
Dominant and Diminished Sevenths
I've recently posted some Learning Guides to practising Diminished and Dominant Sevenths for ABRSM Grade 8 piano.
I've recently posted some Learning Guides to practising Diminished and Dominant Sevenths for ABRSM Grade 8 piano.
This page is a note about how I teach sight-reading. I've posted it as a matter of public service. Usual disclaimers about no responsibility taken if it doesn't help you, or makes matters worse!
How does one choose a voice teacher? How do you know if it's someone who will develop your voice appropriately, but not harm it? It is hard to know what to look for or what to ask a prospective teacher.
I constantly re-iterate "Pitch, Rhythm, Fingering" when students start to learn a new piece: it helps their learning. Pitch and Rhythm alone are not enough.
ABRSM Aural Tests assess students' listening skills by requiring discussion of a piece of music which is played to the student on the piano. In my experience, students are sometimes disadvantaged by a lack of vocabulary in discussing the music.
You are learning the pipe organ, and need one to practise on. Assuming you do not have access to a church with an appropriate instrument, you will need one at home.
There are too many scales in ABRSM piano exams: far more than for other instruments - and I have sat across the table from the chief examiner and told her so. Why are there just scales and arpeggios and not technical exercises, as for other instruments?
Many people struggle with sight-reading at the piano. But not all for the same reason or reasons. Here are some common problems, together with my solutions to them.
What is the secret of successful practise? Don't play the wrong notes! Does that sound simplistic? Bear with me.
I wrote some piano music recently, and had my students perform it in a concert. Gosh! I was much more enthusiastic about drawing their attention to the details of the score than I usually am.
Please, people! If you go to a wedding ceremony at which live musicians are performing, please have the courtesy not to talk over them.
This page is a note about how I teach students how to practise. What areas they should include and what technique can help them improve pieces they are learning.
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