In this guest post, pianist and teacher Helen Reid outlines her approach to teaching and the creation and ethos of her new online piano courses for advanced pianists.


The route towards creating this course – primarily during lockdown, though the idea has been in my mind for some time – has been a fascinating one. Many people have talked about lockdown being a time of creativity, and social media has seen no shortage of incredible video montages and moving living room performances. For many, however, that hasn’t been the case, and indeed the very proliferation of musical offerings on social media platforms has been confusing. Many musicians have felt the uncertainty of the next performance date putting them off playing their instruments altogether. For some, financial fears have far outweighed the desire or ability to think creatively. I found myself falling somewhere in the middle. I struggled to play the piano for myself, but the shift to online teaching, despite the crazily quick need to adapt, also inspired me to expand my teaching skills and techniques. In addition, having to find different ways to motivate students who were no longer going to perform their end of year recitals was a very interesting and important challenge, and I found that no two student routes were the same.

For some students, being released from the pressure to take the exams has allowed more time to work on technical issues around the pieces they were playing. We have explored the musical context in more depth and looked at issues of mental practice and preparation. Other students were excited about their performances and we have had to look at ways of adapting emotionally to the disappointment, devising alternative performance plans, both during and post-lockdown. I have considered this such an important responsibility to my students, to respond to each situation individually, and of course this is what we should aim for continually as teachers.

For many years, I have loved the idea of creating courses which place solo piano at the core and yet encompass many different facets. Just as we talk about portfolio careers, students (both young and old!) can benefit from a ‘portfolio course’. There are so many different skills needed to succeed as a musician. One has to be sensitive to produce beauty in performance, yet have an armoury to deal with the different types of rejection which might occur as a result of auditions, competitions and so on. Musicians must spend many hours in isolation, and yet also be happy in company, travelling to play concerts in varying locations, with different musicians and new audiences. Marketing and networking skills are important; teaching skills will more often than not be needed – the list continues. Lockdown encouraged me to put my thoughts into action, and to take time to create something which I hope can continue when normal life returns.

As Course Leader of the Professional Studies course, delivered to all the first years at the Guildhall School, I am acutely aware of how we must respond to the current situation in the content of what we offer our young musicians. We must give them the skills to help them on their way to a successful career at what is a very challenging period for music making. I am determined to address this with a sense of excitement and potential.

At the Guildhall School, I also work as a mentor on the PGCert in Performance Teaching. In 2014 I created an early years’ curriculum for 3.5 to 7 year olds, building a musical foundation in a holistic manner (www.blackbirdeym.com). I have contributed and led several research projects, primarily around the health of musicians. For the last six years, I have taught piano and accompanied recitals at Bristol University, as well as working privately with advanced students. I wanted to create a course which could combine all these aspects, and respond to some of the issues which arise frequently among my piano students.

The new online courses I have devised consist of focused one-to-one lessons, working on whatever the student wishes to bring. These are complemented by webinars, looking at issues such as structuring practice and other practice techniques, fulfilling potential in performance, keeping our body and mind healthy as musicians and considering how we communicate through our music performance. The webinars are also influenced by questions posed by the students during the course, so that we gain the benefit of exploration as a learning community. In addition, Dr Jonathan James delivers webinars looking at the wider musical context – exploring Bach’s 48 Preludes and Fugues and Beethoven’s Sonatas, for example. Jonathan is a fine speaker and I know he will bring an extra dimension to the courses. The students receive ongoing email support, so that they can ask advice or make suggestions as things occur to them during the course.

The first course takes place in June and is for Advanced Adult Pianists. The following two courses for advanced pianists will start in July and September, with the September course running all the way until Christmas. I was initially sceptical about online teaching, as I think perhaps we all were, and I was very nervous about how the first few lessons might go. However, given a reliable connection, I have found that it has enabled me to build more creativity into my teaching. This has been an exciting personal development and beneficial to my students. The current situation is a challenge for all artists, but the potential is there to connect with people all around the world, and expand our skills and understanding.

For more information on the courses, please visit helenreidpiano.com or email helenreidpiano@yahoo.co.uk


publicity photo.jpg.cropped525x195o73,-13s377x259Helen Reid first came to public attention when she appeared on BBC2 in the National Keyboard Finals of the BBC Young Musician competition in 1998. In 2000 she won first prize in the Karic International Piano Competition. In 2006 she was hailed as a ‘rising star’ in The Independent magazine.

Helen has given recitals all around in England, at venues including the Wigmore Hall, Purcell Room, Fairfield Halls and Blackheath Halls, London, St. George’s, Bristol, Cheltenham, the Bridgewater Hall, Manchester and the Aldeburgh and Buxton Festivals. She has performed in Spain, Slovakia, Hungary, Germany, Austria and the Czech Republic. Concerto performances have included Rachmaninov’s second Piano Concerto with the Westmoreland Orchestra and Gershwin’s Rhapsody in Blue with the Aurelian Ensemble at Blackheath Halls and the world premiere of David Matthews’ Piano Concerto, at Dartington International Summer School. Helen has played a wide range of chamber music, with artists such as Paul Archibald – trumpet, John Kenny – trombone, Sheida Davis – cello, and Fenella Humphreys – violin.

Helen studied at Chetham’s School, Royal Holloway University and Cologne Music College, completing a Master’s Degree at City University and the Guildhall School of Music. She is currently professor of piano at Bristol University; runs the Professiona Studies course at the Guildhall School of Music and Drama, and has been invited to give masterclasses at Gdansk Conservatoire, Wells Cathedral School; The Universities of Bath, Royal Holloway and Hull, Dartington International Summer School and Pro Corda.

Future plans include an exciting new solo programme – Visions of Night, featuring music by Poulenc, Martin Butler, Michael Berkeley, Faure and Schumann. Currently booking for 2020-22.

A portal into the classical music profession, Musical Orbit allows you to learn from the very best musicians in the business through personal lessons, masterclasses and webinars online. From anywhere in the world, you can connect with leading musicians from the finest orchestras across the globe to receive artistic appraisal and tailored, professional analysis of your playing. Also an online hub for the classical music world, Musical Orbit keeps you in the loop with news stories, tips from the top professionals and ticket offers for concerts.

Founder Nicole Wilson says:

“I had such fantastic opportunities when I was growing up as well as throughout and beyond my studies at Royal Academy of Music. With programmes like the Philharmonia String Scheme, I was able to get my foot in the door of the music profession and to build relationships with those who would be my future colleagues in orchestras. I was able to get some really great advice and learn about the business.

There are such limited places on these schemes and they really do enable people to get ahead in the industry. I have been approached by countless violinists asking me to hear them play, to give them advice on playing their audition/exam programmes and to desperately try to get a foot in that firmly shut door. It is a ‘catch 22’ situation for many of them as they leave music college. They have a tiny CV so they aren’t considered for job auditions, so they cannot grow their CV. I feel for them. This is why I created Musical Orbit.”

Nicole adds:

“……we are in talks with schools in the Middle East, Far East and Africa about setting up regular lessons and masterclasses and also talking with summer music Festivals in Miami and Reykjavik about masterclasses there as well”

Already Musical Orbit is enjoying a global reach, enabling people to connect and study with some of the top musicians in the world.

Sign up to Musical Orbit is completely free, and once you’re a member you can access free webinars and masterclasses, and also book a lesson with the best musicians in the business.

www.musicalorbit.com

Musical Orbit was founded by principal violinist Nicole Wilson. After a career spanning 20 years in London, as a first violinist of the London Symphony Orchestra, a principal violinist of English National Opera, a film/tv session orchestra fixer and CD producer, Nicole has enjoyed working with nearly all the major UK orchestras and has built friendships with many principal players across the nation and throughout the world. 

Having come across many music students who needed help preparing for auditions, concerts and exams, she realised the difficult situation many of those people were in. Unable to speak to and learn from the right people, build up their CVs and ultimately get to play for the jobs they were interested in, these students were in a no-mans land. 

Nicole has used her extensive connections in the classical music business to bring together these students and the movers and shakers in the classical music world, regardless of work schedules and distance so that anyone can learn from these world class musicians. 

Nicole will feature in a future ‘Meet the Artist’ interview