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ABRSM CT Class 2013

Lecture note summary on 24 June 2013

CT ABRSM CoursenTopic

Topic 1. TechniqueA. Sound Technique 1 - Foundation good posture at the keyboard

Teaching good posture

Building on natural co-ordination

Relaxation Good hands/finger position

Correcting common faults

B.Sound Technique 2: Practice

Duration and frequency

What and how to practice - building fluency

Developing practice discipline

Self assessment

Use of a practice notebook

Parental involvement

Pupil-parent relationship regarding practice

C. Sound Technique 3: Co-ordination

developing independence of hands

Controlling varied touch and phrasing between left and right hands

Tonal balance between the hands

Developing part playing

Exercise to develop good voicing

D. Sound Technique 4: Pedalling

When is the right time to introduce Pedalling?

Legato / non-legato Pedalling

Exercises to develop hand / foot co-ordination

integration of Pedalling into phrasing

Una Corda and sostenuto pedals

Appropriate Pedalling for various styles

E. Sound Technique 5: Finger Technique

The importance of good fingering

accommodating 'weak' fingers

Finger independence and agility

Developing good legato and staccato playing

Clarity and articulation

F. Sound Technique 6: Tone Production

Developing tone quality and color (including alternative fingering)

Developing cantabile

achieving variety of touch

Controlling dynamic level

Appropriate tone quality and color for different styles

Finer subtleties repertoire at different levels to be used

Topic 2 : Musicianship

A. Musicianship 1 Time : pulse, meter and rhythm

Understanding harmony and structure

Phrasing

Duets

Chamber music

B. Musicianship 2: (Scale and Sight reading)

The purpose of teaching standard scales and related patterns

Making scale learning interesting

Other scales modes, whole-tone, pentatonic, blues,etc

The importance of sight reading

Teaching sight reading : sorting out priorities, regular "practice", published method etc.

Integrating sight reading into teaching as a whole

C. Musicianship 3: (Improvisation and Practical Musicianship)

Frameworks for improvisation (e.g. Scales, modes, motifs, group work, musical games, "free" improvisation)

Chord-based learning / chord symbols

Elementary jazz ideas - e.g. II - V - I  progressions; blues

Traditional musicianship skills (e.g. Transposition, harmonisation, score reading, figured bass, etc.)D. Musicianship 4: ( Beyond the notes)

What is 'musical playing'?

Understanding style and character

Listening and self appraisal

Listening to other performances

knowledge of performance practice

Arriving at a personal interpretation

Topic 3: Curriculum 1.

A. The Curriculum 1: The First Lesson

Setting up the pupil-teacher relationship / first impressions

Business arrangements

Tuning into the pupils : background and interests

B. The Curriculum 2: The Lessons

Is lesson preparation necessary?

Lesson structure and content

Proactive or reactive teaching?

Should lessons always follow a set pattern?

C. The Curriculum 3 : Evolving a Curriculum

General aims and objectives

The roles of concerts, competitive festivals and graded exams in teaching(How these fit into curriculum?)

What are exams for and what do they examine? (Part of musical experience only)

Advantages / disadvantages of exams and festivals

What can be learned from an examination result?

Relevance of National Curriculum

Topic 4: Performing and Communicating

A.. Performing and communicating 1: The Performance

What constitutes a performance?

The difference between practicing and performing

Is performing experience necessary?

Performing from memory

Communication

Using nervousness constructively

Practical considerations

B. Performing and Communicating 2: Examinations

Jazz piano syllabus

Different examination boards - syllabus comparison

Exam preparation (e.g. Time scale, choice of repertoire etc)

C. Performing and Communicating 3:  Repertoire (i) Tutors

Is a tutor book necessary?

What should you expect from a tutors?

Evaluation and comparison of available tutors

D. Performing and Communicating 4: Repertoire (ii)

Preparatory to grade 5 (including higher level tutors)

Studies

Arrangements (e.g. Popular classics, pop music, film themes, jazz standards etc) a different teaching approach?

Are studies necessary?

Different types of study (finger exercise / attractive miniatures)

Arrangement

Examples of study books and different genres of arrangement

E. Performing and Communicating 5 : Repertoire (iii)

Grade 6 to 7

Grade 8 - advanced

Topic 5: Learning

A. Learning 1: Motivation / Aptitude for learning

Motivational factors (e.g. Excitement, hope, fear, love, hate, etc)

Motivational energies between teacher and pupils (e.g. Body language, tone of voice, choice of vocabulary, etc)

Assessing and monitoring motivation

Extrinsic/ Intrinsic motivation

Causes of poor motivation

Elements within a teacher which may (unconsciously) hinder the pupil (e.g. Personal pressures and pre-occupations, perceived insecurities and limitations, likes and dislikes etc)

Elements within the pupils which may cause reluctance and/or resistance (e.g. Fear of failure, feelings of coercion, change of teacher etc)

Factors affecting learning speeds

How to learn more quickly ( quick sturdies, recognizing chords / patterns etc)

Psychological barriers to overcome

B. Learning 2: Special Cases

Teaching early learners

Advanced students

Adults

Exceptionally gifted pupils

Group piano teaching (including materials)

Topic 6: Other Related Topics

Open Forum, Reaction  (in the early stages of the course)

Reactions to the Introductory session

Application of ideas gained from the first 5 Days