[Semitone]

Three of my four pupils are in this age group.
How do you keep the motivation to practice going?
What rewards do you give if any?
Any recommended materials particularly for teenagers?

Thanks,

Semitone.

[emmac]

I'm not a teacher, but when my daughter was learning piano as a teenager she enjoyed being introduced to jazz and blues pieces as well as the more traditional repertoire - eg Pamela Wedgwood's "Jazzing about" series for the younger end; and Chistopher Norton's "Concert Collection" and other books. I'm sure teachers would know of other good composers to try.

[markymark]

Trying to vary repertoire is a good idea. Even giving the children well known songs such as theme tunes for Eastenders for example, simplified versions of pop songs can be effective too. Depending on how long children have been attending piano lessons, they should already be starting to develop either a good attitude towards music or starting to move away from it. Parental involvement is always useful, particularly where short term targets are being set and, if applicable in your case, written progress/summative reports on children's progress.

When teaching privately, you always come across children/teens who are being made to learn piano by their parents. Being a teacher, I understand that enthusiing children to do their best and to help them achieve their best is part of our role. However, if kids are lying on the ropes, a swift kick is perhaps what is required from Mum or Dad.

Giving children feedback is also useful and discussing to what extent they have achieved targets from set homework the previous week. Before jumping off the deep end, make sure you give them a chance to know exactly what you want from them and what they need to do in order to succeed.

This may sound rather rose-tinted in places but it does work. Rewards are also important as it reinforces the extent to which you are pleased with their work. I would suggest having 'levels' of reward so that children do not become content with slight improvement in place of outstanding achievement if rewards are the same. Some ideas include smiley stampers, stickers (scented or personalised), special notes home or small certificates for extensive and/or consistent effort and progress. It's really up to you as to how far you want to go down the positive reinforcement track. Just be careful to balance this with constructive feedback and. if necessary, refraining from awarding anything.

[Celestite]

Encouraging them to play duets might help, not only with you but with each other. How about an end of term recital so they have something to aim for and the motivation of wanting to perform their best?
There is a wealth of jazz and blues music available for the age group you describe. If you have a decent music shop locally it would be well worth a visit because you know your pupils' individual personalities and, as with all things, what suits one won't suit another. It's also a very useful exercise for keeping abreast of new material. I try to make a point at least once each academic year of browsing the shelves to find out what's new, if only to give myself a breath of fresh air and a little light relief from the tried and trusted repertoire for pupils.

[Semitone]

Thank you to those who replied to my post. This was research for a short course - Teaching Music Effectively and was the subject for my assignment. The course has now finished, so once again, thank you for your advice given.

Semitone.

[Gill the Piano]

Emma, Marky & Celestite will want to know what mark they got...

[Celestite]

Absolutely. I wonder if I'm Teaching Music Effectively?

[Gill the Piano]

I think you calculate it by the number of concussions divided by the number of pupils in tears multiplied by the number of bruises visible to the naked eye...

[Celestite]

Does blood on the keyboard count?

[dave brum]

I can provide the sweat and tears then...

[Gill the Piano]

How's it going, Dave? Read the book yet?
Yes, bloodstains can up your percentage, Celestite!

[dave brum]

Hello Gill

This is absolutely NO pathetic excuse, but I simply haven't gotten around to reading beyond page 1 of the book as yet, but I intend to make a start on it. Tonight would be a good night as the TV's full of crap, and I need something to take my mind of things (again).

Greetings dear Celestite!

I often wonder about Oscar Peterson's bloody keyboard if he used to spend up to 18 hours beside it some days. And his 'pianist's back' to boot! RIP Oscar.

[Gill the Piano]

Put the book in the bathroom; it's BOUND to get read in there...
You do know about the CDs with the exam pieces on, don't you Dave? Just a thought, might be useful. Don't be frit by the speed though!

[Celestite]

Greetings Gill and Dave
Do I have to give back marks if it's my blood that's spilt?

[dave brum]

Yeah, I've seen the CDs on sale, but I may not need them as I'm managing with the Sarabanda okay, and this other piece whose name escapes me. When you've been ROCKIN' for 37 years, the world of classical music takes some learning about as well as the technicalities of the piano. As for the book, wonder what my lady wife will think if she finds books and things lying about in the khazi. I have actually been known to take sheet music books into the bath with me to look at long ago when I was doing basic stuff.

I get really squeamish so I think I'll take a raincheck on spending my dole money travelling from one side of England to the other for lessons a-la Celestite, then

[Celestite]

Rest assured, Dave, the art of successful teaching (a bit like the secret of a happy marriage) is to make sure the injuries don't show!!

[dave brum]

Ooh, and by the way I made a start on the book (but not in the smallest room!) Could someone please tell me how the aural exams work? Is it along the lines of identifying major scales from minor ones sort of fing?
Thanx.

[Gill the Piano]

It's probably on the ABRSM website somewhere, but Celestite said it was hard to navigate, so here goes;
1A To tap the pulse of a passage of music played in 2 or 3 time by the examiner. The X (I'm not typing it in ull every time!) will commence playing the passage and the candidate will be expected to join in asap by tapping the beat, stressing where the strong beat falls. The candidate will then be asked to state the time. (NB, don't say 'half past two; no extra points for smart arses.)
1B To sing, as an echo, 3 short phrases limited to a range of three nots in a major key played by the X. The echoes should follow each phrase in strict time without an intervening pause. The key-chord & tonic will first be sounded and the pulse indicated. (ie, 3 blind mice (3 blind mice) see how they run (see how they run) )
1C To recognise a rhythmic change to a 2-bar phrase played twice by the X, with the change being made in the 2nd playing. Candidates will be required to recognise & tap or describe the change. T he pulse will first be indicated. The X will be prepared to play both versions of the phrase a 2nd time if necessary.
1D To identify certain features of a piece played by the X. The features will be copnfined to contrasted dynamics (p/f), gradation of tone (dim/cresc) and articulation (stacc/legato), of which the X will select 1 or 2 and advise the candidate accordingly before playing the piece. Questions on the selected features will then follow. Candidates are encouraged to use Italian terms in their answers where appropriate. (ie, was the ending louder or softer than the start, etc)

[Celestite]

Hi Dave
It is actually possible to buy an ABRSM book of specimen aural tests for grades 1-5 so that you can have a look at exactly what is required for each grade. It might make it seem a little less daunting than just reading the syllabus in black and white! You should be able to get it from most good music shops or you can buy it direct from the Board by visiting their website and going to their publishing page. It costs £3.95 (plus p&p if you do it mail order, of course).

[dave brum]

Thanks for that piece of info, Gill.

I'll refer to it in detail a little bit later on as I've just come back from 'Edward Elgar town' with two pints of old and filthy on board and a pair of achy shakey feet.

Thank you too, Cel!

[Gill the Piano]

In my experience, a drop of the old electric soup helps one to absorb jargon...and I know Barrie will back me up on that one!
The only thing about getting the specimen aural test book is...you won't have anything to practise with if you DO go to a teacher for lessons! There's another book called Aural Training in Practice by Ronald Smith which you might be able to get from the library - get book 1 which covers grade I.

[markymark]

Which board are you planning on using?

Trinity Guildhall for example have made huge changes to their aural testing. Their tests used to be rather complicated and tested skills that would be utterly useless owning to the fact the everyone checks their melodics before committing it to manuscript paper.

The presentation from the Chief Examiner made good sense.

Anyway, just be aware of the variations of the tests!

[Gill the Piano]

Marky; Dave's doing ABRSM. He's cracked the pieces, has the recordings, but doesn't have a teacher. So this may be a concerted effort on the part of the UK Piano Page; we just need to decide on the venue for the party when he passes!

[Celestite]

Well, I don't mind volunteering as a virtual teacher if it means a virtual party when that distinction certificate lands on the mat. No pressure, Dave!

[dave brum]

OOOOOOOOOOoooooh, well how on earth do you follow that!!

I'm all for any excuse to party, and for a bit of self-denial about the concept of approaching middle age. As for a venue, definitely Celestite's conservatory if I pass with flying colours!!

So absolutely no pressure then....

[Celestite]

If I fill it full of musos then I suppose I'd have to call it a conservatoire!

[dave brum]

Le Conservatoire Musique de Celestite, now that's a bit of the rive gauche in Essex

[markymark]

[markymark]

Sorry, dave! I'm only joking!

We've all been there! Well, that is with the likely exception of Gill. If she was in any way as aggressive when she started playing as she is now, I'd say she walked into do Grade 1 practical and walked out with blood-stained Grade 6 certificate!

[dave brum]

Have you ever seen the TV comedy 500 Bus Stops with low-flying pop keyboardist John Shuttleworth?

Well, that'll be me when I pass my grade 1. Playing to packed-out gigs in Iceland.

Portable keyboard perched on top of one of the display freezers (coz it's just about the right height)...

[Gill the Piano]

Nah, you're right, Marky; we HAVE all been there. Doesn't matter what grade you are, you're always working at what seems horribly difficult. Then a year down the road, you look at what was causing you so much grief, and you think 'What was the fuss about?'
Book La/Le Conservatoire de Celestite ready for the hooley!

[dave brum]

By the way, Marky, will you tell an ageing rocker like moi who Margherita Pracatan is?

[Gill the Piano]

God, she's SPLENDID; Clive James found her, and she 'sings' songs which she's evidently learned phonetically accompanying herself on a dreadful little plastic pig thing. Hilarious. I bet she's on You Tube somewhere...
The 21st century equivalent of Florence Foster Jenkins.

[Celestite]

Oh Dame Flo! My all time heroine. If ever you stop to wonder if it's all worth it, listen to her - if she made it big, anyone can! Go for your feather boa, Dave! Incidentally, Margherita P is on You Tube - priceless! I'd forgotten just how truly awesome she is.