ABRSM- EPTA Schedule for the Piano Teachers Course

Post Date: 27 October 2018
Post Type: Piano Things

Chetham's_School_of_Music_Atrium.jpg

ABRSM-EPTA Piano Teachers Course Schedule

Plan for each day
10.00-11.30 Divide into four groups (Early Years, Foundations of teaching, Dip ABRSM and LRSM)
11.30–12.00 Coffee and Discussions
12.00-1.00 Presentation for all (apart from week 1)
12.30-1.00 Presentation for all CME Part 1 (apart from week 1)
1.00-2.00 Lunch
2.00-3.00 CME with Chris Walters Part 2
3.00-4.00 Divide into four groups
4.00-4.30 Coffee and Discussions
4.30-5.30 Teaching different Levels/ages and ABRSM mock exam videos and marking for all groups


?
Day One 27 January 2019: 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

DIP ABRSM/DIP EPTA Sessions
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.
LRSM/LEPTA Sessions
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 are 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


?
Day Two 24 February 2019: The Effective, Consistent Teacher
Whole group presentations:
12.00-12.30 ABRSM: From Reading to Sight Reading
Whenever we hear a pupil exclaim they are not good sight-readers, perhaps we should wind the clock back a little and discover how well they are actually able to read. Just as running is not fast walking, sight-reading surely amounts to more than fast reading; it involves a measure of compromise, analysis, on-the-hoof editing...and hutzpah!
12.30-1.00pm CME: Reflective Practice- getting into the habit with Chris Walters - Part 1
2.00-3.00 Reflective Practice with Chris Walters – Part 2
4.30-5.30 The adventurous teenager: Teaching demonstrations, with feedback and discussion. ABRSM mock exam videos and marking (marking using criteria pitch, time, shape and performance)
ABRSM Mock Exam Videos and Marking
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 What are the main elements of music and how can musical skills be ideally developed?
Use appropriate tuned and un-tuned percussion and props (e.g. puppets)
Behaviour management strategies

3.00-3.30 Playing by Ear: An Introduction to using ostinatos, rounds and chords in group workshops
3.30 – 4.00 Maintaining piano performance skills- the active repertoire approach

Foundations of teaching sessions
10.00-10.30 Foundations of Technique: Finger Independence. Controlling the ten digits. Five finger exercises. How to build up reliability and control of finger-work.



10.30-11.00 Teaching Principles: Achieving a balanced lesson
Variety is the spice of life. In lessons it helps to keep interest and concentration
going if you vary the activities or the order of doing things from time to time.

11.00-11.30 Teaching Principles: The Importance of Take-Home Messages
Here we discuss the importance of notebooks or charts to show what you
expect your pupil to do between lessons.

3.00-3.30 The Art of Demonstration: Pedalling. How to control and develop facility and co-ordination with the sustaining pedal and the una corda. An introduction to the sostenuto ‘middle’ pedal. Teaching and demonstrating pedalling with confidence. Demonstrating Legato, Rhythmic (direct), Staccato, Legatissimo, Una Corda, and sostenuto pedalling need not be daunting.

3.30-4.00 Choosing and Teaching Appropriate Repertoire: Classical Period. Classical Period. The many early, middle and late classical repertoire can be a great source of study both musical and technical.. How to approach and develop technical, stylistic and interpretive understanding in music by Haydn, Mozart, Beethoven, Clementi and their contemporaries. Repertoire from ABRSM grades 1-3 will be highlighted for particular consideration

DIP ABRSM/DIP EPTA Sessions
10.00-10.30 Dip.ABRSM Teaching: Teaching How to Practise Effectively
It is surprising how many advanced pianists possess a relatively rudimentary practising technique. A ‘blood, sweat and tears’ approach will carry us only so far, whereas ideally, practising should be enjoyable and beneficial in equal measure. In this session we will be tackling ways of becoming more ordered and effective in our own practice sessions; by extension, we will find ourselves better able to help our pupils to practise more effectively.
10.30-11.00 Dip.ABRSM Teaching: Parental Support - The Pros and Cons
The knotty issue of parental involvement looms ever large for piano teachers these days, whether we happen to be private teachers or working for a school/music hub etc. Here we will look at some of the ways by which teachers can harness the enthusiasm, discipline and encouragement parents often wish to bring to their child’s learning experience.
11.00-11.30 Foundations of Technique: Rhythmic Vibrancy, including Rubato
Principles and exercises to consider for the development of pulse, rhythmic discipline, flexibility and variety. ‘Chopin’ rubato. Agogics. Conducting and dance for inspiration.
3.00-3.30 The Art of Demonstration: Using the una corda and sostenuto pedals. How the pedals work and how much should we use the una corda pedal. If we have a ‘middle’ pedal, where can it be usefully applied?
3.30-4.00 Choosing appropriate repertoire: Avant garde and contemporary styles
New musical notations. Embracing the music of our time. Opening our ears and hearts to the unknown. Music from the ABRSM ‘Spectrum Series’ will be especially highlighted for analysis.


LRSM/LEPTA Sessions
10.00-10.30 What Period instruments can teach the modern player. A review of early instruments and the performance techniques associated with them
10.30-11.00 Foundations of Technique: Control How to encourage and develop poise, security, technical ease and aristocratic elegance in our pupils’ performances. Pre-Playing. Harnessing and conquering negative emotions.

11.00-11.30 Sustaining a Healthy Psychology as a Teacher
So much of the CPD teachers are offered these days is pupil-centric, as indeed it ought to be. But a teacher’s mental/physical wellbeing is easily overlooked in the frenzy to achieve measurable success with our pupils, perhaps especially in a school environment. Accountability can lead to less creative, enjoyable teaching, ending in stress and frustration. This session will explore ways by which a teacher can sustain a healthy psychology over the longer term by recharging their batteries in decisive ways. We will also look at how to strike a healthy balance between the energy teachers put into their work and what they themselves get from their teaching.
3.00-3.30 The Art of Demonstration: Using the Una Corda and Sostenuto Pedals
How the pedals work and how much should we use the una corda pedal. If we
have a ‘middle’ pedal, where can it be usefully applied?


3.30-4.00 The Art of Demonstration: choosing the pieces from Grade 8 to play in the LRSM
Teachers’ diploma.
How to prepare for this important part of the exam. Your choice of pieces and how
to teach them.






?
Day Three: 31 March 2019 ‘The Clear-Sighted Teacher’
Whole group presentations:
12.00-12.30 Teaching Aural Imaginatively, Grades 1-8
Teaching aural tends to get overlooked, or else kicked into the long grass. This is not altogether surprising, given the time pressure teachers regularly face, especially in the run up to an exam. So, how can aural teaching (and learning) be done more imaginatively and creatively? How might we go about teaching aural ‘through the back door’, as it were, so that our pupils are barely aware we have threaded it in?
12.30-1.00pm CME: Understanding our pupils and how they learn with Chris Walters – Part 1
2.00-3.00 CME: Understanding our pupils and how they learn with Chris Walters – Part 2
4.30-5.30 Coaxing out the cautious piano player: Teaching demonstrations, with feedback and discussion. ABRSM mock exam videos and marking (marking using criteria pitch, time, shape and performance)
ABRSM Mock Exam Videos and Marking
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 Main elements continued using a Kodály approach
Assessing current educational materials and their potential use
Using the piano as a tool to develop musicianship skills
3.00-3.30 Playing by Ear: How to develop your own bank of songs and where to start
3.30-4.00 Sample lesson- group recorder teaching

Foundations of teaching sessions
10.00-10.30 Foundations of Technique: Freedom and strength: The Essence of Technical Vibrancy

How to encourage and develop flexibility, relaxation and power. Basic exercises and approaches for all pupils that will grow and develop with each lesson.
10.30-11.00 Teaching Principles: Reinforcing Central Teaching Themes
What are the basic essentials that we need to continually stress in our day to day
teaching?
11.00-11.30 Teaching Principles: Teaching Character and Personality in Pieces
Our ability to make the music speak; to paint vivid pictures and reach out to
the listener must always be our goal. Passing this on to our pupils is one of the
joys of teaching.


3.00-3.30 The Art of demonstration: Dynamics and Articulation. Using current exam pieces to illustrate (grades 1-3) interpreting the signs, and adding our own.


3.30-4.00 Choosing appropriate repertoire: Romantic Period. The importance of knowing the strengths of our pupils, and guiding them towards suitable pieces…especially for concerts and exams.


DIP ABRSM/DIP EPTA Sessions
10.00-10.30 Dip.ABRSM Teaching: Tactics for ABRSM Viva Voce Examination
Even good, experienced drivers might well struggle to pass a driving test tomorrow. In the same way, becoming a fluent, confident teacher will not necessarily lead to a strong success in the highly specific setting of an ABRSM viva voce exam. Exam strategy is a subtle art, and a rather important one, too - how, for example, might you steer the topic of conversation towards areas you want to talk about, such as repertoire or an aspect of group teaching? How can you be sure you are conversant with the elements that will likely be tackled in the viva voce, and what are some of the ways you can put yourself at ease beforehand?
10.30-11.00 Dip.ABRSM Teaching: Written Submission
The ABRSM Written Submission is sometimes greeted with consternation by prospective teaching diploma candidates. This session will open your eyes to the best ways of approaching this potentially rewarding component, which is done several months prior to the main exam ‘event’ - it’s your opportunity to focus a little more sharply on a topic you feel lies closest to your range of interests and experience. Come along and learn how to write a really impactful Submission!
11.00-11.30 Foundations of Technique: Phrasing Basic principles for teaching shape and structure in intermediate repertoire, with analysis of ABRSM grades 4-6 pieces from all periods. How to encourage sensitivity and understanding in phrasing for all our pupils.
3.00-3.30 The Art of Demonstration: Teaching Balance Between the Hands. Teaching approaches for the development of tonal control in all periods. Examining melody and accompaniment, harmony and counterpoint, phrasing and counter-phrasing and the balance between the hands in scale and arpeggio practice. Exercises that can help to encourage independence only between the hands but between different strands of a piece. ABRSM grades 4-6 repertoire will be chosen for analysis and discussion
3.30-4.00 Choosing and Teaching Appropriate Repertoire: Impressionism. How to cultivate sensitivity and understanding in French Repertoire. Performing to the title of a piece. Suitable repertoire of the different impressionist piano composers. Music by Satie and Grovlez will be chosen for particular study.


LRSM/LEPTA Sessions
10.00-10.30 Structuring lessons for the higher grades
With pieces being longer and technical demands much greater, it is essential to plan
a pupil’s lessons and practise carefully, especially if there is pressure of important
school work to cope with as well.
10.30-11.00 Foundations of Technique: Inspiration . The importance of focusing all technical work via sound and tone. Finding technical solutions and transcendental energy from the first lesson.
11.00-11.30 Tension: What it is and How to Avoid it
Tension is any pianist’s bête noir. Every pianist will experience tension at some point, so it’s vital we learn to spot its most common symptoms and remedies. Tension is something we can see, feel and hear - often an eagle-eyed teacher can dissolve tension with just a carefully placed word, or perhaps by employing a more direct approach, for example with regard to posture, hand position etc. Without active intervention and a little know-how, tension can fester and demoralise your pupils. Come and share your ideas about what tension is, how it manifests itself in piano playing and what you can do to help others keep tension at bay.
3.00-3.30 The Art of Demonstration: Dynamics and Articulation
Should these vital ingredients be added after the notes are learnt, like colouring in a black & white picture, or decided at the beginning?


3.30-4.00 Choosing and Teaching Appropriate Repertoire: Romantic Period
The music of Schumann and Grieg make a wonderful introduction to music of the Romantic period. But how do we make the playing sound Romantic?



?
Day Four 2 June 2019 ‘Towards a more personal approach’

Whole group presentations:
12.00-12.30 ABRSM Quick Studies
Some Dip.ABRSM and LRSM exam candidates come to grief in the quick study, which will unfortunately impact on the overall result. A quick study is an extension of the familiar sight-reading test found in grade exams, but with the all-important dimension of 5 minutes (not 30 seconds) in which to learn and then perform a previously unseen piece. In this session, Mark Tanner will use his widely acknowledged series of tutor books, Know the Score, to illustrate ways of becoming more confident and persuasive in this important (and unavoidable!) component of the exam.

12.30-1.00pm CME: Delivering lessons- being prepared and flexible with Chris Walters – Part 1
2.00-3.00 CME: Delivering lessons- being prepared and flexible with Chris Walters – Part 2
4.30-5.30 The intermediate player: Teaching demonstrations, with feedback and discussion. ABRSM mock exam videos and marking (marking using criteria pitch, time, shape and performance)
ABRSM Mock Exam Videos and Marking
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 Main elements continued using a Kodály approach
Introducing the principals of systematic, multi-sensory and re-enforced music teaching
Using the piano as a tool to develop musicianship skills
3.00-3.30 Playing by Ear: Discussion about use of guitar and ukulele where a piano is not available

3.30-4.00 Sample lesson- group Ukulele teaching

Foundations of teaching sessions
10.00-10.30 Foundations of Technique: Touches: Legato, Staccato, Portato, Leggiero. Articulation needs to be cultivated and nurtured from the first piano lessons. Principles and exercises can and should be set up and experimented with, allowing our pupils to ‘play’ rather than ‘work’ at their techniques.
10.30-11.00 Teaching Principles: Teaching memorisation. Many are frightened of performing from memory. There are several ways of going about memorising, and here we look at some of them.
11.00-11.30 Teaching Principles: Involving Analysis. To fully appreciate a piece and be able to give a meaningful performance, it is essential to understand its structure.
3.00-3.30 The Art of Demonstration: Coordination and Syncopation Exercises and practising techniques which can build facility and security. Internalising music.
3.30-4.00 Choosing and Teaching Appropriate Repertoire: 20th Century Styles A survey of the major trends in 20th/21st century piano music. Bartok’s ‘Mikrocosmos’ will be especially used in this preliminary exploration.

DIP ABRSM/DIP EPTA Sessions
10.00-10.30 Dip.ABRSM Teaching: Keeping Scales and Arpeggios Interesting
Scales and arpeggios are rarely met with glee by pupils, but in this session we will be looking at some of the ways teachers might re-invent these important technical elements to keep them fresh and enjoyable. For the more advanced player, the ‘arpscalpaggio’ can be a fun way to combine scales and arpeggios, while at a more grass roots level, there are fun ways teachers can thread these essential exercises into the broader learning experience.
10.30-11.00 Dip.ABRSM Teaching: Teaching Memorisation
Not everyone agrees that memorising is an indispensable aspect of performing at the piano, whether in an exam, festival or even professional setting. But, assuming we see some advantages to doing so, how might we improve our rate of efficiency when memorising? Learning is memorising, or at least to some degree, so perhaps the answer lies in how we go about tackling learning music in the first place?
11.00-11.30 Foundations of Technique: Voicing and Counterpoint Developing a reliable and approach to practising ABRSM grades 4-6 repertoire.
3.00-3.30 The Art of demonstration: Rubato. Rubato is one of the most important means of expression. How to teach it and how to apply it are the questions facing every mindful teacher.
3.30-4.00 Choosing appropriate repertoire: 18th century elegance. ‘Playing with good taste’ was the watch-word in the 18th century. How do we achieve this vital grace?

LRSM/LEPTA Sessions
10.00-10.30 From analysis to interpretation
To perform with authority and meaning it is essential that the structure of
the music is understood. Analysis is a fascinating piece of detective work!





10.30-11.00 Foundations of Technique: Control. How to remain relaxed, focused, within your comfort zone and be able to hear what and how you are practising/playing/performing at all times. Repertoire from grades 7-diploma level will be chosen for examination and demonstration.
11.00-11.30 Building a Sense of Performance, Communication and Ownership
A sense of conviction is non-negotiable for performers, irrespective of genre. And yet, curiously perhaps, ‘ownership’, or ‘engagement’, are hard to crystallise into words. In this session we will investigate what a sense of performance actually is, how to help our pupils access this when they play in front of others, and what it is in the music itself that calls for our sensitive communication.
3.00-3.30 The Art of Demonstration: Achieving fluent, stutter-free performances. Techniques and approaches to learning that lead towards greater reliability and consistency in public performances. How to nurture a young performer rather than merely a young player. The invincible artist: How to survive in a concert.
3.30-4.00 Choosing and Teaching Appropriate Repertoire: Advanced Romantic Style. The principles of interpretation and style in the music of Chopin, Schumann, Mendelssohn, Brahms and Liszt.


?
Day Five: 30 June 2019 ‘The Flexible, Empathetic Teacher’

Whole group presentations:
12.00-12.30 Improvisation and Composition for all
Performance might be likened to a kind of ‘composition in reverse’. The bridge between improvisation and composition is conceivably just a clerical one - i.e. a matter of whether we choose to notate our ideas in a form others can easily comprehend. On the other hand, perhaps an impulse for improvisation is more fundamental to the creative process itself, even when playing Mozart? Come and share your ideas about how pianists can gain something of value from tapping into their creative powers, regardless of ability or experience.
12.30-1.00pm CME: Promoting professionalism- good behaviour all round with Chris Walters – Part 1
2.00-3.00 CME: Promoting professionalism- good behaviour all round with Chris Walters –
Part 2
4.30-5.30 Taming the overambitious: Teaching demonstrations, with feedback and discussion. ABRSM mock exam videos and marking (marking using criteria pitch, time, shape and performance)
ABRSM Mock Exam Videos and Marking
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 Main elements continued using a Kodály approach
Use of movement and games to develop musical, emotional and social skills
How to introduce different genres of music
3.00-3.30 Use of ABRSM Classic 100 and good recordings of Orff-inspired activities

3.30-4.00 Sample lesson- group singing teaching

Foundations of teaching sessions
10.00-10.30 Foundations of technique: Movement and Flexibilty. Developing and encouraging freedom of movement via exercises, encouragement, principles and relaxation.

10.30-11.00 Teaching Principles: Workarounds for smaller hands. Many pupils have a limited stretch. Here we share some ideals to help.
11.00-11.30 Teaching Principles: Pedalling for ambience
Introducing the sustaining pedal and listening to the magical effects it can produce.
Pupils usually cannot wait to begin using it; but just when is the right time?


3.00-3.30 The Art of Demonstration: Exaggerating to Make a Point
3.30-4.00 Choosing and Teaching Appropriate Repertoire: Off the Beaten Track - Quirky Repertoire

DIP ABRSM/DIP EPTA Sessions
10.00-10.30 Dip.ABRSM Teaching: Acquiring a Musical Overview when Playing
The ‘bigger picture’, as it’s sometimes called, is something which can only come into view once a player has mastered the main technical and musical aspects of a piece. Until this point has been arrived at, a performance may resemble a series of random points of interest. Helping pupils to acquire a convincing overview - a sense of direction in what they are playing (especially in more sprawling works, such as sonatas) - ranks among the more sophisticated challenges teachers face. This session will offer concrete ideas and ‘ways in’ to help teachers become more effective in this elusive area of interpretation and performance.
10.30-11.00 Dip.ABRSM Teaching: Voicing Harmonies
Unlike many other instrumentalists, pianists rarely think hard enough about their sound. Though we may play with sensitivity, dynamics and articulation, it is in the domain of voicing that the pianist can really begin to impress, even at a relatively early level. An ability to bring out specific notes in harmonies becomes a skill that will transform your pupils’ playing (and perhaps your own!).

11.00-11.30 Foundations of Technique: Tone and Colour Finding new sounds, touches. Imitating instruments of the orchestra at the keyboard. Finding the ‘sweet spot’. Beauty of tone. Varying colours.
3.00-3.30 The Art of Demonstration: Teaching Viable Alternative Approaches. Reflective, collaborative pedagogy. Mentoring, masterclass teaching, the Plato question approach, teaching without speaking, imitation, towards independent learning. Also exaggerating to make a point: Demonstrating among other things, how to correct mistakes such as wrong notes, bad tone, rubato, dynamics and expression by exaggeration.
3.30-4.00 Choosing and Teaching Appropriate Repertoire: Lighter Styles Embracing music inspired by the folk tradition, as well as popular styles, jazz and transcriptions of film scores, etc.
LRSM/LEPTA Sessions
10.00-10.30 Teaching advanced rhythms
Two against three; three against four; unusual rhythms should always be taught

BEFORE they are encountered in a piece.


10.30-11.00 Foundations of Technique: Inspiration: Finding energy, concentration, peak experience and new insights by isolating elements and reducing technical ‘problems’ to their most basic level. Building up technique from a love of sound.
11.00-11.30 Teaching Jazz and Pop Styles Effectively
Teachers sometimes appear reluctant to step into the realm of pop or jazz, particularly if they feel their own training has left them bereft of an affinity for these lighter styles. And yet, for many pupils, it will be the more modern forms of piano music which offer the greatest attraction. You don’t need to be an instinctive jazzer or improviser to help others grasp the essence of ‘feel’, ‘swing’ and ‘delay’ - come and discover how to connect you and your pupils to jazz and pop with greater confidence and imagination.
3.00-3.30 The Art of demonstration: Advanced Ornamentation. Once pupils reach grade 7 and over, they will meet with more varied ornamentation. Here we examine the baroque composers’ use of embellishments
3.30-4.00 Choosing appropriate repertoire: The extent to which pupils should choose. Encouraging pupils to choose repertoire for themselves is an important step towards independence and self-expression. The teachers’ aim must be to coach their pupils to eventually ‘teach themselves’.
?
Day Six 21 July The Dynamic, Motivational Teacher
Whole group presentations:
12.00-12.30 ABRSM Grades and Diplomas
For the LRSM teaching diploma, candidates will need to demonstrate their practical abilities in teaching through case studies and videos, all of which will have been submitted and marked in advance. Far from being a time-draining inconvenience, these components provide an excellent way of ensuring a systematic, effective approach is happening in your teaching. Come and find out how best to go about planning these aspects of the exam - you will doubtless learn something about yourself into the bargain!
12.30-1.00pm CME: Professional knowledge- diversity and safeguarding with Chris Walters –
Part 1
2.00-3.00 CME: Professional knowledge- diversity and safeguarding with Chris Walters – Part 2
4.30-5.30 The advanced learner: Teaching demonstrations, with feedback and discussion. ABRSM mock exam videos and marking (marking using criteria pitch, time, shape and performance)
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 Development of a personal box of materials
Outline what is needed for the Dip.LCM (ECM)
The value of traditional song and rhyme to literacy development
3.00-3.30 Reflection on personal learning within the course. Business considerations
3.30-4.00 Sample lesson- Group Percussion teaching

Foundations of teaching sessions
10.00-10.30 Foundations of Technique: Principles of Effective Pedalling. The basic techniques explained and discussed. How to cultivate creative pedalling that is based on aural perception and interpretation rather than convenience.

10.30-11.00 Teaching Principles: Achieving Natural Ease and Fluency
Looking carefully at one phrase at a time; practising beat to beat as well as
separate hands work are among the ideas for developing fluency and ease of action

11.00-11.30 Teaching Principles: Keeping Your Teaching Fresh and Invigorating
Teachers can become weary of saying the same things over & over. How can we
maintain our enthusiasm and joy of teaching?

3.00-3.30 The Art of Demonstration: Engaging the Imagination. Finding inspiration and insights from literature, poetry, art, sculpture, drama, ballet, nature. Synaesthesia. Extra pianistic musical influences.

3.30-4.00 Choosing and Teaching Appropriate Repertoire: Duets, 6 hands, 8 hands Using Nadia Lasserson’s book ‘Piano Need not be lonely’ as a starting point, repertoire for mutipiano combinations is considered. The importance of duet playing in particular cannot be over-stated.

DIP ABRSM/DIP EPTA Sessions
10.00-10.30 Dip.ABRSM Teaching: Looking Beyond the Notes
With hundreds or even thousands of notes to summon in every piece we play, pianists understandably tend to become bogged down by the machinery of learning - if we are not careful, our pupils will become slaves to note-learning. How might teachers help their pupils to see ‘beyond the notes’, and hence prise out the interesting musical detail?
10.30-11.00 Dip.ABRSM Teaching: Using Apps and Handheld Devices in our Teaching
Like it or not, technology is here to stay. Besides, why resist the advantages apps can offer us? An average handheld device has greater power than the earliest generations of bulky computer, so teachers need to be alive to the ways these can help us teach even more effectively. Examples might include apps to help pupils to improvise, or to practise theory - alternatively, to play with one hand at a time, at half speed...or even double speed. There are apps designed purely to alter the order of what we do each lesson in order to minimise predictability, as well as apps to help sight-reading and aural.
11.00-11.30 Foundations of Technique: Pedalling in Practice. Pedalling techniques are cited and studied from repertoire. Material from ABRSM Grades 4-6 in particular will be used for study.
3.00-3.30 The Art of Demonstration: Getting Your Pupil to teach you! Asking Questions should be a regular feature in our teaching. Getting your pupil to show you how to do something is part of that same process and a lot of fun too!
3.30-4.00 Choosing appropriate repertoire: Transcriptions, Arrangements. The Piano Repertoire is huge compared with other instruments, but there is a place for good arrangements and transcriptions.


LRSM/LEPTA Sessions
10.00-10.30 Teaching Adult Learners
Adults are often rewarding pupils; they want to learn. But there can be difficulties
with technique and with fulfilling their own expectations.

10.30-11.00 Foundations of Technique: Visualisation, Pre-Play and Practising Without a Piano
How to practise, prepare and internalise your music making away from the instrument. Techniques and approaches that can be practised from the first lesson onwards. It is indeed possible and desirable to practise everything away from the piano itself.
11.00-11.30 LRSM Case Studies and Videos of Teaching
For the LRSM teaching diploma, candidates will need to demonstrate their practical abilities in teaching through case studies and videos, all of which will have been submitted and marked in advance. Far from being a time-draining inconvenience, these components provide an excellent way of ensuring a systematic, effective approach is happening in your teaching. Come and find out how best to go about planning these aspects of the exam - you will doubtless learn something about yourself into the bargain!
3.00-3.30 The Art of Demonstration: Looking for the Meaning Beyond the Notes. What was the composer trying to communicate to the performer beyond the printed page and score. Hidden implications of interpretation. How to develop more than ‘aural photography’ in your students. Going beyond the text. Music- the language of infinite possibility

3.30-4.00 Choosing and Teaching Appropriate Repertoire: The Collaborative Pianist. Principles for successful ensemble playing. A look at the benefits and enjoyment gained by playing piano duets, two pianos, piano and voice or piano and any other instrument. 18th, 19th and 20th century repertoire.