piano Cambridge Music and Anglia Ruskin of reflection. The way we operate, University: the inaugural: ‘Cambridge and the way people learn, teach, and “It’s never right to play Ragtime fast.” International Piano Masterclasses’ perform music has been forced to (Scott Joplin) change, with more music going online. ‘In the footsteps of Alfred Cortot’ - As an independent retailer we thrive on Most listeners associate “ragtime” following his much acclaimed article our ability to give a specialist service, with the music of Scott Joplin, one in EPTA Piano Journal no. 121, Michael tailored to the needs of musicians, of the earliest African-American Stembridge-Montavont offers the first teachers and students across the country. composers to straddle the divide of two webinars devoted to the pianistic between classical and popular music. ideas and ideals of the legendary With this is mind we have decided to It was Joplin who brought this musical French–Swiss pianist and teacher Alfred take ‘online browsing’ to the next level. style to the pinnacle of perfection. Cortot. We’re rolling out an upgrade of our ‘Patron Saint’ of all who find learning online database of score examples and The term “ragtime” stems from the piano difficult – in the introduction audio files to allow people, unable to “ragged time” and describes the to his exercises Cortot talks about piano come into a physical store, the chance contrast between the sprightly technique ‘taking on the aspect of a to browse new books, and listen to syncopated melodies in the right hand horrific, hundred-headed hydra’! His example pieces. and the accentuated “oom-pah” bass in approach is to simplify the problem the left. This collection offers deeper and demonstrate that the monster is We are, as ever, committing ourselves insight into Joplin’s art, a combination vulnerable. Webinar includes: to being on the end of the phone, or of folk music, African rhythms and • Questions and answers at the keyboard (computer), to answer classical piano music. Jean Kleeb • Demonstrations at the keyboard any questions you have, and to make has simplified the works and added • Alfred Cortot in an historical context recommendations if required. And fingering. More details at cortotheritage.com to make things a little easier on the bank balance we are continuing our • 7 typical and well-known pieces in Cambridge Piano Day events: Spring, partnership with EPTA, to offer its their entirety Summer, Winter 2021, in association members 20% off sheet music (on • Difficult passages are simplified with Anglia Ruskin University and orders over £15) and free delivery across • With fingering the French-trained pianist Patrick the UK. Joplin Ragtime. Easy Arrangements Hemmerlé, whose recent recordings for Piano have received much critical acclaim. To open up more discussion we have BA 10644 | £14.00 recently started a Facebook group (very www.barenreiter.co.uk Patrick was a former student of originally named ‘Ackerman Music’ Billy Eidi - himself a pupil of Jean - @ackermanmusic) where we invite Micault, Magda Tagliaferro and Eric everyone to join, and talk about all Heidsieck, all three of whom are in things music, both serious and silly. We direct line from the legendary teaching can only grow by listening to our most and masterclasses of Alfred Cortot. valued customers, and we would love to For further details, please contact: hear of any way we might improve, and [email protected] of course feel free to lavish praise upon us. COACH HOUSE PIANOS Here’s to 2021 – hope to see you all Coach House launches new London soon! Showroom ackermanmusic.co.uk The Swansea-based piano company Coach House announces the opening of its new London showroom. Based in the Chelsea Design Quarter on the New King’s Road, the new showroom will 44 | www.epta-uk.org 4BACK TO CONTENTS PAGE

business your business... feature the world’s finest piano brands, • Internalisation/audition holding for many years in Windsor, UK. EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS a design studio, and the Bösendorfer • Technology Q & A The online courses last for four-and- Hall, London’s newest dedicated recital • Teaching intermediate music theory salon for pianists. musically a-half-hours, including two 15-minute • Creative approaches for teaching at breaks. There will be a maximum of four Coach House has a long history of advanced level or five teachers per course and the cost working closely with teachers and • Teaching jazz piano is £60.00 per participant. supporting the needs of piano students • The Piano Framework 2021 - a of every age and ability. The service professional development We give advice on how to incorporate provided to piano teachers and their framework unique to The Curious the basic elements of the Dogs and students is vitally important to Coach Piano Teachers, updated with Birds approach at the start of Dogs and House and will be at the heart of the repertoire lists Birds Book 1 and to build on them as new London showroom experience. • An A-Z of teaching beginner & you work through the Nursery Rhyme The new showroom is open for now elementary students Book and Book 2 to offer a seamless by appointment. With a huge range • Teaching teens & pre-teens transition to using conventional music. of piano makes and styles to suit all • A Curious Christmas - exclusive, The courses cover finger positions, budgets, it is the perfect destination to commissioned repertoire for singing, note recognition, ear training, send or accompany students, who are beginner to intermediate students. and the use of rhythm exercises, both looking for the perfect instrument. for face-to-face and online lessons. In addition, members receive full These all help to provide an easy Founder Nick Rusling says: “We are access to the back catalogue of Curiosity progression. We use pre-recorded videos very excited to be able to bring our Boxes, including video tutorials, to show all aspects of the approach. expertise along with the most amazing workbooks, webinars and printable choice of quality pianos that London resources, featuring world-class experts The courses are tailored to the specific has ever seen. The last few months have in the field of piano pedagogy. Previous needs and experience of the participants. made everyone realise how important topics covered include online teaching, At present they are being held on Fridays, our homes and interests are, and we rote teaching, keyboard harmony, Saturdays or Sundays, but other days are have seen a massive surge in desire to improvisation, memorisation, rhythm, possible by arrangement. acquire better and more beautiful pianos tutor books, parents, transfer students for home environments. Our team and studio matters. To register your interest, please email pride themselves on being able to give [email protected], stating your unbiased advice within relaxed, homely On joining, members also receive experience with the method. Also if surroundings in order to share our access to the private member-exclusive there are topics that you are particularly passion with you for pianos that are as Facebook group where they can ask interested in being covered, please let unique as you are, both in tonal quality questions and connect with other piano us know. and aesthetic design for each individual teachers across the globe. Members can home. There is hardly anything in the also network with each other in weekly The method itself is, pedagogically, world today that carries forward the Community Chats on Zoom - likened to extremely sound, imaginative, creative inspiration and joy of music, and such a “virtual staff room”. and effective. happy memories like a wonderful piano. The piano has become an investment, Other benefits include exclusive Fiona Lau, Music Teacher Magazine in memories and moments far beyond discounts with partners such ISM, Alfred, More information on the Dogs and monetary value, for generations to come.” Blackrock Music UK, Musicroom, and Birds Piano Method can be found at more, and access to a specialist members’ www.dogsandbirds.co.uk. THE CURIOUS PIANO only book club with carefully curated TEACHERS titles on the piano, music and education. Founded by Dr Sally Cathcart, and To find out more, please visit Sharon Mark-Teggart in 2015, The www.thecuriouspianoteachers.org/join Curious Piano Teachers is a global, or email Community Manager, Hannah online community of piano teachers O’Toole: [email protected]. that love to learn as much as they teach. Professional development, and DOGS AND BIRDS a supportive teaching community, is at the heart of this online membership Online Teachers’ Courses site, and all new first-time members can We are presently running online join for free for one month. courses for piano and music teachers on the Dogs and Birds approach (a 2021 is set to be an exciting year, with method for teaching piano to 3–7 year monthly Curiosity Boxes coming on the olds). Each course is given by Elza and following topics: Chris Lusher (creators of the method). These courses are a replacement for the • Female composers usual annual courses that we have been 4BACK TO CONTENTS PAGE www.epta-uk.org | 45

Making our business your business continued... ESTA EVC MUSIC FORSYTHS EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS ESTA EDUCATION Certificate for Music Here at Forsyths in Manchester, we Educators have remained open throughout the pandemic. Booking is now open for our online, fast-track qualification starting in While our doors were closed during February 2021. lockdown we continued to help our customers remotely, and if you are The Certificate for Music Educators still unable to visit us in person, don’t (CME) is a programme developed for worry. Our friendly and knowledgeable anyone who works as an instrumental staff are happy to provide in-depth or vocal music teacher with children and telephone consultations and custom young people, including instrumental videos showcasing our extensive range and vocal teachers working with music of instruments, and our experts in services, hubs, schools or privately, and the sheet music department would be professional musicians who undertake delighted to discuss your requirements education work. over the phone or via our website. The course is made of four modules: However, where restrictions allow • The Reflective Practitioner we safely welcome customers in-store • Music Education and Learner’s to try instruments in person, including our unrivalled selection of pianos, and Musical Worlds browse our sheet music department, • Musical Learning: planning, leading, where we maintain the largest selection on display in the UK. assessment and evaluation • The Music Educator and their wider We have also stepped into the breach for RNCM students, allowing them to have professional role piano masterclasses in our showrooms in a safe, socially-distant environment after Assessment of work includes hours. Our pianos are in demand with • Three observations of your teaching the ABRSM too, and we will be hosting Diploma exams later in December. using videos you have submitted • A written assignment (1750–2500 Whilst the COVID-19 pandemic has been a very difficult time for us all, words). The topic is mandatory, and it has been a pleasure to continue everyone is invited to respond to to support our customers with their the title, “Children, Young people musical needs. Whatever they are, and their Musical Worlds’ please don’t hesitate to get in contact • A case study related to an aspect of and we will do our best to help. your work as a teacher • A professional development log Please visit our website for further information and to browse our stock on- Full course details can be found at line: www.forsyths.co.uk https://www.estaeducation.co.uk/ esta-cme/#top This is a programme of professional development which is validated by Trinity College London. 46 | www.epta-uk.org 4BACK TO CONTENTS PAGE

HAL LEONARD KAWAI Australian long-fibre wool. They are EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS hand-pressed, reinforced and formed Hal Leonard Europe News - RSL Building the ultimate Premium Piano without artificial hardeners to deliver Classical Piano Syllabus books released unmatched dynamics and expression for Found on the stages of some of the the artist. Hal Leonard Europe is proud to be world’s finest concert halls, and in the the exclusive distributor of the new RSL studios of many world-renowned concert Discover Shigeru Kawai for yourself, Classical Piano Syllabus books. 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Making our business your business continued... EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS THE PIANO TEACHERS’ Enrolment open now (online SOLIHULL SCHOOL COURSE UK attendance available for all courses): www.pianoteacherscourse.org/courses Following the merger with Saint During these difficult times, it is even Martin's School, Solihull Preparatory more important to feel connected as PIANO TRIO SOCIETY School opened its doors for the first a community of musicians. The Piano time in September 2020. Solihull Senior Teachers’ Course UK brings together We have been very heartened to see School continues to offer places to pianists to learn, share in the joy of the excellent work done by EPTA in pupils from year 7 to year 13. The Music teaching, and work together to raise supporting its members during this very Department at Solihull is a successful teaching standards across the country. difficult year. Sadly, our major event of and vibrant part of the school, a place the year – the Intercollegiate Piano Trio where musical activity is thriving and No matter your experience or stage Competition – had to be cancelled but wide-ranging. in your career, the PTC has a course that we are hopeful it can go ahead in 2022. will suit you. Join a group of likeminded We have continued to keep in touch with Central to the work of everyone in individuals and an outstanding team of our members via our Newsletters and the Music Department is a desire to tutors at the forefront of developments have been fortunate in commissioning encourage pupils to give their best at in piano pedagogy, to deliver piano some very interesting articles from a whatever level they can achieve. Many lessons relevant to the 21st-century pupil. number of distinguished musicians. pupils are attracted to the school not These can be viewed on our website at just because of the academic excellence, The Cert PTC is the course for www.pianotriosociety.org.uk but also because of the considerable all teachers. Practical, holistic and opportunities that exist in music. transformative, it will introduce you For next year we are planning to hold Solihull School offers Music, Choral to the very latest in piano pedagogy one of our popular Piano Trio Days in and Organ Scholarships at 11+ and 16+ and will equip you with a world of new which we offer coaching to student entry. ABRSM and Trinity College London teaching tools to grow and continue trios from the Conservatoires. This will practical and theory examinations are developing your teaching practice. take place at Clarendon Muse, Watford held each term at school and a number Grammar School for Boys, on Sunday 7 of our pupils go on to take higher The PTC ABRSM Teaching Diploma March with tutors Susie Mészáros, Julian diploma performance exams. As a Course (DipABRSM Course) is a natural Jacobson and Tim Gill. Steinway Initiative School our pianists follow-on from the Cert PTC. Putting benefit enormously from performing on into practice everything learned in the We have also been waiting impatiently wonderful Steinway pianos. Pupils do first year, you now have the opportunity for the book launch of Past Sounds by not only excel in competitive festivals, to delve into your own interests further Gillian Perrin which is still delayed. but have also competed successfully and receive personalised tuition towards Gillian writes: “I have had a lifelong in the final rounds of the EPTA and the Diploma exam. interest in the formal structures of Bromsgrove competitions. Choirs, classical music: I firmly believe that an orchestras and ensembles rehearse on If you are a teacher who already has understanding of musical structure can a weekly basis and many pianists are considerable experience and is looking immeasurably deepen enjoyment. given the opportunity to play in duets for something to further your teaching or other chamber music ensembles. The skills and qualifications, consider “Moreover, I believe that one of the chamber choir has performed regularly enrolling on our PTC Teaching LRSM greatest of all musical structures – the on BBC Radio 4’s Daily Service and sung Course, beginning end of January 2021. sonata idea – is woefully unfamiliar to services in many cathedrals including The course also provides the perfect many concertgoers. My book therefore St Pauls. Several leavers are offered opportunity for you to explore and aims to put a spotlight on the repertoire places at Oxbridge, gaining Choral, develop new and different teaching for the piano trio as a beautiful Organ and Instrumental awards. Solihull methods to enhance your own teaching but often neglected area of sonata have hosted various EPTA events and even inspire and raise standards in literature.” during the last couple of years and is the profession as a whole. very much looking forward to further We are sure that this will be of collaborations. ‘I highly recommend the course for interest to EPTA members and will let anyone who teaches the piano, however you know when it is finally published. www.solsch.org.uk long they’ve been teaching’ – Cert PTC student A reminder that EPTA members can join our Society for the reduced subscription of just £12. Without pianists there would be no piano trios and there is a vast repertoire to explore so we hope you will join us! Details on our website. Christine Talbot-Cooper Administrator, Piano Trio Society www.pianotriosociety.org.uk 48 | www.epta-uk.org 4BACK TO CONTENTS PAGE

STOWE SCHOOL TRINITY COLLEGE LONDON UNIVERSAL EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS Music Scholarships at Stowe Trinity College London’s Piano Over the summer months we look Stowe School is a co-educational 2021–2023 syllabus is available now forward to meeting teachers and boarding and day school where music for exams starting from January 2021 musicians at the many conferences is very much at the heart of the school. and features the most extensive and we attend. It is a great opportunity The Music Department at Stowe is a diverse selection of new pieces to for people to come and browse the thriving hub of activity, housed in the date. Alongside a host of international publications we both publish and purpose-built Chung Music School composers, each grade also features represent in the UK. The internet is a (opened 2014). This magnificent a piece from winners of Trinity’s great tool but for me you cannot beat facility contains the 200-seat Ugland Young Composer’s Competition. The having a physical copy of music to Auditorium that is equipped to the accompanying books have been re- peruse. In place of these events this highest technical specification, in imagined with a minimum of 12 pieces year, we have taken the opportunity to addition to classroom and practice per grade book, with 21 pieces available update our instrumental catalogues spaces. The department also houses in the new Extended editions – nine and over the summer we have produced a professional grade studio that available via an additional ebook. a new Complete Music for Piano regularly releases original material Critics have been full of praise for the Catalogue. This catalogue includes on Stowe’s own record label. Stowe is new syllabus so far, one going so far music published by twelve international an All-Steinway School and houses a as to proclaim: ‘Welcome to the new music publishers. I am sure you will fleet of 22 Steinway pianos across the gold standard’. Find out more at www. find something new to discover within school, including a concert level Model D trinitycollege.com/piano the 100 pages including piano albums, instrument in the Ugland Auditorium. pedagogical publications, urtext and We recently ran a webinar hosted critical editions, new repertoire, music The school is dedicated to providing by a Trinity examiner that provides a for pleasure, piano duets, pieces for opportunities for all abilities of pupils useful overview of the new syllabus two pianos and a range of composers with concerts ranging from informal and the support resources available. both well known and others that you lunchtime recitals to large-scale You can view the recording by visiting may not have explored before. You can orchestral performances. Our most www.trinitycollege.com/qualifications/ download a free copy of this catalogue recent orchestral activity saw two music/events from our website using the following performances of Tchaikovsky’s Piano link https://app.universaledition.com/ Concerto No. 1 and Dvořák’s Symphony In other exciting news, Trinity’s new media/pdf/66/d5/57/UE-Complete- No. 9 ‘From the New World’. Recent choral Digital Grades and Diplomas have Piano-2020.pdf highlights have included performances also now launched. Responsive to a of Mozart’s Requiem and Schubert’s changing world, these exams have Mass in G. been designed to support teaching, learning and assessment through a Stowe has a very generous scholarship digital medium. Digital Grades and and bursaries programme and a number Diplomas sit alongside our face-to-face of our students benefit from full fee exams, providing even more choice remission. If you would like to know and flexibility in how a regulated more about music scholarships at graded qualification can be achieved. Stowe, please call Jane Horwood Comprehensive online resources provide on 01280 818268 or email support to candidates and teachers [email protected] throughout their digital exam journey. Booking is available now; there are no stowe.co.uk booking deadlines, you simply enter your students when they are ready, record their performance and submit the video online for assessment by our examiners. Find out more by visiting www.trinitycollege.com/dgd 4BACK TO CONTENTS PAGE www.epta-uk.org | 49

EPTA BURSARIES EPTA UK Bursaries There are four main bursaries ■ Mark Ray Memorial Fund together with a letter of intent from available to EPTA UK members, The Mark Ray Fund is designed for a parent or parents and a letter of which you or your students members who are embarking on support from another professional may want to use. Continued Professional Development person (e.g.school teacher, doctor) (CPD) to further their skills in piano who is familiar with the family’s We are in the fortunate position of teaching. Applications for this fund circumstances but is not a relative. being able to offer bursaries at the are accepted up to 30 June and will be Applicants should have been studying beginning of each academic year for assessed throughout July. the piano for at least two years and talented pupils of EPTA UK members should be under 18 years of age. who may be having difficulty in paying ■ John Bigg Scholarship Fund for their piano lessons. This fund has in the past helped ■ Young EPTA UK Travel Bursary Fund students who may otherwise not Pupils of EPTA UK members may apply Should you apply for any of these have chosen to enter the professional for assistance with travel when taking bursaries you will need to download route – although you don’t have to part in EPTA UK events. The maximum a form from the EPTA UK website or be a budding professional to apply award for each application is £75. ask the EPTA UK office to send you for one! However, bursaries are one, and on return of the form we will awarded only to applicants who show Please contact Carole at the EPTA assess it. There should be a financial true commitment to the piano as UK office, [email protected] / tel: ‘need’ to qualify to be eligible and all their first and preferred instrument. 08456 581054 (4p per min + your decisions in this respect are up to the Nominations are invited for a limited phone co. charge) or 07510 379286 EPTA UK Management Committee. number of bursaries for 2021-22. A (normal mobile rates apply), if you A more detailed description of each minimum standard of approximately want to have an explorative chat about bursary can be found in the members’ grade 5 is expected. The bursaries will whether you or your student might be handbook. Applications for bursaries be awarded on the basis of a letter eligible. are accepted up to 30 June and will be of recommendation from the teacher assessed throughout July. 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 2021-22 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