
Ornaments
It seems to me that there are two problems with ornaments: technical and visual. The technical aspect is not just that students can't get their fingers around ornaments on the piano
It seems to me that there are two problems with ornaments: technical and visual. The technical aspect is not just that students can't get their fingers around ornaments on the piano
There seems to be a view that 8 years old is a good age to begin piano lessons: by that age children have sufficient mental and physical capacity, etc. But is it true?
What are benefits of scale practice, and what are the best ways to practise scales? The Aristocats knew: "Every truly cultured music student knows,
You must learn your scales and your arpeggios"
The best way to improve your sight-reading at the piano is to play a lot more music, and have a teacher guide you about what you are doing right, and what you are doing wrong. But there are lots of books on the market that can help.
This book for beginners at the piano is a breath of fresh air. It is fun, amusing, and unlike any other beginner tutor I know of.
"I couldn't practise, because there wasn't a piano where we were on holiday." My response would be "And your point is?". I get mystified looks. If they had at least taken their sheet music, they would have been able to do something.
I find that some beginner students just can't remember the names of notes, so I made these resources to help.
Fergus Black of John Clare School talks about his experience teaching music online over the past year.
This is a check list for sight-singing in ABRSM Singing Grades 1 to 5, and for general aural tests in Grades 6 to 8 (tests 6b, 7b and 8b).
I realise that many instrumentalists find sight-reading difficult. However, they should spare a thought for singers. Except for those who have perfect pitch, singing at sight is a lot harder than playing at sight on an instrument.
Students need help with their dancing. Being able to identify a waltz (oom-pah-pah), or a Sarabande (slow, in three, and 'sits down' on the second beat) from their distinctive rhythms and texture is useful in itself, but there is an added bonus.
There was a while when I felt obliged to make recordings for students, to help them learn new pieces. But now, there is a wealth of professional material available through YouTube
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