The Class of 2018 at the International School Bangkok (ISB) earned very impressive International Baccalaureate (IB) results with a 97% pass rate overall – compared to a world average of 80%. As one of the most rigorous college-preparatory programs, the International Baccalaureate (IB) Diploma Program (DP) is an excellent indicator of all-around academic achievement.
The IB Diploma results for last year’s ISB students were also far higher than the world average in all categories. Of the 114 IB Candidates at ISB, 16% earned a highly impressive score of 40 points or more, putting their performance in the top tier of candidates worldwide. Two of these students scored a remarkable 44 points, while two more earned the ultimate achievement of a perfect 45 points. The average score around the world in 2018 was 29, where the average score for ISB students was a very strong 35 points.
In addition to this, of the 172 ISB students that took IB subjects, 92% scored above the respective world average for those courses, and 83% scored 5, 6 or the highest possible score of 7. The average score for ISB was 5.51 over all courses. Out of the 61 IB subjects that ISB students took, the average score was at least 1 point above the world average. This is a remarkable statistic. In another statistic that speaks to ISB’s multinationalism and multilingualism, the school was able to award 34 bilingual diplomas this year, in Chinese, English, French, Hebrew, Japanese, Korean, Norwegian, Spanish and Thai.
Students were also admitted to a wide range of outstanding colleges and universities that match their aspirations, talents, and achievements. This year, the school had multiple admits to such well-known institutions as Stanford, Wesleyan, Columbia, University of British Columbia, King’s College London, University of Hong Kong, USC, UCLA, Chulalongkorn, University of Virginia, University College London, UC Berkeley, University of Toronto, University of Michigan, Boston University, and Georgetown, as well as offers from Brown, UPenn, National University of Singapore, Haverford, Williams, LSE, Cambridge, and many more.
We congratulate our entire Class of 2018 for their exceptional achievements. Go Panthers!
from International School Bangkok https://ift.tt/2wr4tmj
Stage presentation is an important topic, not just for those who perform regularly, but also for students preparing for exams, diplomas, or school concerts and festivals. In my latest article for Pianist Magazine newsletter (which you can sign up for here), I offer the first of two articles on stage presentation, with a few ideas for honing and developing a more assured approach to performing. I hope it’s of interest. You can read the original here.
This topic might, at first glance, appear frivolous, but it’s important for many reasons, not least to illustrate how we should ideally conduct ourselves onstage. But it also helps various aspects of our piano playing, from choice programming to addressing that all-consuming issue; learning to focus whilst playing. It’s for these reasons that this ‘5 Top Tips’ article is the first of two on the subject. These tips are reminders for anyone giving concerts, taking exams or diplomas, participating in music festivals, or just playing for family and friends.
Before you play a note or even prepare to play a concert, some thought must be given to programming. What will you play? Your programme choice will reveal your personality, and for an audience, may or may not attract them to your recital. A balanced programme is a good idea, but it can be more adventurous to include some Contemporary music. This is especially true when programming for a diploma exam. For a 35 minute diploma recital, why not consider adding 10 minutes of new music. It doesn’t have to be dissonant or atonal music; there are plenty of Contemporary composers who write in an essentially tonal style.
When discussing your next performance, how do you feel? Excited? Fearful? Probably a mixture of the two. The best way to overcome fear is to keep exposing yourself to it; if you can perform regularly, it starts to take on an element of routine. Whilst routine shouldn’t equate to boredom, repeated performances will help to extinguish nerves, and allow you to feel more in control on stage.
Another way to alleviate any potentially negative psychological aspects of performing, is to really fall in love with the piece or pieces that you intend to play. This is why it is paramount that you connect with your chosen repertoire. Ask yourself the following: why do you want to play your piece? Do you love it? How does it make you feel? If you feel a strong attachment to your repertoire, then you will be keen to communicate this with your audience, which can detract from the worry and fear associated with performing.
Should we address our audience on stage? Some performers prefer to walk on stage and just play, whereas others like to talk to their audience, establishing a connection and informing them about the repertoire. I played classical recitals on cruise ship for many years, and one facet which was crucial to the success of a performance was talking to my audience. Even if you just briefly explain what you are going to play, it sets the audience at ease and, hopefully, brings them into your space.
What will you wear to your concert? Attire is important, adding a sense of occasion. Comfort is crucial, and high heels may not be a good idea for all ladies! Aim to find a style which allows you to move freely, but without looking too casual. In my opinion, a concert is an event, therefore smart is the order of the day. Again, this is especially important if taking a diploma, as certain examination boards mention that suitable attire will be taken into consideration during the exam.
My Publications:
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.
As a leading educational institute in Thailand, International School Bangkok (ISB) is committed to delivering exceptional learning opportunities to each of its students. We believe in learning that is meaningful and transferable, where understanding is constructed by developing and applying knowledge, skills and attitudes.
Debi Caskey, our new Deputy Head of School for Learning, comes to ISB with a wealth of experience that represents this philosophy beautifully. She began her career by teaching special education in the United States, before joining a school in Dubai as a classroom teacher with a focus on reading education for elementary students. She also served as an Assistant Principal before moving to Saudi Arabia and Ecuador. More recently, she returned to the US as an Assistant Superintendent for Curriculum and Instruction – a role that prepared her for similar responsibilities in ISB.
Debi believes that inspiration is the key to learning, taking the approach that if you capture the heart, the head will follow. Her idea of education goes far beyond test scores, as it respects the unique learning patterns that shape the way each young mind sees the world. She also values the additional dimension that teamwork and clear communication bring to the educational process.
As she joins our team, Debi endeavors to ensure that the classroom approach embraced by our teachers is working well in practice, while also reviewing changes in curriculum and listening to thoughts and ideas from the parents in our community. She is there to support and encourage teachers and her role also includes supporting the Head of School in strategic areas for the school. She believes a good educational leader is one who is a decision-maker, a servant, a partner, an example, a counselor and a coach.
Debi is a strong advocate for giving students agency and voice in their learning. She was excited to learn that at ISB, students were given a chance to provide input into which candidate to accept for her own position. “It was fantastic to be able to meet with ISB students and share my thoughts on learning and leadership with them. Seeing how their voice is included within the hiring process made me want to work at ISB even more,” shared Debi.
Debi is joined in Bangkok by her husband, Ric, who is a certified teacher with credentials for teaching Middle School Mathematics, IT, and Special Education in Elementary and Middle School. He has also been the IT Director in three schools. Together they have two children who grew up attending international schools. “Having lived in the UAE, Saudi Arabia, and Ecuador, Ric and I know what to expect and how to adapt to the different cultures present in both our new country and new school community.”
She feels that a successful school has to be able to sustain the positive aspects of its program while also being open to new ideas. She also believes that reading is an excellent way to take lessons from the outside world–but that a full education also depends on expressing one’s own thoughts and ideas. Opportunities for writing and inquiry, along with the ability to choose outcomes and make their voices heard, are key features in the development of students.
Debi’s door is always open. If she’s not in her office then she’s probably doing classroom visits, collaborating with teachers or she’s up in the Learning Design Center (LDC) working with Bronwyn Weale and Elizabeth Rossini on everything to do with our curriculum, helping to ensure we provide the most fulfilling and effective learning opportunities to our learners.
Welcome, Debi, and Ric, to the ISB family!
from International School Bangkok https://ift.tt/2w77atj
It’s a common tendency for students to rely too much on the sustaining (or right) pedal; whether aiming to create smooth legato lines or add resonance, the pedal can have an intoxicating effect. We use a little, and then before we know it, every bar is drenched! The article below is one I wrote for a recent Pianist Magazine newsletter, and I hope the five tips are helpful and of interest. You can read the original article, here.
The sustaining or right pedal can sometimes become an addiction. As an adjudicator, I have heard it being used or ‘ridden’ (as some say!) with alarming alacrity. From the very first note of a piece through to the final chord, students often tend to deploy a heavy right foot as though operating a car accelerator. However, if used with a little restraint, it can add a wonderful resonance and warmth to the overall piano sound. Here are a few ideas to think about when honing pedalling skills:
A little sustaining pedal goes a long way. Practise playing your piece through without any pedal at all for a while. This will secure a clearer interpretation, and will allow you to become aware of legato lines, crisp articulation, and more importantly, assess your legato. If you’ve already been pedalling a piece for a while, it can be a shock to hear clipped melodies (and accompaniment figures) on removing the pedal. Unless your piece is full of large intervals or leaps which are impossible to join via the fingers, aim to use your fingers to create legato as opposed to employing the right pedal.
The most important tool for good pedalling is good listening. This may be done away from the keyboard at first, hearing a work in your head, and then being able to decide where the sustaining pedal might ‘add’ to the sound of a particular passage. Too much pedal can result in unclear harmony and obscured passagework. You may need to experiment widely for the desired effect, and become accustomed to releasing the pedal much more often than previously.
The amount of pedal necessary in any piece will change depending on the piano and a venue’s acoustic, therefore assume an open mind when deciding how long to keep the pedal depressed in a particular bar or passage. It can even be a good idea to incorporate use of the pedal in different ways during practice sessions, with the foot depressed for a fraction longer (or perhaps, shorter) than marked on the score. Again, let your ear be the guide.
Another beneficial skill is the use of partial pedalling. Half-pedalling, half-damping, and flutter (surface or vibrato) pedalling all involve the similar technique of only depressing the pedal, and therefore the foot, a fraction, sometimes as little as an eighth of an inch (depending on the piano). Flutter pedalling is the most widely used, where the foot rapidly oscillates up and down, constantly clearing the sound. The art of using this technique will involve engaging the pedal quietly, literally shaking the foot, avoiding any damper noise. Such application will be dependent on the style of music and your ear.
Occasionally, the sustaining pedal can be replaced by finger pedalling. In some genres, particularly Baroque, it can be beneficial to ‘overlap’ the fingers i.e. keep the keys depressed for longer than written in the score, so the sound runs over into that of some succeeding notes. This offers a similar sustained effect to the right pedal. It is, however, easier to control the release of sound this way, and it generally provides less ‘smudging’ than the sustaining pedal.
My Publications:
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.
For those based in the South East of England, I will be presenting a workshop at Ackerman’s music shop in Hove, East Sussex, on Thursday 16th August (later this week). This workshop, which is primarily for piano teachers, spotlights several Schott publications: Play it again: PIANO and Piano Junior, the new piano tutor method written by Hans-Günter Heumann.
My workshop will focus on helping students develop flexibility (as featured in my piano course, Play it again: PIANO), and will be particularly useful for alleviating tension at the piano. There will be plenty of demonstration and an opportunity for attendees to try out various exercises. I will be joined by pianist, teacher and author, Samantha Ward, who will present Piano Junior, Schott’s new interactive beginners method. And there will also be a chance to explore Casio’s Hybrid instruments. Lunch and refreshments are provided. The event begins at 11.00am and will finish at 4.00pm; it will be held at Ackerman’s Music Shop, 163 Portland Road, Hove, East Sussx, BN3 5QR. You can find out more and get tickets by clicking here. I look forward to meeting you!
My Publications:
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.
Piano courses are becoming increasingly popular, and it’s not hard to see why. They afford students the opportunity to meet like-minded new friends, enjoy excellent tuition, fine food, and a mini ‘holiday’. If the course happens to be situated in a beautiful place, so much the better.
For the last two weeks I have been on the faculty at PIANO WEEK, an international piano school and music festival all rolled into one. It was my first experience at this event. Pianist Samantha Ward is the Artistic Director and Founder of PIANO WEEK, and her husband (also a pianist), Maciej Raginia, is the Creative Director. Since its inception around five years ago, this course has gone from strength to strength, and is attracting ever larger groups of pianists from all around the world; we were joined by pupils from Taiwan, China, Switzerland, Italy, France, the USA, and the UK.
PIANO WEEK is just that; one week of highly intense piano study punctuated with concerts and lectures. During the first week, participants were predominantly children, and in week two, mostly adults. I was the only faculty member who stayed for both weeks (other than Samantha and Maciej). The course took place at Moreton Hall (pictured below), a large boarding school in Shropshire, just a few miles from the Welsh border. This school is a great place for such an event, being fairly remote and resplendent with wonderful country scenery. The food, which was served in the school canteen, was, rather surprisingly, delicious with plenty of choice. A selection of practice rooms were available for students, with many pianos brought in especially, and the faculty were assigned their own teaching room for the duration of the week.
Steinway & Sons are a sponsor, and therefore the concert hall (the Musgrave Theatre) was equipped with the most beautiful Steinway Model D instrument, which complemented the smaller Yamaha grand owned by the school. Two pianos are a great asset, allowing for two piano recitals for students and teachers alike.
Course structure is such that pupils are occupied for most of the day. My timetable was packed, the second week being particularly busy, and I was generally teaching from 9.00am to 6.00pm. The variety of lessons on offer was impressive. I gave many one-to-one and duet lessons as might be expected, but there were also sight-reading and memorization classes, stage presentation classes, as well as theory and listening lessons (Aural), and I gave a lecture for adults on fingering too.
Most enjoyable (for me) were the composition lessons; teaching a small group how to write their own piano piece, with the aim of performing it in a concert at the end of the week. I thought this a tad unrealistic, but several students were really excited about the prospect, and did play their piece in concert by the end of the course.
PIANO WEEK 1 Faculty: from left to right, Yuki Negishi-Friel, Olivia Sham, myself, Annabelle Lawson, Nico de Villiers, Samantha Ward and Maciej Raginia.
Every evening there was a faculty recital. We enjoyed an electic mix of repertoire and superb performances; these concerts were clearly a highlight for the participants. Samantha and Maciej treated us to a two-piano and duet recital during each week, and they kindly performed a movement of one of my compositions as an encore (see the YouTube link below). The ‘star’ performer at the end of week one, was American pianist Stephen Kovacevich, who played as a soloist as well as with Samantha on two-pianos (featuring works by Schubert and Debussy).
One element which marks PIANO WEEK from many other courses are the copious opportunities to perform. There are concerts on most days (with faculty attendance), providing students with several chances to play on the Steinway model D in the theatre, as well as a big recital at the end of the week. Samantha had teamed up with publisher Schott Music (another sponsor), to provide ‘Schott Showcases’, where students played pieces from various Schott publications, and Samantha and I gave books presentations afterwards (we are both Schott authors).
PIANO WEEK 2 Faculty: from left to right, Aisa Ijiri, Grace Yeo, Maiko Mori, myself, Warren Mailley-Smith, Niel Du Preez, Mark Nixon, (as well as Samantha Ward and Maciej Raginia).
Students could play their pieces in concerts as many times as they wanted, and it was great to witness their improvement. Performance practice is an important topic for pianists, and the best way to gain confidence is to play the same piece several times to an audience. The standard of playing was varied; several students were almost beginners, yet there were also those who played to an extremely advanced level, including two second year undergraduates from the Royal Birmingham Conservatoire. All rubbed shoulders happily, and there was a genuine sense of camaraderie, with a large cohort of repeat participants each year.
PIANO WEEK is held in several countries including Italy, Germany, Japan and China, as well as the UK. There will be a total of eight residencies from which to choose in 2019. I’m looking forward to returning next year (at Moreton Hall and Rugby School over the Summer). You can find out much more about the course, here.
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.
I am currently in Shropshire (near Wales, UK) for two weeks working at a Summer piano school and music festival called PIANO WEEK. I’ve been coaching pianists both young and old, through workshops, presentations, piano and composition classes. It’s certainly a most enjoyable opportunity and I relish the chance to meet a wonderful group of like-minded students and teachers. Because I am away, I thought the following YouTube video may be of interest; it’s a lecture recital given by the renowned Japanese pianist Mitsuko Uchida.
Uchida gave this fascinating illustrated lecture at Oxford University last year. Her topic: How they differ, comparing two major piano concertos: Beethoven’s Piano Concerto No. 4 in G Major Op. 58 and Mozart’s Piano Concerto in C Major K. 503 in memory of the late Lord Weidenfeld who founded the Weidenfeld-Hoffmann Scholarships and Leadership Programme, and the Humanitas Visiting Professorships at Oxford and Cambridge.
My Publications:
For much more information about how to practice piano repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 level are featured, with at least two pages of practice tips for every piece. A convenient and beneficial course for students of any age, with or without a teacher, and it can also be used alongside piano examination syllabuses too.
You can find out more about my other piano publications and compositions here.
