ABRSM-EPTA New Year New Ideas: Piano Teachers booster days

Post Date: 27 October 2018
Post Type: Piano Things


Which Piano Teaching Booster Day is just right for you?
Would a Piano Teaching
Booster Day rejuvenate
your teaching?
Low cost?
Packed with ideas and inspiration?
Delivered by some of the best music
educators and teachers in the UK, from Paul
Harris to Murray McLachlan, Mark Tanner
to Margaret Murray McLeod, with Karen
Marshall, Nancy Litten and Chris Walters.
Not forgetting Melvyn Cooper and Helen Krizos.
More information available from
admin@epta-uk.org •
08456 581054 •

Check out the first ABRSM/EPTA Teacher Development Day detailed below –
pick just one day or all six. If you do all six you can also take an ABRSM qualification.
All are held on Sundays at Chetham’s School of Music in Manchester.
In 2019 EPTA and ABRSM are embarking on an ambitious project to bring inspiration and support to all piano teachers in a new course at Chetham's School of Music in Manchester.

ABRSM-EPTA Piano Teachers Course Schedule
Day One ~ 27 January 2019:
New Year! New Ideas – The Inspirational Teacher
Whole group presentations:
12.00-1.00pm An introduction to the CME with Chris Walters
2.00-3.00 Simultaneous learning, with Paul Harris. Teaching proactively through music’s ingredients. Making connections. Teaching in an empowering, non-judgemental way.
4.30-5.30 The Small Child (5-8 years of age). Teaching demonstrations, with feedback and discussion. ABRSM mock exam videos and marking.
ABRSM Mock Exam Videos and Marking
In this and the subsequent five CPD Days we will be using ABRSM videos and audio recordings of ‘live’ piano exam candidates with a view to improving our awareness of the criteria. A variety of grades and styles of music will be discussed, with opportunities to practise writing mock comments and match these to appropriate marks. A knowledge of what examiners are looking for will be of inestimable help as we prepare our pupils for their big day.

Early Years sessions with Karen Marshall:
10.00-11.30 Introduction: Awakening Musicianship in the early years: What, Why, When, Who. What are the main approaches?
3.00-4.00 Playing by Ear: An introduction to using ostinatos, rounds and chords in group workshopping

Foundations of teaching sessions
10.00-10.30 Foundations of Technique: Prevention is better than cure. Establishing healthy practice, good posture and essential principles from the first lesson. Warm up routines and basic exercises.
10.30-11.00 Teaching Principles: From the known to the Unknown: Moving forward with confidence to new musical discoveries.
11.00-11.30 Teaching Principles: From First Principles to First Lessons. The way that we introduce the instrument and deal with the preliminary issues of posture, hand shape, finding notes etc will be discussed.
3.00-3.30 Choosing Appropriate Repertoire: Exercises and Studies. Technical development needs to be considered from the very beginnings. Navigating through all of the technical studies and exercises available can be challenging. It is important to know the basic core repertoire and collections of exercises- then use them appropriately.
3.30-4.00 The Art of Demonstration: Beginning to develop counterpoint and ornaments from the earliest stages

10.00-10.30 Planning Versus Spontaneity in Piano Lessons
Some of the most inspired lessons we will ever give may not have been planned in advance. But before we can begin to live on our wits as teachers, we need to be confident we have the necessary resources, skills and ideas all lined up and ready to put into action. Good preparation is key to good teaching, especially early on, so in this session we will look at some of the ways spontaneity and preparation can come together optimally.
10.30-11.00 Sustaining Motivation and Inspiration
Is it entirely for the teacher to sustain motivation in their pupils, or should we be encouraging pupils to become self-critical, more independent learners? The truth probably lies somewhere in between, but this is a topic that will never be far away from an effective teacher’s mind. We can achieve motivation by a multitude of practical ways, but key to it is communicating our own passion and love for what we do.
11.00-11.30 Foundations of technique: Building up Speed, Strength, Stamina and Security.

How to develop an energised, healthy, reliable and natural technique. Practising in concentrated ways. Analysing technical challenges in order to overcome problems. Building a transcendental technique from the first lesson
3.00-3.30 The Art of Demonstration: Summing up a Piece in a Nutshell.
In these talks reference will be made to the ABRSM exam music (grades 4-6). Analysis of the main technical and musical features present in several Grade 6 pieces will provide preparation for the Demonstration part of the Teacher’s dip ABRSM.

3.30-4.00 Choosing Appropriate Repertoire: Baroque Keyboard Music on the Modern Piano. A look at the issues involved in transferring music from early keyboard instruments to the piano, or even the digital piano that we play today.

10.00-10.30 Establishing Priorities in the Short to Medium Term
A look at the requirements of the LRSM teachers diploma and an assessment of
what needs to be done and when. Planning ahead will be vital.

10.30-11.00 Foundations of technique: Mindfulness in Practice. Controlling emotions. How to concentrate. Inspiring focus, self- listening, self- awareness and discipline for all our pupils.

11.00-11.30 Teaching Pupils to Teach Themselves
One could think of a piano lesson as an opportunity to teach pupils how to teach themselves. After all, a pupil will do much of their learning and improving at home alone, under their own steam. Knowing how to practise effectively, therefore, becomes central to the activities of both the teacher and pupil. Teaching time management is but one part of this process - of equal importance will be developing listening skills and a willingness to self-critique.
3.00-3.30 The Art of demonstration: Spotting Sequences, High Points and Climaxes. How to analyse music at every level. Phrasing and ‘musicality’- how to shape and project the architecture of music. High points and Climaxes can really enhance the style, fluidity and musicality of a performance. It can also help the pupil play more confidently.
3.30-4.00 Choosing and teaching appropriate repertoire: Exercises and studies. . Technical development needs to be constantly monitored and considered. A strong knowledge of all of the studies and exercises available is extremely useful for all teachers. Matching technical challenges in repertoire with appropriate studies and exercises can be inspirational and helpful. Taking a look at the many technical and interpretive studies, exercises and finger exercises that are available to the modern piano teacher. Identifying the studies to teach that address the issues the student is working