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.
Teaching 10's to teens
Moderators: Feg, Gill the Piano
teens
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.
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.
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.
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.
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.
Teaching tens to teens
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.
Semitone.
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Gill the Piano
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Gill the Piano
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- Posts: 4032
- Joined: 25 Oct 2003, 19:39
- Location: Thames Valley
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Gill the Piano
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- Posts: 4032
- Joined: 25 Oct 2003, 19:39
- Location: Thames Valley
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Gill the Piano
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- Posts: 4032
- Joined: 25 Oct 2003, 19:39
- Location: Thames Valley
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Gill the Piano
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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)
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)
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).
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).
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Gill the Piano
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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.
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.
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!
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!
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Gill the Piano
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Well Margherita Pracatan did really well for herself wooing crowds of holiday-makers on her keyboard! Maybe this is dave's calling. Sure doesn't that YDP131 of yours have rhythms, dave?Gill the Piano wrote: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!
I can see it all now! At an Ibiza night club, lights go out when suddenly a voice booming over the PA system echoes "Brooouuuuummm! I loff you!" All flood lights light up the stage to reveal dave, sitting conscientiously at his YDP131, poised to start into Lionel Salter's "Frogs" followed by a D minor arpeggio. The audience are on their feet, waving their arms in the air, swaying their cigarette lighters to the beat....
Can't you just picture it?
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Gill the Piano
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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!
Book La/Le Conservatoire de Celestite ready for the hooley!
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Gill the Piano
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