Play it again: PIANO Review and Launch

Play it again: PIANO has already received some excellent Amazon UK and Amazon US reviews, and I’ve been extremely happy with the feedback so far (from teachers and students, to a whole gamut of piano professionals and enthusiasts). This week, however, the Schott Music team and I were delighted to receive the following review from the Pianodao blog. Pianodao is owned by pianist, teacher and writer, Andrew Eales, who blogs on a variety of piano topics, and is noted for his detailed reviews of educational piano resources.

I have copied the review below, but you may prefer to visit Andrew’s blog and read the original version here.

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Play it Again: Piano

Sheet Music Review

As Pianodao has become more widely regarded for its independent reviews, I find myself with a mounting pile of material sent for me to look at, most of which is really very good indeed.

That said, some products genuinely stand out from the crowd, because they are innovative, unusual, speak to my particular interests, or are just excellently done.

Melanie Spanswick’s Play it again: Piano books 1 and 2 are all of the above, and easily stand out in the crowd. In this review I will do my best to explain why I think that is.

Who is it for?

One of the first questions I ask myself whenever looking at a new sheet music product is – “who is this aimed at?”

This new publication by the popular author, teacher and composer Melanie Spanswick, brought to us by Schott Music, makes its target market crystal clear from the outset, with a subtitle, ‘The perfect way to rediscover the piano’ and a back cover description that reads:

“Aimed at ‘returning’ players who have spent some time away from the keyboard, Play it again: Piano gives you the confidence to revisit this fulfilling pastime and go beyond what you previously thought you could achieve. Each piece in this two-book course is accompanied by constructive and easy-to-understand practice tips to help get your fingers speeding comfortably across the keys once again! The Piano Technique and Theory sections will help secure a fuller understanding of music and technique.

If you often find yourself saying ‘I used to play the piano…’ but wish you still did, then Play it again: Piano is the resource for you!”

As we shall see in more detail in a moment, the two volumes between them cover the full range of the eight grades offered by leading UK exam boards, meaning that the returning player can either recap from the start, developing good new habits while revising well-loved music and encountering new pieces, or else jump straight in at the level that suits them.

The Publications

Click to view slideshow.

The outstanding quality of these books is immediately apparent. The high gloss card covers contain 116 and 120 pages respectively, printed on high quality paper with a slight sheen to it, with very good binding that both allows the books to lie flat on the music stand while also being durable.

The design itself is simply beautiful – and I mean seriously very good indeed – and at a first skim through the books it is clear that they include a wealth of nicely engraved sheet music alongside plentiful text.

Just on the notation, I should mention for fellow purists that pieces from the Baroque and Classical Eras are (presumably) based on previous Schott Music sources, which in most cases include the addition of dynamics and phrasing rather than taking a clean urtext approach. Most pieces also include more than enough fingering suggestions, most of which are solid.

Explaining the rationale in more detail, the cover of Book 1 states:

“Book 1 will reunite you with the keyboard using original pieces from the piano repertoire and tips on how to get you playing fluently once again. This book ranges progressively from around UK grades 1 to 4 (elementary to intermediate)”

while the second book introduces itself:

“Book 2 is for the more confident ‘former’ piano player or for those continuing their journey from Book 1. This book ranges progressively from around UK grades 5 to 8 (intermediate to late advanced).”

The bulk of each book is split into four sections, each covering one level.

In More Detail

Each book starts with a technique primer section, offering four pages of good advice, including clear photographs. This covers posture, hand positions, flexibility and alignment. Both volumes follow this with three pages of general tips about practice, including some excellent suggestions for working on scales, arpeggios, finger warm-ups, and sight-reading.

At the rear of each book there is a short section about Music Theory. In the first book this covers basic reminders of note values, time signatures, clefs and pitch, and key signatures, while in the second book the reader is treated to clearly explained information about scales, intervals, the circle of fifths, ornaments, chord progressions and cadences.

Between these useful resources, the bulk of each book is taken up with the pieces at each of the eight levels, four per book. Each piece is preceded by (at least) two full pages of advice covering:

• Preparation (usually incorporating a suitable scale or short exercise)
• Practice Techniques (offering invaluable and often creative advice)
• Interpretation (usually a short suggestion or two about creating the right mood)

The core concept here is not dissimilar to the “How to Play…” column that Melanie (and others) regularly write for Pianist Magazine, equipping readers with the insights that they need to unravel the learning of a new piece. But the execution here is perhaps less discursive, with the three-point format giving clarity and cohesion to the excellent material provided.

A key question is whether this rich resource provides sufficient information for the adult player to work alone, without the help of a teacher. It does not claim to do so, but some adult returners may approach the course with that in mind. Personally I believe that it provides an outstanding source for independent learning, but without replacing the need for a good teacher’s diagnostic expertise, support and guidance.

The Repertoire

Crucial to the success of the books is, of course, the included repertoire.

The diversity of repertoire selected for the two books is superb, and covers so many bases that the supporting writing is able to equally deal with a very broad range of piano playing styles, techniques and piano playing issues.

Here, then, is the full list of included pieces:

Book One:

Elementary (Grades 1-2)

• Henry Purcell: Air in D minor
• Christian Petzold: Minuet in G
• Henri Bertini: Andantino
• Pyotr Ilyich Tchaikovsky: The Sick Doll
• Edward Elgar: Salut d’Amour
• John Kember: Calypso
• Elena Cobb: Super Duck

Late Elementary (Grades 2-3):

• Jeremiah Clarke: King William’s March
• Wolfgang Amadeus Mozart: Allegro in B-flat major
• Robert Schumann: Soldier’s March
• Cornelius Gurlitt: Allegro non troppo Op.82 No.65
• Ludvig Schytte: Study Op.108 No.25
• Scot Joplin (arr. Spanswick): Maple Leaf Rag
• Tim Richards: Jump Shuffle

Early Intermediate (Grades 3-4):

• J.S. Bach: Prelude in C minor BWV999
• Henry Lemoine: Study in F major Op.37 No.20
• Charles Gounod: Les Pifferari (The Italian Pipers)
• Fryderyk Chopin: Prelude in A major Op.28 No.7
• Trad. arr. Barrie Carson Turner: The Sailor’s Hornpipe
• John Kember: Mississippi Rag
• Bill Readdy: Three ‘Outasight’ Mice

Intermediate (Grades 4-5)

• Muzio Clementi: Sonatina in G major Op.36 No.2 (first movement)
• Carl Czerny: Study in C major Op.849 No.29
• J.F.F. Burgmüller: Ballade Op.100 No.15
• Mozart, arr. Heumann: A Little Night Music Kv525
• Erik Satie: Gymnopédie No.1
• Jürgen Moser: Fried Chicken
• Melanie Spanswick: Karma

Book Two:

Late Intermediate (Grades 5-6)

• C.P.E. Bach: Solfeggietto in C minor H.220
• Ludwig van Beethoven: Für Elise WoO59
• Felix Mendelssohn-Batholdy: Song Without Words Op.30 No.3
• Hermann Berens: Study in F major Op.88 No.18
• Elena Cobb: Lavender Haze
• Melanie Spanswick: Seahorse Dream

Early Advanced (Grades 6-7):

• George Frideric Handel: Allegro from Suite in G major HWV441
• W.A. Mozart: Allegro from Sonata in C major Kv545
• Beethoven: Adagio Sostenuto from Sonata Op.27/2 “Moonlight”
• Johann Baptist Cramer: Study in C major Op.50 No.1
• Johannes Brahms: Waltz in A-flat major Op.39 No.15
• Sven Hormuth: Sweat Feet Stomp

Advanced (Grades 7-8):

• Franz Schubert: Impromptu in A flat major D.935 No.2
• Stephen Heller: Warrior’s Song Op.45 No.15
• Claude Debussy: The Girl with the Flaxen Hair L.117 No.8
• Trad. arr. Barrie Carson Turner: Londonderry Air
• Joaquín Turina: Fiesta Op.52 No.7

Late Advanced (Grade 8+):

• J.S. Bach: Prelude & Fugue in C minor BWV847
• Fryderyk Chopin: ”Raindrop” Prelude Op.28 No.15
• Scott Joplin: The Entertainer
• Sergei Rachmaninov: Prelude in C-sharp minor Op.3 No.2

This is a fascinating selection on many counts.

Firstly, it is clear that at most levels the author made a point of selecting one or two contemporary pieces in popular and jazzy styles, as well as pieces equally representing Baroque, Classical, Romantic and 20th Century playing and compositional styles. And at almost all levels, there is a technical study.

Secondly, the list is a reminder of the many fabulous composers within Schott Music’s own catalogue, naturally represented here, including Tim Richards, John Kember, and Barrie Carson Turner. But it is also refreshing to have two of Melanie’s own compositions – the minimalistic ’Karma’ and more lyrical ‘Seahorse Dream’ – included here.

These have been licensed from EVC Publications along with two favourites by Elena Cobb. All four pieces are great, providing a wonderful and refreshing contrast, with the latter’s Lavender Haze a particularly lovely discovery.

And thirdly, for any adult or later teen player looking for a broad selection of really popular and appealing pieces to work on between grades, these are near perfect anthologies, including an ideal mix of lesser known material and contemporary pieces alongside several of the most evergreen favourites of the traditional repertoire.

Conclusion

There is undoubtedly a significant and growing market of piano players returning to the instrument later in life, having learnt as children, and looking to progress their skills as adults.

Melanie Spanswick’s Play it again: Piano in my view exactly hits the spot for these players, and deserves to be a huge success both for her and Schott Music.

It is abundantly clear that a huge amount of thought, work and expertise has gone into each and every element of these superb books, and it’s all paid off handsomely: Play it again: Piano is simply one of the most brilliantly conceived and stunningly produced sheet music publications of recent years.

I write lots of reviews for the benefit of readers, but this inspiring series has passed the ultimate test: I will certainly be recommending and using these books with lots of my own students in the coming months and years, and I’m really looking forward to it!

Genuinely Brilliant!

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Thank you Andrew! If you would like to find out more about Play it again: PIANO or purchase your copy, click here. Alternatively, if you’re based near London, join me and a group of piano enthusiasts at 7.00pm on Friday 22nd September at the Schott Music Shop in London, for the book launch (please RSVP to shannon.luk@schott-music.com). I look forward to meeting you.

from Melanie Spanswick http://ift.tt/2y73t5w

IRONKIDS Thailand at ISB

On the 10th of September, ISB hosted the first IRONKIDS in Bangkok. Over 200 young triathletes competed in this challenging competition, pushing their limits at every turn. We are incredibly proud of all of the competitors, all of whom can now call themselves, IRONKIDS. Watch the highlights here.

[This post contains video, click to play]

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A few thoughts on piano teaching in Singapore & Malaysia

I spent an energizing and inspiring Summer period away from home this year. For me, this was the perfect way to enjoy a substantial break from my conventional teaching and writing. After working trips to the US (New York) and Germany (Gelsenkirchen), I savoured a relaxing, short holiday in Devon (South West of the UK) before embarking on a three-week sojourn to Southeast Asia.

I was predominantly based in Singapore, but I did cram a jam-packed five days in Kuala Lumpur (Malaysia) too. This part of the world has always been a favourite; I have visited these shores many times as a young pianist, more recently returning as an examiner (for the ABRSM) and an adjudicator for the British and International Federation of Festivals (BIFF). The culture, colour, and sheer vibrancy of this region resonate with me completely, and I particularly admire the deeply respectful attitude to my profession.

My work began with a visit to the Singapore Performing Arts Festival, where I was invited to adjudicate (for BIFF) small classes of solo piano and strings. This festival, which is based in Katong (to the East of the city centre), is fairly new and has yet to blossom into the colossal organisation of the Hong Kong Schools Music Festival where classes of sixty are a regular occurrence  (and where I will be adjudicating for a month in March 2018). The classes in Singapore were mostly filled with students preparing for exams or concert performances, and, as always, it was a real pleasure to hear their work and hopefully help with a few constructive comments.

The primary reason for the trip was to introduce and talk about my new two-book piano course, Play it again: PIANO (published by Schott Music), and under the kind auspices of the festival, I gave two days of master classes and a further two of workshops, all of which incorporated my new books. The first workshop was for students and their parents, and the second, for teachers. Both were well attended, but the workshop for teachers was especially interesting (pictured above). My chosen topics (piano technique, scales & arpeggios, memorisation and sight-reading) were subjects of concern such is the regularity with which these elements are taught, often due to examination requirements (the British exam system thrives throughout the region).

All twenty-eight teachers were not just responsive to my work, they were also keen to come to the piano, one by one, and try out my ideas and suggestions. The day flew past, and it was extremely satisfying and heart-warming to see such an animated, engaged group.

A couple of days were then spent giving private lessons for the festival; working both with children taking their graded exams, and teenagers and teachers preparing for their performing and teaching diplomas. Practice and preparation is a serious business in Singapore, which suits my style of teaching, and I relished working on the FTCL and FRSM repertoire with several students.

There are a plethora of piano studios and music schools in this tiny country,  some of which inhabit shopping malls! My second engagement was giving private lessons and public classes at The Musique Loft and Musique D’amour, also both based in Katong, in a mall full of beauty salons and health shops. These busy studios teach students of all levels, and we had fun working on mainly exam repertoire. Parents are generally involved with their child’s musical progress and frequently come to the lessons. Some will disagree with this practice, but I find it can be very beneficial; it ensures fruitful practice and therefore bodes well for overall improvement.

The teacher’s workshop at The Musique Loft (pictured to the right) was held in a beautiful studio with a large Steinway grand and another group of dedicated teachers. Memorisation is a popular topic amongst teachers; ‘I can never memorise and therefore find it challenging to teach to students’ is a remark I commonly hear. We work at this subject in several ways, but memorising on the spot is a feature of my class, and I’ve yet to find anyone who can’t do it. Observing pianists who suddenly realise they can master this aspect of piano playing is always a happy moment.

Another element which appeared popular at all the workshops, were the sight-reading classes (which round-off the day); at the end of each session, I encourage groups to sight-read altogether (one of which is pictured to the left, at the Performing Arts Festival), with three pianists per piano or six hands (there were nearly always two or three instruments in the room (and we had five pianos to work with in Kuala Lumpur!)). I use one or two pieces, both of which are well within most student’s capabilities, and we run through them with me acting as the conductor; I use the same musical parts duplicated, which makes it easier for students to ‘hear’ and feel where they are in the piece (and in the bar) at any given time.

British composer Mike Cornick has written a splendid series of trios, 4 Pieces for 6 hands at 1 piano (there are several books in the series for different abilities), and the second piece, Sempre Legato, is a winner (the front cover of this volume was photographed many a time during these sessions, by those eager to get their hands on a copy). Sight-reading in groups is a sure way to improve reading, although most work on this demanding discipline is done individually in my classes before playing as a group.

In this part of the world, piano teachers sometimes work in music shops (where jobs are coveted). After working for three days at The Musique Loft and Musique D’amour, I gave classes and shorter workshops for two days at the Cristofori Shop and School (pictured below) near Marina Bay (with an impressive view of the renowned hotel, Marina Bay Sands). The Cristofori brand is new to me – it’s popular in this part of the world, originating in Singapore, and taking its name from the ‘inventor’ of the piano, Italian maker Bartolomeo Cristofori (1655 – 1731). The Cristofori instruments I played had a slightly muffled, ‘soft’ tone and a deep touch (which students responded to favourably).I took the bus from Singapore to Petaling Jaya, to the West of Kuala Lumpur, where I stayed for a few nights. A refreshing change from flying, it was a pleasant way to spend six hours and offered a chance to enjoy the scenery. Kuala Lumpur might be viewed by some as an assault on the senses with its beautiful Batu Caves (I managed a quick visit), frighteningly imposing Petronas Twin Towers, endless traffic jams, bustling night markets, open-minded cultural mix, intoxicating heat, and stupendously spicy, fabulous food!

Gloria Musica is a popular piano school in this region with many students and teachers (and it’s about to become larger with a lovely new premises). I had been invited to coach several three-hour master classes and two days of workshops; one for students and another for teachers (pictured above, at the end of the day, with Play it again: PIANO!). A factor which I feel is important when giving workshops is the inclusion of all. Active workshops seem the best way to assimilate information, and to this end I urge each participant to come to the piano and engage in what is being demonstrated (although this is a personal choice; students are never forced to take part). As a result, everyone does participate and they usually comment positively on how much more is learned.

After the final classes, the tour concluded with a teacher’s concert (see poster below). A group of teachers at the school (and professors from UCSI University) played short pieces to a large and appreciative audience. I played some of my own compositions. The range of music was interesting, from a duet version of Carnival of the Animals (by Saint-Saëns) to some compelling (and previously unknown to me) Chinese pieces.

I am extremely grateful to the teachers and piano studio owners who kindly invited me to their schools during this period (and spent much time and energy showing me around these enchanting countries), to the Performing Arts Festival in Singapore for its wonderful hospitality, and to Schott Music for their exemplary distribution and vital support.

The opportunity to travel is a privilege. And to incorporate travel and work together is an aspect of my life which I have never taken for granted. I left Singapore and Malaysia with a greater understanding of the culture and complete admiration for their dedication to music study. I can’t wait to return very soon.

You can find out much more about Play it again: PIANO here.

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from Melanie Spanswick http://ift.tt/2gU1vOX

Concert’s Harbourside Waterfront North Vancouver – Plans, Prices, Availability

At a Glance

• stunning North Vancouver waterfront location
• 18-building master planned community
• 700 market residential homes
• retail street
• commercial street
• public plaza
• new park
• LEED Gold certification goal

An Active Waterfront Community
Concert’s plan for Harbourside entails combining 700 condominium homes and 100 rental apartments with over 200,000 square feet of high-quality office, a 100,000-square-foot hotel, and over 40,000 square feet of retail in order to create an active and animated waterfront community with its own distinct sense of place. Harbourside’s location is uniquely in tune with the natural world – it occupies a prime waterfront location with trail connectivity and magnificent views of the ocean and the North Shore mountains. The property also has a dynamic history as part of a working waterfront which remains in operation to this day.

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The creation of animated shopping streets filled with unique boutique retailers, along with dynamic gathering places, will help establish Harbourside as a destination. The integration of recreational areas, including a generous amount of park space and an expansion of the Spirit Trail, will further this goal – especially since an expanded Spirit Trail will provide opportunities for walking, riding, rollerblading and running for kilometres east and west of Harbourside. Harbourside’s uniqueness will be further accentuated with the careful selection of materials throughout the buildings and landscaped public spaces. Materials which connect to the natural world and weather authentically will be combined with elements which evoke an “industrial chic”.

Pricing for Harbourside Waterfront
This development is currently in pre-construction, but we expect strong interest in Harbourside Waterfront. To ensure your opportunity to purchase, we recommend you subscribe to our VIP list above for timely updates.

Floor Plans for Harbourside Waterfront
Serious buyers should contact me to discuss availability and review relevant floor plans when finalized.

Amenities at Harbourside Waterfront
As a master planned, complete community, Harbourside will provide all the day-to-day amenities one would need. Harbourside Drive has been designed as a commercial street with office, retail and live/work spaces on the south side and light industrial uses on the north. Fell Avenue, the primary entrance to Harbourside Waterfront, is intended to be a retail street of shops and cafes with outdoor seating. Fell Plaza will serve as a public gathering place, ceremonial space, performance space, outdoor market place, place for socializing, and a place for play. Harbourside Place is the community’s activity centre. Shops and restaurants on the north side are treated to spectacular views of the working harbour and the Vancouver skyline to the south.

Parking and Storage
Each building will offer ample storage and underground parking.

Maintenance Fees at Harbourside Waterfront
Details to be included with final pricing.

Developer Team for Harbourside Waterfront
Founded in 1989, Concert specializes in developing rental apartments, condominium homes and retirement communities, acquiring and developing commercial, industrial and infrastructure properties and in property management. With operations in British Columbia, Alberta and Ontario, Concert has completed developments in excess of $2 billion, built 9,000 rental and condominium homes, and developed or acquired more than 10 million square feet of income-producing properties.

Expected Completion for Harbourside Waterfront
Harbourside Waterfront will be developed in four phases over a period of 10-15 years.

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The post Concert’s Harbourside Waterfront North Vancouver – Plans, Prices, Availability appeared first on Mike Stewart.

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August 2017 Real Estate Board of Greater Vancouver Statistics Package with Charts & Graphs

August 2017 REBGV Stats Mike Stewart Realtor from Mike Stewart

Condominium sales drive August activity

VANCOUVER, BC – September 5, 2017 – Competition for condominiums and townhomes
pushed Metro Vancouver* home sales above typical levels in August.

The Real Estate Board of Greater Vancouver (REBGV) reports that residential property sales in
the region totalled 3,043 in August 2017, a 22.3 per cent increase from the 2,489 sales recorded
in August 2016, and a 2.8 per cent increase compared to July 2017 when 2,960 homes sold.
Last month’s sales were 19.6 per cent above the 10-year August sales average.

“First-time home buyers have led a surge this summer in demand in our condominium and
townhome markets,” Jill Oudil, REBGV president said. “Homes priced between $350,000 and
$750,000 have been subject to intense competition and multiple offers across the region.”

There were 4,245 detached, attached and apartment properties newly listed for sale on the
Multiple Listing Service® (MLS®) in Metro Vancouver in August 2017. This represents a 1.1
per cent decrease compared to the 4,293 homes listed in August 2016 and a 19.2 per cent
decrease compared to July 2017 when 5,256 homes were listed.

The total number of properties currently listed for sale on the MLS® system in Metro Vancouver
is 8,807, a 3.5 per cent increase compared to August 2016 (8,506) and a 4.2 per cent decrease
compared to July 2017 (9,194).

For all property types, the sales-to-active listings ratio for August 2017 is 34.6 per cent. By
property type, the ratio is 16.3 per cent for detached homes, 44.8 per cent for townhomes, and
76.3 per cent for condominiums.

Generally, analysts say that downward pressure on home prices occurs when the ratio dips below
12 per cent for a sustained period, while home prices often experience upward pressure when it
surpasses 20 per cent over several months.

“Conditions in our detached home market are distinct today from the dynamic in our
condominium and townhome markets,” Oudil said. “Detached homes have entered a balanced
market. This means there’s less upward pressure on prices and that buyers have more selection to
choose from and more time to make their decisions.”

The MLS® Home Price Index composite benchmark price for all residential properties in Metro
Vancouver is currently $1,029,700. This represents a 9.4 per cent increase over August 2016 and
a one per cent increase compared to July 2017.

Sales of detached properties in August 2017 reached 901, a 26 per cent increase from the 715
detached sales recorded in August 2016. The benchmark price for detached properties is
$1,615,100. This represents a 2.2 per cent increase from August 2016 and a 0.2 per cent increase
compared to July 2017.

Sales of apartment properties reached 1,613 in August 2017, a 20.1 per cent increase compared
to the 1,343 sales in August 2016. The benchmark price of an apartment property is $626,800.
This represents a 19.4 per cent increase from August 2016 and a 1.7 per cent increase compared
to July 2017.

Attached property sales in August 2017 totalled 529, a 22.7 per cent increase compared to the
431 sales in August 2016. The benchmark price of an attached unit is $778,300. This represents a
12.8 per cent increase from August 2016 and a 1.9 per cent increase compared to July 2017.
-30-

*Editor’s Note: Areas covered by the Real Estate Board of Greater Vancouver include: Whistler, Sunshine Coast,
Squamish, West Vancouver, North Vancouver, Vancouver, Burnaby, New Westminster, Richmond, Port Moody,
Port Coquitlam, Coquitlam, Pitt Meadows, Maple Ridge, and South Delta.

The real estate industry is a key economic driver in British Columbia. In 2016, 39,943 homes changed ownership in
the Board’s area, generating $2.5 billion in economic spin-off activity and an estimated 17,600 jobs. The total dollar
value of residential sales transacted through the MLS® system in Greater Vancouver totalled $40 billion in 2016.

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Weekend Competition; the winner….

Many thanks to all who took part in my weekend competition, which was to win a copy of the new Improve your sight-reading! Teacher’s book written by Paul Harris and published by Faber Music.

The winner is…

TAMARA BARSCHAK

CONGRATULATIONS! Please send your address via my contact page.

For more information on this book, please click here.

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My Books:

For much more information about practising 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 are featured, with at least two pages of practice tips for every piece.

If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.

The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.

My Compositions:

I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.

from Melanie Spanswick http://ift.tt/2gFb73v

Weekend competition and review: Improve your sight-reading! Teacher’s book

Educationalist Paul Harris has written countless publications (over 500), and many have graced my music desk, both for my students (Improve your sight-reading! series, Improve your aural! series), and for my own reading (Simultaneous Learning, The Virtuoso Teacher).

This new volume (published by Faber Music) is intended to help teachers teach their students to sight-read. So just how important is a book like this? Very! I frequently run courses and workshops about sight-reading, such is the demand for finding the optimum way to improve what is essentially a demanding skill.

In this helpful publication, Paul has taken his own formulae, and carefully dissected it, step by step, running through the most important aspects, helping teachers to grasp a clearer understanding of how to ‘put it across’ easily to their pupils in lessons (always a challenge).

The book opens with much written information covering what must be considered before playing a note (I’m very keen on this; good sight-reading begins with sound preparation). Teachers are then guided through the most vital steps. After a note on how to use the book (and the Improve your sight-reading! series), everything is examined from developing musicality, to multitasking (which runs through the basics, such as rhythm, note and melodic patterns, verbalising, reading ahead, remembering the key, fingering) and the crucial Super Golden Rules. Handy sight-reading warm-up tips appear, before moving to the main body of the volume, which works through copious musical examples (in a similar manner to the Improve your sight-reading! series, but with more practice tips to implement in piano lessons).

Based on the Grade 1 – Grade 5 (ABRSM) piano exams, there are several stages of learning for each grade; each one focuses on a particular element (stage 1 in Grade 1 highlights the time signature 4/4, the crotchet beat and rest, and the key of C major, for example). These stages are clearly set out at the beginning of the chapter (for every grade), alongside an Activities notice board which seeks to explain various activities to be introduced to students whilst working through the corresponding chapters. Once the various stages have been worked through (with a page of musical tests for each one), we move onto Grade 2.

This book succinctly explains how to address the sight-reading factor, and teachers will no doubt find it a practical, convenient volume to keep at the side of the piano.

I have one copy to give away in my Weekend Competition, so please leave your name and comment in the comment box at the end of this post, and I’ll announce the winner on Monday evening. Good Luck!

You can find out more about this publication here.

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My Books:

For much more information about practising 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 are featured, with at least two pages of practice tips for every piece.

If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.

The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.

My Compositions:

I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.

from Melanie Spanswick http://ift.tt/2wnkc6i