Piano Professional 54 interactive

SEPTEMBER 2020 | ISSUE 54 | www.epta-uk.org PROFESSIONAL June Armstrong in conversation New teaching books by Karen Marshall Piano technique with Melanie Spanswick and Alison Bowring Group piano teaching with Paul Myatt



SEPTEMBER 2020 | ISSUE 54 | www.epta-uk.org PROFESSIONAL 4 Editorial by Murray McLachlan 7 Successful group piano teaching by Paul Myatt 10 Karen Marshall in conversation 7 with Murray McLachlan 15 Rediscovering the joy by Dorothy Dingle 15 19 June Armstrong in conversation with Murray McLachlan 24 Graham Brindley introduces the Eyetrainer™ 27 Musicianship for Pianists Part 3: Harmony by Nancy Litten 27 34 Developing the Fourth & Fifth Finger by Melanie Spanswick 36 Ping Pong or Tinkle Twinkle by Jenny Macmillan 39 Accelerated Learning for Pianists Part 3 by Alison Bowring 39 43 Kate Miller: My Musical Life & EPTA 47 Fowke Muses 48 EPTA UK Corporate News 52 EPTA UK regional news 53 EPTA New Members 54 EPTA UK Bursaries / Services to Members 36 Piano Professional Design & proofreading All EPTA enquiries Please see the EPTA UK member Published by EPTA UK Ltd in January, April Helen Tabor, helentaborcreative.com The Administrator EPTA UK section for full membership and September. Free to EPTA UK members; 4 Guildford Road, Dukinfield information and how to join. annual subscription £12 (inc P&P). Advertising Cheshire SK16 5HA Marcus Netherwood Tel 08456 581054 The opinions expressed or implied, the methods Editor [email protected] (4p per min + your phone co. charge) or recommended or the advice given in this publication Murray McLachlan 07510 379286 (normal mobile rates apply) are not necessarily representative of EPTA UK Ltd Chetham’s School of Music Subscribers to Piano Journal: [email protected] and therefore EPTA UK Ltd takes no responsibility Long Millgate, Manchester M3 1SB Annual subscription is £7 (inc P&P) www.epta-uk.org for them. Appearance of an advertisement does not [email protected] Contact Nadia Lasserson Registered Company England 1945055 necessarily indicate EPTA UK Ltd’s approval of the Tel 01625 266899 34 Carver Road, London SE24 9LT Registered Charity 293698 product or the service. Tel 020 7737 7307 or 020 7274 6821 The editor welcomes letters from members but [email protected] Honorary Treasurer reserves the right to edit them for publication. Murray Wells This product is copyright material and may not be copied in whole or part for any purpose whatsoever without the permission of the copyright owner. www.epta-uk.org | 3

Murray McLachlan since March many of us have improved our IT and administrative skills Editorial: beyond measure A new beginning Welcome to issue 54 of Piano Professional. Most of us will be reading this online, and New Appointment hopefully you will be enjoying the new format, with special features. The magazine EPTA UK is certainly is now available in three formats (two online versions and emerging into the autumn one printed one) and is full of fascinating articles and with lots of optimism and features. Hopefully there is something here for everyone. new initiatives. Our cover star, June Armstong, is a truly remarkable lady. Her extraordinary success as a composer of educational piano Liz Giannopoulos is our music has literally taken the piano world by storm over the new operations director, past few years. As she explains in her interview, attendance a post she began on 1 at the 2008 EPTA UK conference in Liverpool was a seminal September. This is a really moment for her compositional career. It is touching and exciting new development wonderful that June acknowledges the part that EPTA has and will ensure that the played in her life, and we should all be extremely proud and ever increasing activities of thrilled by her well-deserved success. EPTA UK – whether they be regional, national, corporate or Writing this in mid-August with the fervent hope that we educational – are managed even more effectively. We live will all cautiously and hopefully begin to restart our face- in an age of immediacy where communication is of vital to-face teaching in our studios soon, I feel so grateful to importance, and I know that Liz is really looking forward belong to the EPTA community. Webinars, risk assessments, to working with Carole and Ann. Together the three make a messages of support and a sense that we are not in this alone fantastic team. have meant a great deal to me personally, just as I know they have meant a lot to so many of our members. Huge gratitude New Blog to the EPTA COVID-19 steering committee is important to express, with Karen Marshall at the forefront of activities that On July 9 we launched a new blog on the front page of the have helped so much. She was superbly supported by a team EPTA UK website (www.epta-uk.org) which is available not that included Liz Giannopoulos, Mark Tanner, Amy Wakefield only for members of the association, but for everyone to and Anthony Williams. Bravo to all of them for giving so much explore. Our first posts included reviews of the new ABRSM to us all. Please see the official statement from EPTA UK and Trinity Piano Syllabuses as well as Dorothy Dingle’s on returning to face-to-face teaching at the bottom of this thoughts on the new online ABRSM theory exams, piloted page and do not hesitate to contact Carole Booth if you need for Grade 5 candidates only in August 2020. It has long further advice. been my ambition as editor of Piano Professional to have an The past seven months have been a harrowing period for additional on-line space. EPTA receives an enormous amount all of us, economically, socially, physically and mentally. of wonderful publications to review which the limited space Society as a whole has suffered, and we have been forced to in our printed magazine does not allow us to fully share with find new ways of communicating and continuing. We could the membership. This new on-line space on the blog will be forgiven for never wanting to give an online piano lesson allow much more of these publications to get the exposure ever again - but that would be a great shame: since March they deserve. many of us have improved our IT and administrative skills beyond measure (I certainly have) and moving forward we can blogPROFESSIONAL continue to occasionally use Skype, Zoom, FaceTime or other means to give occasional lessons when parents’ cars break down, or when there is a snow storm... Or simply if it is not practical for a pupil to travel physically for a lesson. There are many positives from the lessons learnt, and I like to think of this year as an enormous CPD ‘course’ that we have all been entered for. None of us would ever have expected lockdown, but we can all emerge from it with strength, positivity and new skills learnt and developed. 4 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Editorial All change with grade examinations and stages leading up to Grade 1 - each carefully structured with ‘A common approach’ excellent benchmarks) there is no doubt that the ABRSM Initial grade will be welcomed by many. Of course the Mention of the exam reviews and Dorothy’s wonderful slimming-down of scales and arpeggios in the ABRSM syllabus article on theory (see also her inspiring new essay on page (making it comparative with Trinity) is full of controversy, and 15 here) reminds us, not that we need reminding, that it has it remains to be seen what the new LCM syllabus (apparently been a turbulent summer in terms of change for all three to be launched later this year) will bring. And let us not forget major exam boards. This is not the place to start complaining the new, bold and potentially sea-changing possibilities of the and commenting on omissions, ‘dumbing down’ or changes MTB exams (www.mtbexams.com) with all the radical, lateral- of emphasis that may lose credibility in terms of standards minded and original approaches that this energised approach in the long term: social media has been full of discussion, brings. debate, angst and upset. Change never comes easily. Let’s just say what all the exam boards would certainly agree We will return to MTB, ABRSM, LCM and Trinity in future with: a grade syllabus can never hope to contain a complete issues of Piano Professional. Meanwhile, stay safe, enjoy your curriculum for a pupil. A teacher who only teaches from a teaching and thank you again for being a member of EPTA grade syllabus is not offering the sort of pedagogy that a (UK). I wish you happy reading and a happy new academic year. pupil deserves. Therefore we should look toward what we as individuals value and hold dear. In 2020 it is as vital as ever Murray McLachlan for us to have complete awareness of all the needs of our dear Chair, EPTA UK students. We need to develop them as complete musicians, caring for their well-being, their physical and mental health Piano Teaching in a changing environment: as well as for their overall musicianship. Fortunately there is Statement from EPTA UK much that can guide us in this vital quest. Back in 1998 Faber Music Ltd and the national association of music educators Over the past month we have seen many changes to produced a document which was subsequently revised in lockdown measures across England, including the re- 2000 with former EPTA UK chair Mark Ray (piano co-ordinator) opening of some business and the relaxing of rules relating and management member Lucinda Mackworth-Young to visitors in your home. The guidance is continually (consultative group) influencing its evolution: ‘A common evolving, most recently with the added complexity of local Approach’ is outstanding and still of seminal importance restrictions and quarantine for holiday-makers returning for all instrumental/vocal curriculums in music education. from some countries. Now more than ever, it stands as the gold standard for us all to return to again and again for guidance, reassurance and These are worrying and uncertain times for everyone. inspiration. This is something I personally return to time and When making your own decisions regarding face-to-face time again for refreshing support: https://www.musicmark.org. teaching, we encourage teachers to be flexible and to make uk/wp-content/uploads/a_common_approach_curriculum.pdf sure your decisions are based on the best and most reliable sources of information. You will find some quick links to But let’s return to exam specifics: Trinity has launched guidance and support from the government and EPTA’s risk an extraordinary new syllabus for 2021 and beyond, which assessment document in the members’ area of the EPTA offers arguably more in terms of quantity and diversity of website. In addition, it may be helpful to review the Local repertoire than any other grade exam syllabus in recent Restrictions and Travel Guidance. memory, or indeed in memory at all. By retaining repertoire from the old syllabus the range and expanding of the range PLEASE NOTE that Government advice differs for the of composers from all eras to include music that many of devolved nations, and teachers in Northern Ireland, Scotland us have not previously known, this board is providing not and Wales should comply with local guidance. only candidates but also teachers with a huge amount of stimulation, inspiration and education. Over at ABRSM we Disclaimer: EPTA UK is a charity and association, have many laudable qualities to be grateful for too, not least supporting and inspiring piano teachers and their pupils. the inclusion of duets in the early grades and the arrival of a EPTA UK can offer advice but can never enforce legal rules, new exam - the Initial grade. This will be welcomed by many regulations or policies on our members, whether they be as it provides an excellent stepping stone from the prep test institutions, corporations, companies or self-employees who level to Grade 1. Let no-one be in any doubt that the journey work as individuals. from scratch to Grade 1 is enormous. Though personally I still think that LCM (London College of Music) has the best 4BACK TO CONTENTS PAGE www.epta-uk.org | 5 structure to prepare young players for this (there are three

PIANO 2021–2023 Initial–Grade 8 Your performance. Your choice. Extensive repertoire Choose from our largest repertoire lists to date, which include 35 pieces per grade, a range of international composers and a selection of popular pieces from the 2018–2020 syllabus. Re-imagined books There are now a minimum of 12 pieces in your graded exam book, with 21 pieces in the Extended Edition — nine in an additional ebook. Both editions include detailed performance notes, while the Extended Edition also includes scales, arpeggios and downloadable audio. Young Composers’ Competition Aspiring composers can take inspiration from the inclusion of one new piece per grade written by the winners of our Young Composers’ Competition. Flexible syllabus Personalise your exam — you can choose to perform your own original composition, a duet at Initial to Grade 3 and a selection of supporting tests. Online support A range of free, online support resources, produced with professional musicians and educators, help develop your performance skills and musical knowledge. To find out more visit /TrinityCollegeLondon @TrinityC_L /TrinityVideoChannel @trinity_college_london_music trinitycollege.com/piano 6 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Dear Piano Teacher Like me you’re probably really busy just keeping upPawuitlhMyatt students as well as your own personal commitments. If you’ve downloaded this lesson plan, I commend you for exploring some new strategies for teaching piano rather than just read then play. Learning music and piano has many benefits to the life outcomes of our students. Engaging your students using Whole Body Learning strategies, which are based on the pedagogical approaches of Orff, Kódaly and Dalcroze, has been shown to offer students many of the eleven education elements for optimal brain cognitive development*: Instrument Pedagogy Context Playing an instrument Learn to read music Learning in a lesson (ie not from YouTube) Six secret ingredients toLearning using Singing Play in Ensemble (for piano Weekly lesson students this can be play- ing with backing tracks) Students have performance opportunities, ie. exams, concerts, etc. successful group piano teaching,Learning using Moving and ideas on how to implementLearn for a minimum of 2-3 them in your studioyears Commence before the age of 7 Learn from an expert ie. someone who has some pedagogy training Have you noticeYdohuo’wllsnpoorttitceendas ntoeprxopvildoeraantion of chIsosrudcsceassnfudl ghroaurpmpoiannoyefvreonmpossstibalret?,Isctaanratsisnugredtlhy is wpexaocrrtiltidcin,uiglsaere,nxcvthririelliodmennraemeGlnrye’nsrnwaitsnepdflogolerortcrp,g1hioanilnwdpmirseioelmnsld?tsuacSenospdutoicnrsytt.oroacieinuasdlr.o, Difsnittdhuedentvsfoaeuuyrynp‘YdhEeifgSdoh’,arblneasdvsueenlcdsocw(oGenhrsamadssyeoi37nv1e–r8hy)6eia,ag5tr0hsF0ooesrfrttteuegdSareccahhnoitdnsogeal cogsrfrooaMsunsupdistpiscifa,nowneorhtwitcoohrkI you notice that word, “social”? Humans are inherently social of music schools in the UK, New Zealand and Australia creatures. We desire sociaTlhcoisntpacrtofcroemssa vtearykyeosunagwaghe.ile to geretspuescteivdelyt.o, but I can confirm after teaching ImnuAfssaiccptaialleneaolerntmeineagnchtasenrfdso,prwloaepytciinwlamignkoamealrlculttolshehgicanitrsiinnhtiffvegorerooribmnur3pavtsih5neeissdysetopemvnoeaerletroosepnfx,mttphweeeonri1itfte1h(n1y)c.oethuer tsslitemixusTsshedoeenecrasrene.naNttdrioenstgemuerncevaednceriyereygsnsstttsyrsraeaotttsefeogsgIiuyeehcswxcateopovsrsklteofesua.rhlIceghawridanooguun,pl“ddigtplriiioiakmsuenpodtp”oteloeserafhimc“anchrliieeantstnegsht”lteyh. at by creating a fun social eFnveireonl mfreenet fotor lefainrndingmpeianaon. d messawgeehamveebeaetnfuascinegbaot Fookrt.ecsoinmce/1p9a94u.lTjmheyseamttay be used Just like sport, group piano lessons can offer children a very for a group with as few as two students or up to eight. None sooucticaolmleeasrnfoinrgbeonthvisrotundmeenKntistnaadsndwryeeollgua,astrhodethspeiranmoutseicaclehaerrn. ing of these is particularly music related. Your success in being a good group piano teacher is all about being a great teacher, Children of the 2020s have incredibly full schedules. The which means having an understanding of the pedagogy. options for outside school, childhood activities, have exploded It is a fact that most teachers teach how they were taught. over the last 20 years. Ask any parent and they probably have Dr Edwin E Gordon states: “piano is taught to many persons by their child enrolled in three to four extracurricular activities teachers who typically teach the way they were taught rather eeadcuhcawtieoenk,.iWt ohfitlsetntlheiasvmesaPyuasbupeligaMrneoaytteafaotcrthaecrshisltdr’usgaglllirnoguntod get than according to an objective learning theory and current research.” (2) Incorporating technology and exploring new face-to-face and practice time with the child. Teaching group teaching strategies will help you better engage the students piano is a great way to engage children in a social learning of the 2020s. experience that is able to capture both their imagination and So here are the six secret ingredients for success in group their concentration. teaching (in no order of importance): Children of the 2020s have Secret ingredient #1: Don’t use headphones incredibly full schedules “How could I cope with all that noise,” I hear you yelling back at me!! This is where you will use your teaching skills as a great classroom manager to ensure that children 4BACK TO CONTENTS PAGE www.epta-uk.org | 7

teaching As part of my strategy for a willing to get the child to practise. How many parents prefer well-managed classroom, I to “pop and drop” their children to a piano lesson or spend always involve their parents the whole lesson catching up on Facebook, Instagram or computer work? They are not really involved in the learning only play when they’re supposed to. Classroom management and if they are not a player, they often are unaware of how skills require you to be confident in what you’re saying and to help their child practise. When a care-giver is present and doing. Being a well-prepared teacher will make this easy. knows what’s happening in every lesson, one is more willing to implement practice time at home. Without headphones, students are able to hear each other play, including in “ensemble”. Children who learn in a group Regularly reward success – you will be amazed how parents often have much better aural skills because they have learnt like the accolades as much as their children! to listen to each other. Students tend to be better at receiving and implementing feedback in a class environment as well. Secret ingredient #4: Have a teaching plan E.g. “Did you hear how you got faster as we played, so let’s all Planning is essential for teaching, even more so listen and stay in time together.” when teaching a group of children. The Forte School of Music methodology is based on Whole Body Learning which is The second part of developing aural skills is singing. Singing centred on the approaches of Orff-Schulwerk, Kodály and is also much easier to accomplish in a class environment. Dalcroze. This pedagogically-sound framework provides Have you found it incredibly difficult to get boys to sing in structure from beginner to advanced students including front of you? This is significantly easier in a group lesson. flexible lesson planning and teaching strategies. Music and speech centres in the brain start as one from Secret ingredient #2: Use backing tracks birth. Music is like a language hence when teaching beginners Having a backing, or accompaniment track provides the Whole Body Learning framework follows a “natural an excellent platform for developing music related skills such learning process”: listening, singing, audiating (playing, as: internalising or thinking), improvising, reading and writing. • Musical multi-tasking Whole Body Learning can be used at any level of playing • Adjustable speed from beginner to advanced. You can download a Whole • Understanding form Body Learning teaching guide for Theme by Thomas • Exploring interpretation Attwood from the ABRSM 2018–2020 Grade 1 syllabus at • Just like a metronome pianoteachingsuccess.com/epta They also free you up, as the teacher, from having to play You can also see video examples of teaching from beginners so you can move around the classroom and assist students through to exam classes on the same page. to play with correct fingers, seating position and overall management of the lesson. Secret ingredient #5: Play games and make it fun! Children learning in a class environment are often Secret ingredient #3: Involve parents in the spurred on to become more inquisitive learners by their learning interaction with other children. This gives you, the teacher, many opportunities for playing games, creating competitions I currently teach nine piano classes, each made up of and making lessons fun. When a student is having fun, his/ between three to eight students whose age ranges from her brain is in a high state for learning. Games also offer 4–16. They are streamed into age groups and abilities, from the prospect of repetition which is essential for pianist complete beginner to Grade 7; hence 60 students each week development. over three afternoons. As part of my strategy for a well- One of the most basic ways to achieve good behaviour managed classroom, I always involve their parents from the and focused work in a class is to run a point system during first lesson. When children are over eight, parents are required the lesson (e.g. sometimes individual points, sometimes to attend the first ten lessons and after that, the last 15 mins team based, or even sometimes boys vs girls. Each child or of each lesson. team starts with three points. From there they can earn or lose points. You may give out points for technique-related There are many benefits from involving parents in the successes like curled fingers, playing with the tips of the lesson. They can help ensure the child is using the correct fingers, feet on the foot stool or floor. One might say, “well hand and fingers, on the right page and the correct notes, etc. done, Lucy, you just earned a point for your team, with More importantly the parents become involved in the learning beautifully curled fingers playing with the tips of your fingers. process. They become a learning partner with the child. Who else thinks they will be able to earn a point for their My favourite trick is to move each child to another parent. team when we play this time?” You will be amazed at how It’s amazing how a child will perform so much better for a quickly the children remember technique concepts through different parent than his/her own. Some parents who aren’t this strategy. engaged in their own child’s learning become much more Another game is to learn one phrase in a piece then move involved with someone else’s children. to the next piano in the intervening bars. Take, for example, London Bridge. Students might play the first two-bar phrase When parents ask their children what they did at school then they have to move to the next piano while the teacher today, they will often receive a blank, nondescript answer. It’s often the same with children coming to music lessons. If parents are involved in the learning they tend to be more 8 | www.epta-uk.org 4BACK TO CONTENTS PAGE

tteeaacchhiinngg plays the next two bars and they have to be ready to come in • Have the seat at the correct height. at the correct time. This is not only fun, but very educational. • Use foot stools for children to put their feet on. Ikea To avoid falling off seats, students play standing up. There is a much lower risk of accident. The educational benefits that and most £1 shops have great ones to use. occur are: • Remind children to play with curled fingers and playing • ability to find the correct note on the piano (keyboard with the fingertips. geography) • Utilise the Lady Bird for developing an appropriate • listening to the music to be able to come in at the hand shape. correct time • Encourage parents to ensure that home piano/keyboard • playing with the correct finger are set up correctly. • beginning to understand form These are just a few of the fun games you can play with Practice more than one child. I know it sounds crass, but we teachers are in the business of edutainment! Unfortunately it is a reality. We are Secret ingredient #6: Ask the children to become salespeople for piano lessons and learning. Our commodity the teacher isn’t money, it’s practice. Like a salesperson engaging you to spend your money, we are encouraging children to spend their One of the best ways to learn and remember something time practising. more effectively is to teach it. In younger classes where Every piano teacher has had that parent come in and say: parents attend lessons, children and parents often swap seats. ‘Johnny isn’t enjoying lessons or practising anymore, so we’re Children then have to teach their care-giver how to play a finishing at the end of the term.’ If, from the first lesson, you song. Not only is this a great exercise for the children to have engage children in practice and reward regular performances to explain how to do something they have learnt, but parents in front of the group, you’ll be amazed at how practice can be also find out that learning piano isn’t as easy as they thought! incorporated easily into a family’s busy life. With older children, there are often differing abilities within Watch other people teach a class group. When a student is further ahead on a piece, ask Some of the resources at PianoTeachingSuccess.com/epta them to teach a student who can’t yet play the piece. This is a include examples of me teaching young children as well as time when you would use headphones. The teacher can then teaching students at higher exam levels. move around the class to help and check each pair. When you start teaching in a group, you will find that children start to love hearing each other play. Start small: For students who are participating in grade exams, an try just two students at a time. There are many benefits of extension of this is the class ‘Policeperson’. Students play learning in a class and playing together. You’ll notice better scales to each other. One student, the Policeperson, checks to rhythmic development, the ability to hear and listen better make sure the other is using the correct fingers. as well as to play as “one”; and of course improvement in singing skills. These skills set children up for future Some final thoughts around group piano and teaching in instrumental learning in the school band or orchestra as well general are: as accompanying and playing keyboards in a band. Even if you’ve never had the opportunity to play in a band yourself, as Professional Development a teacher you can give your students a similar experience so Do lots of professional development. Piano teacher PD is that one day they might be able to. usually around one-on-one teaching, try participating in Orff- Schulwerk, Kodály and Dalcroze seminars, workshops and Financial Benefits conferences. Take the processes they use and modify them to Teaching piano in a class or group has many educational a piano environment. benefits as well as significant time and financial advantages for you as a teacher. You can do the mathematics. I could earn Addressing Technique around £30-40/hour teaching private lessons or I can earn 6 x Always ensure that children play with good technique. £15 for a 45-minute lesson which equates to £120 an hour. Generally the basics can be covered fairly well in a class, such as: Whilst a one-to-many teaching arrangement is considerably more lucrative, your highest concern should remain effectively educating your students and this takes significant preparation, planning and more importantly the ability to manage a group of children. Teaching in groups is not for the faint-hearted!! You will need loads of patience, lots of preparation and practice, and a belief in yourself that you can confidently stand up and teach a group of children. (1) “Bigger Better Brains” Dr Anita Collins - University of Melbourne 2015. (2) “Beyond the Keyboard” - Keynote address by Dr Edwin E Gordon, 2015 National Conference on Keyboard Pedagogy, Lombard Illinois USA. 4BACK TO CONTENTS PAGE www.epta-uk.org | 9

Murray McLachlan in conversation with Karen Marshall Here I catch up with Karen Marshall, the author of The book is split into four sections: 23 music publications. In just 10 years she has written an entire piano curriculum across these 1) Getting started - exploring the piano publications from beginner level (from five years) 2) Exploring the black keys - to learn finger numbers right up to Grade 8. These include: The Piano Trainer Series and increase finger strength (Faber Music - includes the Foundation, Intermediate and 3) Exploring the white keys - note names off the stave Advanced Pianist), Get Set! Piano series with Collins Music, 4) Reading the notes - this is where the grand stave is ABRSM Piano Encores and also other books in the ABRSM introduced BUT note names are still included inside each Piano Star series including the most recent Duet and Skill note so the student can learn positions on the stave. Builder books. Karen is a practising piano and classroom music teacher (and, I’m also glad to add, an EPTA UK trustee There’s a Main Tutor Book (£7.99) but also an accompanying and former pupil of the much-loved EPTA piano teacher, the Pieces, Puzzles and Activities book (£6.99) that fits alongside late Christine Brown). Karen here tells me about her latest but that can also be used alongside other very early method books which, she claims, were the most difficult for her to books. There are also challenges, opportunity for composition write to date! and listening activities including classical music such as Mozart’s Magic Flute and Haydn’s Surprise Symphony. MM: There are many beginner tutors on the market already. What is different about ‘My First Piano Book’ and MM: What are the main requirements in a book for very why has it been written? young beginner pianists? KM: Yes, there is a large body of piano method books but KM: As a teacher I’ve found every student is different but very few that are simply pre-reading or with large amounts some general themes I’ve discovered are: of musicianship activities within them. My First Piano Book provides the note names even when the notes appear on the 1. Playful and creative - children love something that stave and is packed with musicianship activities from the engages them physically as well as musically. That’s why the start. It also has far more illustrations than many available. book includes additional activities like knocking on the piano case, pretending to be a crocodile in the middle of the piece or 10 | www.epta-uk.org 4BACK TO CONTENTS PAGE playing from notes in the highest register or lowest register.

interview These are the best books ever! I love all the characters as they help me to remember all the things I’m learning about music. Isabelle, age 7 There are also opportunities for improvisation, composing, the piano to all my children as beginners and passed them on making up their own words and also colouring (the additional to another teacher when they were past Grade 1 stage (and activity book is ‘colour me’ to help students make it their they’d had enough of me). I do use some of the things I did own). The whole book also has a theme running through it of with them within the books. We sang together daily as mother ‘Music Town’ with characters to bring musical concepts to life. and child from around 18 months. 2. Best-quality melodies drawing on centuries-old MM: How best can a teacher use this book in weekly lessons? traditional tunes - it’s tempting to want to write lots of KM: The books do need to be used sequentially as everything new material, however a tune that’s lasted centuries has builds from page to page. There is a welcome song that can done so for a reason. That’s why there are very few original be sung at the start of each lesson and then adapted to sing compositions. Rather, English folk melody, from Wheels on at the end called ‘Music Town Show Time’. It also includes an the Bus to Hot Cross Buns, Once there was a Princess to Five opportunity within it for the child to improvise. The books Little Monkeys and using the melody of Here We Go Round the (launched on May 1st) have easily been used to start children Mulberry Bush and many more. off; a six-year-old began with me in lockdown. Using both titles, no other material has been needed. Parents have said 3. Make it feel familiar - Very young children love things it’s easy to support their children simply following the book. that they recognise and relate to. Using their name in a piece or having topics like scooters, pets, food, space and fantasy MM: In traditional Russian music educational pedagogy, are an extension of topics they will encounter in bedtime children were encouraged to learn to sing and to understand stories or at school. rhythm before going near an instrument. Does your book work for children who have no experience of singing/ 4. Provide a systematic and steady progression - children clapping or is it best for the child to practise singing and learn best (in my experience) from the known to the related rhythm games before starting the book? unknown (as Mrs Curwin put it). One of my greatest concerns was to not put a child off music when they were only just 4BACK TO CONTENTS PAGE www.epta-uk.org | 11 starting, therefore the progression is steady (not too fast) with lots of reinforcement especially if using the additional activity book. 5. Design is important - very young children with television and tablets see beautiful colourful design constantly. They want a piano book that is just the same: large print and very clear to read (there are coloured panels at the back of the music to help reading). It’s packed with beautiful illustrations. There’s so much more that could be said but there's five to be going along with. MM: Is it possible for a parent to work with a child on their own with the book without the need for a teacher? KM: It totally depends on the parent. As the book is an introduction to music via the piano then it is more possible than the older tutor book I’ve written with Heather Hammond, Get Set! Piano Tutor 1. The parent would need to be musical, play themselves and be prepared to sing. I started teaching

KM: The book provides the opportunity to sing and then with the learning reinforced. I really hope it will be accessible play within the pages with traditional rhyme constantly used to as many learners as possible. I suspect a gifted child to develop rhythm and most importantly pulse awareness. would get through it very quickly - as a gifted four-year old The first section of the book includes no formal piano playing of another teacher did. However, the parents apparently still and is just singing, rhythm and pulse activities, creative felt it was well worth the purchase due to all the foundational games on the piano using graphic score. Singing is an integral musicianship and lots of fun the child had with the pages. part of the method (sound before symbol) as is pulse and The music manager at Collins did also check the books were rhythm work undertaken off the piano using classical music suitable for those who are colour blind. The active nature of the recordings too to support this. book keeps students with ADHD engaged whilst the structure helps make it user-friendly for those with autistic traits. MM: How long does the book take to work through for a beginner player who has no previous experience of reading MM: The illustrations are extremely beautiful and music or even singing? arresting. Tell us about the artist and what you requested when writing the book. KM: I’ve heard of one child who finished the book with her orchestral parents in weeks. Most children I’ve worked with KM: Collins Music is part of Harper Collins who are one of have taken around six to nine months. the biggest publishers in the world. The home of Paddington Bear, they work with outstanding designers and illustrators. MM: All children are different. Does this book take account As an author it’s very rare to have this level of artistic input of this and can it be used in different ways? How would and illustration investment. I can’t take credit for anything the book be adapted for use by a teacher for - a pupil with other than having the ideas for the characters. Julia Patton ADHD - a pupil with Dyslexia - a pupil who is colour blind - was the original illustrator used for Get Set! Piano. She’s an exceptionally talented pupil – a pupil who already plays illustrated lots of children’s books and also written some. another instrument - or any student with neuro-diversity? Unstoppable Max is a pretty recent famous one of her titles. She came up with all the designs of the characters including KM: The book wasn’t specifically written for children with Minty the Mouse. She’s a gifted artist. These two books were learning difficulties but it is user-friendly for those types lucky to have two illustrators though. The second, Damien of learners. Two of my three children are dyslexic (I am Jones, was brought in to the project by Julia due to the myself), hence colour backgrounds on the staves, a sidewards sheer amount of work she had on. Damien did a superb job, keyboard in one section to show how the piano keys relate to especially with the full-page illustrations like the story boards notation, and new notes first presented in a different colour for The Hare and the Tortoise but also the Music Town graphic to highlight them. The whole book has easy-to-read fonts, score pages. His work is stunning and I hope to see more of large text and large notation. It is multi-sensory with seeing, him in future titles for Collins. hearing and doing activities throughout. It is systematic, MM: How long have you worked on the book for? These piano books are a real KM: The books took around five years to write in total. delight. I can’t believe how So much material hit the cutting floor to ensure the best quickly my daughter has possible material was included. Everything had to merit its place! I was also desperate to get it right. The books also had progressed on the piano. She really a development editor (herself a piano teacher and former enjoys the setting in Music Town and editor at the old A & C Black Music department). Em Wilson being able to colour and draw in the was pretty integral in the crafting of the books; she has early years experience working in nursery schools and made books. The books are so interactive a wonderful contribution in the last nine months of pulling and we enjoy doing activities together. everything together. Hannah (Mum) MM: Did you test the book on students beforehand? Tell us about some of your experiences ‘test riding’ the book. 12 | www.epta-uk.org 4BACK TO CONTENTS PAGE

These two outstanding new publications are set to become my ‘go-to’ material for teaching five-year-olds. The approach is perfect for the age group and the author’s intention to provide a gateway to music through the piano accords exactly with my own ethos. The pieces are tuneful so I know that little pianists will love them, and the emphasis is on developing musicianship holistically, encouraging children to explore the piano creatively and to sing as well as play. My First Piano Book is a work of art, with child-inspiring illustrations, and the accompanying activities book has line-drawings that children can colour in, bringing back memories of that simple childhood joy! Sandy Holland from Music Playtime (music-playtime.com) KM: As already mentioned, it took five years to write and also visiting very young choirs performing to source different was road-tested over a three-year period with 15 children. The songs, writing the music on the back of the programme and hardest thing was getting the progression right. Originally the then trying to find it afterwards to check copyright. I did book moved from notes off the stave to notes on the stave get some funny looks! Also, trying out the pieces with the (with no note names there). I found that just adding a stave children and seeing their excitement when they really loved caused confusion enough for children. Some tunes I loved something. That was so special. the kids consistently disliked or didn’t practise - they were all ditched! Their ideas were included too - like the chants MM: Tell me about influences in the book. about a parent becoming an alien, having a piece about the KM: Several really. The first was wanting a book I would environment and also including a piece about Christmas be very happy to use with very young children who haven’t presents and birthday gifts so, as one pupil put it: “I want had any musical experience within their general education. Mum and Dad to know what to buy me.” I learnt so much from Children simply don’t get the opportunity to sing and dance the children. Their ideas and inspiration are all over the pages. like they did when I was in reception. Secondly, I am a classroom primary school music teacher who is also Kodály MM: Do you see a follow-on book to this one? What are trained. All of my general musicianship training also is your plans for future publications? incorporated into the pages especially for those children without that foundation. KM: The book actually follows on to Get Set! Piano Tutor 1 and the pieces in book 1 perfectly, so the follow-on books are MM: Tell us about parts that you feel are especially striking already available. I’ve actually had children use My First Piano and original. Book and already successfully seamlessly move to Get Set! Tutor 1. They’ve been able to progress far more quickly than KM: I think it’s very rare for a piano method book to have I’d experienced before. I wrote a Christmas book whilst doing such a large amount of musicianship material within it. the titles to ensure the children road-testing the material Also that classical composer listening activities are also had some Christmas music to play. So there may well be a incorporated along with such an enormous amount of Christmas book in the future - watch this space. beautiful illustration including full story boards. It also allows the teacher to have much more input including deciding what MM: What was your favourite part of the book to write? fingering to use (in sections 3 & 4) and also when to introduce KM: That’s a very difficult question. I think trying to source more complex issues like time signatures and different the best material that would inspire the children. It was articulation. The book allows quite a high degree of teaching wonderful seeing so much old traditional folk melody but freedom. 4BACK TO CONTENTS PAGE www.epta-uk.org | 13

by Nancy and Randall Faber A comprehensive method aunsidngexapnraelsyssioisn, creativity, 6 Levels of musical growth... Two Books per Level • Lesson & Theory and Technique & Performance Primer Level Level 1 Level 2A Level 2B Level 3 Level 4-5 ...linked with 6 Levels of musical fun The PreTime to BigTime Piano Library PreTime (PLlaeyvTelim1)e ShowTime ChordTime FunTime BigTime (Primer Level) (Level 2A) (Level 2B) (Level 3) (Level 4-5) 12 Genres: Christmas, Classics, Disney, Favorites, Hits, Jazz & Blues, Kids’ Songs, Popular, Rock ’n Roll, and more.... FABER See exciting repertoire selections for the new ABRSM Piano Syllabus at pianoadventures.co.uk 144|BwAwCwK.eTpOtaC-OuNk.ToErgNTS PAGE

Dorothy Dingle Rtehdiescojvoerying Idoubt whether anyone reading this article will be unaware of the roller- We are our UK all would be held online from the start of coaster ride which began earlier this pupils’ mentor, 2021, with no paper alternative offered other year when ABRSM announced the than for a very narrow range of candidates option of taking an online Grade 5 theory who have diagnosed accessibility issues – not including candidates who simply don’t have exam at the end of August. Many teachers their role-model access to the requisite technology and/or a were delighted that candidates who were stable internet connection with the required already thoroughly prepared could take Grade upload/download speeds. 5 theory, get the certificate and move on swiftly to enter for That is now history. As I’m writing this article at the end of a higher-grade practical exam (for which they are also more July because the press deadline is August 7th no doubt by the than ready) in the autumn. time you read it the situation will have evolved further. However, that high was followed by a very bumpy ride when I therefore have no intention of rehashing the material ABRSM released later that month both the not inconsiderable in my EPTA Blog published in mid-July, nor the opinions technical requirements and also last-minute changes to the and concerns expressed by many in the recent EPTA-hosted syllabus, along with a statement that most questions would webinar “Should Music Theory be examined online?” be multiple choice. Teachers were immediately divided – some Instead, I wish to concentrate on deeper pedagogical issues breathing a sigh of relief, saying “it’s better than nothing – at and entrenched assumptions which have been exposed by this least my candidates can now get that out of the way and enter whole situation. for practical exams next term”, others stating that under When I was growing up many decades ago, ABRSM was no circumstances would they enter candidates for an online viewed as the “gold standard” exam board. Other exam exam which was perceived as “dumbed-down” and that they boards used very similar patterns in their exams. It is only of would “wait for the paper exam in November”. However, we recent years that we have seen greater divergence, beginning need to remember that COVID-19 has not gone away – there with other boards gradually moving away from a theory can be no guarantee that traditional paper exams will be prerequisite for taking higher practical grades. Without possible even in November. doubt, until recently ABRSM has been the market leader in And then the final straw for most – ABRSM dropped a the UK in terms of candidate numbers. However, that does bombshell by stating that for Grades 1–5 theory exams in the not necessarily mean their philosophy is the only truly correct 4BACK TO CONTENTS PAGE www.epta-uk.org | 15

teaching one, with all other approaches to music-teaching seen as certainly the first experts in our field that our pupils will meet. less valuable and inevitably producing lesser musicians. That experience can make or break them as musicians. What Indeed, some of the most recent changes to the ABRSM piano do we most want them to learn from us? That exam results and syllabus have brought in elements seen in the TCL syllabus for certificates are the reason they are studying? Or that music is years – most notably the option to choose a duet as an exam an utterly joyous thing, that making music at whatever level is piece and the reduction of the number of scales required at possibly the most awesome thing they will ever do? lower grades. What about the claim that pupils will not practise if they are Thankfully, the snobbery of a few decades ago which claimed not working towards an exam? An account of my own early that a qualification from anyone other than ABRSM was of experience of rapid social change alongside music tuition lesser value has been knocked into touch by the emergence received might inform our thinking. of Ofqual as a verifying body. Indeed, ABRSM will accept, for example, TCL’s Grade 5 theory qualification as an alternative In my lifetime, I have lived through the first manned space “gateway qualification” to their practical exams at Grades 6–8. flight (1961), the launch of the first geo-stationary satellite, Telstar (1962), the first introduction of audio cassette tape So if there is in reality no “gold standard” which is carved in recording (1963), the first pocket-sized electronic calculator stone for all time, can we find anything which plots a reliable (1970s), the first home computer (1977), CDs (1982) – all path to excellence? before I was 30. And the pace has since increased further! As a child, there were not as many siren calls on my time Without doubt, until recently as our pupils face nowadays – we played out with friends, ABRSM has been the market read books, played board games, learned to cook, built leader in the UK in terms of meccano models… and played musical instruments. I was very candidate numbers fortunate in having a piano teacher who when I said (aged 8) that I wanted to give up, encouraged me to go round “just There have been many stunningly-talented musicians to chat” every week. After not too long, I decided I wanted from around the world who have not followed the traditional to learn another piece… there was no obsession with exams, ABRSM exam-oriented route towards mastery of their chosen and I loved that lady from the bottom of my heart. No great instrument. To name but one among many, Sibelius was virtuoso herself, she gave me an enjoyment which became largely self-taught after some early guidance on the piano buried through later years spent as a Junior Exhibitioner from his aunt Julia. Later, aged around 15, he decided he where the emphasis was entirely on fast-tracking through preferred the violin, taking lessons from a local band-leader grades. I went from Grade 3 to Grade 8 in just three years, and going on to play in ensembles with family members never achieving higher than a high pass or low merit – no and others. A couple of years on he began to dabble in distinctions. No surprise – I simply wasn’t ready. Aged 18, I composition, saying of his earliest efforts, “They are rather refused point-blank to go on to study at that conservatoire poor, but it is nice to have something to do on rainy days.” despite their encouragement to apply as by then I hated (No TV or games console in those days!) From high school he studying the piano – it had become a chore, and I had had all went on to study law, not music. He transferred in 1885 to the my self-belief as a musician destroyed. It was only later that Helsinki Music Institute (now the Sibelius Academy) to study I came back to lessons, began to teach and found a deep joy violin, giving public recitals in Helsinki. He received his first again in music-making, and in particular in nurturing that formal lessons in composition from Wegelius, going on to element of fun in all my pupils. study with other masters. I have been teaching piano and music theory for 50 years I make no apology for that summary biography of a now. Some of my pupils take exams, some don’t. I have used musician who is universally acknowledged to be a highly both ABRSM and TCL exams extensively over the years – they talented composer and whose works, among others the have different emphases. Karelia Suite and Finlandia, are enjoyed to this day. If we examine the path he followed into his profession, at no point Yes, some pupils are highly motivated by gaining a in his youth and adolescence was he expected to study for certificate, but more frequently the pressure to take exams or pass a music exam. He received barely any formal tuition. comes from parents and/or from a teacher who simply Rather, what we find is a young child who grows to adulthood teaches to the grades, exploring very little else. Those focussing entirely on enjoying music-making with family and students often show signs of extreme stress and anxiety mentors. He explored byways which interested him in the when preparing for exams. Despite my best endeavours to moment. This music-making was, for him, part of the warp explain to parents that leaning an instrument is about far and weft of life. Only later did he study his craft at the feet of more than exams I have seen too many cases of children masters in his field. saying to me “but I have to get a Distinction – my mum/dad says anything else isn’t good enough!” Sadly, in too many Of course I realise that very many do not have the luxury of cases Mum or Dad also fails to build time into the family’s growing up in a musical family, but even so this model could schedule to allow the child to put in the practice required. still work – that of being exposed to opportunities for music- making with others and enjoying the performances of others, Conversely, pupils who opt not to follow the exam route are and then choosing to study with an expert in their chosen field. often far more motivated to spend time at the piano because they are learning for fun. This does not need to be at the Let us never forget that we, the music-teachers, are almost expense of the pursuit of excellence – if we want to achieve something badly enough, we will not find the necessary 16 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching hard graft a chore. Sometimes this only occurs after I have we, the music-teachers, are managed to negotiate a truce with the parents, suggesting almost certainly the first an exam-free year to see what happens. The student relaxes, becomes intrinsically motivated, is excited to explore a wider experts in our field that our range of repertoire and consequently progresses more rapidly. pupils will meet I can hear now those who are already saying, “but what about The key to all of this, enabling our pupils to discover a scales? Sight-reading? Aural skills? Theory? All the boring-but- life-long passion for making music at whatever level is right necessary stuff? How will I get pupils to practise those skills if for them, is in our hands. It is up to us to explain explicitly they don’t have to in order to get a good exam result?” why each of these is so important, and to make learning these skills fun so that our pupils want to explore all these Dare I suggest that the answer is in the hands of the wonderful ideas more than they want to play (addictive) teacher? computer games. Now that is a challenge for the 21st century and beyond! Are we up for it? We are our pupils’ mentor, their role-model. If we are simply time-serving, focussing on the bottom And yes, if the pupil wants to take an exam of course they line (bills to pay etc) and wishing during lessons that we should be encouraged and enabled to. If not, not. But above were somewhere else, our pupils will pick that up. If we are all, nurture the joy. bored in a lesson, our pupil will be feeling bored. If we treat scales/arpeggios, sight-reading, aural, theory as “boring but Dorothy Dingle is the author and publisher of Pass Grade necessary to pass an exam” then our pupils will also view 5 Theory – All you need in one volume. Details can be found them that way. at www.dinglemusic.com. The book and associated answer If, on the other hand, we can book are available for purchase from many music stores connect with each individual as across the country as well as direct from the website. an individual, find out what spark made them want lessons in the first place, fan that spark into life, coax it when it threatens to go out – then our pupils will want to be able to: ■ Sight-read, because they realise that skill will enable them to master a piece more quickly ■ Play scales and arpeggios, because they realise that knowing those patterns for the key in which a piece is written makes it easier to learn and play ■ Develop aural skills, because they realise that listening to themselves with awareness as they play will enhance their performance ■ Study music theory, because they have made a connection between the knowledge they are acquiring and the speed with which they will understand and master increasingly advanced repertoire. As a child, there were not as many siren calls on my time as our pupils face nowadays 4BACK TO CONTENTS PAGE www.epta-uk.org | 17

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interview Joyful, Jubilant June The remarkable Indian Summer of Creativity from June Armstrong Murray McLachlan meets EPTA UK’s doyenne composer By any standards, the remarkable and recently Songs Collection (published by Hal Leonard). June Armstrong’s developed compositional outpouring of long- music is available worldwide from www.junearmstrong.com standing EPTA UK member and much-loved teacher and from Red Leaf Pianoworks at www.redleafpianoworks.com. June Armstrong has been exceptional in several respects: exceptional for its late flowering, productivity, high She is a living legend and a great inspiration to pupils, quality, immediacy, originality and commercial success. June teachers and colleagues. An interview for Piano Professional may be a modest lady, but her family and friends have every seems long overdue, so it was a privilege to interview her reason to be proud of her extraordinary achievements. June during the final stages of lockdown this summer. has published 15 volumes of original piano music ranging from Pre Grade 1 to Diploma level: Alphabet, Toy Box, Safari, MM: Tell us about your early life, your family and the part Paint Box, Sea World, Enchanted World, Puffin Island, The Nine music played in it. Glens of Antrim, Six Little Preludes and Fugues, Stars, Magical World, The Girona Suite, Strangford Sketchbook, Causeway Coast JA: My parents were not musical. My father did, however, Fantasy, Rayan’s Duet Book and two books of arrangements of like Scottish pipe bands and my mother owned a modest Irish music: Ireland’s Most Beautiful Ancient Airs and Irish Folk collection of 78s. It was hearing these that introduced me to music and these songs, and the sound of their singers, are still with me and always will be. It was a somewhat eclectic 4BACK TO CONTENTS PAGE www.epta-uk.org | 19

interview collection containing such gems as Que sera, sera (Doris Day), Fugue will always remain my Love and Marriage (Frank Sinatra), She Wears Red Feathers favourite form of music and a Hooly-hooly Skirt (Guy Mitchell), There Once was an Ugly Duckling (Danny Kaye), How Much is that Doggy in the Window mention the invaluable requirement of the fugue paper, in (Patti Page) and I know that my Redeemer liveth (Kathleen which you were given a fugue subject and had three hours Ferrier), this last occupying a very special place in my mother’s in which to produce a fugue, in an examination hall with no affections and treated with great reverence. I began singing access to a piano. Fugue will always remain my favourite form all these songs (with the exception of the Handel) and would of music. sing at every opportunity to any hapless visitors that arrived. There are three pieces which were very special and My paternal grandmother had pretentions and a Rogers meaningful landmarks for me from my years of piano baby grand complete with shawl and salon. On visits to my study. The first was Bonfire Smoke by Joan Last. I loved this grandparents, after an elaborate afternoon tea, we would piece with a passion and played it, as I thought, with great retire to the salon and she would play Edwardian parlour sensitivity and aplomb. It is a little hand over hand triad piece music to us. I don’t remember the music, but I do remember and its influence is clear to see in its homage, Aquamarine the fascination of the movement and colour of the hammers from Paint Box. I knew how much I had loved the piece as dancing under the lid, and the seemingly random movement a child, and I wanted to write something that would have a of the keys under her fingers, with their surprising brown similar appeal. It also taught me the importance of making sides, matching the ever present cigarette dangling in the impressive-sounding music totally accessible to the very ash tray on top of the piano. This same grandmother gave me young learner. The second was a piece called Reverie by Jean my very first piano – a quite large wooden affair painted pale Douste (one of the many pseudonyms of the British composer gold, with wooden keys which played bells. Charles Arthur Rawlings). This was a very sentimental piece which I also loved with a passion and satisfied the cravings of Because of my constant singing, my mother decided that I my teenage years. This piece of dubious musical merit taught must be musical and piano lessons were arranged at age 6. So me the importance of being unafraid of emotional content began my lifelong journey as a musician. in my compositions. The third was Debussy’s First Arabesque which reinforced the intricacies of rhythm and musical I saw a copy of a John architecture. Thompson music tutor, and MM: Which composers and styles and repertoire have on a whim, bought it. influenced you the most in your own music? MM: How did you start teaching piano? What are your JA: I believe that the EPTA UK Piano Competition played memories? a large part in my discovery of new repertoire. I have been blessed with a lot of very able piano students and many JA: I didn’t play the piano at all after leaving university, and of them were successful in the Piano Competition. I have it wasn’t until returning to Belfast in 1984, that I bought a always chosen interesting and unusual repertoire for their piano and began teaching. performances in the competition and this led me to explore many contemporary composers that I was unfamiliar with. The piano quickly became a necessity, as I was doing some Whenever I was in London for the competition finals, my part-time theory and aural teaching at the City of Belfast great treat would be a trip to Chappell’s Music (as it was then), School of Music and realised that I needed to hone my playing to explore the vast array of books, and then buy everything skills pronto in order to avoid the embarrassment of making that looked interesting and new to me. I built up a library mistakes when playing the aural tests to the class. When I of excellent contemporary composers, many of whom I was in the music shop buying my piano, I saw a copy of a John admired greatly and would prove influential: Janina Garścia Thompson music tutor, and on a whim, bought it with a view to ‘having a go’ at teaching my eldest son. Soon my younger son wanted lessons too, and then their friend next door. I loved what I was doing so much and found the process so absorbing, that I decided to take on a few other pupils, and soon friends and neighbours had supplied me with nine pupils. A totally unsuspected career in piano teaching had begun. MM: What training have you had in composition? Tell us about the music you have studied and how you have nurtured your own compositions from this study. JA: Any training I had in composition was that received at university whilst studying for my B Mus and MA. I believe that it was my general musical education for my B Mus that equipped me with the tools to compose. Invaluable was an understanding of the harmony of Palestrina, Bach and the Classical and Romantic composers, as well as an understanding of form, timbre and architecture – not to 20 | www.epta-uk.org 4BACK TO CONTENTS PAGE

interview (a particular favourite) for her sheer inventiveness; Walter With Syamala Roberts at Holywood Festival after a performance Carroll for compelling musicality; Takács for his economy of of 'Sandpipers at Ballyquintin' material; Hafliði Hallgrímsson for his unique voice; Turina for his vitality; Peter Sculthorpe for his delicate soundworld; pieces and asked her if she would like to play one of them William Gillock for his sense of fun and unfaultable musical for the festival. She said that she loved both, but preferred precision; and Jon George for his fresh accessibility to the the second one, Still Light. She immediately asked who had young beginner pianist. written it and then I was forced to confess, and we both became very excited by our new project. Then came the MM: Tell us about your first composition? What motivated performance at the Festival which was truly one of the most you to compose? dreaded and uncomfortable experiences of my entire life. I just wanted to disappear. Someone had told the adjudicator JA: My first piano composition was the Celtic-inspired that I had written the piece and that I was in the room, so Still Light on the Lough from Strangford Sketchbook. Whilst she was very gracious in her comments. But afterwards lots my appetite for new and inventive compositions was being of parents who knew me, came up and said that they loved supplied by Chappell’s in London I had no need to compose. the piece and that it was so beautiful. I began to feel a little But there came a time when I seemed to run out of new and better. Very gradually and uncomfortably, I started teaching inspirational contemporary music, and I was missing it. For my pieces to my pupils to perform at concerts and festivals, many years, there was a little voice in my head which kept but I still suffered agonies during their performances, only saying, ‘Why don’t you write something?’ but I did nothing. made bearable and sustainable by the appreciative comments from members of the audience. In 2004, my husband and I had been on a day trip to Strangford Lough, and on the way home I looked out of the the overriding means in getting car window at the lough. It was bathed in rays of sunlight my music noticed initially were streaming from the clouds and shimmering in a pale golden light. I was transfixed by the calm and serene vision in front Facebook and word of mouth of my eyes. When I got home I went to the piano and wrote Still Light. It was a direct translation of what I had seen. I also MM: How did you first get your music distributed and wrote two tiny sketches – one of Sandpipers at Ballyquintin, published? Tell us about some of the struggles (if any) and inspired by the birds scuttling along the beach, and the other of the successes - the ‘breaks’ that led to more success. The Ferry Crossing, inspired by our trip on the Strangford Ferry that afternoon. My father became very ill at that time, and as a JA: In 2011, after rejection from four major publishing consequence, Still Light and the two tiny sketches were locked houses, I had to address how to get my music into print. Self- on the computer for four years and forgotten about. publishing seemed the only option, but I knew absolutely nothing about how to proceed. I researched print-on-demand MM: Tell us about what happened in 2008 and made you companies on-line, but found that none of them could supply start in earnest with composition. me with the standard concert size books (9 by 12 inches) that I wanted. I had 100 books printed by a local printer at a size JA: In 2008 I attended the EPTA Conference in Liverpool. slightly larger than A4, but the laminate was too heavy, the Barry Maleham gave an inspiring presentation about how he went to Germany for six weeks every summer and spent each 4BACK TO CONTENTS PAGE www.epta-uk.org | 21 day in a little house at the bottom of the garden composing pieces for his pupils. He then played his compositions to us. I decided there and then that the next summer I would do the same, and devote it to writing piano music, and in 2009 I completed most of Strangford Sketchbook. In the summer of 2010, I wrote Causeway Coast Fantasy and The Nine Glens of Antrim – my first book for younger players. The summer of 2011 was spent writing Puffin Island and Paint Box, continuing the trend of experimenting with writing for even younger players. MM: Tell us about the early performances of your pieces and the reaction and response to your work. JA: Still Light on the Lough was the first piece to be performed in November 2008. After returning from the Liverpool Conference, I was anxious to see it again, so I printed it off from the computer and played it again. It was still as fresh as if I had only just written it. I also knew that it would be perfect for one of my pupils, Syamala Roberts, to perform at the upcoming Holywood Festival. But I couldn’t bring myself to ask her to play it. I did the only thing I could think of. I presented her with two contemporary Irish

interview the EPTA UK Piano Competition played a large part in my discovery of new repertoire At my first book launch with all my piano pupils who performed MM: When you compose, do you have specific grades, ages, my music. Photo by David Penpraze Photography levels in mind? covers curled and the books wouldn’t stay closed. I refused to JA: Yes, I do. What comes first is usually the ‘idea’ – what accept them, but I had to meet a large portion of the cost. I the book is ‘about’. I will then decide what level I am writing then resorted to pulling out lots of books from my own library for. Occasionally the level will come first, as was the case with and looking at who had printed them, and two names kept Sea World. The ‘ideas’ come out of the blue. Quite often they recurring. I contacted the first one on the list, Caligraving in will be there on waking in the morning. Once they appear, I Norfolk, and explained my predicament. They specialised in am enthusiastically committed. digital printing of concert size music books and offered to make some proofs for me. They have been printing my books MM: Your music is frequently inspired by extra-musical ever since. influences, especially nature and animals. Is this an essential part of what motivates you to compose? At this point, I had no expectation of ever selling many books. They were never written to be sold anyway, but solely JA: Absolutely. My music is either programmatic or for my own pleasure. My husband set up my website and atmospheric, and that presents a very clear agenda for each whilst my books were available to buy there, sales were rare. composition. The only abstract music that I have published so Most of my book sales came from book launches and talks, far is the Six Little Preludes and Fugues collection. and four years later I had sold 900 books in total. Reluctantly, I decided that I needed to investigate Facebook, and it was EPTA Belfast Piano Circle meeting in my music room the discovery of the piano pedagogy forums there that was a huge factor in bringing my music into the public view. This MM: Tell us about your routine as a composer - do you even led to a collaboration with Red Leaf Pianoworks, a self- write every day? Do you work directly onto software such as publishing composers’ collective who now print and distribute Sibelius or do you use pencil and paper? my music in Canada. It has been a very slow journey and the overriding means in getting my music noticed initially were JA: I usually have four or five projects on the go at the Facebook and word of mouth. same time. I begin with paper and pencil at the piano, and as soon as I have my ideas written down, I put them on to In 2014 I was contacted by Trinity College to request that Sibelius and print the score out. Then I continue to work on Temple Dancer in Blue from Strangford Sketchbook be included the print-out with pencil. I never compose at the computer. in the 2015–17 syllabus and this was the first composition to My compositional process is something which I don’t really be included in an examination syllabus. Then Temple Dancer understand myself. I have an idea of what the piece is going was also selected by the Royal Irish Academy of Music for to be about, the mood, the general ambiance, but this is their 2016–18 syllabus, followed by pieces on the 2018–20 the interesting thing, no idea of what it will sound like. I London College syllabus. Dusty Blue from Paint Box and then just start to improvise and there it is. Once I have the Unicorn from Stars were then selected for the 2019–20 ABRSM stimulus, the rest follows on generated from the initial idea. syllabus. Just how did my music get selected for examination Incidentally, I then always write the end, so that the bare syllabuses? As all my own efforts to have pieces considered framework of the architecture is in place. And for me, the for selection in examinations were met with rejection, I am musical architecture is the most important aspect of the very greatly indebted to a small number of selectors who composition. personally believed in its suitability. And then success breeds success – so true. I sometimes go through long periods when I don’t write I have been lucky to have had commissions from Hal Leonard in the US, Red Leaf Pianoworks in Canada, Breitkopf in Germany and the ABRSM Piano Star series. 22 | www.epta-uk.org 4BACK TO CONTENTS PAGE

interview anything at all. I can only creatively compose when I am in My grandson a certain frame of mind and, more importantly, when I have Rayan with an enough space in my life to do so. I edit all the books myself, early prototype of so layout and proofing take much more time and effort Rayan's Duet Book than the actual writing of the music. Each book then has a for whom it was further two proofreadings, with much valued inspirational written editorial suggestions by my wonderful editors Janice Auld and John McParland. Once the music is written, there are so make-believe, fairy tales and many decisions as to how best to represent my intentions on legends. Titles include The paper. I don’t like to be too prescriptive, but I appreciate that Snow Queen, The Enchanted many teachers and pupils appreciate guidance with phrasing, Forest, Circe the Sorceress and dynamics, fingering, pedalling and articulation. I would much The Dragon’s Lair. The pieces prefer just to present the notation and let the interpreter are sometimes romantic, decide, but that is of course unrealistic and unhelpful. I will sometimes dramatic, and admit that I really do not like it when an adjudicator criticises closest in style to Magical a performance of one of my pieces because the performer World. The book also contains didn’t do exactly what was on the page. I do write a disclaimer two pieces, one written for in my books, saying that as long as the result is musical, then the right hand, and the other With my violin the performer is free to make their own interpretation. I think for the left hand. From a pedagogical point of view the music this perspective of the limitations of notation is an important includes keys containing three, four and five flats. one that is often overlooked. Notation can only ever be an inadequate indication of intent. What future compositional projects do you have planned? JA: I have a book entitled County Calendar which has two I don’t like to be too pieces for each county in Northern Ireland and represents prescriptive, but I appreciate the months of the year which has not yet been completed. I am writing two more duet books, for my second and third that many teachers and grandchildren. I have also written two jazz books which are in pupils appreciate guidance the final stages of editing. I am also eagerly awaiting my next ‘idea’! Another current project is a searchable catalogue of MM: Do you see your style as developing over the years? my compositions on my website, so that teachers can search How would you categorise your music? What has changed for pieces which address particular subjects, elements of since that first piece in 2004 in terms of your style, technique, genres etc at different grade levels. technique, approach to writing? For full details of June's compositions, please visit her JA: I would say that my style, whilst it may have developed website: www.junearmstrong.com to some degree, has not really changed, but rather, that it has broadened and diversified. The way I feel about composition My compositional process is still exactly the same as it was in university days, in is something which I don’t 2004 and the present day. I can leave a piece for several years and come back to it as though I had just penned it. I really understand myself. think my music falls into quite a few different categories – Celtic-influenced music, atmospheric music, experimental 4BACK TO CONTENTS PAGE www.epta-uk.org | 23 music, programmatic music, dramatic music, and above all, imaginative music. Most of my music is instructive, in that it seeks to develop an area of technique, whilst at the same time giving the opportunity for a high level of interpretation. I would say that the most characteristic element of my music is my somewhat anarchic harmonic language. MM: Tell us about your latest work which is about to be published. JA: My latest work is entitled Dreams and Dragons which is planned for publication in October 2020. The concept for this book is that there are pairs of pieces, one the dream and the other the dragon, but each pair is constructed out of the same harmonic stimulus. The book is intermediate standard, grades 5 to 6. Quite often the dream will have a dragon concealed within it and vice versa, and as the introduction to the book informs, not all is as it seems. It is a soundscape of

teaching eyetrainer™ an exciting new device for supporting sight-reading Graham Brindley discusses his newly-patented product Ifirst thought about producing some form of the This wonderful invention was designed eyetrainer™ in the middle of last year. As a mature by my pupil, Graham, to help improve student I started piano lessons with my excellent piano teacher Joan Greenburgh here in Sale about his sight-reading and geography of the three years ago. As part of her lessons Joan introduced keyboard. Many of my pupils have used the me to the book Help Yourself to Sight-Reading by Daphne eyetrainer and all have found that their reading Sandercock. As I’m sure you will know, the book includes many exercises in which you play with your hands covered. has improved. Obviously this requires help from a third party which made me think how useful it would be if I could cover my hands myself I use the Sandercock Help Yourself to S.R as a somehow. basis for locating notes up and down the piano; this also develops their aural awareness as well Using the ‘eyetrainer’ means that I focus more on the music I am playing. as giving them the confidence to play without I no longer lose concentration because constantly looking down. I am looking up and down at the keyboard and I am paying more attention to the rhythm and We must all thank Graham for such an dynamics of the music, and to finding my way inspirational device. around the keyboard by touch. Joan Greenburgh - Piano Teacher - Sale Sight-reading has suddenly become much These issues have now been resolved completely. The more interesting. Thank you. new design is made of aluminum rods, pvc end panels and foamboard centre panels which mean the whole thing is Kate Johnston - Dumfries very sturdy yet lightweight and can be assembled within 15 minutes and packaged in a box 40cm long for shipping. The design has developed organically over the last year. The most important design issue to overcome was producing I operate a couple of small businesses and have utilised something lightweight but strong enough to stretch the the expertise from these to develop the latest version and four feet of a piano keyboard without sagging in the middle. packaging but the main help in designing the eyetrainer has Eventually the first two versions were produced using come from the people who have purchased it and used it: foamboard which seemed to fit the bill and do the job. These both piano teachers and students. Their feedback has been versions are the ones I delivered to Chetham’s. The problems invaluable in helping to produce the version we have today. with this design, however, was that firstly, the long-term Joan Greenburgh has been extremely encouraging and helpful durability was not 100% and secondly it required a relatively too. Many of her pupils now use the eyetrainer™ in their large box which made the cost of shipping very expensive. practice at home and in her lessons. This problem became even more important to solve when we started to receive orders from overseas. Fortunately the eyetrainer™ doesn’t require a warehouse at the moment. The component parts are sourced and then 24 | www.epta-uk.org 4BACK TO CONTENTS PAGE finished by a team of three in what is effectively a cottage industry. The parts are then combined in the packing room of one of my other businesses and dispatched using Royal Mail

teaching or courier. Orders are increasing consistently but we now need A nine-year old who hates reading new to accelerate marketing and publicity as much as we can. material and struggled with the sight- reading test in her first exam was very Interest in the eyetrainer™ is worldwide - this week’s orders reluctant to have this “thing” over her include deliveries to Australia, New York, Singapore, Germany, hands. I reassured her that it would be OK and Ireland and the UK. after going through the intervals and ‘setting the scene’ for a very simple one-line tune, she began Just wanted to say a huge thank you for producing such an excellent teaching to play. On completion she looked both surprised and resource. I am a piano teacher and I have delighted with her success. She asked to play searched for something like the ‘eyetrainer’ for another and another and another until she’d many years. played six short pieces. My heart sang! My pupils have started to use it for sight-reading and just to generally enhance their accuracy and L. Milton - Piano Teacher - Didcot ‘inner’ keyboard. I’m on order no. 3 whilst three of my pupils have made purchases to use at home. It has been a fascinating revelation of how much eye movement there is between the Wishing you every success with this wonderful music and the piano keys; and the effect in product. Thanks again. correcting this. Amanda Morris - Piano Teacher - Flintshire, UK Steve Welsh - Piano Teacher - Twickenham The packaging has been designed hopefully to appeal I have found the eyetrainer to be very to music shops and my idea is to approach the likes of useful as it helps and improves my Forsyth Bros etc where maybe an eyetrainer™ can be tried by concentration on the written music customers on a piano using the shop’s stock of sight-reading materials. Lockdown has delayed this slightly for obvious and enables greater awareness of the reasons. ‘geography’ of the keyboard. Thank you for the My daughter is finding this a huge help help it is giving me. with her sight-reading - thank you. Maureen Haworth Lisa Simone - Vancouver, Canada For more information, visit www.eyetrainerforpiano.co.uk We have received lots of great feedback about the design which has been incredibly helpful but the most encouraging 4BACK TO CONTENTS PAGE www.epta-uk.org | 25 feedback is from teachers and students telling me how much the eyetrainer™ has helped. I have included some of the comments here.

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Nancy Litten Musicianship for pianists Part3:Harmony HARMONY Closely allied to pitch is the ability to recognise harmonic differences. a) Know your keys · Sharp and flat cycles (play triads and one-octave scales). Draw Key Charts and display on bedroom wall. · Key Roundelay gets you through all the keys. · Contrary motion scales help to reinforce key signatures 4BACK TO CONTENTS PAGE www.epta-uk.org | 27

teaching b) Know the chords in each key · Play triads on each degree of the scale (major/minor/diminished etc.) “” “”· Czerny 160 Eight-measure Exercises op. 821 are ideal for harmonic analysis of the LH part as you play œ œ œ œ œ œ œœœœœœ œ œœœœ œ œœœœœJœ {Vivace œ œ œ œ œ œ œ œ œ œœ œ œœJ & b68 ‰‰ ‰‰ p œœ™œ œ œœ™œœ œœ™œ œ œœ™ œ œ œœ™œ œ œœ™œ œ ? b68 œœ™ œ œ œœ™ œ œ & { “”I V7c Ib &b œ œ œ œ œ œœ œœœœœ œ œ œ œœ#œœœ œ œ œ “” œ œ œ œœœœ œœœœœ œ Jœ ‰‰ œnœ œ sf cresc. f &b œœ™ œ œ œœ™œ œ œœ™ œ œ œœ™œ œ œœ™ œ œ œœ™œ œ œœ. œœ. œœ. œœ.j ‰ ‰ IVb iib Ic V7 I c) Tonality Our instrumental performances are enhanced by an appreciation of tonality; we need it if we are to draw attention to the composer’s intended effect. The tension between major and minor, dominant and tonic is a feature of Western music. Eastern music is calmer and less ‘driven’ because it is largely pentatonic. It is tempting but not always correct for pupils to equate major with happy and minor with sad, so this is where getting used to the sound of major and minor triads is helpful. Play well-known tunes to your pupils in unexpected modes, such as ‘Happy Birthday’ in a minor key, and a minor tune in a major key. · Play and listen to major/minor triads and make up little tunes in the keys. · Turn major tunes into minor and vice versa · Look for shifts of tonality in pieces and how they can be highlighted for the listener. d) Cadences · Play written examples of cadences in C major and A minor to get used to the sounds. · Work out chords of cadences by ear, learning to include inversions and a contrary motion movement of top and bottom line. · Look for cadences in pieces. (N.B. there are no plagal cadences in the baroque era!) · Sing bass line of cadences. Typical cadence chords e.g. iib, V, 1. Is the 7th added to the dominant? e) Modulations This always involves a perfect cadence in the new key. IDEAS · Look for modulations in pieces (e.g. Away in a Manger modulates to the supertonic, dominant and subdominant during the course of a verse.) · Listen to endings (major to minor or minor to major will be the relative key) · Play the modulations: 28 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching 4BACK TO CONTENTS PAGE www.epta-uk.org | 29

teaching · Play written examples of modulations in C major and A minor to get used to the sounds. (No need for other kMeysoudnulelsastyioounhaevxeapmerpfelcetspitch). MODULATIONS FROM MAJOR KEYS { Allegretto œœ œ œ œœ. œœ. œœ. œ. œœ. œœ. bœœ œ œ œ bœœ To lV ˙˙ Gluck & c œœ œœ œœ œœ œœ œœ Ó f Œ œœ œ œœ p œ Œ sf p ˙˙ Ó ?c œ Œ Œ œ Œ œŒ Vivace To V Gurlitt {& 42 œ œ œ œ œ œ œ œ œ ‰ œj œ™ œœ™ œ œ ‰ œœ œ œœœ œœ œ ‰ Jœ œ™ œœ™ œ œ ‰ f ∑ ˙˙ œœ ∑ ∑ œœœ #œœœ œœ Œ ∑ Œ ? 42 ‰ Moderato To vi {& c œ™ œ œ œ œjœ™ Jœ #œ œ ˙ œ™ œ œ™ œ œ œ œ œ œœ œ™ œ œ Bellini Œ mf œœœ œœœ œœœ œœœ f #œœœœ œœœœ œœœœ œœœœ mf ?c Œ œœœ œœœ œœœœ œœœœ œœœ œœœ œœœ p{& 43Alœlegre˙tto œœ œœ. œœ.MODULATIONS FROM MINOR KEYS ? 43 Œ To v (dominant minor) ˙ œ œ œ œ œ œ œ Œ ˙ œ œ ˙ œ #œ œ #œ œ ˙ œ œœ. œœ. œ #œœ. œœ. œ œœ. œœ. #œ œœ. œœ œ œœ. œœ. œ##œœ. œœ. ˙˙ Andante œ˙™ œ œœœœ To lll (relative major) C P E Bach {& 43 œœ œœ œœ œœ™™ œœ œœ™™ œœ œœ f mf œœ™ œ œ œ œœ ? 43 œ #œ œ œ œ œ œœ œ œœ œ 43 œ œœ œœ #œœ œœ œ œœ #nœœ œ To ivœœ(subœ-domi˙˙˙na™™™ nt minor) ‰ œ Handel œ {& Jœ œ œ œ œ œ mf œœœ ˙˙ ™™ ? 43 ∑ œœœ ∑ f) Playing pieces · ‘Chunk’ the music for practice. E.g. Bach Prelude Book 1 no 1 in C (one harmony per bar which can be played as a chord in preparation) Brahms Rhapsody in G minor op. 79 no. 2 30 | www.epta-uk.org 4BACK TO CONTENTS PAGE

teaching Shostakovich piano concerto no. 2 mov. 2 g) Notice the speed of harmonic change. Schubert’s, for instance, is much more rapid than Beethoven’s. Debussy La fille aux cheveux de lin, Preludes book 1 no. 8 (slow rate of change in first four bars, then fast) Debussy’s La cathédrale engloutie, Preludes book 1 no. 10 (3 bars of B6+2 followed by 3 bars of Eb6+2, which is why, combined with the crescendo, the bare G5 in the seventh bar is so satisfying.) 4BACK TO CONTENTS PAGE www.epta-uk.org | 31

teaching h) Sight-reading · Know your inversions, recognising which position the hand should adopt. This Inversion Exercise helps with recognition, fingering and pedalling. · ‘Chunk’ (recognising harmonies in blocks) · Play hymns and Bach chorales for sight-reading practice i) Harmonising · Start with just top and bottom lines, then fill out chords in the middle. At its simplest, Silent Night can be harmonised with just 3rds and 6ths in the RH. · Help is at hand in my book Choral and Vocal Sight Singing with Keyboard Harmony (Alfred 20172UK). The pianist is introduced to keyboard harmony; and in particular, accompanying songs from chord symbols. Starting with primary chords and suggested realisations, it moves into more complicated harmonies as the singer’s reading progresses. There are exercises for the pianist at the start of each chapter to ‘bed in’ the new chords and inversions. 32 | www.epta-uk.org 4BACK TO CONTENTS PAGE

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Melanie Spanswick Developing the Fourth & Fifth Finger In my last article, I discussed the importance of our students are able to gauge the feeling of each finger and the ‘Bridge’ position. Many don’t concur with this how it should sit on a key, after a while, it will become a habit. particular element as a crucial development for the young pianist, but, for me, it does play an important To begin with, ask students to ensure that the first finger role in the formation of a comfortable hand position. A joint (the one nearest the finger-tip) is in a slightly ‘hooked’, particular issue for those wanting to develop such a hand or ‘fully engaged’ position. This is trickier with the fourth position can be a perpetual lack of firmness in the fourth and fifth finger, because they won’t be used to this type and fifth finger; without these fingers working optimally, the of movement or position, and continual prompting, or hand tends to cave in, leading to a collapsed, and sometimes reminding, might be necessary at first. The finger joint is awkward, hand position, whereby fingers appear ‘sprawling’ a crucial part of a finger’s armoury when developing clear or in positions which are not aligned to the hand; and a articulation. Students can practise this movement away from typical sign of tension can be seen when the fifth finger is the instrument. perpetually raised or ‘sticking up’. These issues inevitably lead to uneven, and usually unrhythmical, playing. Five-finger exercises can be helpful; perhaps suggest a C – G Most pianists and teachers know only too well the issues note pattern. As a student plays each note, ask them to watch surrounding the fourth and fifth finger. They are, almost by ‘how’ their fingers sit on each key. When the F is played by the nature, less developed than the first, second and third, no fourth finger (right hand), followed by the G, with the fifth doubt partly due to their positioning on the hand. It’s for finger, special attention will be required. Are they really using this reason that many choose to ‘re-finger’ passages so that the tip of the finger? And I really do mean the tip – the very these fingers need not be used. But surely this is evading top part of the finger: the problem? If we side-step these fingers, they might be rendered almost obsolete, yet if we can implement their use Photo 1: in our daily practice, they will become accustomed to being gainfully employed, and will gradually feel firmer. Students may complain that they don’t even have a finger For the Bridge position to be fully realised, each finger must ‘pad’ here, and that’s fine because such a pad will eventually be working efficiently, that is, without the aid of other fingers develop. Observe how the fingers connect with each key as and their tendons. Fingers need to be able to ‘stand’ on their notes are depressed, and, crucially, students must remember own with a nicely curved shape, utilising each finger joint, but how the finger ‘feels’ as it depresses the key; the best way particularly the joint nearest the finger-tip. to do this is by learning the feeling, it will then, hopefully, Any exercises, or daily practice, undertaken on the fourth become a good ‘habit’. Repeat the F and G slowly, using the and fifth fingers, must be very carefully implemented as it’s fourth and fifth finger, employing a heavy, firm touch, and too easy for these fingers to buckle under over-use, causing finally, repeat the exercise with the left hand. possible injury. Rather, if a few well-chosen passages or exercises are worked at in very short, but regular, increments, Try to ensure that your student’s wrist and hand then the fingers will eventually respond and start to feel are ‘guiding’ or supporting each finger, too. Another firmer and more in control, especially under the demands of misconception is the idea that fingers must be ‘independent’ rapid, taxing passages. of any other part of the upper body; this is almost certainly Here are a few practice suggestions to begin the process of never the case, as the hand, wrist and arm should support awakening and aligning our students’ fourth and fifth fingers. fingers, especially during this early learning stage. If left to A particular student speciality during a practice session play ‘alone’, or totally independently, tension can easily arise. tends to be a lack of focused concentration. Students often seem to play notes without much thought, or without actually To develop finger power alongside hand and wrist flexibility, ‘watching’ how their fingers depress the keys. Therefore, the encourage students to use a rotational wrist motion; some call first step to developing any finger engagement, is to bring their awareness to their fingers, asking them to ‘watch’ as they play each note. Granted this is a daunting task, as it’s almost impossible to observe every note as we play, but once 34 | www.epta-uk.org 4BACK TO CONTENTS PAGE

technique it a ‘wrist circle’, which is a flexible, circular movement made The ‘walking’ fourth and fifth finger is a popular exercise by the wrist, alleviating any building tension in the wrist or with my students. This involves the fourth finger literally hand (I have already written about this motion many times walking over the fifth but with a legato touch, like this: in some of my previous articles in Piano Professional). The Photo 2: development of this movement will be vital in the slow but steady process of instigating firmer fingers, and for the release As with any exercise, the hand must be relaxed, and fingers, of the tendon between the fourth and fifth finger, which, if engaged. Practise for very short periods of time, with a full taut and tense, will inhibit movement between the two fingers. sound. Here is a possible note pattern which promotes this movement: I ask students to form a wrist circle after every note in the Ex. 2 following exercise, as marked by the arrows: Another useful exercise, for the development of the fourth Consolation, No. 13 (Allegro moderato) from 25 Studies Op. and fifth finger, is to re-finger passages (for practice purposes) 100 by Friedrich Burgmüller. using the fourths and fifths in place of more obvious fingering involving the first, second and third fingers. This is beneficial Ex. 1 for the student to become accustomed to using these fingers with greater alacrity. It’s preferable to begin by leaving out the lower semibreve in every bar of the right-hand part, only adding it after Whilst working at repertoire, the following technique draws solid practice has taken place. Encourage students to play attention to these fingers and can add extra power, if done each quaver slowly and firmly (with their right hand), to attentively, and only during practice. It involves adding an the bottom of the key-bed, using the suggested fingering, accent or tenuto marking to notes played by the fourth and therefore producing a powerful sonority, using the finger- fifth finger, aiding their development: tips, as described above. Students need to pay attention to Ex. 3 the sound of notes, too, and ‘how’ they are depressed. Once Study No. 9 (Allegretto Scherzando) from 30 Etudes the note has been sounded keep the key depressed and Progressives Op. 46 by Stephen Heller immediately release any tension or stiffness in the wrist, arm, and especially the hand, which has a habit of ‘locking’; this Accents such as those in the left-hand, in this exercise, will involves allowing the wrist (and whole arm) to ‘flop’ down, not only help stabilise the fourth and fifth finger, but they may often below the level of the keyboard, ensuring that upper also prove vital in creating even and rhythmical passages, too. body ‘release’ really has taken place. It can be beneficial to use exaggerated movements or motions when assimilating These small steps will increase awareness of movement the feeling of tension and release. in the fourth and fifth fingers, hopefully leading to greater control and neater articulation, and a healthy piano technique. By forming a circular wrist movement after every note, the movement made by the wrist promotes its relaxation Melanie Spanswick is a pianist, teacher, writer and and therefore the release of any building tension, and it also composer. Her successful three-book piano course for propels the subsequent finger onto the next note, helping to returning pianists, Play it again: PIANO, is published by produce a rich tone, due to the weight of the hand and arm Schott Music. behind it as it is played. This exercise must only be worked at slowly. Regular practice will yield results, but it needs to Melanie teaches the piano at Junior Guildhall School be done over a period of time, normally several months, for of Music and Drama as well as at Eton College. She is also fingers to feel noticeably firmer, and, as teachers, we must Honorary Master Teacher at the Tom Lee Academy in Hong constantly check our students are doing the exercise in the Kong, and she will host the Piano Teachers Course at correct manner. A similar exercise for the left hand must also Chetham’s International Piano Summer School in 2021. be implemented, or you can make up your own, which is what I tend to do. www.melaniespanswick.com Once the fourth and fifth fingers have worked at such exercises slowly (in both hands), more arm-weight can be added. Students can use the same criteria as above, but with the ‘weight’ of the whole arm fuelling every note, that is, as the note is depressed, the whole arm must ‘swing’ behind it, and the wrist must ‘cushion’ the sound as it strikes the key in order to avoid a harsh tone. This is a most important part of the process; the tension needed to play a note powerfully must be ‘released’ immediately afterwards. By releasing after every note, students are letting go of any potential locking-up or injury. 4BACK TO CONTENTS PAGE www.epta-uk.org | 35

Jenny Macmillan Ping Pong or Tinkle Twinkle Jenny Macmillan compares learning a sport with learning a musical instrument After a lifetime of playing table tennis (from There is the preparation – what happens before (as well as playing as a child on two pieces of green-painted what happens after) the stroke. Adjusting one small part of plywood balanced on a table in the garage, to the movement can make a big difference to the shot or the playing weekly with the University of the Third sound. Starting with the bat higher or lower, finishing with Age), I have recently taken some coaching. Apparently I’ve the bat in different positions, angling the bat differently, will now progressed from being a “social” player to being a affect how and where the ball lands. How much the finger “beginner”! I aspire to become an “improver” but that may be is lifted before playing, and how much circling of the wrist, a step too far for me. or how much the arm rolls through after playing, influences As an experienced piano teacher, I’ve been the sound of the piano. I’m learning that struck by the similarities between learning Adjusting one two-thirds of the stroke takes place before a sporting skill and learning a musical skill. small part of hitting the ball and one-third after. And I There are the obvious similarities, such understand the importance of finishing one as the intense focus required in order to the movement shot or note (watching and listening to the improve. There is the regular practice if one can make a big end) before quickly preparing for the next. is to do more than just hit the ball over the difference to the net or pick out a tune on an instrument. Watching great performers, both sportspeople and musicians, one senses But there are so many other similarities, shot or the sound they always seem to have plenty of time. I too. For instance, the importance of learning believe this is because they are constantly basic technique thoroughly, such as the aware of the relaxation (rest) position of bat hold – firm but loose, not stiff and not floppy – similar their bodies, they prepare very quickly and then have lots of to Chopin’s “toujours la souplesse” (“always supple”) in the time (all of a nano-second!) to play. They also have plenty wrist. And the position of the body, arms and feet – to create of space around them. Because they know how to use their a balanced posture for optimum results – indeed, using the bodies efficiently, nothing looks cramped. weight of the body correctly to get power behind the ball Practising first slowly – or with stops – is essential. Taking or produce a powerful tone from the piano. In table tennis, one element, whether it be a topspin forehand drive or a scale as at the piano, in the early stages it’s essential to return to passage, and repeating the element, feeling the movements, the relaxed “rest” position between shots or notes. As the also feeling the ball on the bat (almost caressing it rather pace moves on, the rest position will not be evident visually, than hitting it) or feeling the key under the fingers (feeling but the constant (very brief) relaxation between exertion is the pressure, not hitting it), watching the ball or the hands, essential. listening to the sound (in table tennis as well as in music 36 | www.epta-uk.org 4BACK TO CONTENTS PAGE

technique Watching great performers, both sportspeople and musicians, one senses they always seem to have plenty of time – there is pure beauty in the rhythmic sound of well-timed concert hall), the acoustic of the concert hall, the audience shots of ball against bat). First practise slowly (with stops – and, depending on how the one phrase goes, will vary the next the coach sending each ball individually, the musician playing phrase accordingly. If playing in an ensemble, performers one fragment and then stopping to prepare for repetition), respond subtly to how their fellow musicians play. Or, of then gradually speed it up. course, if improvising, they will invent the music on the spot. Whether it’s music or sport, we need to practise – but Just as it’s useful to listen to fine performances of music practise in the right way – in order to improve. Playing games one is studying, and other music by the same composer, in sport, performing straight through a piece of music, and generally immerse oneself in plenty of good music, it’s rehearsing in an ensemble – it’s all fun, but it’s not the same invaluable to watch sporting games. Even though I know this, as deliberate practice which will improve our technique I was amazed when I played table tennis with one of our sons in order to improve our skill. Indeed, I’m currently of the recently. The first time I just managed to beat him. The next impression that, by continuing to play games socially, I’m time, a couple of weeks later, he’d not touched a table tennis simply reinforcing my old bad habits. I need to spend more ball in the interim, but he beat me easily. What had he been time practising, and less time playing, in order to improve. doing? He’d watched table tennis games online! Either that, or it’s like watering the roots of a plant – one keeps watering, but it takes a while for the plant to blossom. We play the piano, we play table tennis. We play a musical instrument, we play sport. We can have fun playing games. Of course, excellent teaching or coaching is required for And it’s certainly enormously satisfying to feel oneself good progress to be made. A skilful teacher or coach knows improve – however slow the improvement may be! the importance of teaching one point thoroughly – explaining clearly and briefly, demonstrating, then offering many Jenny runs a Suzuki piano teacher training course opportunities for repetition, stopping as necessary to improve in Cambridge, currently online on Sunday afternoons, some small detail. And a good teacher will know when it’s attended by trainees and observers from all over the time to focus on another aspect of playing, for instance world. She has a thriving teaching practice based on the position/movement of feet, which will then support the belief in the potential of every child to be able to play the previous focus on, for instance, arm and wrist movement. piano well when given appropriate support. With the superb table tennis coaching I am receiving, and Jenny’s acclaimed book is Successful Practising: A lots of practice, my strokes are definitely improving. But handbook for pupils, parents and music teachers. Her there’s so much more to playing well, such as how to respond articles on a wide range of music education topics, audio to different shots from one’s opponent in a match (and then, recordings of Suzuki repertoire and videoed tutorials I suppose, how to play an attacking game – I’ve not got there on early Suzuki repertoire are all freely available on her yet). One may be able to learn to play one note beautifully at website: www.jennymacmillan.co.uk. the piano, but then we have to learn how to shape a melody, how to play with rhythmic subtlety, how to balance the 4BACK TO CONTENTS PAGE www.epta-uk.org | 37 sounds, how to tell a story, how to communicate the complete piece of music to an audience. Whether it’s music or sport, we need to practise – but practise in the right way – in order to improve One difference though is that, when performing classical music, the performer knows what happens next – the performer is recreating what the composer wrote. By contrast, in sport, the sportsperson doesn’t know how the ball will come – speed, direction, type of spin – so the decision as to how to return the ball has to be made on the spur of the moment. What is the musical equivalent? At the highest level, the performer responds to their instrument (pianists, for instance, don’t normally perform on their own piano in a

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Alison Bowring Accelerated Learning for Pianists Part 3: Improving Fluency Through Choreography: Straight Rhythm It can be thrilling when our students do well in exams no changes of pitch or rhythm in the left hand, it is easy to and competitions, especially when there is a trail process, visually and choreographically: of hard work leading to the success. The same joy may be felt when a pupil has communicated the true Example 1: Haydn Divertimento Hob XV1:10 - Finale bb.54-8 essence of a piece, even without the goal of an exam or an However, a few bars earlier in the movement there was award. One feature common to these successes, whether competing publicly, playing for an examiner or performing in significant stalling between bars that contained changes of a lesson, is undoubtedly musical fluency. The slightest feeling direction in both harmony and melody. It was interesting to of instability in pulse or rhythm brings a vulnerability to the examine the ‘events’ at each point of hesitation to understand performance that will be evident to the listener. While fluency the cause. The places of hesitation are indicated with pauses alone will not indicate the quality of musicianship, a quick and labelled X: survey of music-exam assessment criteria places ‘fluency’ in the higher-mark categories, whether for graded exams and Example 2: Haydn Divertimento Hob XV1:10 - Finale bb.37-43 diplomas, or for postgraduate recitals at conservatoires. Multiple events naturally make greater cognitive demands. One factor that disrupts a performance more than an occasional wrong note or misjudged pedalling is the presence With that in mind, there are two events to process between of hesitation. Hesitation is usually unintended rhythmic bars 2–3, and again at bars 7–8: A shows the change in inaccuracy that may be heard as a slight pause in the flow of melodic direction (RH), while a simultaneous change to the a phrase. In performance, hesitation can be heard as subtle or harmony occurs (LH), marked B1. At the second harmony even striking adjustments to the underlying pulse. Bar-to-bar change B2 the hands move in contrary motion compared to hesitations are a common feature considered to arise from the parallel movement of B1: the ‘curse of the barline’. This suggests that the barline is a visual divider that appears to fragment the phrase, creating Example 2b: Haydn Divertimento with ‘events’ shown that typically undesirable stopping points. In fact, it is what happens after cause hesitation the barline that frequently causes hiatus, not as a result of the line itself. The first beat of a new bar often coincides 4BACK TO CONTENTS PAGE www.epta-uk.org | 39 with a change of harmony coupled with leaps or changes of direction in one or both hands. In a recent lesson when one of my pupils was playing a Haydn Divertimento, there was no hesitation when one hand followed a continued pattern. The bracket A shows a single ‘event’ in the right hand; with In performance, hesitation can be heard as subtle or even strking adjustments to the underlying pulse.

teaching Straight Rhythm reduces Example 4: The rests in both parts create a see-saw effect the music to the basic pitch The risk of unwanted pauses between each bar is outlined in contours example 5. By identifying the places likely to cause hesitation, we can see what Straight Rhythm offers, ideally to prevent or It is easy for teachers to underestimate the co-ordination otherwise solve hesitation. required, even in music with simple rhythmic divisions. We need a learning tool that trains the choreography in a simple- Example 5: Hesitation points are identified but-effective manner; ideally, a method that can be applied to all music, regardless of rhythmic or textural complexity. Let’s examine the right hand and identify the potential difficulties: Lack of fluency stems from the combination of cognitive and physical demands that affect, and are affected by, A Hand-position: next-door notes use non-adjacent fingers the choreography of movement around the keyboard. B Melody changes direction; octave leap Interestingly, the physical and mental processes often create C Leap to a texture change a point of ‘conflict’ for the pianist, resulting in momentary D Using different fingers on the same notes pauses. For example, a score with two-handed leaps requires command of physical movement with cognitive preparation The Maykapar example moves in quavers, so it is easy to (we call it ‘thinking ahead’) to make the jumps accurately and apply Straight Rhythm by removing the rests and playing at a in time. We need a tool to reduce and remove hesitations, constant rate; the tempo can be adjusted according the type regardless of their cause, in order to achieve maximum of piece and the ability of the student. The right hand part musical flow; this tool is Straight Rhythm. would be played thus: How to apply ‘Straight Rhythm’ Straight Rhythm is essentially a technique for separate- hands practice. It requires the pianist to play each note of an extract for the same duration, removing all rests. So in example 3, the demisemiquaver, dotted quaver and crotchet will sound for exactly the same length of time as shown in example 3b. Example 3: Haydn Divertimento Hob XV1:10 bb.1-4 Example 5b: Straight Rhythm connects leaps and fingering shifts in adjacent notes, physically and aurally Using the Straight Rhythm technique, all durations are made equal: Straight Rhythm for the Left Hand The left hand part of the Maykapar extract shows the Example 3b: Straight Rhythm applied to the right hand melody potential for hesitation at the places marked A–D, and these may be explained as follows: Often there are disruptions to rhythm that are created A Hand-position: leaping from finger 5 to thumb-on-the- by tension as a student attempts to play music at a speed that is not controllable in all textures and rhythms. Fluency black-key (and back again) occurs when the choreography is well-honed and the rhythmic B Swapping fingers on same note (2nd to 3rd on E) structure of the piece is assured. Straight Rhythm reduces C Hand moves with thumb on each dyad the music to the basic pitch contours, whether the pitches D Leaping without ‘reaching’ i.e. the hand hops to locate the form part of the melody or the accompaniment. By removing notes without extension the element of rhythmic timing, the hand can connect notes almost seamlessly. The aim is to prepare the hand Example 6: Hesitation points are identified choreography while improving keyboard geography. the physical and mental Take the following extract from a miniature by Samuel processes often create a point Maykapar — the texture requires perfect control of movement for crisp characterisation without tension or hesitation: of ‘conflict’ 40 | www.epta-uk.org 4BACK TO CONTENTS PAGE

The removal of rests creates a seamless connection that Example 8: Hesitation points are identified speeds up cognitive processing, assisting note-location. It takes just a quarter of the time to play this left hand part teachingSeveral places at risk of causing hesitation are addressed using one simple approach. in Straight Rhythm compared to standard rhythm. There is a clear melodic expectation when the notes are performed in Straight Rhythm requires the pianist to prepare the choreography by planning ahead in a Straight Rhythm, even if the part is an accompaniment: shorter timeframe than while practising in regular rhythm. Example 6b: Removal of rests using Straight Rhythm encourages a Example 8b: Straight Rhythm encourages a seamless right-hand more melodic left-hand awareness cEhxaomrpeleo8gbr: aStprahigyht Rhythm encourages a seamless right-hand choreography the aural abundance of Straight Rhythm may also be applied to the left hand. Example 9 indicates hesitation recordings is a double-edged poiSnttsrathiagt hmtayRohcycutrhinmthme eaayrlyasltasgoesboef leaaprnpinlgie: d to the left hand. sword Example 9 indicates hesitation points that may occur in the early stages of learning: Straight Rhythm in syncopated textures It may seem counterintuitive to remove rhythm in order Example 9: Lack of fluency from: leaps (A), hand-turns (B) and narrowing (C) due to fingering on adjacent to play well rhythmically, but the continuity created using notes. Even a repeated note with the same finger requires a well-timed release without gripping (D) Straight Rhythm subsequently makes it easier for the rhythm to be applied. The popular ABRSM piece ‘Blues in the Attic’ by Example 9: Lack of fluency from: leaps (A), hand-turns (B) and Nikki Iles is rich in syncopation that demands command of narrowing (C) due to fingering on adjacent notes. Even a repeated rhythm and choreography for a performance without stiffness note with the same finger requires a well-timed release without or hesitation; here is an extract taken from the opening: gripping (D) The goal is to make the hand move in the most natural way possible between ‘events’ while avoiding hesitations. I have included variations on the Straight-Rhythm grouping in examples 9b and 9c. Firstly alla marcia: Example 9b: Leaps, hand-narrowing and direction changes are tackled in quick succession And secondly, grouped in the style of a jig: Example 7: Articulation and syncopation aid characterisation Example 9c: variety can be applied to the straight-rhythm technique by changing the note-grouping In example 8, the places marked A–E demonstrate typical stopping points, and may be identified as follows: Hesitation: striving for the ‘sound-image’ With access to innumerable recordings, musicians are A Change of direction: hopping to the same finger now often spoilt for choice when it comes to listening to B Swapping fingers on same notes performances of their repertoire; and interpretations vary C Fingering narrows the hand position; change of direction wildly. Digital streaming has never been more accessible and this provides an incredible resource for pianists. However, and texture the aural abundance of recordings is a double-edged sword. D A leap greater than one octave; change of texture For many students, this means that the score has become of E Hand rolls over thumb secondary importance during the learning process. It is easy to be fixated on the final outcome of the sound-image, aiming Example 8: Hesitation points are identified to achieve it by sheer will and inefficient repetition. This is why we too often hear students practising at a tempo that Several places at risk of causing hesitation are addressed is unsustainable, and at risk of causing injury. Many pianists using one simple approach. Straight Rhythm requires the attempt to recreate the performance of their favourite pianist to prepare the choreography by planning ahead in a recording by striving for the sound-image instead of problem- shorter timeframe than while practising in regular rhythm. solving i.e. avoiding ‘deliberate practice’. So how can Straight Rhythm help? Straight Rhythm as a diagnostic tool Standard practice methods for avoiding hesitation are used by most pianists and include: 4BACK TO CONTENTS PAGE www.epta-uk.org | 41

teaching • beginning at a slow speed The appeal of Straight Rhythm • practising hands separately is that the concept is simple • working in small sections but revealing • using a metronome Straight Rhythm — a wider application Deceptively simple, Straight Rhythm has yet more to offer. The use of Straight Rhythm in music of any difficulty makes By placing the focus on pitch contour, the pianist’s ear is able it a desirable first approach to a new piece. For example, the to notice glitches in fluency. By removing the characteristics complex movements required in the Prestissimo volando of of the piece – pedal, rhythm, dynamics and articulation – the Scriabin’s sonata no. 4 benefit immensely from a Straight- pianist’s attention is diverted from practising according to Rhythm workout. Recent applications of Straight Rhythm by the sound-image. Therefore, Straight Rhythm becomes a tool my students have achieved success in pieces with challenging for self-diagnosis. An unhealthy striving for the sound-image rhythmic divisions, for example by Schoenberg and Scriabin as often results in stutter-practice and hesitation. Stutter- well as in concertos by Schumann, Liszt and Prokofiev. playing is a knee-jerk response heard as multiple micro false Pianist and cello teacher Anne Cobbold gave enthusiastic starts which become embedded in the practice regime. In feedback after using Straight Rhythm with her cello pupils. most cases, the student is entirely unaware of their presence. She explained that the technique learned in our piano Instead, by focussing on playing the notes of our piece with lessons was helping her string students with intonation. It equal duration, we can: was encouraging to hear similar success from other string players, as well as from brass and voice students. It is worth • notice pauses between notes while using the Straight mentioning that the technique is applied without the need Rhythm technique for written examples; it works perfectly well by ear alone. The appeal of Straight Rhythm is that the concept is simple but • recognise what is difficult about the choreography revealing — it aids problem-solving and improves keyboard e.g. leaps or fingering facility, accelerating the learning process. • speed up note-location Alison Bowring teaches piano and keyboard harmony at • process much of the musical detail more quickly the Royal Welsh College of Music and Drama in Cardiff. • increase awareness of left hand shifts as rests are ignored She is currently working on a book outlining her unique approach to keyboard training. Suggestions are welcome Awareness is the key to solving a rhythmic issue such as for repertoire that might be workshopped in future lack of fluency. Hesitations may be overlooked while the articles. Contact: [email protected] visual demands of a new score take our attention, and the stopping points clearly heard by the teacher are simply not perceived by the pupil. At such points, the pupil is typically holding down a chord or has the pedal applied, so while sound exists, continuity is deceptively assumed, despite micro- hesitations. Even extreme lack of fluency may go unnoticed while sound remains. This is why I encourage students to record themselves, to have a more objective understanding of what is happening in the practice room. 42 | www.epta-uk.org 4BACK TO CONTENTS PAGE

& EPTAMy Musical Life Catherine Catherine Miller is one of the He played a lot of Chopin - a composer 'Kate' most familiar names in EPTA I had never heard of. I was utterly Miller UK. As a former member of the enthralled and enchanted, and decided management committee as that what I wanted above everything talks to Murray well as the Regional Organiser was to be able to play all this wonderful McLachlan of EPTA Bristol for many years, music. I borrowed a volume of Chopin she has been indefatigable from the library, learned a waltz and If music isn’t a and energetically creative to took it to my next lesson. By this time matter of life and an extraordinary extent. But it I had also managed to get a very high unquestionably her legacy as mark in Grade 5. She began the lesson death to you, a one-to-one mentor which is by telling me that I had not deserved don’t make it your most significant. Generation that mark, and then, on seeing the upon generation of students Chopin, said scornfully, “you’ll never be career. have been supported and able to play that”. Sure enough, after inspired by Kate over the years a few bars the stick came down on my and many of her former pupils hand. I grabbed it, hit her as hard as have gone on to have major I could, threw it at her and ran out. musical careers. Kate begins Thankfully that ended those “lessons”. her reflections by remembering musical experiences from her My next teacher was kind, early years in New Zealand: encouraging, very musical and had a group of really talented pupils. Iwas fortunate to grow up in But everything for her depended on Dunedin - a city founded by instinct: she was unable to explain how Scottish settlers, aiming to to do anything either technically or create a vibrant, equal, just, interpretively. Although I eventually well-educated society in this southern gained LTCL and LRSM, I really didn’t part of the natural paradise that is know what I was doing. New Zealand. I began piano lessons aged 9 with a teacher who lived in our When I was 18, though, I took part in street. She used to hit my hands with a week-long chamber music course run a knitting needle and gave no sign by the Griller Quartet with Hephzibah of being musical; I basically taught Menuhin. This was unquestionably one myself. When I was 11 my mother took of the most inspiring experiences of my me to a recital by Ignaz Friedmann, life. They EXPLAINED! How to structure who had moved to Australia to escape phrases, how to really listen and the Nazis and was touring New Zealand. discover what the music was saying, This was a light-bulb experience for me. etc. In one lesson, Colin Hampton, the cellist, said: “If music isn’t a matter of life and death to you, don’t make it your career.” I, along with two of my friends there , agreed that it really was a matter of life and death to us, and we all 4BACK TO CONTENTS PAGE www.epta-uk.org | 43

interview eventually managed to get scholarships for girls near Portobello Road, then because he also lacked knowledge of to come to London to study. one of the poorest areas in London how the piano action works and how to and within walking distance of the flat co-ordinate his fingers, arms, back etc. London–Siena–Munich I was sharing with two friends. This efficiently. After working with me for When I arrived in London, I had no was a wonderful experience, but after two years, he won an Associated Board two years, I wanted to focus again scholarship to the Royal Academy of wish to attend a Music College. My entirely on piano study; with the help Music and is now a successful teacher, University degree had been rigorous of an Italian Government Scholarship performer and Associated Board and now I simply wanted weekly piano I joined Guido Agosti’s inspiring class examiner. Experiences like this made lessons with an excellent teacher. at the Accademia Chigiana summer me welcome the creation of EPTA, in These I had with Freddie Jackson. school in Siena. Amazingly, both Cortot the hope that the absolute need to and Casals came to give masterclasses understand and teach on the basis of At my first lesson (1st movement of near the end of that course. Cortot’s fact, not simply instinct, would become the Appassionata) he listened and then was on Chopin - in which I played. We a fundamental necessity for all piano said, “You’re obviously very musical, but were all awestruck by the incredible teachers. do you realise that almost everything tone quality, colour and poetic beauty you do is wrong?” He then began to of his playing. Although he was by When we moved to Newcastle my explain, first by showing me how to use then an old man, his playing and his class included a very good group my fingers from the hand joints, with teaching remain one of the greatest of private pupils - including two the pads of my fingers on the keys and experiences of my life. The timing of extraordinarily intelligent, gifted a free, co-ordinated arm, how to draw these masterclasses allowed us also children: Sarah Nicolls and Roger the sound out of the piano. He followed to attend Casal’s classes. I remember Moseley. Sarah had terrific pianistic this by asking me to use this technique one cellist playing the first movement flair, great determination, a delightful to play a slow, four-octave scale with of the Beethoven A Major Sonata so personality and a truly wonderful a perfectly calibrated crescendo to the well that I wondered what Casals imagination, combined with innate top and diminuendo to the bottom with could say. He said, “Yes, very good, musicianship and a great sense of either hand. By the end of the lesson, as but listen” and then played it himself. humour. What a delight! Her successful, I still couldn’t do it without bumps, he His playing opened up another world: highly individual career is no surprise. said, “Go away and practise that for a transcendent, unbelievably wonderful! week. If you can do it by then, I’ll teach I went to Siena again the following Roger, who began studying with me you. If you can’t, I won’t.” Fortunately, summer to play in Cortot’s Beethoven aged 10, had rejected his previous by the end of the week I succeeded - sonata classes. Again, they were teacher after a few lessons because he after hours of practice! illuminating and thrilling. wanted to play Mozart and she wouldn’t hear of it. Get the facts right! Forewarned, I asked him at his first After a year with Freddie, I was able Oxford–Lund–Rotterdam–Bristol– lesson what he wanted to play. He to play a vastly expanded repertoire Newcastle replied, “Mozart.” I said, “OK, let’s with an ease, control, tonal variety and play Mozart.” For two years he would insight that I had never experienced. Moving on a few years, marriage to a play nothing but Mozart, and when He never advocated Hanon etc. but distinguished academic and family life he was 12 recorded himself playing taught me to identify and analyse (I have three children) inevitably had a (remarkably well) all the piano sonatas. the difficulties as they arose and significant impact on my musical career. By then he had also composed a piano create exercises that would solve After studying with Friedrich Wührer trio in the style of Mozart, stored in his the problems. He had an amazing in Munich (where I met my future head quite an amount of the orchestral ear and the least wrong note or husband) my new married life took and chamber music and was keen to misreading would cause him to me first to Oxford then on to Sweden, explore the piano concertos. He then bellow, “Get the facts right!” I was also Oxford again, Rotterdam, Bristol, gradually began to branch out into a singing in the London Philharmonic Newcastle-upon-Tyne, and finally Bristol wider repertoire, which he managed choir, which Freddie conducted, again, where I am now long settled. with ease. Superb musician, pianist and relishing London’s concerts, art and polymath that he is, he continues galleries, theatres - and also events In my first period in Bristol one of to have a very distinguished Academic such as Gerald Moore’s witty and my pupils was a very talented 16- career. He and his wife, an Art Historian, brilliant lecture recitals on the art of year old who was frustrated by his now live with their two children in accompaniment. inability to play as well as he wanted. Ithaca, New York, where they are He lacked the knowledge of how both Professors at Cornell. Roger is a My bursary was running out, but as I to really hear and understand the frequent performer, having recorded wanted to stay in London and continue underlying harmonic structure, how both the Brahms, Beethoven 4, and these lessons, I needed a job. I found to really take notice of every detail of of course several Mozart concertos it teaching class music for three days the composer’s markings, etc. to find (some on original instruments from a week in a secondary modern school what the composer wanted: in short, Cornell’s famed collection) with the fine as Freddie would have said, “the facts”. orchestra there. His technique was similarly insecure 44 | www.epta-uk.org 4BACK TO CONTENTS PAGE

interview In Newcastle at that time Denis As you have a limited amount of time to Matthews was professor of Music at practise, use it efficiently by practising the the university. He was an amazing musician. Denis had a huge amount problem areas first. of music in his head which he could readily sit down and play, including discussion group. I realised that there was rhythm” and “Technique is tone” the whole of the Ring Cycle. He could were quite a few members here with and from Schnabel “Good fast playing is also immediately transpose any of the special expertise who would enjoy good slow playing speeded up”. 48 into any key. His lecture recitals, sharing their insights. We invited each on things like the Diabelli Variations, of them in turn to choose the topic for MM:How do you encourage good were in every way brilliant. He came to the meeting - held in my house, as I practising? Durham University while I was teaching had a large music room. All members there and gave a wonderful master were invited to take part, though on KM: I encourage the belief in nerve class to six of my students playing six average we had between 10 and 12 pathways, i.e. when you play, you different Mozart Concertos. Of course, participants. The participants prepared establish nerve pathways between he played all the orchestral parts from their talk/demonstration really well your brain and fingers. Imagine these memory! and we then had an open discussion. as cotton threads that will become I remember one member after her either strengthened if you always MM: When did you first get involved first visit saying, “That was the most play the right notes and fingering, in EPTA? stimulating evening I’ve had for years.” or entangled if you are careless and let your attention slip. Picture what KM: As soon as I heard about EPTA MM: What memories do you have of happens if they become entangled and I joined - 1980 I think. I thought EPTA Conferences and events? you have to disentangle them! If your Carola’s creation of it was brilliant and concentration flags, get up and do some loved the idea of teachers Europe- KM: Standout events for me from exercise: stand on your head, get a drink wide exchanging expertise. As I had conferences include Edith Picht or whatever to refresh your mind, then experienced in my youth inadequate Axenfeld playing the last three resume. As you have a limited amount teaching, and had myself taught Beethoven sonatas, Dominique Merlot’s of time to practise, use it efficiently students whose previous teachers had masterclass, Yvonne Enoch and her by practising the problem areas first. been somewhat ignorant, it seemed a pupils demonstrating group teaching Analyse each difficulty, think about how great way to raise the general standard and Bernard Roberts performing the to solve it and then try again. and get fresh ideas and new inspiration. Waldstein at Trinity College. I used to attend and enjoy every annual MM:How do you encourage good When I moved to Newcastle, with the conference and, with Nadia Lasserson, sight-reading? help of Janet Nicholls, I began a lively ran one. But as I aged, I became less regional group, inviting several outside energetic and pulled out. KM: Apart from the usual advice - speakers. I remember Philip Mead to look ahead, keep your eyes on the giving a masterclass in contemporary MM: Do you have a “method” of music etc., try to identify chords, know music. When I left Newcastle, Janet teaching? what key you are in, aim to see phrases took over and I became Regional rather than bars and remember as you Organiser in Bristol, which I continued KM: No - teaching is a continually go how it sounds: explore as much until last year - when, to my relief evolving experience and students are music as you can. I also use the idea of and pleasure, Sophia McKett and all different. quick studies, and check the results. Daniel Lloyd replaced me. They have energy and enthusiasm and I hope the MM:What principles do you try to MM: How do you develop technical members give them their support. give your students? facility? When the piano competition began • To communicate music truthfully KM: Apart from what I have already I was an enthusiastic supporter and at and effectively you must hear and said, I encourage students to buy the that time we also had great support understand what the composer is concise, straightforward book What from Wells Cathedral School, which saying and how he is saying it. Basic Every Pianist Needs To Know About entered many of its excellent students. essentials include the ability to hear The Body by Thomas Mark. It is clear, Our annual competition attracted the and analyse the underlying harmonic accurate and has very useful diagrams. best teachers in the area, and was progressions, the voice leading, the I continually use it in lessons to explain always a full exciting day - as long as I phrase/sentence/paragraph/overall the underlying structure of good chose adjudicators whose judgement I structure - all of which will help your posture, co-ordination etc. Having valued. playing to “tell the story.” read Ortmann, Schultz, Matthay and so on in my youth, I was thrilled to We’ve also had many other • Read about the composer’s life find this easy-to-understand, practical stimulating speakers, masterclasses and the period in which he was living. book, recommended by one of my ex- and one memorable evening when students. we had a baroque dance class. One • Always sit properly and remain of our most successful series was the alert and in control. Remember these I do not use Hanon etc. but help quotes from Neuhaus, “In the beginning 4BACK TO CONTENTS PAGE www.epta-uk.org | 45

interview For me, only first-class music is of interest pupils devise their own targeted depends on the compatibility of the performances where diploma students exercises to facilitate conquering students available. A few years ago I played their programmes, recitals with difficulties they encounter in pieces taught two sisters who loved playing other instrumentalists accompanied they are studying. duets and thanks to Nadia Lasserson’s by our pianists, etc.) the most exciting inspiration I also formed various piano and enjoyable have been the annual MM: How do you develop good trio/duet/duo groups amongst some exchange concerts between five of my memory? keen 11–12-year olds. They had a lot advanced students and five pupils of a of fun and played well but I find that teacher who also taught at the Florence KM: I encourage students to most people prefer having a piano conservatoire, Giuseppe Fricelli. He memorise from the earliest stages of each. Years ago I heard a wonderful was a friend of the Bristol-based (but learning a piece; all the analytical work duet recital by Imogen Cooper and Paul Florentine- born) parents of one of my we do helps. Lewis all played on two pianos. most outstanding students, Francesca Orlando. We kept this going for five MM: What do you find can inspire MM: Tell us about your summer years, until Francesca went to the R.A.M. your students the most? courses and your encouragement of chamber music. On our first visit – as none of the KM: For me, only first-class music is students apart from Francesca had of interest - and there is a huge amount KM: 26 years ago, a friend and been to Florence – Antonio, Francesca’s of it. Consequently the music my brilliant violin teacher in Bristol, father, met us on arrival late afternoon, students play is inspirational. Helping Kathryn Hardman, together with Chris drove us up to Fiesole so that we could them to discover how the composer Hirons, started a non-residential, look down at the panoramic view of has created this masterpiece and how affordable (thanks to help from the Florence and then took us to the “best they can therefore reveal its “story”, Paragon Trust) high-quality summer ice cream shop” in Florence. Next beauty, passion etc. in their playing, chamber music course for pianists and morning the five Bristolians rehearsed then encouraging them to have the string players between the ages of 10 in the very modern, beautiful concert confidence to do this, inspires them. and 19 in Bristol and invited me to be venue, rose to the occasion in their Of course, actually going to hear a great the piano tutor. We decided to name the concert, enjoyed receiving rapturous pianist perform can also change lives. course Nova Corda and limit it to one applause, ate a quick sandwich and intensive week, ending with a concert then went to the Uffizi Gallery where MM: Do you believe in competitions? in which all the participants played. The we were taken on a tour by a teacher KM: Yes, for those who want to do minimum level of playing required was friend of Antonio’s who loved revealing them - and if I value the adjudicator! Grade 5 standard for strings and Grade the beauties therein to young people. 6 for pianists. We made sure that all the That evening, together with our hosts, MM: How important is post-Grade 5 pianists and some of the string players we all ate in a superb Ristorante. The theory to you and your students? had their music at least a week before young people had their own table - and the course began, assuming they would unknown to the English adults, their KM: I am not an exam-orientated arrive able to play it. High standards own carafe of wine! We all had a great teacher but the content of these exams were expected and mostly realised. evening and the kids emerged very is important. Together they provide a We hired the space we needed at a happy…and none the worse for the wine. valuable alternative to A level but the local girls’ school with very good music students must play every exercise they facilities, including three really good Next morning some parents and their do and hear how everything sounds. grand pianos, plenty of good uprights children went to see Venice and the However, as we analyse the harmonic and very pleasant grounds. The course rest of us flew back to Bristol. As you progressions of everything they play, has been a highly enjoyable, inspiring can imagine, everyone wanted to be we cover the ground anyway. Time, for success; many of the participants have invited to Florence, and I changed the most of today’s teenagers, is obviously returned year after year. It has grown participants where possible each year. limited. and now has two piano tutors and more string tutors to cope with the number MM: What do you hope for the future? MM: Do you teach keyboard harmony? of students. This would have been our KM: Now aged 89, I live with my KM: Yes, from an early stage. I 26th year! (Sadly, we had to cancel due eldest daughter and family, where I recommend the Alfred Complete Scale to COVID-19.) In that time participants have my own space. I continue to teach Book because for each key it includes have performed a huge range of music, – though on a smaller scale – and have all the triads in the diatonic scale and including movements from the greatest no thoughts of retiring! some basic harmonic progressions. chamber music repertoire for strings I find teaching, as always, energising Beyond this, there is plenty of material alone, as well as strings and piano. and stimulating: luckily I am fit and well. available, including harmonising what We have a pleasant, spacious house they play by ear. MM: What are some of the projects just five miles from the centre of you have developed over the years? Bristol, surrounded by beautiful North MM: Do you encourage duet playing? Somerset countryside. I am a keen KM: I encourage ensemble KM: Apart from those already gardener, and as my family here are playing and two piano duos more mentioned, plus numerous concerts not, I’m delighted to design, maintain enthusiastically; the combination (not just pupils’ concerts but and refresh our garden as I choose. 46 | www.epta-uk.org 4BACK TO CONTENTS PAGE

Fmouwskees... Philip Fowke discusses into realms not only of virtual reality but, more excitingly, of virtual unreality. The Academy Board of Trustees, which Pianomics includes such distinguished names as Dame Yella Headoff, & Pandemics Professor Eamonn Dropp (Head of Arm Weight), Phoebe Pluckett and Amaryllis Cratchett (Joint Heads of Early Music) COVID-19 has had a profound effect on all our lives. the unforgettable Wanda Fumbellan-Lapps and Sherlock It has been an immense challenge and, for many, Tomes (Professor Emeritus of Research and Original Sources), a deeply worrying one. For the self-employed was recently summoned to a meeting to discuss the future and for those involved in the performing arts, in the light of recent developments. At a press conference the coronavirus pandemic has been particularly alarming. immediately following, Dr Hammerhead announced an outline However, despite the many setbacks, disappointments and proposal to close down the Academy, ship any playable anxiety, there have been benefits, notably in the area of social instruments to China and sell the property for redevelopment. media which has enabled communication, and provided a Lessons, classes, concerts, competitions, projects, festivals, way for government, education and broadcasting to continue sports events, auditions, art exhibitions, flower shows and functioning. assessments will henceforth take place online. This will clear At the forefront of this revolution, the Hammerhead the way for the foundation of the first virtual academy in the Academy of Pianomics must surely rank as one of the most world to be known as The Hammerhead Cyber-Academy of pioneering, visionary conservatories of all time. The past few Pianomics & Pandemics. It was further announced that within months have provided an opportunity for it to explore ways of the next few weeks research will begin into a vaccine against using social media as a means of avoiding disruption in study viral practice, a painful and rapidly spreading condition. It is caused by pandemics or indeed any other global crises. The hoped that the vaccine will enable sufferers to achieve the current situation has inspired Dr Heinz Hammerhead and his highest possible standards in performance without having to team to push forward the frontiers of performance training practise at all. within the next few weeks Philip Fowke is respected and admired worldwide as research will begin into a one of Britain’s most distinguished pianists. His frequent vaccine against viral practice appearances and broadcasts with leading orchestras in the UK and his many recordings also see him performing abroad where in recent seasons he has toured in the USA, Canada, Scandinavia, South America, Germany, Italy and New Zealand. He has a large and distinguished discography. Philip is an outstanding teacher and gives regular masterclasses worldwide. He is often invited to adjudicate on panels for international competitions. 4BACK TO CONTENTS PAGE www.epta-uk.org | 47

EPTA Corporate Members: Making our EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS ABRSM Scales and arpeggios (Practical Grades) Why present a new Urtext edition of Following extensive development Beethoven’s piano sonatas? The answer ABRSM’s Piano syllabuses 2021 & 2022 lies in the uncompromisingly precise – out now! work and valuable consultation with editorial work of Jonathan Del Mar. This teachers, ABRSM have made changes Urtext edition of the two Sonatas Op.27 ABRSM’s Piano syllabuses 2021 to the scales requirements at every offers a musical text that meets the & 2022 (Practical and Performance grade. The changes provide a more highest scholarly demands as well as Grades), books and resources are logical and gradual progression, from the practical needs of performers. Along available now for use in exams from the new Initial Grade through to with a correction in the third movement 1 January 2021. Grade 8. The revised requirements are of Op.27 No.1 (the first quaver in the fewer in number overall, making them right hand is a C, not a C-flat as noted in Here’s a summary of what’s new: more manageable for preparation and other Urtext editions and even corrected • Two exam options – Practical Grades assessment, while still maintaining the as such in Brahms’ personal copy), the rigour you expect from ABRSM exams musical text is presented in a reader- and Performance Grades through focusing on tasks that are friendly layout with practical page turns. • Completely revised scales appropriate to each grade in their level of demand. The detailed Critical Commentary requirements (for Practical Grades) offers information and explanations • Completely revised repertoire View the Guide to the new requirements regarding alternative readings and all To find out more about ABRSM’s editorial decisions. choices and list structure, with lists Piano syllabuses, including the new defined by musical characteristics supporting publications and resources, • Limited edition with a special price rather than period of composition click here. • More choice and variety of • Edited by acclaimed Beethoven repertoire (30 pieces per grade) BÄRENREITER expert Jonathan Del Mar • A duet option up to Grade 3 • The introduction of a new Initial Beethoven Piano Sonatas in E-flat • Content is identical with the original Grade for Piano (Practical Grades major Op.27/1 & in C-sharp minor Bärenreiter edition BA 10853 only), providing a pre-Grade 1 (Moonlight) Op.27/2 SPECIAL PRICE assessment that follows the same Beethoven Piano Sonatas in E-flat structure, content and marking Our original edition of the Piano major Op.27/1 & in C-sharp minor criteria as ABRSM’s other graded Sonatas Op.27, which includes the (Moonlight) Op.27/2 SPECIAL PRICE music exams famous “Moonlight Sonata\" (BA 10853), • A one-year overlap period, with the has now been made available for the BA 11838-04 | £ 3.00 2019 & 2020 syllabus valid until 31 Beethoven Anniversary Year 2020 in a December 2021. All three pieces and limited print run with a special price of www.barenreiter.co.uk the scales requirements must be only £3. prepared from the same syllabus BEETHOVEN PIANO SOCIETY The new repertoire lists are the same At the dawn of the 19th century OF EUROPE (BPSE) for the long-standing Practical Grades Beethoven struck out on new paths with and ABRSM’s new remotely-assessed his two opus 27 sonatas, each of which 2020 was always set to be a busy Performance Grades. They come into he called a “sonata quasi una fantasia”. year for any Beethoven society: little effect on 1 January 2021, meaning all Both, in particular the second sonata, did we know, when we planned our candidates can benefit from the newly later nicknamed the “Moonlight Sonata”, complete piano sonata series, that our selected pieces and have flexibility in were destined for immortality. plans would be thrown up into the air choosing which route to follow. by the coronavirus pandemic entailing There are different syllabuses for the cancellation of all our live concerts ABRSM’s Practical and Performance since March. Nevertheless, taking Grades. Download each of the Piano our cue from the man with the most syllabuses 2021 & 2022 from their indomitable spirit in the history of website to find out more about the music, we have managed to stage all our many new features they offer. advertised events, mainly without any change of programmes or artists. From the outset my vision was to present all the sonatas, each one played by a different pianist. This was originally planned to include the three teenage “Bonn” Sonatas, tied to a masterclass from our European President Ronald Brautigam, but this had to be postponed. Meanwhile an array of wonderful pianists, many of them former prizewinners from our Senior and Junior Intercollegiate Competitions, have been recording their sonatas, often 48 | www.epta-uk.org 4BACK TO CONTENTS PAGE

business your business... in the magnificent Library of Charlton DALCROZE ESTA EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS House to whom we are enormously grateful, for future transmission. We Dalcroze UK currently offers an Certificate for Music Education have enjoyed a fascinating variety of intensive training programme in South Validated by Trinity College London at responses to Beethoven from pianists London. Taught in modules, eight such as Gwendolyn Mok, Rose and weekends in a year, it attracts talented the standard of Ofqual level 4 Callum McLachlan, Florian Mitrea, artists and educators from across Maksim Stšura and Dinara Klinton; the UK, as well as Europe, Asia and A one-year flexible online professional later in the year we can look forward North America. The training consists development course delivered online to MinJung Baek, Sasha Grynyuk, of practical classes in rhythmics, and created for all music teachers Alexander Ullman, James Brawn, aural training (solfa/solfège) and and music leaders. We welcome all Polina Kogan, Adam Heron, Aristo improvisation, the principles and applications from professionals Sham (‘Hammerklavier’) and Enrique practice of Dalcroze Eurhythmics and Graf, among many others. We finish, related studies. • teaching from home hopefully live, at St James Piccadilly • teaching in the community on Beethoven’s birthday, December 16, Year One, the Foundation Year, • teaching in school where I shall play the final sonata op consists of eight training weekends 111. and an exam weekend. On the exam – It’s a chance to meet like-minded weekend candidates take practical colleagues, to discuss and share ideas A special event in February was the exams in rhythmics, aural training and and experiences. celebration of Dr Malcolm Troup’s improvisation and and submit written – Join the online webinars or study 90th birthday at St Mary’s Perivale, work. On successful completion of the them at your leisure. pictured below. Malcolm was, of course, exams they receive a Foundation Award – Discuss your teaching with experts. Chairman of EPTA as well as my own and can then progress to Year Two, the – Be fascinated by the different ways predecessor at BPSE. The evening found Intermediate Year. in which children and young people him in fine form and we were able to learn. marvel at excerpts from his celebrated Studies for the Intermediate Award – Try out ideas to refresh your teaching. recording of Messiaen’s Vingt regards build on Foundation training. By this time – Learn more about becoming a sur l’enfant-Jésus, as well as many lively students are usually applying what they reflective practitioner. anecdotes from a rich musical life. are learning to their own work. Following – Enjoy the friendly and supportive successful completion of the Intermediate atmosphere in a course that will be Please join us at our remaining Award candidates are entitled to advertise crafted around your professional needs. events, whether live or online! All that they apply Dalcroze principles and details, including ways of supporting us, practices in the context of their own The course costs £500 or (£750 for the can be found on our website, profession (as a piano teacher, class fast track). For further information and www.bpse.org. teacher, therapist etc.) to apply, visit www.estaeducation.co.uk Julian Jacobson, BPSE Chair Completion of the Professional FINCHCOCKS Certificate requires a third year of training, and the final exams include Finchcocks tuned, re-open and making teaching exams in addition to personal music once again! practical exams and a substantial written submission. It’s been a rough year for most people, with musicians suffering greatly from Holders of the Professional Certificate the loss of performance and tuition are entitled to advertise that they hold income. As fantastic a tool both Zoom a professional qualification in teaching and livestream concerts have proven Dalcroze Eurhythmics. to be, Finchcocks was delighted to re- open its doors along with the hospitality Term Commences: 17 October sector in July, and to have piano music 2020 – Deadline for Registration is 20 wafting through the house again. September 2020 So what has changed? Well, a firm Note: Classes will adhere to Covid-19 favourite – and likely to stay – is regulations and the policies of the Royal breakfast in bed! Lunch and dinners Russell School; your safety is important have been hosted out on the terrace, to us. Adjustments will be made to with blankets and heaters provided for ensure that Government advice is being the evening. Recitals have been held followed. on our newly-built outdoor stage, with the Bösendorfer wheeled out for al More information and a registration fresco performances. The icing on the form can be found on our website: https://dalcroze.org.uk/dalcroze-training/ 4BACK TO CONTENTS PAGE www.epta-uk.org | 49

Making our business your business continued... cake, however, has been that our recital KAWAI NORMANDY PIANO COURSE and tuition room now has a stunning (advertising Cambridge Piano Phoenix grand piano to keep our The Future of the Piano Action Weekend) Steinway company. This helps facilitate socially-distanced duets or offers a Have you experienced the very latest piano for the tutor to demonstrate on in acoustic piano action technology? whilst the student watches on from their Replacing the conventional wooden own instrument. Hand sanitisers rest action, and then the ground-breaking next to every piano, with antibacterial Kawai ABS Action from the 1980s, the wipes and face masks aplenty. revolutionary Millennium III Action with Carbon Fibre offers a superior and more stable response. Cambridge Piano Weekend https://www.cortotheritage.com/ EPTA UK CORPORATE MEMBERS: MAKING OUR BUSINESS YOUR BUSINESS What has stayed the same? With Kawai’s Millennium III Action features Cambridge Piano Weekend 2020 is ten grand pianos available, visitors components made of ABS-Carbon, a now sadly postponed until September can enjoy their own grand piano to new composite material created by 2021. In the meantime, depending upon practise on throughout the weekend. the infusion of carbon fibre into their government advice and restrictions, it is It also means that guests can safely sit existing ABS Styran. ABS-Carbon is hoped to organise: over a metre apart during workshops incredibly sturdy and rigid, which allows and performance classes in our well- Kawai to make the action parts lighter Cambridge Piano Day events in ventilated recital room. Perhaps most without sacrificing strength. The lighter autumn 2020 and spring 2021 in importantly remains the beautiful design makes the Millennium III Action association with Anglia Ruskin University setting of Finchcocks, its pianos, tremendously fast and effortless for the and the French-trained pianist Patrick delicious food and wine, and tuition player. Hemmerlé, whose recent recordings have from some of the country’s – and world’s received much critical acclaim. – leading teachers and performers. Key benefits include: Strength: Adding carbon fibre to Patrick was a former student of Billy If you ever deserved a trip to what BBC Kawai’s renowned ABS-Styran parts Eidi, himself a pupil of Jean Micault, Music Magazine hailed as a “Paradise for increased strength by 90%. This enabled Magda Tagliaferro and Eric Heidsieck, all Pianists”, courses for 2021 are now live ABS-Carbon parts to be stronger, as well three of whom are in direct line from the on our website, including the best way as lighter in weight. legendary teaching and Masterclasses of to start a new year – our January Piano Speed: With lighter ABS-Carbon Alfred Cortot. Retreat, 1–3 January 2021. parts, the Millennium III Action is approximately 25% faster than a Spring 2021: in association with For more information, please visit conventional wooden action. EPTA South West, a piano day event in www.finchcocks.com Power: ABS-Carbon is more rigid and Somerset devoted to the pianistic ideas sends more energy to the hammer with and ideals of Alfred Cortot. every keystroke, providing more power with less effort. For further information and details Control: The jack is redesigned with a please do not hesitate to contact: microscopic surface texture to provide [email protected] unparalleled control for pianissimo playing. THE PIANO TEACHERS’ Try this revolutionary action for COURSE UK yourself and visit your nearest Kawai Piano dealer. Embracing a Decade of Change in Just kawai.co.uk Three Weeks On 23 March 2020, the UK lockdown presented us with a choice: postpone the final few months of our courses, or work like crazy to deliver our lectures and tutorials online. Of course, we couldn’t let down our students, so we worked furiously to find a way to deliver our lectures and tutorials online, and were delighted with how well our tutors and students adapted to the new way of teaching 50 | www.epta-uk.org 4BACK TO CONTENTS PAGE