I’ve been mentoring teachers for the DipABRSM, and other teaching diplomas such as the DipLCM(TD) and ATCL, for nearly 10 years. I’m always impressed by these teachers’ commitment and willingness to reflect on their own practice. Putting yourself and your teaching forward for potential criticism is a huge emotional investment, but a hugely rewarding experience.
Over the past few years, I’ve become increasingly conscious that generally well-meaning advice has been posted online, often on forums, which is sadly not true. I suspect that in many cases the underlying advice has been ‘lost in translation’, and in other cases, the original poster has not fully understood the requirements. Naturally, when candidates are preparing for their exams and searching for advice online, these posts can add to their anxiety.
In this post, I want to take the opportunity to bust some of the most popular myths I’ve heard. Obviously, syllabuses change, so you should always check the latest version in case any requirements have changed.
The preparation time for the quick study is awarded a mark…
This is simply not true. The examiners mark your final performance of the quick study, but they are not assessing your preparation time, nor do they give you a mark for it. The final mark awarded for the quick study will be based on the performance alone. Whilst there is no mark awarded for the preparation time, clearly the effectiveness of that time will impact upon the final performance and mark.
I will know the mark for my written submission in advance of the exam…
It is true that the examiners will mark your DipABRSM written submission in advance of the exam. They will award it a provisional mark which may be altered based on discussion in the viva. They will not, however, notify you of that provisional mark in advance of the exam. In actual fact, you will only receive the final mark as given on your mark sheet, so ultimately, you won’t know whether this has been amended after the viva.
The written submission can form part of the discussion in the viva. It doesn’t always come up, but when it does, it’s often an opportunity for the examiners to explore something you’ve written more fully, or for you to clarify or demonstrate a particular concept you’ve written about.
The examiners will judge me…
In some ways, I was quite sad to hear this recently. As with all teaching diplomas, the examiners are making an assessment of a range of skills related to the teaching of your instrument and your wider knowledge and understanding of music education.
The examiners are absolutely not judging you as a person. They are not judging you based on how many or few students you’re teaching, and they’re not judging you based on how long or short a time you’ve been teaching. In fact, the syllabus is quite clear in saying that no prior teaching experience is required or expected.
The examiners are making an assessment of your teaching skills through a variety of tests (the viva, written submission and quick study). I think it’s really important that no teacher goes into the exam feeling that the examiners are judging them as a person.
The examiners are testing my ability to perform…
This is a tricky one. The teaching DipABRSM is not a performance diploma, and as such, it is marked against a completely different set of criteria. There is nothing in the marking criteria for the DipABRSM which specifically assesses your ability to perform, rather, it is included with the more general ‘demonstration of the principles of instrumental/ vocal teaching’.
When performing extracts from your Grade 6 pieces, think of playing these at a level suitable to demonstrate to your students. Your performance needs to be technically competent, expressive, communicative and convincing.
I need to know every piece at Grades 1-5…
This is a really common misconception. To quote the syllabus:
‘As well as inviting you to perform and demonstrate examples from the music you have brought with you, the examiners may also refer to other ABRSM syllabus items for your instrument up to and including the specified level in order to amplify discussion and to enable you to reinforce answers to questions. In these cases, an ability to draw upon suitable examples at various levels will be expected, rather than a comprehensive knowledge of all the ABRSM repertoire lists.‘
ABRSM Teaching Diplomas syllabus (2017) , p. 9
The primary focus will be on your three chosen Grade 6 pieces. Whilst the examiners may draw on your knowledge of lower grades, you are not expected to know every piece on every list at every grade. Rather, think about how a student’s skill and knowledge will develop as they progress through the grades. Think about the increasingly complexity of the pieces being learnt and the technical skills taught to underpin those. Therefore, focus on your Grade 6 pieces, but with an understanding and overview of the journey your students have been on to reach that point.
Are there any DipABRSM myths you’d like debunked? If so, let me know!
Over the past 18 years, I’ve acquired many books related to music education and instrumental teaching. If you’re looking to expand your library, explore some new ideas or collect together useful texts for your teaching diploma preparation, here are my top ten books. I’m not going to claim they’re ‘essential reading’ because each of our teaching contexts is different; however, they are, in my view, good starting points.
Clearly, there are many books available and this list is by no means exhaustive. Rather, these are the books I’ve found most useful over the years. They’re the ones I go back to time and time again. I have restricted this list to books which are not instrument-specific.
In no particular order…
1. The Music Teacher’s Handbook
This probably one of my favourite books as it covers a lot, but in bite-sized chunks. Each chapter and section is written by a different specialist, so it isn’t completely weighted towards one author’s view. The book is divided into eight sections:
Preparing to teach;
In the lesson;
Motivation and practice;
Ensembles and concerts;
Your teaching career.
A whole range of issues are covered, from the basics of actually teaching, to aural, sight-reading, theory, improvisation, composition, pupils with additional needs, and exams. There are many opportunities for reflection with tasks and questions designed to encourage this. At the end of each chapter and section there are suggestions for further reading and exploration. This is an ideal book if you’re just starting out, but also if you’re looking for a mechanism by which you can reflect on your teaching skills.
This is actually the first book I owned as an instrumental teacher. This offers of a weightier introduction to the theory behind instrumental teaching. It’s a substantial book divided into three parts: understanding pupils; processes of learning; and the teaching environment.
This is often referred to as the instrumental teacher’s ‘bible’, and with good reason. It covers everything from the function of music in society, through to resolving problems with pupils’ parents. Every possible angle is covered with opportunities for reflection and further development. If the book above was the bones, Hallam really puts the flesh on those bones. In my view, this is a ‘must-read’ for anyone looking to develop their teaching and especially those looking to work towards teaching diplomas and other qualifications.
The only downside is that it has been long out of print which is a great shame. Although it is over 20 years old, in my view, no one has yet written another text with such depth. If you can obtain a copy second-hand, snap it up. Although most retail for £20+ it is a substantial 350-page book.
3. Tuning In: Practical Psychology for Musicians (Mackworth-Young)
Anyone who has explored The Music Teacher’s Handbook mentioned above will be familiar with Lucinda’s excellent research and writing about the psychology of playing and teaching. The book draws on psychology in a way which aims to help musicians and teachers ‘deepen their awareness and understanding of music teaching, learning and performing, and enhance and enrich their skills’.
The book is billed as a ‘home study course’ and it is exactly that. This is a book you can work through at your own pace. It is highly accessible and written in a way which offers practical application of the principles in your teaching and playing. The book covers: emotion; motivation; practice; energy; making music; group teaching; working with parents; working with different age groups; and performance. At the end, Lucinda encourages you to conduct your own action research project within your own setting.
The book is also not easily available in print form; however, it is now available for Kindle download.
Tuning In (2000) by Lucinda Mackworth-Young is published by MMM Publications (ISBN 0953948501)
4. The Sounding Symbol (Odam)
A bit like the Hallam above, this is something a bit more ‘academic’ in nature. The book is subtitled ‘music education in action’. Odam considers a variety of topics, including: music as language; brain, body and music; aural skills; notation; composing; and listening.
Whilst this book isn’t aimed specifically at instrumental teachers, the penultimate chapter considers how all he’s discussed can be applied in this context. There is an easy-to-digest summary of each chapter as well as numerous case study examples of how these ideas might be applied in practice. This isn’t necessarily an ‘easy read’, but it is challenging, and as teachers, we should be prepared to reflect on our practice in this way.
Again, out of print, but available fairly cheaply second-hand.
I could, in theory have listed all Paul Harris’s books here. He has done an immeasurable amount for music education and instrumental teaching over the years, in a way which I don’t think has yet been fully recognised.
My reason for selecting this book is that it brings together much of Paul’s inspiration and advice under ‘one roof’. This book is designed for teachers to use as a mechanism for self-reflection and development. For example, it considers how we communicate with our pupils and the language we use. It encourages us to think about our own practice and how we might get the best out of our pupils. This is an essential read for all instrumental teachers.
6. Rhythm and Movement: Applications of Dalcroze Eurhythmics (Findlay)
I have always been interested in some of the alternative approaches to music education such as Dalcroze and Kodàly, although I’m aware, like many, applying the principles within a one-to-one context can be challenging, particularly with a wide range of age groups. At the heart of Dalcroze’s approach was the need for whole-body involvement and movement in learning music. A sound-before-symbol approach, Dalcroze developed an approach which taught musical concepts through movement before they were assigned a visual symbol.
This book gives a useful overview of the Dalcroze approach, but importantly, it covers a range of musical concepts such as tempo, dynamics, pitch, phrasing, form and rhythm. There are many suggested activities for each of these concepts and with a little adaptation, these can be applied in a one-to-one context. A useful appendix offers further suggestions for exercises, use of balls and action songs, although these would need greater adaptation. If you’ve not yet explored the Dalcroze approach, I think this is a really good starting point with many practical examples.
Rhythm and Movement(1971) by Elsa Findlay is published by Summy-Birchard Inc. (ISBN 087487078X)
7. Rhythm One on One: Dalcroze Activities in the Private Music Lesson (Black & Moore)
Following the same theme as the above, this book offers some practical examples of how the Dalcroze approach can be applied within a one-to-one teaching context. Whilst some of these activities may still need adaptation, there is much to admire in the practical suggestions offered in this book. It’s a useful companion to Findlay’s text above and shows how many of her exercises can be adapted.
Rhythm One on One (2004) by Julia Schnebly-Black and Stephen Moore is published by Alfred (ISBN 0739035444)
8. Teaching Beginners (Harris)
One of the most popular topics people write about for teaching diplomas is teaching beginners. Sometimes, it’s a specific essay on that subject, and sometimes the essay has to first consider how we approach teaching beginners before looking beyond the early stages.
Again, Paul Harris has written many excellent books, but for me, this one stands out. Teaching beginners carries responsibility as we, as teachers, may be a pupil’s first connection to learning music. As I’m sure many teachers would agree, teaching beginners is not easy. In this book Paul considers the first lesson and the lessons beyond that. He also considers tutor books and their place within our teaching. He covers transfer students too, something which can often prove challenging. We will all, at some time or another, teach beginners, so in my view, this is a book which should be on your shelves.
9. The Music Teacher’s Companion (Harris & Crozier)
I was a little hesitant about including this book as it is published by ABRSM and in some ways, is weighted towards an approach which sits nicely alongside their own exams. That said, I still there there is much of use in this book, particularly for teachers just starting out.
As well as covering many aspects of teaching, it also considers the role of exams, festivals and competitions. A whole range of areas are covered such as lesson planning, motivation, rhythm, composition, improvisation, practice, group teaching and professional development. There are some usual templates for lesson planning, reviewing, progress and reports.
I’ve had so much fun from this book over the years and it’s one I go back to time and time again. As the title suggests, this is a book about practice, but most importantly, it’s about effective practice (and effective learning come to that). The book is crammed full of ideas and activities to ensure our students are practising effectively. There is a focus throughout on using the right ‘tools’ for the job.
Johnston covers a range of areas including: learning a new piece; making a piece reliable; memorisation; speeding pieces up; and preparing for performances. There’s so much in this book that even after 10+ years I feel I’ve only scratched the surface.
If you’re a singer, you might be used to singing in choirs. Maybe you’ve been in shows, perhaps in the chorus where there’s been plenty of ensemble singing. If you’re an instrumentalist, you might play in a band or orchestra. Maybe you play in chamber ensembles, quartets or trios.
Being part of these groups, singing and playing with others means you’ll be sight-reading on a regular basis. You’ll also be used to keeping going. The choir won’t wait for you while you work out the interval in bar 9, and the orchestra won’t wait for you while you work out for the fingering for the trill in bar 11.
If you’re a pianist, then the situation is probably a little different. In general, many pianists don’t play regularly with others. Pianists are not used to playing in ensembles in the same way as the singers and instrumentalists mentioned above. By consequence, pianists are often not used to sight-reading and keeping up with an ensemble in the same way.
I’m certainly not suggesting that pianists are at a disadvantage when it comes to sight-reading, but maybe they have to work a bit harder and perhaps more creatively to hone those skills.
With that in mind, if you’re a pianist and you’d like to improve your sight-reading*, here are some things which I think can really help. Most of them are pretty fun too!
*My usual disclaimer that sight-reading is something we, as musicians, do all the time. Every time we start learning a new piece, we’re sight-reading. Sight-reading is for life, not just exams.
1. Play duets
In my view, playing duets is seriously underrated, not just as a skill, but as an enjoyable act of making music with others. I’ve blogged previously about the benefits of playing duets and also written an article for Piano Professional magazine on the subject.
Playing duets (also trios, music for two pianos etc.) can be a great way for pianists to experience some of the things which singers and instrumentalists encounter regularly in the ensembles they play with. Above all, you have to be able to keep going, particularly if you get to the point where you’re performing your duets in an exam, festival or other public arena.
If you’re a teacher, then I can highly recommend Paul Harris’ Improve Your Sight-Reading! Duets books. There are two available one for up to Grade 1 and one for Grades 2-3. Not only are the a great way to improve your sight-reading (particularly in conjunction with the other books in the series) but also improving it in the context of playing with someone else. This means both keeping up and keeping going.
I have accompanied for a long time. Until you accompany on a regular basis, I don’t think many people fully appreciate the amount of skill that is required. Firstly, accompanists are often required to sight-read at short notice (often at no notice). This is something you have to get used to pretty quickly. I once accompanied an exam with only five minutes notice when the candidate’s accompanist didn’t turn up. In such situations, there is no time to learn, practise or seek to perfect the piece. You’ve just got to do your best: play it and keep going.
Secondly, as an accompanist, you realise pretty quickly that in order to make a success of it, keeping up with the soloist (or ensemble) trumps everything else. You also have to remain constantly alert to what they’re doing. You need to be prepared to skip a page when they turn two pages at once or shout out a bar number when they’re lost. All this means that you may play some wrong notes, you may be able to keep only one hand going or may need to improvise for a few bars, but you have to keep going.
If, as a pianist, you have to opportunity to do some accompanying, grab it. Start small though: you don’t have to rush off and accompany a concert soloist in public. Most singers and instrumentalists would be only too glad of someone else to play with.
3. Play with accompaniment tracks
Sometimes, as a pianist, it’s actually quite fun to play with other people, and playing with backing tracks is a good way to start. Backing tracks are much maligned, but they have their place. You can now get music in a whole range of styles and genres that you can play along too: everything from Disney favourites to the Tchaikovsky Piano Concerto. If you don’t have a duet partner or a willing soloist to accompany, backing tracks can be a good alternative.
Playing along to backing tracks is, once again, useful because it requires you to keep going, to keep up with the music. It also means you have to listen to what else is going on, much as you would in a duet of if you were accompanying. One of the biggest problems with sight-reading is that people either play far too slowly in pursuit of note-accuracy or people simply stop and start and the piece has no sense of flow or continuity. I find that pianists in particular are quite bad for this, so anything you can do which gets you used to keeping going, is vital.
You may also find it useful to find some pieces which have sections set aside for improvisation. Scary as improvisation may be, it can be hugely useful to the sight-reader (especially as an accompanist)!
4. Record yourself
Recording yourself has two potential benefits here. Firstly, recording yourself adds a bit of pressure to your performance. Rather like an exam or performance, you have to deliver in that moment; there’s no going back.
Secondly, try recording yourself sight-reading. Then, go back and listen to your performance. What do you notice? For example, can you tap a steady pulse whilst you listen back to yourself? Does it feel like a continuous flowing piece, or does it stop and start?
Improving your ability to play at sight will take time. It requires consistent work and a critical ear. Above all, one of the most important things about sight-reading is the ability to keep going. There are many instances, as cited above where a steady pulse, rhythm and tempo, by necessity trump note accuracy.
Writing notes for a concert programme may seem daunting. It is a professional skill, but also required for some music performance examinations and for local amateur concerts. In this guest post, Ruth Carlyle shares her suggestions based on experience of writing programme notes for performance examinations.
1. What is the purpose of the notes?
The purpose of the programme notes will vary by context. At a functional level, they provide the audience with details about each piece, including the composer and date. More widely, the notes tell the story of the concert: why the pieces were selected, how they link together, or where there are contrasting styles. For examinations, there will be specific criteria that need to be met and should be checked before starting to work on the notes.
2. What do the notes contain?
Programme notes inform an audience about what it is they are to hear, but may also introduce particular ways of understanding. Details for each piece include: the composer and, where appropriate, lyricist; the date of composition; and whether it is part of a longer work. Where a song is performed in a language that is not native to most of the audience, a translation is needed. Whether or not a translation should be included has to be established early, as it will need to be accounted for in the word count and in the layout. The copyright on any translation will need to be checked, which adds to preparation time. The notes also cover key features of a work that the audience may listen out for in the performance and indications of the period and style.
3. What research is needed?
Knowing about the background to a work helps you to select the key points that may be of interest to an audience. If you are unsure how to describe a piece, it is sometimes helpful to look at notes published with music recordings to see how other people have described the work. Do not copy other people’s words, however: legally, they will be subject to copyright; and practically, they tell a different story for someone else’s concert or recording.
With the research, consider what it is that you need to know.
Sources on the composer and lyricist:
Biographical dictionaries (usually free online access through your local public library);
Biographies (available on loan from your local public library or through inter-library loan that your local library can organise);
Music dictionaries and encyclopaedia.
Sources on musical styles and periods:
Music dictionaries and encyclopaedia;
Journals and books on music;
Background notes in edited music volumes;
Your own experience of performance and listening to music.
Sources on the words (where appropriate):
Text of the full work from which an extract is taken;
Introductions to anthologies or collected volumes by that writer.
4. Where do I start with writing the programme notes?
You are likely to have a limited word count, based on criteria for an examination or the style and production costs for the programme. Knowing that you have only a few words should not stop you from starting to write. Tell the story of the programme. The story could be why the pieces have been selected, such as for a particular anniversary or on a set of themes.
Once you have introduced the story, you can start to add in the details of each piece. You might choose to describe each piece separately, or to weave them into the story. Describe the pieces in the same order as they appear in the concert, otherwise the audience may be confused.
When you have a full draft, you can go back to edit the text to meet the word count and ensure that it is a balanced account, giving appropriate weight across the concert items.
5. How will I know whether I have produced good programme notes?
At the draft stage, ask a friend or colleague to review your text. Did it make sense to them? Did it make them want to listen to the music? Did they learn anything new or unexpected from the programme notes?
Good programme notes should add to the enjoyment of a performance. They are not an end in themselves, but should inform an audience about what is being performed and inspire them to listen and to form their own views on the music.
When I had lessons as a child, no teacher I encountered seemed to have any formal policy when it came to the lessons they offered. It was predominantly pay by cash or cheque on the day of the lesson. I can’t remember any teacher with a formal cancellation policy or suchlike.
Fast forward several decades, and an increasing number of teachers now have formal studio policies and sets of terms and conditions. I’ve had many incarnations of these over the past 18 years, some more successful than others. This move towards more formal policies, is, in my view a good thing, and a reflection of the increasing professionalism of private teachers.
If you’re a private music teacher, you might wonder what the point of having a policy is. Indeed, teachers often tell me they’ve never had any problems and work on a goodwill basis.
The problem is that in my experience, and in the experience of many teachers I know, eventually, the goodwill runs out and the problems begin to appear. It’s at that point that the lack of any formal, written policy becomes a huge barrier.
Scroll down for a free downloadable checklist to help you plan or revise your studio policy.
So, why might it be a good idea to have a studio policy?
1. As a teacher you’re clear what you’re offering
I’ve written previously about the need to, as a teacher, set clear boundaries. How many lessons are you offering? How long are they? What are you charging for these? How are you charging them? When will payments be due? How will you collect payments? If you’re not clear about what you’re offering, your students (and more often than not, their parents) aren’t clear what they’re getting. In these situations it’s easy for misunderstandings to occur.
2. Your students are clear what they’re getting
This is really a natural follow-on from the point above. As your students will be paying you for your services, I think it’s only fair that there is some clarity around what they are entitled to for those lesson fees in return. Technically, if payments are not made, you could withhold those entitlements, but without being clear what these are to begin with, it can all too easily become a grey area.
3. It avoids awkward conversations
OK, it probably doesn’t avoid every awkward conversation, but it helps lay down some ground rules. Possibly the most important policy is for cancellations. Do you require notice, if so, how long? Can missed lessons be made up at a later date? What happens if you, as their teacher, has to cancel? If a query does arise, it’s useful to have these clear policies in place. If you don’t, then you run this risk not only of losing students, but also losing money too.
4. It protects your income
As teachers, we’re all in slightly different financial positions. I know many teachers for whom the money they earn from teaching is supplementary to another income, or to the income of a partner or spouse. That said, there are others of us, like me, for whom teaching makes up the bulk of our entire household income. I have bills to pay, and if my students choose not to pay me, I may end up in a position where I’m not able to meet my financial obligations. It it is easy for a domino effect to ensue. If you have no studio policy and someone doesn’t pay you, there isn’t an awful lot you can do to recover that money.
5. Everyone knows where they stand
Perhaps the final point is a culmination of all the above. By having a studio policy it is clear what your students can expect from you, and it’s clear what you can expect from them. When things go wrong, you have a written policy to refer to. It might not solve every problem you encounter, but it can help. But, be warned, if you have a policy, you must be prepared to enforce it. Of course, hopefully, you won’t need to, but don’t use your studio policy as an empty threat.
When it comes to writing your studio policy, there is no one-size-fits-all approach. You need to consider your own situation carefully when writing your policy. Although someone else’s may look great, it might not suit you.
If you haven’t yet got a studio policy, or you’re looking to revise yours, I have collected together some useful articles and blog posts on Pinterest. Additionally, I have created a checklist of ideas to help you plan or revise your policy. You can download this for free here.
Note: the advice here is aimed at singers entering for the DipABRSM in either performance or teaching; however, the advice applies more generally, particularly to the LRSM and FRSM.
As I have blogged previously, the quick study can often be the scariest part of an ABRSM diploma, and this is true for singers as much as it is for any other instrumentalist. That said, the quick study does present a particular challenge to singers as it is provided and administered in a slightly different way.
Like other candidates, singers also receive five minutes to look through the test and try out any bits they want to try before performing it. Singers will note from the quick study example on the ABRSM website that the test contains an accompaniment; however, the piece is to be performed unaccompanied in the exam. To quote the syllabus:
The Quick Study tests for singers are printed with a simple piano accompaniment, which candidates may use if they wish, to any degree of fullness, during their preparation time. During this time, candidates may also play any part of the vocal line at the piano. The actual performance of the test is unaccompanied, although candidates who need to relocate their pitch may play a guide note (from the vocal line), as appropriate. Candidates may also use the piano to play the key-chord and their starting note before performing the test. Examiners will not assist candidates as accompanist, nor will any other party be permitted to. Candidates must sing the text and will be offered a choice of English or Italian words.
With that in mind, here are some top tips to help you with this somewhat unusual test.
What’s the point of the accompaniment?
Good question! Although an accompaniment is provided, it is not used in the performance of the quick study. As a singer, you may be used to performing an unaccompanied folk-song, but the repertoire of unaccompanied songs is fairly limited. In that sense, the accompaniment makes it much more like a standard song you’re used to learning and performing. It can also help you during the preparation time, and during the performance, can give you an outline of the harmony and harmonic progressions in the piece. Watching out for modulations, more obvious in the accompaniment, is especially useful.
Tip: when you next work on a song in your repertoire, think about how much you look at the piano accompaniment? I expect you look at it more than you may have thought. How does it help you?
How should I use the accompaniment?
How you use the accompaniment (if at all) is entirely up to you. If you are a competent pianist, you may like to play the accompaniment whilst you sing the vocal line; however, I don’t think this is the intention. Rather, as I say above, the accompaniment offers some sense of the overall harmony and structure of the song.
One thing I think is quite important here is that although you won’t be accompanied during the quick study performance, the accompaniment nevertheless exists. In that sense, I would advise that you perform the test as if you were being accompanied. This helps you to not only keep the momentum going but to shape the performance too.
Avoid falling into the trap of meandering through the notes with only an approximation of the rhythm. By all means, put your own stamp on it, sing it with expression and character, but perform it as if you were being accompanied.
Is it a good idea to play the vocal line during the preparation time?
When we learn new song, we often ‘bash through’ the vocal line to learn the melody. You could do this during the preparation time, but five minutes will fly by. Also, you won’t be able to play the vocal line during the performance so it’s wise not to be too reliant on it during the preparation time.
My suggestion is to try singing the vocal line yourself, and only use the piano the check or to play through any tricky bits.
Should I use the piano during the performance?
During the performance, you are allowed to use the piano to relocate your pitch (from the vocal line), and to play the key-chord and starting note before you begin. You should definitely use the piano to play your key-chord and starting note – no question. If you’re not used to doing this, I encourage you to do it with songs you’re already learning. The key chord will help cement the key and help the harmonic flow of the piece, linking it to the accompaniment I talked about above.
Whilst you are allowed to use the piano to relocate your pitch, I would urge caution. Try to do this only at the beginnings and ends of phrases as to not disturb the flow of the piece. Also, try to use the piano rhythmically as part of the performance. Don’t just sound random notes here and there. It is unlikely that you’ll want to sit at the piano to perform the quick study test, so you don’t want to be bending back and forth down to the piano.
Tip: if you do need to relocate your pitch, do it when you’re not singing, as suggested, at the beginning and ends of phrases. Using the piano to find notes whilst you are singing not only disturbs the flow of the performance but also highlights note errors which may otherwise have gone unnoticed!
Use the accompaniment to get an idea of the form and harmonic structure of the song;
Perform the song as if it were accompanied;
Don’t rely on the vocal line during the preparation time. Try to practise as much as you can without it, then use it to check;
Do play the key-chord and starting note before you perform the test;
If you need to relocate your pitch, try to do it only at phrase endings and beginnings, and not at the same time as you’re singing.
If you’re looking for some help and guidance with the quick study, you may be interested in my online diploma mentoring. As part of that, I can listen and offer feedback on recordings as you prepare.
I don’t know about anyone else, but one of my jobs over the summer is to make some attempt to sort and reorganise music, organise resources and generally tidy up my teaching studio. I’d say there are now an overwhelming number of teaching books, resources, websites and methods available, not to mention sheet music targeted specifically at the educational market. It can be completely overwhelming to know where to begin.
What’s clear is that none of us have either the time or the funds to explore or acquire everything that’s out there. It’s just not possible, and in some ways, why would we want to? In this blog post, I want to share some practical actions you can take to help avoid feeling totally and utterly overwhelmed by the resources available.
1. What’s your teaching philosophy?
What matters to you most in your teaching?
What is the knowledge and skills you’d like your students to develop?
Which things would you like your students to experience in their lessons?
These are important questions, yet many teachers feel unsure when it comes to their teaching philosophy. It’s easy to become enveloped in everyone else’s philosophies, and let’s be honest, it requires a certain amount of confidence to develop our own. With the teaching diploma candidates I mentor, this is something the think about a lot as it affects so many other areas.
‘Philosophy’ is a scary word, but start by thinking about what you want your students to get out of their lessons. You may find it helpful to reflect on your own learning – how might both the positive and negative teaching you experienced affect the way you teach now?
When it comes to choosing resources, having an idea of what’s important to you can help to sift the wheat from the chaff. If you believe that your students should be good sight-readers, you may choose a method book which develops note-reading in a pattern- or interval-based way. If you want you students to have good technical skills, you may choose a method book which develops technique from the very first lesson. If, like me, you’d like your students to develop the independent learning skills required to take ownership of their own learning, you may rightly be cautious to choose resources which do not rely too heavily on rote-learning.
Tip:think about what you want your students to get out of their lessons. What is your teaching philosophy? How do you think the resources you currently use facilitate that? Are there gaps to be filled or even resources to be retired?
2. Know your students.
As a teacher, you know your students pretty well. As time passes, you know what makes them ‘tick’, what interests them, and which skills they most want to develop. Inevitably, the books and resources you own, and those you seek to acquire will be in response to the needs of particular students.
There are many excellent resources out there, and hundreds I would recommend. I don’t own them all though. Fantastic as many are, they don’t suit my needs either as a teacher, or those of my students. Simply because I neither own nor use a resource, it is not necessarily a criticism of it. Rather, I have selected resources which best align with my teaching philosophy and with the needs of my own students.
Tip:if you’re looking to buy new books and resources, think about which of your students you will use them with. However wonderful the resource, if you’re struggling to decide which students you might use it with, maybe it’s not for you.
3. Set aside time to explore.
We are all busy, and time is inevitably limited. I suspect I’m not the only one who suddenly finds themselves hunting for a particular resource on the day of the lesson. It’s worth putting aside some time, maybe once a term, to evaluate the resources you already have and to see whether there are any gaps you might need to fill. Maybe you could get together with other teachers to share resources and ideas, either in person or online.
That said, you will never be able to own or use every book or resource which comes to the market, nor should you aspire too. Similarly, don’t discard books and resources because they are ‘old’. Some of the tried and tested approaches are still the most effective. When you evaluate your resources, think about whether those you use still meet the needs of you and your students. If they do, then that’s great, you shouldn’t feel obliged to replace them.
One word of caution though: if you’re using the same books and resources without considering alternatives, then I would encourage you to explore what else might be out there.
Tip:try and set aside time specifically to evaluate the resources you own, and to see whether, in consideration of your teaching philosophy and the needs of your students, whether there are any gaps to be filled. Also, consider whether you should be budgeting for new books and resources. Nicola Cantan has written a blog post here about budgeting in the teaching studio.
4. Do your research.
I’ve written previously about the need to do your own research and I feel quite strongly about this. When we become overwhelmed by the volume of resources out there, this often comes as a result of comparing ourselves to others. We see other teachers using things and we feel that we need to join them in order to keep up. It’s easy to feel that if we’re not using the latest method book or the latest app, we’re not keeping up.
What suits one teacher, and indeed, one student, won’t necessarily suit the next. There have been several instances over the past few years where certain resources have been pushed online as being the ‘must have’ in your teaching studio. They aren’t (or at least, they may not be). They’re just another resource in a long line of resources to hit the market. The temporary excitement will fade and the latest fad will pass. In 18 years as a private music teacher, I’ve seen this time and time again.
Once you’re clear about your teaching philosophy, you’ve considered the needs of your students and you’ve set aside time to explore, it’s time to roll up your sleeves and do your research. The internet has made this easier than ever. Not only can you explore books and resources online, but you can ask about and discuss them with other teachers. You can read online reviews, of which there are many (although, you should be cautious here, as not all online reviews are independent). Ultimately though, you need to make the decision. Just because everyone else seems to use a particular resource and even if it has glowing online endorsements, you can still walk away in favour of something else.
Tip:when choosing a new resource, consider, (a) how does it align with my teaching philosophy; (b) how does it meet the needs of my students; and (c) have I researched it independently. Not only will you build a library of books and resources which suit you and your students, but you will probably save money in the process.
I’ve recently celebrated 18 years as a private music teacher. In that time, there have been many ‘ups and downs’, and after 18 years, I’ve definitely learnt a few things and I’d like to share some of them with you here. If you’re just starting out as a private music teacher, I hope they might offer some reassurance and some food for thought.
1. You need to set boundaries (and stick to them).
When I started teaching in 2001, I taught whenever people wanted a lesson. I was completely at the beck and call of the students/parents themselves, seemingly available 24/7 whenever it suited them. It took a long time for me to realise that actually, they respected me far more for having clear boundaries. Admittedly, you’ll never please everyone, but boundaries do help. Everyone’s boundaries will be different, but here are a few of mine:
I have set days and times when I’m available to teach. I don’t accommodate teaching outside of those times;
I teach one-to-one for no more than 5.5 hours a day, and for no more than 2.5 hours without a 30-minute break in between blocks of lessons;
Breaks and mealtimes are built into my teaching timetable;
I don’t teach at the weekend.
2. Some people always pay late.
Dress it up however you like, but no matter how many policies you have, no matter how clearly you think they’re worded, there will always be one or two who think these don’t apply to them. There will always be the ones who pay late, even when the invoice clearly states when payment is due. There will always be one or two who attempt to find a loophole in your cancellation policy. I’ll be honest, these people are few and far between, but, they are incredibly frustrating. That said, by accepting that these people will always exist, it can be just that little bit less stressful when they do rear their heads.
3. Some students won’t practise.
I used to worry about students who didn’t practise. I used to worry a lot. The reality is that progress is inevitably linked to practice, so in some ways, these worries are justified. One thing I’ve come to accept over the past 18 years is that as a teacher, I do not have a monopoly on why students come for lessons. I know that for many of them, the experience and enjoyment of he lesson is the most important thing, and therefore, practice is not a priority. Yes, there are times when a lack of practice becomes problematic, but I don’t think that practising at home is the ultimate pre-requisite of having lessons. Let’s be honest, I don’t know about you, but I did very little practice when I was having lessons as a child!
4. You cannot specialise in everything.
I’ve already alluded to this above because this also comes down to setting boundaries. You cannot be everything to everyone, and that is a fact of life. I’ve written previously on this topic, but it’s OK, and in fact, I think should be encouraged, to be honest about where your skills and interests lie. Over the years, I’ve set some fairly clear boundaries in terms of what I do and don’t teach; for example:
I teach singing, but I only specialise in classical and music theatre;
I set a minimum age for the subjects/instruments I teach, and I stick to these.
There is a general myth that the self-employed and freelancers are always short of work, and therefore, should take on everything offered to them. Ultimately, this never works.
5. Don’t forget to nurture your own creativity.
This is hugely important, and it’s still something I struggle sometimes to balance. I think it’s easy when you’re teaching to become consumed by the work itself. I think this is especially true when many of us started teaching as a result of music being our hobby. But, if we want to nurture the creativity of others, then we have to nurture our own on music-making and enjoyment too. There have been times for me when the act of teaching has taken away the enjoyment of music itself. Striking a balance is so important. Never lose sight of the reason you learnt an instrument right in the beginning. I often talk about this as well as offering some inspiration in my monthly newsletter Creative Notes which you can sign up for here.
6. You’ll invest in resources you never use.
New books, methods and resources appear on the market at an alarming rate. I’ve blogged about this previously. The advent of the internet has only increased their availability. We’ve all been guilty, at one time or another, of jumping on a bandwagon, buying the latest ‘thing’ which inevitably we use once and which then sits on our shelves gathering dust. I think it’s worth taking a moment to accept we’ll all acquire books and resources in a moment of enthusiasm which ultimately, we won’t use in the longer-term.
7. Music isn’t everyone’s number one priority in life.
As teachers, music is inevitably a huge part of our lives. For many of us, it was a hobby before we made a job out of it. We are passionate about music, and it’s as much an escape as it is a business for us. The same however, does not apply to everyone else, including some of our students. I often come across teachers who are frustrated to the point of exhaustion because they cannot fathom why music isn’t their students’ number one priority. Sometimes, we have to take a step back. Just because music isn’t always our students’ number one priority, it doesn’t mean they are any the less enthusiastic, committed or interested. As I said above, we don’t have a monopoly on why they come for lessons and we should be happy to meet them where they’re at.
8. We are not creating clones of ourselves.
One of the things I love about my job is being able to inspire others in their own music making. That said, I think there’s a fine line here, and I’ve always been absolutely clear that my job isn’t to teach in a way which means my students simply copy what I do. I love being able to share my passion and enthusiasm for music with my students, but I’m also aware that I need to facilitate an environment which supports them to develop their own passions. I am always cautious of terms such as ‘passing on’ musical skills and knowledge. It’s true, passing these on is inevitably part of teaching, but it’s not the same as creating an environment in which students can construct their own knowledge and develop their own skills.
9. There will be times when you wonder why you’re teaching.
I know this might come as a shock to some people I know, but there have been plenty of times over the past 18 years where I’ve considered throwing in the towel and stopping teaching. I think it’s a fact of life that whatever we do, there’ll be times when we feel like that. I think this is often the time when we need to nurture our own enjoyment of music even more. Sometimes, it’s a good thing to go back to where it all started.
Cake possesses a magical power to make so many things in life OK. It’s also a great way to bring people together and create a sense of community. I shouldn’t say this, but it can often be a good bribe too! Anyone who’s worked with me will know that cake, more often than not, baked by me, features prominently.
Who remembers their Chester’s Music Practice Book from when they had lessons as a child? I do, and I have a feeling I’ve still got mine somewhere. These tiny little books, the size and shape of which matched nothing else, were the mainstay of lessons for me and many others during the early 1990s.
You can still buy them, along with a range of other practice diaries, so you may be forgiven for wondering why we need another. In this review, I want to focus on a new practice diary created by Alex Bowen of Stepping Tones. Alex is a piano and music theory teacher, and Dalcroze specialist based in Derbyshire. To quote Alex:
The vibrant Stepping Tones Practice Diary provides an exciting and creative way for young musicians to keep track of their lessons, practice, ambitions and achievements. This book is brimming with fun features to engage curiosity, with special tools to help pupils love practising regularly and efficiently!
I think the most intriguing thing about this diary is that it is A4 in size. When it comes to practice diaries, we are generally used to A5, or even A6 productions. I think this is a huge advantage because no longer do teachers have to cram everything into a small space, but also, the diary will be similar in size to the students’ books themselves.
There are 40 double-page spreads for the lesson notes and practice charts. At the start of the book there are examples of ways in which these can be used, but the intention is clearly that they should be adapted to the needs of each individual student and teacher. Alex intends to supplement these examples with some short videos which will show how the diary can be used in practice.
One innovative feature of the practice diary is the ‘flexi-stave’ pages. These can be used both for text (covering both large and small handwriting) and music notation. This feature is hugely beneficial for both teacher and student and again, can be adapted to a wide range of different needs. Each double-page spread of the 40 weeks includes a practice tip and a musical word of the week.
At the back of the book there are some pages to enhance and develop theoretical knowledge such as dynamics and tempo, and quick reference guides such as those for the circle of fifths. There are also a number of puzzle pages and further blank staves. Right at the back there is space for students to set targets and a sticker chart.
It is clearly presented, and above all, adaptable. It is sturdily wire-bound which should last longer than standard comb-binding. As well as enough for a year’s worth of lesson and practice notes, the added extras really enhance this beyond the standard practice diary.
I would have no hesitation in recommending this to teachers who still utilise a paper practice diary, and at just £5.99, it is excellent value.
Stepping Tones Practice Diary is available to order direct from Alex here at £5.99.
I was sent a review copy of this book free of charge; however, this review is my honest opinion as a teacher. You can find my Reviews Policy here.
If you’re reading this, you’ve probably taken a music exam fairly recently. Congratulations! Whatever the outcome, I have a huge amount of admiration for any learner who puts themselves forward for any form of external assessment. To me, simply turning up to play or sing in front of someone else in an exam situation is an achievement in itself.
Students are rightly keen to know the numerical results of the exam they’ve taken, alongside which band (e.g. distinction, merit, pass etc.) the result fell into. But, there’s another piece of paper which comes with your certificate, the mark sheet, and this is something which, when used effectively, offers a lot which can help a learner on the next step of their musical journey.
Accepting that deciphering both examiners’ handwriting and language (special ‘examiner speak’) can be challenging, rather than being filed away behind the certificate, the mark sheet is well worth exploring further.
Most exam candidates come out of the exam remembering all the things which went wrong: the words they forgot, the scale which had a false start and the incorrect answer in the aural tests. This is a natural response, and in some ways, it’s a necessary part of ‘moving on’ to go through that process of reflection.
When your mark sheet comes, there are usually a good number of positive comments and we should take time to celebrate those. Exam candidates are notoriously good at remembering all the things that didn’t go to plan, but it’s worth remembering that examiners see a much bigger picture. I know that following my own candidates’ exams this past term, many of the things they felt hadn’t gone well were, in fact, not even noted by the examiner.
Tip:make a list of all the positive comments. You may surprise yourself by how many there are. Celebrate them! If you like, stick your list up somewhere prominent where you can see it. There are many times on our musical journeys where we need a confidence boost, and these positive comments are something to return to. At the bottom of this blog, there’s a sheet to download to help you with this process of reflection.
2. Is the work you did before the exam reflected in the comments?
Before we enter for an exam, we’ll have almost always worked on specific things which we wanted to improve on. We might have worked on the tone quality of our scales, or the dynamic variation in our pieces. We might have worked on the tuning of our unaccompanied traditional song, or on the singing back the melody in the aural tests. Knowing what we’ve worked on in particular, it’s worth cross-referencing this against the mark sheet. Did the examiner pick up on any of these things? Is the work we put in reflected in the comments?
Tip: if you worked on something and it isn’t mentioned in the comments, don’t be disheartened. I take the fact that it wasn’t mentioned as a positive.
3. What can you learn from the comments?
I think the most important thing about the mark sheet is seeing how the examiners’ comments can help us take our learning forward. It’s easy to see the examiners’ comments as criticisms, but they can offer us some pointers for things we can work on next and seek to improve further.
Part of taking an exam is getting feedback on your performance. The examiners’ feedback can by hugely valuable as you start to learn new pieces, work on specific areas of technique, or seek to improve your skills further.
Tip:make a list of things that the examiner has identified which you’d like to improve and work on. See the comments in as constructive a light as possible. Use the examiners’ assessment to take your learning forward.
4. Reflect on the exam journey
Taking an exam can be a nerve-wracking and often stressful experience. We invest a huge amount of effort into preparing for exams, and we often underestimate the emotional input required. When you’ve got the result and the mark sheet, it can be a good time to reflect on the whole exam experience.
Think about the process you went through as you worked on your pieces, learnt your scales and sought to improve your sight-reading. Is there anything which you might have done differently? Not everyone who takes an exam goes on to take another one, but many do. That said, reflecting on the way we prepared for the exam can help us in areas of our lives beyond music.
Whatever your exam experience, remember that it’s a huge achievement to just put yourself through it. Remember, that as self-critical as we inevitably are, there’s much to celebrate about what we’ve achieved.
To help with your reflections, I have created a worksheet which you can download here. You are encouraged to adapt it to suit your own needs, but it offers a framework by which you can utilise the possibilities of the mark sheet and reflect on the overall exam experience.