Tag Archives: piano teaching

At the Piano with……Jenny Walker

11540907_1014642958549022_1294551780_oWhat is your first memory of the piano?

I think I was born to play the piano. I was lucky enough to have an upright piano in our dining room. I was always in school choirs and from the age of 5 would arrive home and play the songs we had sung during the day. It was my aunt that mentioned I should have piano lessons and the seed was planted. My mother, although not a musician, sang in the home and often had classical music playing, and I myself had an extensive collection of recordings. Both parents have always encouraged me to continue my love for music and their support has been unwavering. I was taken to many classical music concerts and regularly heard the likes of John Lill and the Bournemouth Symphony Orchestra. At secondary school I took up the violin and joined orchestras, but my main love remained the piano and I considered myself a pianist.

Who or what inspired you to start teaching?

I studied music at the University of North Wales, Bangor. There, I had a rich and varied musical life, taking part in two orchestras, singing in the choral society and continuing with my piano and violin lessons. I went onto study at Bretton Hall to gain a PGCE qualification with a view to teaching in schools and whilst I was there I had a request to teach a boy in the village. I enjoyed this and it whetted my appetite. We also had a visit from a practising piano teacher talking about her profession and it seemed a good career to consider. I trained as a music teacher and, not finding a job, went into secretarial work and computer programming. I vowed never to give up my music and joined a choral society and played in orchestras. I decided to teach on Saturdays, cycled to student’s houses and acquired a few home pupils.

Who were your most memorable/significant teachers?

My first teacher was fine up to a point, but had a terrible memory, and that meant I could hoodwink her as to how far I’d reached and still gain a reward toffee. I had one who gave me thirty minutes practical and an hour of theory; needless to say, this didn’t work. My greatest teacher was a Gertrude Tomlinson who I stayed with for some twelve years. We played Beethoven Symphonies as duets, she was an avid fan of Southampton Music Festival and encouraged me to enter every year. She continued to encourage me and later on I was one of two students who remained with her. It was thanks to her that I acquired my performance diploma before going to university.

Who or what are the most important influences on your teaching?

The most important influence was Mrs Tomlinson: there was a great emphasis on sight reading and I became very good at it. We often played together and I also had a regular duet partner of my own age. She became more of an aunt later on, and lived with my duet partner’s family after her husband died. Nowadays my influences are: my students (their enthusiasm, ideas and different needs), Beethoven and Debussy (composers I like to introduce students to as part of their repertoire), social media (awareness of books and resources from other piano teachers and pianists), my own experience in different genres (swing bands, soul bands, theatre bands, orchestras) and my piano tuition at university (with an emphasis on finger technique).

Most memorable/significant teaching experiences?

This is a difficult one … there are many teaching experiences, mostly good. Recently a student has acquired a place with the junior department at the Guildhall School of Music and she told me that it was thanks to me that she decided her second study was to be piano. I’ve also received a gift and note from a young student, something made by her and her sister. Last year I had a student who, against all the odds, gained a good pass at a recent examination, is getting a piano and is now determined to practice vehemently. My older students give me great pleasure too: I have taught two ladies who love to play duets together and a seventy-three-year-old lady obtained her grade three examination from scratch.

What are the most exciting/challenging aspects of teaching adults?

Adults are usually very keen students. There have been a few who have, for one reason or another, decided it really isn’t for them but the long stayers have a determination to catch up on what they’ve missed out on. One of the biggest challenges is when a student has studied piano before and had a long break; the technique they had may need modifying and with the onset of arthritis and other matters we may have to have alternative strategies for note reaching and speed. Some are keen to do examinations whilst others just want to acquire a bank of pieces to play. We have to find appropriate tutor books for adults for many are geared to younger players and we have used the Smallwood tutor a fair amount, and we often change the names of the ‘quaint’ titles. Adults are often surprised at what they can achieve and I take this as a great compliment.

What do you expect from your students?

“Practice makes progress” is a phrase we use and “no practice, no point”. Most are willing to practice adequately and come with a guilt complex if they have not done this. I like to think I’m not a scary teacher but they do seem to feel bad if they’ve been unable or forgetful. I expect students to be my partner during the lesson …. for instance, sometimes I’ll take the top part of a piece whilst they take the bottom, or we use rhythm cups together, or we play a duet. They like the fact that we both take part and it relieves the feeling that they’re just being watched. I expect them to converse and tell me about any difficulties in their playing and I expect them to be on time. At the same time, they expect me to inspire, direct and encourage them, which I very much hope I do.

What are your views on exams, festivals and competitions?

I wish my students had more time for competitions and festivals but they often have so many other activities. A few do enter our local festival but I don’t tend to press them for anything else. Examinations are useful markers for students and parents but there is no need for them to enter every single one, and we often take a longer time to ‘skip’ to a higher grade. Some adults are keen to do examinations and, having persuaded them that they too can enter, they bite the bullet and are surprised at how welcome they feel at the venue and at how much they can achieve. I encourage students to help each other, especially if they’re learning the same examination pieces, and by playing duets. If they can collaborate on something in the school concerts, this is a really good experience. The bottom line is that I want my students to enjoy learning the piano and not to see it as an added burden.

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

For beginning students, they need to know that they too can achieve as much as the person they’ve just heard next door who they perceive is playing brilliantly. My job is to convince them that they’ll get as much as they put in. They need achievable goals. Emphasis on slow, accurate playing rather than the opposite is something I tell all students, beginners or advanced. Advanced students need to be aware that there is always something else they can do to improve their playing and that perfection is something that concert pianists are still trying to acquire. In short, all students should do their best, and that is all anyone can do. I do expect students to respect other people’s abilities for there is nothing worse than feeling inferior.

What are your thoughts on the link between performance and teaching?

I consider myself a pianist and piano teacher. Teaching something can make you realise certain faults in your own playing you didn’t notice before. But it also inspires your students if you can play something advanced in front of them. For me, the fact that I’ve won a first and third in the EPTA composition competition last year and this, has encouraged some to consider composition themselves. Leading by example is always a good thing and many people don’t have the exposure to professional piano performances, and it’s good for them to see what can be achieved (even if I’m not quite to the standard of Lang Lang).

How do you approach the issue of performance anxiety/tension?

I ask them the question “Do you think most of those people watching you could do this?” and the answer is invariably “no”. We agree that nerves are a good thing for making you perform better and that the piano doesn’t present any danger if you make a mistake. I do have a couple of students who do not wish to do examinations for that involves playing in front of a strangers but occasionally I’ll get them to play for a teacher or another student. Any opportunity for them to play is a good thing, whether it’s in a school concert, music festival or in front of me and a few students.

It’s important for the students to realise that I too get nervous and I tell them about my own experiences, such as when my nose starts to run whilst I’m playing or I panic about a page turn. I stress that live performances involve risks and that audiences are usually very forgiving and indeed some events, such as a collapsing music stand, can be amusing ice-breakers.

Who are your favourite pianists/pianist-teachers and why?

John Lill, Daniel Barenboim and Vladimir Ashkenazy are amongst my favourite pianists. I love their combination of rage and sensitivity. Going back to the issue of anxiety and the fact that performance involves risks, I remember an incident at Southampton Guildhall where the sustaining pedal came off. John Lill saw the funny side and showed his professionalism by merely restarting the piece. My tutor at university was William Mathias, a Welsh pianist and composer, and we had a visit from Ashkenazy who played Rachmaninov’s Second Piano Concerto. I have recently had the pleasure of meeting many pianist-teachers through the European Piano Teachers’ Association and believe it’s a very necessary part of our profession.

Jenny was raised in Southampton and studied the piano from the age of 7. As a teenager she obtained her grade 6 violin, and after leaving school she worked at a bank for a year and achieved a Licentiate in Piano Performance from the Guildhall School of Music and Drama. She went on to gain a BA (Hons) in Music Arts from the University College of North Wales in Bangor, and a PGCE from Bretton Hall.

She married, moved to Oxfordshire and had children. Unable to find a teaching job, she took office work and during that time acquired a computing certificate at Oxford University (External Studies), acquiring work Oxford University Computing Services and ABB Simcon. She eventually acquired a teaching position (Music, ICT and French), managing to reduce this to ICT at the Mary Hare School for the Deaf in Newbury where she gained a diploma in special education. After a permanent move to Grantham in 2001, she taught ICT until her post was made redundant.

Jenny has always had piano students and when her job was declared redundant, that was the spur to make it her main career. She is now a private piano teacher at Kesteven and Grantham Girls School in Grantham and has students at home. An accomplished pianist and musician, she is in demand as an accompanist. She is Musical Director for Grantham Operatic and has overseen productions of Sweeney Todd, The Mikado and Fiddler on the Roof. She also deputises for the keyboard player in Grantham Rhythm and Blues Band and has played in the theatre for several productions.

She has sung with choral societies in the Beethoven Halle in Bonn, The Sheldonian Theatre in Oxford and Oxford Town Hall. She has played the violin in Sankt Augustin Musukschule (German), Harlaxton Manor and Grantham (Lincolnshire Strings Celebration). She has performed piano solos at the Holywell Music Room in Oxford, Didcot Civic Hall, Harlaxton Manor, Belvoir Castle, St Wulfram’s Church in Grantham and Warwick University. She is the proud winner of a first prize in the 2014 National Composition Competition organised by the European Piano Teachers Association, of which she is a professional member. She has also learned that she has won a third prize in the 2015 competition.

Jenny loves to teach and considers her wide-ranging experience an advantage when deal with different personalities, abilities and aspirations. Many students want to take examinations but some prefer a more relaxed approach. As long as they enjoy the lessons and have some sort of goal, Jenny is happy.

For more information about Jenny please visit her website at www.jswmusic.co.uk

 

 

 

At the Piano With…… Diane Durbin

What is your first memory of the piano? 

I think I was about 6 or 7 when I first played a piano. I remember my mother taking my younger sister and me to visit one of our great aunts; there was a ‘piano in the parlour’ – the kind where the music stand appeared out of the lid at the top.  There was treasure trove in the piano stool – full of old volumes of folk tunes and hymn books.  These had tonic sol-fa written over the top; with a bit of help, I cracked the code, added some broken chord accompaniment by ear and away I went.  We adopted the piano and more formal lessons followed.

Who or what inspired you to start teaching? 

A love for learning.  After I left school I went into the banking sector and sat financial exams while attending other arts evening classes.  I suppose I have always wanted to be involved in education and to put something back.  I qualified as a primary practitioner some twenty years ago with responsibility for leading music and literacy, which go together very well, but decided that I would leave full-time school teaching early to concentrate on piano and theory teaching.  Teaching itself provides the opportunity to learn. I had already taken up piano lessons seriously again as an adult and the diploma studies began.

Who were your most memorable/significant teachers?

Probably the first teacher who had a big influence on me was my high school teacher, Margaret Hemingway.  She had high expectations in terms of practice and preparation.  When I was preparing for the Advanced Certificate and LRSM, I had lessons with my daughter’s first teacher, Beverley Clark.  As I was teaching full time while studying for these, she was very supportive; it felt more like a mentoring relationship.   The late Bernard Roberts stands out for me too.  He remarked on the positive before going on to say, “Now let’s see if we can just…”  Exploring ways of producing the precise tone you wanted to hear was something he passed on to me.  He had a wonderful laugh – “Ha! Yes! That’s it!”

Who or what are the most important influences on your teaching? 

Watching professional performances plays an important role, but I would say that students have the most influence, because they shape your approaches according to what they need. Apart from my own teachers, there are those I have met over the years with whom I have shared experiences and ideas.  Conferences and courses are always good for such meetings and for opportunities to gather notes and resources; I try to attend something every year at least. Piano teaching can be an isolated profession, so it’s good to get out there and meet like-minded people so that your teaching can evolve.  Now we have social media, the learning net is cast even wider…

Most memorable/significant teaching experiences? 

It’s difficult to choose, because every week brings something special, but I suppose they would have to include:

  • When a beaming student comes to the next lesson, saying their practice went really well;
  • Helping a student to find a way around a persistent issue, be it fingerings, note accuracy or a tricky rhythm;
  • A great lesson with a student who has special educational needs;
  • The 75 year-old who was finally confident enough to be able to play the Rachmaninov Prelude and Brahms Intermezzo he’d always wanted to perform for his family

What are the most exciting/challenging aspects of teaching adults?  

Adults aren’t necessarily driven to pass exams and qualify like younger students – they want to be the best they can and as such are highly motivated.  Experienced players appreciate new ways of practising and will discuss issues of interpretation, sometimes challenging you.  Some beginners have high expectations because they are adults, and want things to be perfect; conversely some arrive with self-imposed limitations and are really pleased to discover what they can achieve.  Having to fit in practice with family and work commitments is something I empathise with.  Some of my most rewarding lessons have been with adult learners who rediscover the joy of playing.

What do you expect from your students? 

Commitment to the lesson and to practising regularly – if necessary I mention the 10,050 minutes in a week that they aren’t with me.  I ask them how they organise their practice time around everything else so they see that it can be done if they manage time well – it’s an important life skill anyway. I want them to talk to me about ‘ups and downs’ so we know how to progress.  I expect them to listen when required in the lesson and to every sound they make when practising.  I want to develop all-round musicianship skills, so engaging in learning activities other than ‘fingers on the keys’, for example aural work and creating tableaux, is a must.  I like to involve parents where students are very young.  In general, it’s important that all show a willingness to take part in music events outside the lesson, be it a performance of their own or a visit to one.

What are your views on exams, festivals and competitions?

Exams can be a great incentive to achieve high standards and are a useful way to obtain feedback.  Some students work best when they have such structure in their timetables, too.  However, they’re not the ‘be-all and end-all’, and we only embark on an exam syllabus if the student wants to. All three platforms give a student the opportunity to perform and develop confidence.  Uncompetitive festivals with friendly audiences and performing in front of peers at school or as part of extended lessons are great occasions in which to develop artistry.  Competitive festivals can be a bit of a hot potato, depending on which side of the winning post you’re on. I’ve experienced elation and disappointment myself, as a performer, as a teacher and a parent.  I was awarded a piano scholarship at high school in the sixth form, and it’s great when you ‘win’ and your hard effort is rewarded, but winning seems such an odd concept in art; subjectivity always plays a part in adjudications.  Explaining to a youngster how they’ve missed out on a trophy by a narrow margin of marks can be quite hard, even with the ‘it’s all about the taking part’ platitude in advance. But it’s horses for courses – if a student is really serious about a performing career, then they are important, and just as time management is a life skill, so is dealing with competitive situations.

What do you consider to be the most important concepts to impart to beginner students, and to advanced students? 

For beginners, developing a sense of pulse first, rhythmic subdivisions, independent fingers, wrist/arm alignment and posture.  Lessons should be fun and varied. The ‘Experience, Language, Pictures, Symbols’ progression that I learned as a primary practitioner still holds good on a 1:1 basis for instrumental beginners.  Pedalling techniques come in when they can be reached comfortably and this can be quite early on. More advanced students hopefully have a sound technique on which to develop communication of the music and a sense of style.  We sing a lot in lessons at all levels – the ability to breathe with the music is so important for phrasing, I think.

What are your thoughts on the link between performance and teaching? 

You have to practise what you preach to a certain degree, without doubt.  Even if you’re not a regular on the concert platform, then attending summer schools and other courses, where a performance element is included, is vital to your ability to teach aspects of it.  I have enjoyed masterclasses and performing ‘in turn’ during tutorial groups.  Also, if teachers experience any nerves, it helps them empathise with students and it can be a useful discussion topic.  These days, my ‘public’ performances are mainly accompaniments and I enjoy the feeling of performing ‘with’ others immensely.  I think that imparting enthusiasm for the playing the piano beautifully, whatever the situation, is one of the most important things a teacher does.

Who are your favourite pianists and why? 

Such a difficult one to answer!  I love to watch Paul Lewis play – he has such a relaxed yet thoughtful style and makes controlling the whole playing mechanism look effortless.  I could watch his performances of the Beethoven Concertos in the 2010 Prom season over and over…  I do admire Angela Hewitt’s Bach interpretations and listen to her playing before and during practice. As for modern pianists, Stephen Hough plays my favourite Rach 2 and Keith Jarrett’s piano improvisations are amazing – total commitment evident in both performers.

Diane Durbin BA (Hons) LRSM CTABRSM PGCE  is a private piano and music theory teacher and accompanist based in Lincolnshire.  After qualifying with a degree in English from the University of Nottingham, she went into primary teaching where she led music and literacy.  She gained the CTABRSM in 2000 and the LRSM (Piano Teaching) in 2002.  She also sings with Lincoln Cathedral Consort, The Hungate Singers and The Lincoln Chorale. You can find more information at:

http://www.dianedurbin.com

http://www.epta-uk.org

http://www.music-link.org/teachers

http://www.musicteachers.co.uk

http://www.twitter.com/DianePDurbin

At the Piano with……Natalie Tsaldarakis

What is your first memory of the piano?

I saw and played a piano when we were visiting one of my father’s colleagues at his family home. It was a long visit, and I had time to explore: I fell in love with it at first sight and although I was around 4 years old, I remember I sat and tried to play using my fingers. I was glued, and although my parents looked a bit embarrassed I had taken over somebody’s possession, they were clearly impressed. Apparently our hostess tried to impress on my parents I should start lessons.

Who or what inspired you to start teaching?

My piano teacher in Greece, the well-known concert pianist and pedagogue D. Toufexis, a Julliard graduate and former Lateiner pupil along with concert pianist Danae Kara, both staff at The American College of Greece, inspired me to maintain a portfolio career. I loved how I could go see them perform at major venues and festivals and then have the privilege of private conversations and lessons with them.

Who were your most memorable/significant teachers?

The teacher who inspired me to become a musician was the head teacher of a large, state primary school in a well-to-do leafy suburb of Athens. He was himself a frustrated violinist with real passion for music education. His class produced three concert pianists (me included), one musical theatre singer-actress, and a musicologist. Yet the school was an ordinary non-selective state one.

Who or what are the most important influences on your teaching?

I finished my studies at the conservatoire in Greece, yet I knew that I could not trust myself to teach. When I came back from my Master of Music studies in the US at West Chester University of Pennsylvania (1994), I felt I could tackle anything: intensive courses in piano pedagogy were compulsory and included teaching practicums under supervision. At the end of my studies, my teachers were very eager to impress on me the need for certain books which became my bibles, especially the Denes Agay books on Teaching Piano, and were packed in my already impossibly heavy suitcases. Greece at the time felt quite cut off in many ways, and I still remember sending and receiving letters to the US which took about a couple of months: this was the era before Internet and Amazon!

Most memorable/significant teaching experiences?

Despite having taught at all levels for at least 20 years, I still remember being 10 or 11 and helping my friend practice her sonatina. After about 20 minutes her mum couldn’t help herself anymore and stormed in with my mum to stop me from what she thought was merely distracting my friend. My friend whispered “thank you”, as I had helped her to repeat sections rather than play through mindlessly. Years after, when we met again, the first thing she remembered was how grateful she was for helping her practice that one time. I’m sure her mum is still not convinced, but I know it was the earliest confirmation that I could actually be of real help, and is certainly my fondest memory.

What are the most exciting/challenging aspects of teaching adults?

I’ve been teaching adults almost from the beginning of my career. Challenges, except for time constraints, include self-imposed limitations, mainly arising from clashes with self-image, and definitions of achievement and prospects. That’s why my best adult student to date is a hard working dad of three who is totally committed to his lessons because he sees it as personal growth.

What do you expect from your students?

A certain level of commitment: I can inspire, demonstrate and explain, but I can’t force them to practice. There needs to be an initial interest, and in the case of younger students, there has to be parental support.

What are your views on exams, festivals and competitions?

Exams and festivals can be great motivators while providing benchmarks of attainment. Competitions are both exciting and a necessary evil: as long as there are transparent selection processes they have a place in one’s development. I think it is important for a musician to enter any form of competition trying to achieve playing their personal best (rather than focusing on being better than the other competitors). At the same time it is important to come into contact with one’s peers. What I do not like is the message that one has to comply with what’s expected – and certainly there are pianists who are unhappy at the suggestion of modifying their affinities for certain repertoire. I also do not condone excessive emphasis on performativity at younger ages: young children and teenagers should not be criticised for being their awkward selves on stage, especially if this does not interfere with projecting the music.

What do you consider to be the most important concepts to impart to beginner students, and to advanced students?

Smart practice, healthy posture-technique, and fingering, along with reading notation and counting are all concepts presented from the very first lessons and reinforced throughout the studies. Style and phrasing, along with pedalling, however, take a lot of exposure to repertoire and are more gradually introduced.

What are your thoughts on the link between performance and teaching?

My preference is for teachers who teach by example, as I found it most exciting to watch my own teachers perform. I am therefore a performer who teaches pupils how to perform on the piano, rather than how to play the piano. To perform is more than just pressing keys as instructed through notation: it is to communicate without the burden of words. The process of learning to perform is a complicated one of empathy with the perceived intention of the composer, and of enculturation.

Who are your favourite pianists/pianist-teachers and why?

Martha Argerich is a firm favourite for her transcendental technique, as are the Labeque sisters. I saw the Labeque sisters perform live in Greece and their communication and poise were simply amazing. From my own teachers, Dimitri Toufexis taught me a lot about projecting phrasing through physical gestures, Danae Kara stepped in as my mentor at the early stages of my career and pushed for a totality of conception in extended works. Dr. Bedford introduced me to Alexander Technique and Tai Chi to focus the mind, and my dearest Dr McHugh taught me how to control my hands and the piano keys in what she termed “slow key-depression”. Martino Tirimo and Elena Riu will always occupy a special place for being so flattering and incisive as duet coaches.

 

Natalie Tsaldarakis is a concert pianist and member of the Ivory Duo Piano Ensemble. Natalie has also been active as a lecturer, piano teacher and examiner since the 1990s.

In 1994 Natalie was invited to membership by the American National Music Honour Society Pi Kappa Lambda for excellence in performance and she has been the recipient of numerous awards and prizes, including first and second place winners in piano competitions in the US, and Greece (MTNA Wurlitzer Collegiate Competition, West Chester State University Concerto Competition, the Pottstown Orchestra Competition, Deree College Faculty Development Award, WCU Graduate Development Award etc.).

Since 2005 Natalie has been based in London, UK. Between 1995 and until 2005, Natalie was artist teacher in residence at the American College of Greece as well as piano professor and examiner for Greek conservatoires of music including the National Conservatory of Greece.

Natalie has performed extensively at various venues and festivals in the UK and abroad, including the Southbank Centre, St John’s Smith Square, Oxford University, St-Martin-in-the-Fields, Glasgow City Halls, Sibelius Academy, Athens Concert Hall, Fairfield Halls, Winchester Cathedral.

Natalie has recorded both solo and with the Ivory Duo Piano Ensemble for the National Greek Radio (ERA-1, ERA-3), and has appeared on Greek television, and UK’s Resonance FM 104.4. The duo’s CD “Romantic Dance Music for Piano Duet” was requested by the Archive for Greek Music and Musicians (Lilian Voudouris Library, Athens Concert Hall) and hailed as an important musical event of international standing by the Greek specialist press.

http://natalie6784.wix.com/ivoryduopiano

https://m.youtube.com/Ntsaldaraki

http://www.twitter.com/Ntsaldaraki

 

 

At the Piano with……Andrew Eales

AndrewEales

What is your first memory of the piano?

I was seven years old. My older sister was taking lessons. I had double-pneumonia, and was recovering in bed. I remember hearing her playing and wishing I could learn too.

Who or what inspired you to start teaching?

A friend of mine was a classroom music teacher. He asked me to give lessons to one of his sixth form students, who had self-taught up to about grade six, but with major flaws in his playing. I was working for EMI Classics and commuting to London – which I hated. So I gave the student an evening lesson, and fairly instantly knew that I had found my vocation.

Who were your most memorable/significant teachers?

I was lucky to have several outstanding teachers. My first teacher was quite scary, and had a reputation for shouting at students, but having made a decision that I wanted to grow up to be a great musician I was happy to take my chances with her. In fact she was always tender and encouraging with me, although she did periodically wander off to another part of the house to shout at her husband! When I told her I liked Grieg, she said that when I grew up I would prefer Sibelius. When I said I had enjoyed hearing Bizet’s ‘Carmen’, she announced that in a few years time I would like Wagner. I think she recognised that I was musically inquisitive and deliberately goaded me, but she knew exactly what she was doing and before long my musical taste grew in many new directions. When I was eleven I won a music scholarship to boarding school, and as a parting gift she gave me a copy of ‘The Fitzwilliam Virginal Book’, an unusual present for sure. That seed lay dormant for many years, but remains one of my favourite possessions in terms of sentimental value.

Many years later I was studying for my music degree at Birmingham University. David Ponsford was assigned to teach me the harpsichord, and he had a very profound influence on me. Of all my teachers he is the one I feel most indebted to, and following on from those lessons I chose to specialise and study the Early Music course at the RCM, where I learnt with Robert Woolley.

My final piano teacher was Joseph Weingarten, the Hungarian concert pianist. He had studied with Dohnanyi at the Franz Liszt Academy in Budapest before coming to the UK in 1934. There was a clear sense that he was connected to this incredible heritage, that his teaching was authoritative, and yet he was so supportive and gently encouraging. He had a perfect balance there, which I can only attempt to emulate!

Who or what are the most important influences on your teaching?

The biggest influence is actually my love for the music itself, and all it communicates. And by that I include music from a wide range of traditions, not just classical. When I hear great music I am just inspired, and want to share it with others, so that informs my teaching from one day to the next. For me, music is an incredible journey of discovery – and my students are also on their own journey, so it’s a privilege to share that and play a part.

My wife Louise works in child and adolescent psychiatry, and it would be remiss of me to ignore the huge influence this also has on my teaching ethos. Her insight into the issues that affect the lives and mental wellbeing of children and families in contemporary society inevitably has a massive impact on my own approach to people.

Most memorable/significant teaching experiences?

Working for the local authority Music Service in schools in the 1990s was formative and very significant, forcing me to think carefully about my understanding of music education. Although a pianist, most of my work at that time was teaching electronic keyboards in a group context. The ensemble programme that I created took me down a very exciting creative route that I wouldn’t otherwise have experienced, and led to a lot of opportunities both here in the UK and in the USA.

What are the most exciting/challenging aspects of teaching adults?

Adults have more understanding of the journey they are on as musicians, and they know what music they like and what they don’t like. So that is a different type of challenge to teaching a child, who might be more open to new experiences. Because my teaching is driven by my own love for music, it’s important that the student’s interests and tastes coincide to some extent with mine. But often I have found that a student’s enthusiasm for a composer or style has fed back into my own interest, and that’s a real joy too – another discovery that feeds my enthusiasm as a teacher.

What do you expect from your students?

Respect. If a person doesn’t respect me – both as a musician and as a human being – then I can’t teach them.

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

There are the three essentials that underpin all playing: literacy, musicianship and technique. They need to be developed in tandem, and it’s the same whether a player is a beginner or more advanced. And again, the most important thing of all is to develop a proper LOVE for the music. We must be careful not to trivialise music or pretend it has to always be “fun”, but it must never be dull either.

The big enemy (as always!) is tension. I believe that the way to overcome that is to use physical movement away from the piano, and I have developed specific exercises based on Qigong forms and theory, which are proving very effective. Once a player is more relaxed, their musicality and creativity finds better freedom to be expressed.

What are your views on exams, festivals and competitions?

Exams can be great if used as a celebration of achievement, provided we don’t let them dictate the way we teach, or neglect creativity. Most of my students take selected ABRSM Grades, with positive experiences and fantastic results. I use ABRSM because I like the professionalism of their service, the positivism and consistency of the examiners, and the superb published resources.

My students do not compete in festivals. Growing up, I won virtually every competition I ever took part in, but I didn’t enjoy a single one of them. In fact they turned performing into something I dreaded, although I didn’t upset my teachers by admitting that to them at the time!

These days of course we have a much better understanding of the direct link between the public criticism of players and their performance anxiety. The welfare of our students is more important than upholding any tradition, however well intended, and as music teachers we can have a powerful role in remoulding and recasting our performance culture for the better.

What are your thoughts on the link between performance and teaching?

While we are all individuals with different strengths, I believe it is really important for performers to also teach, and for teachers to also perform.

I also believe that all musicians should try to compose and/or improvise. I see creating, performing and teaching as the three key areas of musical activity.

How do you approach the issue of performance anxiety/tension?

Performance anxiety primarily feeds off three things: the fear of failure, of looking silly, and of being compared critically with others. So we have to cut off this toxic food supply. Firstly, we minimise the fear of failure by ensuring students are well prepared, realistically confident, and focussed on enjoying the music they play. Secondly, we can ease their fear of looking silly by diminishing the formality and ritual associated with classical performance. And thirdly we can move away from the practice of having an adjudicator publicly evaluating and comparing performers, and in so doing establish a more positive context for both public performance and private, constructive feedback.

So long as we remember that music is an art form, not a competitive sport, performers and audience alike can all come away from concerts feeling entertained and enriched. Having performed in popular music settings as well as classical, I know the positive feelings that a good concert should engender, but sometimes it appears to me as if the classical world is deliberately trying to eschew enjoyment!

Once we have this basic understanding that performing music should be a celebration, we can start to look at how we approach a performance in terms of our preparation, how to deal with natural nerves and the effects of adrenalin in our system, breathing and stretching exercises, mental control, diet, and so on. This is again an area where I personally believe that Qigong can offer a genuine breakthrough.

ANDREW EALES is a pianist, teacher and educational consultant based in Milton Keynes UK.

His ‘Keyquest’ tuition books for electronic keyboard have sold many thousands of copies in the UK and overseas, and he has contributed to several other publications as composer and author.

To find out more please visit www.keyquestmusic.com

Andrew is also the founder of the online community The Piano Cloud, which brings together creative pianists from around the world. www.thepianocloud.com

Andrew’s next publication, ‘Piano Qigong’, is planned for Spring 2015.

At the Piano with……Liz Giannopoulos

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What is your first memory of the piano?

I was surrounded by music as a child  and I fell in love with music at a very young age. My mother would play piano many evenings and I would lie in bed and listen to Don McLean’s Vincent or Clementi’s  Sonatina  No. 4. At the weekend, my father allowed me to choose music to listen to. This was a wonderful privilege because I was allowed to touch his precious records. My favourite was Lloyd Webber’s Variations on a Theme by Paganini;  I also loved Beethoven (particularly his “Pastel”(!) [Pastoral] Symphony), Miles Davies and Elton John, whose Your Song settled my sons to sleep when they were younger.

By age 10, I was taking piano lessons and wanted to play “like my Mum”. She was perhaps my most inspirational role model because she played for her own enjoyment and seemingly without effort.

Who or what inspired you to start teaching?

In my mid-thirties, I found myself with a husband, two children and a deeply unsatisfying, yet very demanding, career. There was no doubt that my family needed more of my time, but I was equally certain that I needed creative and intellectual stimuli beyond pureed carrots and a 40 degree wash cycle! My husband asked me what I wanted to do when I was little. My answer was simple; “I wanted to be like Becky” – more on her later.

My reasons for becoming a teacher were mostly about the practicalities of my own life. The reasons I am still a teacher – and still love being a teacher – are the daily challenge and reward it brings; the impact I can make on an individual’s life experience; the ‘eureka’ moment when they get it; learning something new about myself, my students, teaching or music every single day; and the sheer joy of working creatively, reactively and proactively alongside children who are joyfully learning. My son (and piano student) gave me a hand-written plaque last year; it said “Teachers who love teaching, teach children to love learning”.

Who were your most memorable/significant teachers?

I started clarinet (age 9) and piano (age 10) with Becky, an enthusiastic graduate, who coached me to ABRSM Grade 5 on both instruments and introduced me to the alto saxophone. I adored Becky and worked hard to please her. My parents say she was an excellent role model and they rarely had to nag me to practice. Silver and gold stars were available for each piece learned and she hosted student recitals at her parents’ house. Quite simply, she made learning music fun.

My second piano teacher, Miss Faulkner, taught at my secondary school. We had musical interaction outside our regular piano lessons through the GCSE music course and other school activities. I learned about music history and the theory and structure of music, which helped me understand what I was playing. This is where I find most technical memories including using variable rhythms to perfect tricky passages, word patterns to master poly-rhythms and using well known tunes to identify intervals aurally. Miss Faulkner used metaphors, analogies and examples and asked me to listen, observe and discover techniques for myself.

Who or what are the most important influences on your teaching?

There are so many; where do I begin?

The foundations of my teaching style are influenced by Becky and Miss Faulkner – simple things like awarding stars and certificates, agreeing objectives with the students and parents and providing a progress reports at the end of each term, motivating students through the thrill of achievement, not through fear of being scolded or failing. Miss Faulkner taught me there is great value in exposing children to the wider possibilities of music making. I enjoy taking groups of students to musical experiences, from youth jazz at The Barbican to FUNharmonics with the London Philharmonic at the Royal Festival Hall; from the London Mozart Players to STOMP!

I read many pedagogy books when studying for my ABRSM Certificate of Teaching and was particularly struck by Harris’ simultaneous learning approach. His book, Improve Your Teaching has been invaluable, and the concept of simultaneous learning is rather succinctly and eloquently summarised in The Music Teachers Companion: ‘integrating aural work with pieces, scales with sight-reading, aural work with scales and so on. The ingredients of musicianship can be both taught and learnt much more effectively when they are seen as being part of a whole. The objective is to make each lesson much more like an organic process. The teacher sets the agenda, is pro-active rather than re-active, and there is a considerable amount of pupil-teacher interaction throughout. This is what is meant by simultaneous learning’.

Simultaneous learning is still a relatively new concept for me and despite my best intentions I know I am still delivering hybrid lessons; combining simultaneous learning with more reactive teaching. As a teacher, it is important to realise that you can’t just wake one morning and decide that you will be teaching simultaneous learning lessons from this day forth; the transition requires time and commitment, thought, exploration and above all, experimentation.

Despite all these experiences and pedagogical experts, it’s the students themselves who have the greatest influence on my teaching. It’s been said before, but I’ll say it again; every student is different and as I collect learning and teaching experiences my musical knowledge grows and my teaching style is constantly evolving. Teaching strategies that work with one student will work with others, but not all of them, and I keep a teaching diary (inspired by my CT) in which I record interesting experiences, what worked, what didn’t, and why.

Most memorable/significant teaching experiences? 

One of my first students – we’ll call him Michael, now age 10 – has been with me for 5 years. Although some students have joined me at a more advanced stage, Michael is the most advanced student I have taught from the beginning of his piano learning experience and is one of my most dedicated students. He presents well-developed technique, keen attention to detail and a love of performing. His meticulous preparation and assured stage presence result in naturally polished performances. Michael has a keen interest in jazz music; he often chooses music to work on independently for his own enjoyment. He has also experimented with improvisation, composition and duets. This year, Michael has made a significant step forward in the way he communicates as he performs. As his technical ability continues to develop, he is learning notes and fingering quickly and consequently spends more time working on interpretation and musicality. He offers robust debate on the merits of his own interpretations and opinions and ultimately implements advice to good effect. We are still on a journey together, as Michael continues to push me to discover new music and challenges for him. There can be no doubt that he is exceptionally bright and very conscientious but I do feel a small amount of personal pride in knowing that I’ve taught him – and I’ve taught him well. I look forward to his lesson every week!

I try to shake up my lessons and do something different every now and then. Sometimes, the most creative ideas come from throwing away the rule book and trying something different and entirely unexpected. One memorable afternoon saw me teaching two brothers without saying a word. We did everything through the music, with call and response activities, working out scales by ear, and a constant pulse throughout the lessons. You can read the full story ‘A Little Less Conversation’ on the Articles page of my website 

Every term I run ‘doubles week’, pairing students to work together in lessons. Last term I introduced an improvising exercise inspired by the legendary Keith Jarrett’s performance of Summertime a the Royal Festival Hall, London. I was immediately struck by an ostinato bass line and resolved to adapt it for my students. In a mentoring session, Mary played the accompaniment and encouraged younger student John to improvise. This was John’s first experience of improvising but he was willing to give it a try; his melodic shape had some appeal but it was rhythmically uninspiring. I took over the bass line and encourage question and answer improvising between the two students. Mary immediately included some swing rhythms which John copied, seemingly subconsciously. When I asked them to summarise their learning experiences, they talked about listening to one another, rhythmic variety and learning from others. They also, unwittingly, hit on the infamous saying about improvising; “if you play a wrong note, play it again!”. I videoed this session and on review, the intense concentration coupled with the progress they made was quite remarkable. Sometimes, as a teacher, the best thing you can do is sit back and let things unfold without interfering. That itself is improvising in its simplest form!

There is one funny story that I simply must share. Several years ago, young beginner Graham was learning to play in triple time with a melody passing between two hands. He left the lesson having mastered the first line with the promise to learn the rest of the piece for homework. At the next lesson his performance was utterly unrecognisable; beyond the correct first note I could not connect the notes he was playing to the notes on the page. His repeat was identical – there was no doubt he had been practising, but what? I was stumped, so I asked Graham to teach me to play the piece the way he played it. We swapped seats and he calmly and logically explained that the time signature was like a fraction; the 3 on the top meant he should play every note on the top stave three times and the 4 on the bottom meant that every bottom stave note should be played four times. I believe this flawed logic was a result of learning to multiply fractions at school and playing from the grand stave for the first time!

What are the most exciting/challenging aspects of teaching adults?

I have mixed feelings about teaching adults and have only a few in my timetable. I tend to avoid adult beginners completely as I had a series of mature students who were very impatient; they thought they were taking on something easy – after all children can do it! – and were reluctant to put in the basic ground work at home. Where children can take time to understand the theory of notation, adults seem to pick it up very quickly. Conversely, adult beginners are not as supple as children and they need to spend much more time developing finger control to deliver even rhythms and tone. I struggled a lot with attendance – last minute cancellations and even no-shows – and don’t get me started on lack of practice! They came with plausible but different excuses every week, ranging from a big project at work, a chicken pox epidemic amongst the kids, the spouse that didn’t cover the babysitting – and there’s not much more you can say other than “try to do more this week”. Of course, when they don’t improve they become frustrated; it’s a vicious circle!

But it’s not all bad. I have a few adult returners who gave up in their teens and have returned to music in their 40s. Susan is very driven; her husband has promised to buy her a grand piano if she can pass Grade 8 by age 50. After 4 years tuition and at 45 she is about to take Grade 6 so she is well on the way. These adult students are much more productive; they learn the notes independently so we can spend a lot more time working on the performance of a piece rather than just getting through the notes. I enjoy these lesson immensely as I can lead the students to work things out for themselves and we have interesting debates and discussions about how to improve their playing. There are still challenges of course; Frank refuses point blank to sight-read and (against my strongest advice) works towards every exam on the basis that he will score 0 for that part of the test. Peter is utterly disinterested in the theory of scales (“don’t start on that technical stuff again, Liz”) and continues to work them out by ear, trial and error.

What do you expect from your students?

I expect my students to turn up on time, with their books and clean hands! Sometimes I have to settle for two out of three!

In terms of technical ability and musical achievements my expectations are different for every student; they all have different priorities in their lives, they are different ages, at different schools, with different musical experiences at home and different learning styles. But I do expect every student to try their best. I expect them to listen in lessons, read the notebook at home and try to improve each time they play. As long as a student is interested and really giving it their best shot, I’m happy! I spend a lot of time coaching students on effective practice strategies, which encompasses time management and fitting in practice around their other commitments, eliminating distractions, the value of reading the practice notebook, the importance of warming up and technical exercises, tools for approaching a new piece of music and techniques for developing the performance of a piece they have learnt. We talk about setting small but manageable goals, celebrating (and rewarding themselves for) successes and making music with and for others – just for fun. There is a clear relationship between regular, effective practice and student success.

I’m also very clear on what I expect from parents. In the Art of Teaching Piano, Denes Agay writes ‘Music lessons are a three-way effort by teacher, student and parents’. Encouraging parents to attain Agay’s ideal of ‘display[ing] a constructive interest…without being overzealous or meddlesome’ is a critical, but often overlooked, aspect of teaching. Parents should expose their children to music, facilitate lessons, encourage practice and provide support. I explore this in more detail in my article ‘Parent Power’ .

What are your views on exams, festivals and competitions?

There is much debate about whether or not students, especially children should sit music exams. One of the main benefits of taking exams is that they are a source of motivation and they provide a strong incentive for students to continue studying their chosen instrument. Exams can be used to chart the musical and technical ability of a students against an existing set of standards which allows teachers, pupils and parents to monitor progress. The feedback received, if delivered in a positive light, can be constructive and inspiring and often reinforces comments that teachers have made. The need to learn repertoire and studies to a very high standard and experience performance pressure should not be under-rated.

Conversely, if the exam system is used inappropriately, it can be demotivating. Students should not follow a curriculum based solely on exam repertoire to the exclusion of all else as this will greatly reduce their enjoyment of playing and the range of their musical experiences. It is of great importance that students sit exams at the appropriate level; an exam that is too easy will not inspire appropriate effort and equally, an exam that is too difficult will leave a student feeling overwhelmed and inadequate. Failing an exam is demoralising for both students, parents and teachers and should be avoided at all costs.

There have been limited opportunities for my students to take part in festivals and competitions, although we had a few placings at Kingston Performing Arts Festival 2013 and at Dulwich Piano Festival in June 2014. As a child, I was encouraged to play in music festivals regularly. I was never expected to win but encouraged to participate nonetheless. It is important both teacher and student have realistic goals. Had I been encouraged to compete with unrealistic ambitions, I would have been disappointed and possibly demotivated.

I think giving pianists – children in particular – the opportunity to perform and to hear their peers performing is invaluable and a critical part of musical learning. It is unlikely that many (if any) of my students will choose a career as a professional performer. But in all likelihood, every single one of them, at some stage in their life, will have to stand up and present a speech, give a presentation, or simply share an opinion amongst a group of friends. I like to think that this early experience of getting up and performing their own composition or their latest exam piece in front of an audience will sow the seeds for these invaluable life skills. Through these performances they learn the importance of disciplined preparation, focusing on the moment, keeping going (even when it goes wrong) and responding appropriately to audience applause.

I am excited to be organising the first Battersea Piano Festival in March 2015. I see this event as a celebration of musical talent in our local area and it will be open to all pianists, regardless of age and experience, with carefully defined competition classes to ensure a fair platform for all participants. A panel of respected adjudicators will join the team to select winners in each class and provide constructive feedback and inspiration to the participants.

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

It is one thing to master the techniques of playing an instrument. It is quite another to experience and appreciate music.  I was taught the value of both and I strive to pass on to my students a broad musical experience. If I can teach children to love music, whether it be playing, composing or listening, then I’ve done something right. Learn to play music you love and learn to love the music you play.

When a student walks in for a lesson I want them to have enjoy it; to enjoy playing and to enjoy learning. But it’s important to be honest – there will always be moments  when it isn’t fun; I have spent many hours practising huge and painful Rachmaninoff chords and it really wasn’t the highlight of my day. The first week of two handed scales will be agonisingly slow and immensely frustrating. But these are just moments in a whole world of musical experiences and like caterpillars becoming butterflies they should morph into rewarding and uplifting experiences.

What are your thoughts on the link between performance and teaching?

Inspired by Becky, I host student recitals twice a year. A few years ago, one of my students asked me what I would be playing. It had not crossed his mind that I would not take part, any more than it had crossed my mind that the students (and parents) would like to hear me play. Since then, I’ve closed every student recital with a short piece and a little information about what I will be playing.

I avoided any performance for many years, but the feedback from students and parents has inspired me to re-evaluate, along with lots of encouragement from my teacher and my husband. I have found that learning a new work properly – as opposed to tinkling away purely for my own entertainment – has forced me to practise with discipline, address technical difficulties and learn more about the music which, of course, directly translates to my teaching. Lorraine Womack-Banning said in her interview that we should ‘practise what we preach’ and I think she’s right.

How do you approach the issue of performance anxiety/tension?

I’ve been lucky that my young students don’t seem to get too worked up about performing – perhaps because they take part in the recitals right from the first term of lessons. However, I have found that adult students are generally reluctant to play in organised recitals and are much more nervous about exams. Kath (age 40) came out of her Grade 3 and burst into tears declaring it a disaster (she later discovered that she achieved a Merit), and Susan (age 44) was in such distress before she went into her Grade 5 exam that she was unable to find the opening notes of her first piece when she warmed up.

Aside from the obvious points about thorough preparation and a good nights sleep, I think the best way to tackle performance anxiety is just to do it – and lots of it. I recently completed my Advanced Performance Certificate with Trinity. I had not taken a music exam or given a serious piano performance in over 20 years so part of my preparation strategy was to practice performing the music to an audience. I took part in the Dulwich Piano Festival, joined and performed with the London Piano Meetup Group and hosted a concert for friends and family at home. At Dulwich, I was a wreck, my knees were visibly shaking and I felt that my heart was going to hammer through my chest! It was still pounding at the end and I have little memory of what I played. My second performance with the London Piano Meetup Group at the 1901 Arts Club was less nerve-wracking although I did get a fit of the giggles between movements. At my home concert I was almost too relaxed and took some of the trickier passages too quickly necessitating some quick thinking to recover. As a combined result of these experiences, I was very pleased with my performance in the exam, the initial bone shaking nerves had gone, but I was mindful of the need to stay focused. I am thrilled that the London Piano Meetup Group is hosting an event for adult beginners in January 2015, although my student, Susan is less pleased as I have insisted that she performs at least two of her Grade 6 exam pieces!

Who are your favourite pianists/pianist-teachers and why?

I’m always on the look out for concerts that will inspire my students and in particular my son James (age 10). I am particularly drawn to younger performers as children find it easier to make a connection with them.

James and I regularly attend the International Piano Series at Queen Elizabeth Hall; it’s an intimate venue and I choose the seats carefully so we can see the performers’ hands. Last year, we particularly enjoyed performances by Ingolf Wunder and Federico Colli. We were fortunate to have stage seats for The Scott Brothers Duo at Guiting Festival a few years ago. They explained the story of Saint-Saën’s Danse Macabre and it’s still one of James’ favourite CDs, along with Jason Rebello’s Jazz Rainbow.

In September 2012 I heard the British Paraorchestra perform at London’s Southbank Centre. All the musicians were incredibly talented and tremendously inspiring, but naturally the pianist, Nicholas McCarthy stood out for me; I wish I could play half as well as he does. I admire his tenacity, his commitment and his talent. YouTube clips of his performances can be particularly inspiring for students who have broken a finger playing netball and think they should stop lessons and practice for two months! I’m looking forward to experimenting with some of the one-handed piano music McCarthy recently helped promote in International Piano Magazine.

Liz Giannopoulos is a piano tutor and music teacher based in SW London. She founded Encore Music Tuition in 2009 and currently works with three associates, tutoring over 60 piano students. Liz provides curriculum advice and mentoring for her associates and she also teachers Foundation Stage and KS1 music at Alderbrook Primary School.  Liz is founder of the Battersea Piano Festival.

 

 

 

 

 

 

 

 

 

Running a successful piano studio

The following text formed the basis for a presentation and discussion which I led at a workshop for piano teachers held on Sunday 23rd November at Cecil Sharp House in north London. The presentation slides can be accessed here (Powerpoint presentation) or here (PDF file).

A vocation and a profession

Many people regard piano teaching as a vocation rather than a “profession”, and many do not understand or see the need for admin and business practice to enter into the craft of piano teaching. However, with a few simple steps you can organise your studio to run it in a way that is enjoyable, largely stress-free and profitable

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MARKETING YOUR STUDIO

1. Website

This is the 21st century business card and the first port of call for most people who are looking for a piano teacher.  Your website is your “shop window” and you should present a professional appearance. Pick a website design that is clear, accessible and easy to navigate. Having a website allows you to put up things like your studio policy, fees, term times (if applicable), business hours, your CV and qualifications, and teaching philosophy. Some teachers also like to include exam results and testimonials, sound and video clips and links to other sites. A well-designed website reduces time-wasting questions. You don’t even have to pay a specialist web designer to create a website: attractive and easy to build templates are available free from platforms such as WordPress, Blogger, Wix and Tumblr.

2. Get listed

Take advantage of free listings on sites such as MusicTeachers.co.uk and also local sites such as Mumsnet or a local site for small businesses (I belong to something called Teddnet). Being listed shows you are proactive and “out there”. Local music shops often have teacher listings too.

3. Use social networks

Don’t underestimate the usefulness of social networks such as Facebook and Twitter. Use both platforms to advertise your studio and connect with other teachers and music professionals etc around the world. Include links to your Twitter and Facebook profiles on your website. You can set up a Facebook page which is separate from a personal Facebook profile. Be intelligent about how much information about yourself you share on these networks, but don’t be afraid to use them: they can be a fantastic source of resources, information sharing and interaction between others in the profession.

BEING PROFESSIONAL

Adopt a professional demeanour in everything you do – from the way you dress to teach to how you interact with your students and their parents (your “clients”)

Have a clear studio policy/T&Cs and post this on your website. And stick to it! If you don’t offer catch up lessons, don’t make an exception for one or two students. Your policy must include information on payment, cancellation and make-up policies, punctuality, practising, exams and your expectations of parents and students. Some teachers ask students/their parents to sign a contract to indicate they have understood the T&Cs. Clear policies like these give credibility and confidence by setting expectations from the outset and let everyone know they are being treated fairly. You can also refer to them in the future to clarify things for anyone who may have forgotten or who queries missed lessons, payment of fees etc.

You can obtain a contract template from bodies such as EPTA and ISM.

Fees – always a tricky area as you don’t want to price yourself out of the market nor undersell yourself. Your fees should reflect your experience and qualifications but also take into account the demographic of area you live/work in. Look at what other teachers in your area are charging for guidance. The ISM publishes an annual survey of fees which gives a national average (currently £25 – £36 per hour for private instrumental teaching outside London) and London average (currently between £30-£50). How you choose to bill your students is up to you, but invoicing termly or half-termly reduces admin. Collecting fees can be a major headache so encourage all your clients to pay by direct bank transfer and give a date by which fees must be paid each term. Consider using billing software such as Music Teacher’s Helper (30-day free trial)

Tax and record keeping – be scrupulous about record keeping and keep your tax affairs in order. Use a tax accountant to help you if necessary.

Join a professional body such as EPTA or ISM if you feel this will lend credence to your professional standing. These bodies offer free listings, legal advice, , child protection, and can assist in disputes about fees etc

Get CRB checked – if you work with children you need to be completely transparent. An Enhanced Disclosure Certificate (formerly CRB check) is easy to obtain https://www.gov.uk/disclosure-and-barring-service-criminal-record-checks-referrals-and-complaints#types-of-check. State on your website that you have this certification.

Ongoing professional development – attending seminars, workshops and courses all feed into your teaching experience, allow you to connect with other teachers, and demonstrate that you are a teacher who is enquiring and interested in keeping up to date with new trends in piano pedagogy.

Personal development as a pianist – taking lessons and attending courses, masterclasses and conferences, learning new repertoire, performing, demonstrating to students that study does not end at Grade 8; that it is an ongoing process

Extra-curricular activities – enhance and add value to the teaching experience for your students by organising concerts and encouraging them to enter competitions and festivals, attend concerts and visit museums with musical connections. Student concerts are a wonderful way of celebrating your students’ achievements and allow family and friends a chance to see how your students are progressing. They are also a way of showing that piano lessons and regular practise bring recognisable achievement and progress.

Feel in charge of your own professional destiny and maintain your integrit  – for example, setting fees which you feel reflect your value and experience; being honest about who you want to tell (you don’t have to take on everyone!), setting high expectations of yourself and your students; not resting on the laurels of exam successes.

Related articles

An Image Crisis in Independent Piano Teaching?

Being Professional – the debate

On Professionalism in Private Piano Teaching – presentation for The Oxford Piano Group

I was delighted to be invited to contribute to a very interesting and stimulating discussion on the subject of professionalism in piano teaching at the The Oxford Piano Group  on 29th October 2014. Other contributors to this important debate were Nigel Scaife (Syllabus Director, ABRSM), Lucinda Mackworth-Young and Sharon Mark-Teggart (Evoco) who each gave presentations which explored the many facets of professionalism, including proper accreditation, good business practice, membership of professional bodies and minimum standards of qualifications for piano teachers. After the presentations, there was a round table discussion about professionalism, which touched on other important aspects, including the setting of fees.

My own presentation was based on my personal views on this subject, discussions with friends and colleagues in the profession, and the results of my recent survey Perceptions of Independent Piano Teachers.  The slides which I used as a starting point for my presentation and discussion are below, and you can read the text on which I based my presentation here: OPG presentation (click to download the PDF file)

 

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At the Piano with…… Nadine Andre

What is your first memory of the piano?

My parents moved from Hammersmith to Surrey when I was 3 years old, and the house they bought came with an old grand piano that was left behind! I remember being fascinated by the keyboard and what went on behind the lid. I had my first lesson when I was 5, and remember my response to my father asking me if I wanted lessons being “yes, but will I have to practise?” The rest is history.

Who or what inspired you to start teaching?

I studied with Judith Burton for a decade until I went to the Royal Northern College of Music in 2000. She was so dedicated, and her devotion to every one of her students filled me with admiration. She has certainly been my biggest influence with regards to teaching; I always used to think, “if I can spend my time doing what Judith does, I’ll be happy.”

My path hasn’t always been that clear. I struggled with my relationship to music in my later years at music college, and despite achieving an MMus degree, I left feeling convinced that I would convert to law! After speaking to many people about it, the woman who helped me to see the wood for the trees was my piano teacher at the time, Carole Presland, who said, “if you say you love to work with people, what more privileged position can you be in, than to teach students on a one-to-one basis, where you really get the chance to make a difference?”. That was enough to help me back onto my path and I’ve never looked back.

Who were your most memorable/significant teachers?

They are all memorable and significant!

Judith Burton I have already mentioned. We are still good friends, and she was my biggest influence and guide when I was young.

At the RNCM, I studied with Kathryn Stott for 2 years, then Carole Presland for 3 years.

After graduating, two teachers have really helped me in different ways:

Vera Müllerová is a Czech teacher and concert pianist who I met while teaching on a Summer residential course. She showed me some finger exercises that, in one session, solved technical problems I’d been having with trilling in 3rds for years! I now visit her in Plzen once or twice a year to take lessons.

On the same summer course, I met a jazz teacher, who persuaded me to join his student trio for 15 minutes one evening to learn a blues. I had never played by ear and was terrified! In 5 minutes, he had me playing “Sunny Moon for Two”, improvising round it, and taking solos with the band. I was elated, and it felt like the first time I’d really had fun while playing the piano. His name is Paul Cavaciuti, and he is now my husband!

Who or what are the most important influences on your teaching?

This is a difficult question to answer!

My own state of mind is my biggest influence on my teaching. As a professional musician, it is easy for our music-making to become something we MUST do, and this can become tiresome. Also, finding a good balance between teaching and playing is not easy and needs constant adjustment. I put a lot of time and energy into maintaining my own love of music, feeling inspired, and ensuring that what I pass on to my students, predominantly, is a love of music and playing the piano. My husband is wonderful and helps me a lot with this. His expertise is in helping people rediscover their love of music and also helping with stage fright. I’m so lucky to have him available to me 24/7!

Other influences, among my own teachers, are Horowitz, Dr. John Diamond (an educator in the US who has created his own system which involves using the arts therapeutically), and our record collection. We have thousands of LPs, most of which are jazz and classical, and every time I listen to one, I’m immediately drawn to the piano to play, or come up with ideas for my students! I’m sure it has something to do with the analogue sound production. I never feel the same when listening to digital.

Most memorable/significant teaching experiences?

Every teaching experience is significant, and sometimes we have to trust that what we show our students now, may not sink in until much later on in life. My most rewarding experiences are when I take on a student who has been traumatised by the grade exams, or is about to quit, and within weeks they have found a new approach to playing, and realised that they do, in fact, love music after all. It brings me such joy!

What are the most exciting/challenging aspects of teaching adults?

One of the most challenging aspects is that many adults have pre-conceived ideas of things, so often they want a detailed explanation of why I’m asking them to do something, rather than just rolling with it and seeing where it takes them. I don’t see it as a negative – it’s natural that adults want to understand first and experience afterwards – however it’s not always the best way to learn.

The most exciting thing is seeing adults enjoying themselves through music, and doing something meaningful with their time. In today’s society, many parents offer the opportunity to learn music to their children, but secretly long to play or sing for themselves. I feel so excited when a parent comes to me and says, “can I have a lesson?” Being an adult brings with it so many responsibilities of the “must” kind. It’s great therapy to commit to something (especially something creative) for the love of it. If I can assist with that, I am delighted to.

What do you expect from your students?

Application. That’s it.

I’m not concerned with achievement or standards. Nor do I mind if their attitude isn’t positive for a while. We all have our struggles, and if I can find a way to use music to help them through troubled times, then my work is done.

What are your views on exams, festivals and competitions?

Firstly, the term festival is misused. A festival is a celebration of something, and we use the term to describe competitions. Lose the competitive element, (but keep the constructive, positive adjudications) and I think they would be fantastic occasions!

I think exams and competitions are a disaster. I won’t blither on for too long about this (that’s for a future blog!), but developed societies are obsessed with assessment and quantifying ability. This has absolutely no place in the arts, especially in music, and the rise of grade exams and competitions has contributed to:

  • an increase in competitiveness among musicians and parents, (e.g. children in the playground saying “what grade are you on” instead of “fancy a play sometime?”)
  • an increase in performance anxiety and even stage fright.
  • a focus on skill acquisition without a true understanding of music being a language, and to the detriment of having something to say through playing or singing.
  • in the words of Horowitz, “standardisation”. Everything is now the same, instead of people playing as individuals. The idea of playing correctly and incorrectly shouldn’t be at the forefront of a musician’s mind, and it is only with note-reading that it’s an issue at all.
  • a feeling of self-worth being attributed to achievement. Musicians who receive distinctions in exams are often the ones who won’t play in restaurants, at parties or among friends. I think that’s tragic.

I could go on, but I should probably stop there. As a teacher, I want to spend my time convincing people that learning music for the sake of the music, and bringing people together, is enough. Benchmarks are not necessary to become a great musician!

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

To both beginner and advanced students, to love playing music. Another important concept is to realise is that the music comes from the person, not the instrument. The instrument is there to help release the music (though some instruments are more of a hindrance!)

What are your thoughts on the link between performance and teaching?

I think they are very complimentary; however I think the importance of their connection differs depending on whether the musician has been professionally trained or not.

A musician who has trained to perform professionally, should perform. There are too many teachers who have stopped playing in public, and project bitterness and envy onto their students. This is the most destructive thing a teacher can do, therefore maintaining a balance, in my eyes, is essential. (I’m not suggesting we should all be playing at Wigmore, but some kind of performance is important – like nourishment!)

The advantage of having performed is the advice that can be imparted from the experience of having done so. Performing does feel quite different to playing to the four walls and the dog.

An amateur musician who teaches because they love to teach, but has never really performed, or had the opportunity to perform publicly, is unlikely to pass any such negativity onto their students. Their relationship to music is probably quite different and unaffected by the rigours and strains of the profession. For this reason, it isn’t important that they perform.

How do you approach the issue of performance anxiety/tension?

I’ve been through the mill with performing-techniques. Been there, done that, bought the T-shirt. The one thing that has helped me more than anything, and that I do to this day, is sing along internally while I play. I do lots of singing aloud at home (and ask all my students to do the same), then on stage, whatever state I’m in, singing under my breath grounds me, helps me to concentrate without thinking too much, and regulates my breathing perfectly – consequently releasing tension. The ceiling could fall in or Jack Bauer could walk past, and I’d stay focused. It really is the best thing, and I learnt it from my husband!

Who are your favourite pianists/pianist-teachers and why?

My favourite classical pianist has to be Horowitz. Every time I listen to him or watch him on Youtube, I sit at the piano for ages afterwards. He’s so inspiring.

For years, my idol was Alfred Brendel. He has an incredible mind, and a wicked sense of humour. He’s a real artist – I’ve been to many of his concerts, and he played differently every time. On a bad day he was great, on a good day, he was sublime. (I went to his final retiring concert at the RFH, and shed tears on and off all the way home!)

In the jazz world, I adore Art Hodes. He was playing in the US in the 30s and 40s, and had the most incredible groove. The amazing thing about him is that his music is often in the spaces between the sounds. He isn’t flashy or a show-off, but boy does he make you want to tap your foot!

Lastly, (I suppose this counts as he was a pianist and a teacher), it has to be Beethoven. Whoever composes music and says, “Music is the mediator between the life of the senses and the life of the spirit” knows his purpose as a musician, and to elevate others to something higher, is a wonderful purpose.

Nadine’s biography

Nadine André’s website

For the Love of Playing – Nadine’s blog

Nadine on Facebook

Follow Nadine on Twitter

Nadine’s contemporary trio, Trifarious

And on Facebook and Twitter

Classical Babies

At the Piano with Alice Pinto

What is your first memory of the piano?

My first memory of the piano is hearing it rather than seeing it or playing it. Until I was about five years old my family lived two doors down from my first piano teacher, Fiona Matthison, and I used to hear her piano being played every time I passed her house. I also remember my father playing it for birthday party games in our living room! I can’t remember starting to play myself.

Who or what inspired you to start teaching?

In all honesty, I needed the money. A fellow student asked if I was interested in teaching a friend of hers, who was a local academic in her thirties returning to the piano having learnt as a child. I was nervous at first but we got on well and I learnt as much if not more from her than she did from me. I gradually realised how much I enjoyed explaining practising methods, working as a team to overcome technical issues and create an interpretation, and how much this conscious and thoughtful process was helping my own playing and learning processes too by making me analyse what I was trying to achieve. I’m a rational and business-minded type of person so I started to actively acquire more students, and pursue teaching as a part of my career.

I’ve always been socially and politically aware, so teaching and sharing my expertise is a way for me to help classical music blossom in quality and quantity in the UK. I really want to do my bit to ensure that the professional musicians of the future have a chance to receive a great musical education, and equally importantly that the music-lovers and audiences of the future do too! I think it’s very important to nurture music from an early stage in education.

I continue to teach not just because I genuinely adore it, but also from a practical perspective as a musician; teaching for three or four days a week gives me the financial freedom to be able to pursue performance projects that I may not realistically be able to afford to do otherwise, and allows me to be able to turn down gigs that I feel won’t enhance my career or fulfil me creatively. It’s a tricky balancing act but I’d personally rather be teaching a Chopin Ballade or coaching a Beethoven Piano Trio than accompanying another Grade 1 exam or a ballet class.

Who were your most memorable/significant teachers?

I’ve had wonderful teachers. My first teacher Fiona Matthison set me up in a way for which I am forever grateful. At the Junior RCM I had the honour of studying with John Barstow who was the first person (besides my mother) who unreservedly supported my dream of becoming a professional musician and set into motion serious and pragmatic approaches to making that happen. He was also someone who blew open my musical world, by taking me to concerts and persuading me to be brave in my repertoire choices. At the same time I was a real thorn in the side of the composer Julian Grant who was my A-level teacher at school. I have a lot of sympathy for him, as at the age of sixteen I was a good pianist but very stubborn, and with no knowledge or interest in any music after 1915! I am now very grateful he carted me kicking and screaming into the 20th century, and forced me to consider my theoretical understanding. Without his help I wouldn’t have survived my degrees and I’d be a completely unbearable and ignorant person.

As an undergraduate I was beyond fortunate to have Hilary Coates, who remains one of my best friends and is one of the first people I turn to for advice on any topic! She taught me the art of true preparation- how to inject music with style and substance. Hilary’s energy is unrivalled, and her students all know how much she believes in them. After a further two years with Carole Presland, as a postgraduate at RAM, I felt I was finally able to take my passion for the piano and craft any score into exactly the way I wanted it to sound. Carole showed me the physical tools to tackle just about anything and be comfortable with it, and critically, how to do it quickly.

If I tried to name the numerous musicians who have taught and inspired me over the years it would fill a whole book. I had many wonderful experiences as a teenager in chamber groups, youth orchestras, and as a violinist and violist too, and was so lucky to have the support of many professionals helping me along then and during my degrees. They all taught me a lot about music but also about how important it is to have mentors who are good people and care about the whole person.

Who or what are the most important influences on your teaching?

It sounds clichéd, but the most important influences are definitely my students themselves, and how they react, both short-term and long-term. It’s crucial they’re happy and comfortable with what we are doing at the piano. They must be progressing too, or something isn’t right! Sometimes it takes patience to see results, or to realise that something isn’t working. I’m constantly shaping and rethinking my teaching to adapt to how my students are reacting, and I keep up my own professional development as a teacher by attending courses and searching out articles and books about classical music, child psychology and different learning theories. I also try to keep developing as a musician and pianist myself; learning new repertoire, reading up on performance practice, attending concerts and listening to recordings.

My own teachers of course influenced my teaching, mainly those I have mentioned above. There are of course teachers who will remain nameless who gave me a very good idea of how I didn’t want to teach!- I have come across people who I think are too complacent, or lazy, or even abusive in their treatment of students. To my mind it is so important always to nurture, as what a student is offering, at any level, is such a precious part of themselves, and a direct dismissal of their music-making can be very hurtful. I find the writings of teachers from generations past interesting, particularly the advice of people like Dr Suzuki, Kodaly and Joan Last and their ideas on developing the talent, voice, and instrumental capacity of small children. I also feel when reading Susan Tomes’s books and blog that someone has put into words absolutely everything I exactly felt about all issues, musical and otherwise!

The colleagues I work with now constantly inspire and influence my teaching, particularly on Pro Corda courses where the staff are so committed and such fun. I’ve been surrounded by experts in Dalcroze, improvisation and conducting, and I try to observe their lessons and approaches, and learn from what they do. Likewise, seeing the music staff in the wonderful departments I teach in being so committed to their students, the students repaying the commitment, and both parties reaping the reward is just brilliant. It’s great to have time to share ideas with a whole range of specialist instrumental and music teachers and I’m very lucky to have that opportunity most days of my year; it’s one of the big reasons I chose to work in schools and departments rather than teach privately.

Most memorable/significant teaching experiences? 

I always love hearing my students perform, as it gives me a chance to sit back and appreciate how far they have come, and enjoy the music! It’s also nice when students gain music places at good schools, achieve a good mark in an exam, or win a festival prize. Achievements like that make me feel as though I’m on the right track with how and what I’m teaching. I’ll never forget getting the phone call offering me my first teaching job in a school, nor the subsequent similar phone calls, especially the one for my job at Junior Guildhall as I’d always dreamt of teaching at a junior conservatoire and never imagined it would happen when I was only twenty-five years old.

During the actual teaching process, I love seeing the ‘eureka’ moment happen with a student, when something just ‘clicks’ technically for them. Whether that’s the first time they get their fingers to coordinate in a piece or scale, or finally understanding how a theoretical concept such as key signatures works, or overcoming a nasty bit in the cadenza of the Grieg Concerto and realising they will be able to play it after all… all of those are great and they happen many times a day, so I’m very privileged. I sometimes suspect I enjoy teaching primary age children so much because these moments come so often. They’re almost addictive!

There have been some lovely musical moments too. On the Pro Corda Adult Piano Course a gentleman in his mid-eighties introduced me (a teacher on the course) to the music of York Bowen, and we performed one of his rollicking duets in a concert. The same gentleman went on to perform a French Suite by Bach so touchingly and with such wisdom it was extraordinary. He wrote afterwards to tell me that my enthusiasm was infectious and my playing really lovely and I returned the sentiments. On the opposite end of the scale, three of my girls who had only been learning the piano one year performed two tiny six-hand pieces flawlessly last June and had such fun even though one of the six arms was in a sling; the student in question was determined not to let anyone down or miss the concert. I’ve recently returned from Pro Corda North where the standard of playing was exceptional, and I coached three seventeen/eighteen-year-old boys on the slow movement of Mendelssohn’s C minor Trio which they performed with incredible maturity… nothing beats experiences like these, and tellingly they often occur in chamber music.

What are the most exciting/challenging aspects of teaching adults? 

I enjoy that they very often have quite a well-formed idea of their own musical self. I encourage adults and older teenagers to lead their own repertoire choices, and enjoy discussing advanced technical and musical issues at an adult and artistic level.

Older students (in my experience from about the age of twelve upwards) often come with the challenge of managing expectations (to put it bluntly!) and balancing the speed at which students think with the speed (fast) at which they can physically complete tasks (not so fast). I tend to find that adults expect a lot from themselves at the piano, especially when they fully understand (from a theoretical perspective) what they are being asked to do, and can become frustrated when results are instantaneous. They can also experience nerves more than children, and tend to compare themselves against other musicians or their own expectations, meaning they don’t congratulate themselves enough on their achievements enough and instead live in a perpetual state of struggle and disappointment, which can be very harmful to the delicate psyche after long periods.

What do you expect from your students?

Firstly, that they are doing their best. It is so easy to tell when this isn’t the case; I don’t think some students realise how transparent this is! I personally expect my students to practise every day, at whatever age or level. I expect them to prepare well, which to me means that they come well-equipped to a lesson with not just all their materials, but also questions or issues about the work that they have been set. I will often ask “What do you need help with?” and expect that they can readily answer this. All my students play at a high standard regardless of level; I might have a student at Grade 1 or 2 playing a Bach or Mozart Minuet but they will do it with exquisite phrasing, articulation and dynamics. We don’t cut any corners.

I expect my students to love music, love the piano, and to love learning, and I expect them to really want to progress and not to be reluctant to work hard or to shy away from a battle- everyone struggles at some point. I expect them to have their own aims and ambitions at the instrument, whether these are to pursue a musical career or not. After a certain age or level I expect students to lead their own repertoire choices, to have musical interests surrounding the piano, to listen to live and recorded performances, to study theory to the appropriate level and to have a knowledge of other instruments and the history of music.

What are your views on exams, festivals and competitions?

I think they suit some students very well, and others not at all. I think exams are not necessary, and part of me sympathises with the character in Jessica Duchen’s novel Alicia’s Gift who states that they help: “…amateur children to impress amateur parents. They play nicely to the dinner guests and sometimes they play for school assembly and everybody claps… The British view music as a diversion, an amusement, something it’s not quite cricket to be too good at… We [true artists] have something profound to say about life, why we’re alive, what it means to be human. We don’t jump through hoops to show out parents’ friends how talented out parents’ offspring are”. I think to just base a teaching or learning method around exams can be limiting, and can result in a student learning only three pieces a year, and gaining no real repertoire or knowledge outside the exam syllabus. It is my understanding that the exam boards were not set up for this purpose, but sadly (in my opinion) the emphasis on exams when teaching an instrument is huge. I never took any grade exams myself, although I auditioned for schools and courses and performed regularly in concerts and festivals. However, I do understand why many students want to take exams, and I think for many they can be a good yardstick or motivator. It really does depend on the student, their ambitions, and their reasons for learning and playing. I would however, never condone a student going from exam to exam without thought or question as to the motives, nor would I want a student to take exams for mistaken or false reasons.

Likewise, festivals and competitions can be brilliant platforms when considered on an individual basis for the student. I tend to suggest these events to those I feel might gain from the experience, but in general let the student lead the decision. I prefer non-competitive concert situations for most students, though again there will always be some who thrive on the competitive element and want to push for it. In my experience, those who gain a lot from the experience in the long-term tend to be in the minority, and my instinct and own experience tells me that there is plenty of time to compete when skills are more honed, hands have finished growing, musical interpretations have been fully-formed and are personal, with plenty of context and life experience behind them, and ambitions for life are clearer. But individual circumstances merit different approaches.

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

Beginner students must learn two almost opposing elements, in my opinion; joy and discipline. The most successful are those who quickly realise (or already know) that the two are actually intertwined, and that joy comes from discipline. I encounter a few students who harbour vague hopes that one day they may just sit down and be able to produce Fur Elise from nowhere. To have a beginner student who gains a lot of joy from working very hard at a tiny little aspect or piece and is inspired by their own hard work makes me confident and happy for their future.

For this reason I feel it is best for students to start young so they digest the concept of discipline from an early age. If you tell a four-year-old they must brush their teeth every day, they must wear a school uniform, they must practise the piano, and most importantly you don’t just tell them these things but you set in place a system that doesn’t allow them not to, then they grow up with this unconscious but very valuable discipline which will reap rewards later in life. That sounds harsh but too many parents sit back and hope their child will practice because they love music. That’s just not a reality for most small children or even teenagers with many demands on their time and other temptations. Why practise the piano (which seems to progress so slowly and give comparatively so little satisfaction) when you can play with friends?

An advanced student is someone who already appreciates discipline, but I think the joy still needs to be nurtured. Sometimes music-making at a high level can become mechanical, and so I’d encourage an advanced student to focus on bringing music to life. I think chamber music is so valuable in that respect and I’d urge everyone who can to make music with friends. Advanced students need to continue to work hard to improve, as everyone has something left to learn. But always remember why you love music, and what is at the heart of it.

What are your thoughts on the link between performance and teaching?

I get irritated by the assumption that musicians are either great players or great teachers. It is patently not true and it makes a mockery of the wonderful work many musicians are doing. I think we’re all familiar with the false premise that many who teach only do so because they can’t play and I hope that is something that is gradually losing its clout. However, I still come up against the idea that because a person trained to a high level as a concert pianist at an elite conservatoire, it automatically means they are a selfish diva who doesn’t understand children, or doesn’t have the time or patience for beginners and amateurs.

To teach well and professionally at any level demands a certain level of musical training, and the more professional the training, the more the teacher has to draw on when imparting advice to others. I believe teachers who perform, and performers who teach both have a lot to share with audiences and students alike, and I’d love to see a greater acceptance that these two strands of musical communication are not so far apart. It irks me to meet performers who claim to not be able to ‘communicate’ in a teaching studio, just as much as teachers who claim not to be able to perform on their instrument. Both these methods of communication take practice, confidence and skill, and I don’t see how you can do one without the other. I’d urge all budding musicians to take time to hone as many types of communication as possible through which to share their music.

Who are your favourite pianists/pianist-teachers and why?

I love musicians who communicate with passion, and so my favourite pianists are probably Martha Argerich and Daniel Barenboim. I respect Barenboim’s fearlessness in being politically involved as well, and the fact that he takes risks in his professional life and on stage. I also have some favourite recordings by Richter, Gavrilov, Sudbin, Imogen Cooper, Mitsuko Uchida, Kissin, Bernard Roberts for Beethoven- an odd bunch probably… I once travelled to Berlin for the evening just to hear a recital given by Sokolov, once I’d realized he probably would never return to the UK in my lifetime. I think I listen for energy and vigour above finesse, and hopefully that’s what I put across in my own playing and teaching too.

British pianist Alice Pinto has appeared as concerto soloist with the Cheltenham and Cambridge Graduate orchestras, and recent recital highlights have included concerts at St. John’s Smith Square, Kings Place, and a live broadcast on Icelandic national radio. Alice performs regularly nationwide at festivals including Two Moors, Cambridge Summer Music, Lake District, Vid Djúpið and Malcolm Arnold. Praised particularly for her interpretation of repertoire from the Classical period and neglected British works, Alice is also in demand as an ensemble musician, and currently holds a Leverhulme Fellowship with Pro Corda. 

Alice gained her MMus degree in Piano Performance and Research from the Royal Academy of Music in 2012, where she held a Richard Carne Scholarship and was shortlisted for the Jacob Barnes Scholarship. She was awarded the Anthony Lindsay Prize 2007, the Jaques Samuels Manager’s Discretion Prize 2008, and was keyboard finalist for the Isabelle Bond Gold Medal in 2010. Alice previously held the Else and Leonard Cross Memorial Scholarship at the Royal College of Music Junior Department and Nora Day Scholarship at St. Paul’s Girls’ School. She currently teaches Piano and Chamber Music at Junior Guildhall, Dame Alice Owen’s School and Bute House Preparatory School. 

Alice’s upcoming concerts include for Leeds Lunchtime Chamber Music Series (8th October), St Lawrence Jewry London (13th October) and the Malcolm Arnold Festival in Northampton (18th October). 

At the Piano with Roberta Wolff

What is your first memory of the piano?

It is more of a feeling, I remember being struck by the beauty and loving the patterns of the keys.  I don’t remember a time when there has not been a piano near by calling me to play.

Who or what inspired you to start teaching?

Inspire is the right word and it was probably the music which did it. It had always been my long term intention, however, I also wanted to know about the workings of the instrument so trained as a technician first.  One day whilst tuning a piano I realised that I was ready to move into teaching.

Who were your most memorable/significant teachers?

Beyond my lovely students from whom I learn continually I have had 6 teachers and they have all been significant in their own way.  If I had to pick one I would say Tim Barratt who snapped my playing, and practising into shape and guided me through the teaching diploma exams.  I also learnt more than expected, musically, during my time tuning for Steinway.  The sheer volume of high quality music I heard daily still runs through me.  I used to practise at Steinway over the weekends, helping myself to the concert fleet model Ds and receiving helpful passing comments from the likes of Alberto Portugheis and Charles Rosen.  When out on the road tuning I often had to wait for rehearsals to end, for me it was fascinating to listen in.  I am a better musician than I might have been as a result.

Who or what are the most important influences on your teaching?

This is an interesting one and the first thought that comes to mind is this……. when I was around 15, a piano teacher told me that I did not have a good enough ear to consider tuning pianos as a career.  By 22 I was tuning for Steinway covering Wigmore Hall and BBC Proms Concerts.  As a result I will never discourage a student but rather guide them in what they need to do to achieve their goals.  For me it is also important to keep myself musically stimulated through attending concerts, lessons and meetings with other musicians, taking the best from these experiences and passing it on.  I find trusting my intuition to be a very open and reliable way of working.

Most memorable/significant teaching experiences? 

They are probably the individual breakthroughs that students make after some time of careful work.  These delight me, no matter what the level, because of the personal feeling of success it brings the student.

What are the most exciting/challenging aspects of teaching adults? 

As well as the joy music brings, there is so much to be gained, on a personal level, from learning something later in life.  It is wonderful to watch adult students begin to trust and rely on the process, accept their mistakes and move away from their natural tendencies to be over analytical and critical.  The challenge for me is to lead by example!

Tell us how you developed the Music Me Piano Practice Books and how you think it will benefit piano students and teachers:

Music Me Piano is a piano practice note book available in three versions.  They developed out of a practice-a-thon my students took part in which highlighted a vast difference in achievement between the two week event and normal termly lessons. We realised that the speed of their progress during normal term time was hampered, not by the difficulty or time requirements of what I was asking them to do, but by their ability to divide up their work and use their practice time smartly.

During lesson time student and teacher plan what needs to be practised day by day for the week ahead.  Students benefit from very clear weekly targets which set in motion a positive cycle of achievements.  Their self-efficacy and enjoyment is increased but they also develop really powerful learning skills which translate to any subject.

Teachers benefit because they are working with more motivated students who are placed in a greater position of responsibility.  Teachers ensure, through the Reference Section, that the student has all the information needed to practise their work correctly.

A happy by product of all this is that lesson planning is a much more fluid process done in conjunction with the student.  The book opens up a discussion between teacher and student on the topics of practice and all the different areas which need to be covered to develop into a rounded musician.  The book can be used when you are teaching exam syllabuses and is also incredibly inspiring to use when lessons are not following the exam curriculum.  Providing a tool for teachers to connect all aspects of theory, form and musicianship through the piece being studied. A great way to set your own syllabus tailored to your student, and a super way to teach and learn!

What do you expect from your students?

The same as I expect from myself……..To give it their best, remain open and never ever say “I can’t”

What are your views on exams, festivals and competitions?

As long as you approach them in a level-headed way when the time is right they are valuable learning experiences.  Also, I really feel music should be shared, so developing performance skills is important

What do you consider to be the most important concepts to impart to beginning students, and to advanced students?

Actually they are not that different.  Follow the sound you are making, you can learn so much this way.  Don’t confine your musical education to the time spent in front of the piano, live it, music is everywhere.  Go to concerts, you need to experience many different styles, lines, tones and colours before you can go in search of what you want to create.  Observe yourself.  Play from the heart.  Know the value of deliberate practice, there is no quick fix which will give comparable results!

What are your thoughts on the link between performance and teaching?

For me it is important to do both because developments in one area fuels the other in ways I may otherwise have missed.  Without stretching myself I would soon lose true empathy for my students; my best teaching and breakthrough moments with students come when I am working through difficulties of my own.  As well as that, performance needs to be taught and students learn much from watching.  I make sure I perform to all my students and parents during termly concerts.  We are all human, we all make mistakes, some people are just more practised at letting them slip by.

Who are your favourite pianists/pianist-teachers and why?

Alfred Brendel, tone colour and mastery of every nuance and line.  Jean-Efflam Bavouzet, I was blown away by his playing last year, I think it was one of those special concerts where music, pianist and venue work perfectly.  Mitsuko Uchida, Maria Joao Pires, Krystian Zimmerman, especially the Schubert Impromptus.  I think it is good though to keep listening to new pianists and new music in new venues.

If you would like to know more about Music, Me, Piano please visit www.musicmepiano.co.uk

For more information on lessons, book presentations and book details please contact Roberta on info@robertawolff.co.uk or via her website www.robertawolff.co.uk

 

Review of the Music Me Piano practice notebook