Music News

In this modern age, there is an app for everything. As you trudge through the endless offerings in your app store, it does make you wonder which apps, if any, are of practical use.

Having said that, there are a few golden apps that can add real value to our music lessons and our students home practice.

Recently, ABRSM (The Associated Board of the Royal Schools of Music) released a new app called “Sight-Reading Trainer” Knowing how some of my younger students love using music apps, I decided to investigate! I am very pleased to report that the app is not a disappointment but a genuinely useful tool to train the upcoming musician to read music at sight.

Several of my students have been using the app now and the results have been excellent. All have commented on how they have learnt to look more carefully at new music before starting to play. The most amazing thing is that some who used to hate sight-reading have now had a change of heart and love it! Yes, I know!!!

Features

• “Streak” page. When you open the app you are greeted with the number of days that you have been practicing sight-reading with the app continuously. This has really encouraged my pupils to practice daily so that they can maintain and increases their “streak.”

• Grades 1-5: in effect, 5 apps in one!

• A generous 31 sight-reading projects per grade

• Every project starts with three engaging “games” that teach awareness of rhythm, pitch, and other musical features

• Each game comes with a three-star rating, encouraging students to revisit to improve if they scored less than three stars

• After completing the three games, the student then plays the piece on which the games were based

• Useful tips about effective sight-reading are given for each piece

• Available for Apple & Android

Conclusion

Lots of students are now using this app. None of them have abandoned using it but are very motivated, systematically working their way through the projects. The fact that previous sight-reading “haters” have been converted to enjoy this activity is nothing short of miraculous. Several older students have also been enjoying it, coping admirably with the simple design. Those students at higher grades have enjoyed going back over the early grades to gain further confidence. This app has become a welcome addition to my music teaching toolkit. To learn more, click here.

 

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Music theory is a passion of mine. As a composer as well as a music teacher, I realise that teaching music theory provides the building blocks of a more complete musician. Put simply, “knowledge is power.”

So it was with great interest that I have noticed that the ABRSM (The Associated Board of the Royal Schools of Music), who lead the way in music examinations in the world, was having a major overhaul in the way they test music theory, starting from January 2018.

Why the change? What will be different? Are there any resources to help with the change?

Why the change

A need to modernise their exams and react to feedback from teachers and students has brought on these recent changes. Looking at the new specimen papers, you get a feeling that the tests are less ambiguous than in times past.

Differences

The changes will only affect grades 1-5 at the moment. The rhythm-writing in early grades is being replaced. This used to provide a nice little introduction to the basics of composing but I would imagine that the quality of preparation for this question would have varied greatly from teacher to teacher depending on their own skills or imagination. At the grade 4, there used to be the option of the word-setting question. That has now been axed as well as the option of writing a complete melody at grade 5. How will students cope with the transition into grade 6-8 where composing is a large portion of the assessment? I think that step will be harder for candidates from now on. I have long thought that, although the exams for grade 6-8 are excellent, the resources and support material for these higher grades are appalling and desperately need revamping by the ABRSM. But that’s a subject of another blog.

Gone are the SATB open and short score converting question which was extremely time-consuming. I really like the use of multiple choice questions for the meaning of performance directions. Generally, the exam looks a lot more inviting, modern, clean which is very welcome.

Resources

At the start of 2019, the old exams papers for 2018 will be posted as a preparation booklet but that is quite some time away. In the meantime, the ABRSM has published on their website two sets of sample exam papers as a free download.

I really like a free quiz page that you can share with students to give them practice with the new multiple choice question. That will continue to be a very useful resource do-doubt.

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My old music teacher leaned over towards me, his frail and aged frame and old-fashioned dress sense reminded me of a character from a Dickens novel. “Here you go boy! This will help you with your sight-reading.” His outstretched hand held out a music book of Bach, his favourite composer. I had long feared the sight-reading test in my music exams. After playing the examiner my scales, with which my eighty-some-thing teacher was obsessed with, and then my pieces, next came the bit which was a complete and utter mystery to me! The sight-reading and aural (ear-training) tests. Dum, dum, DUM!!!! Now don’t get me wrong, I have a real passion and respect for Bach now, largely instigated by my wonderfully eccentric teacher but as a teenage boy, most of the preludes, chorales, inventions and selected dances in that book were simply too hard for me to learn let alone sight-read.

I had long feared the sight-reading test in my music exams. After playing the examiner my scales, with which my eighty-some-thing teacher was obsessed with, and then my pieces, next came the bit which was a complete and utter mystery to me! The sight-reading and aural (ear-training) tests. Dum, dum, DUM!!!! Now don’t get me wrong, I have a real passion and respect for Bach now, largely instigated by my wonderfully eccentric teacher but as a teenage boy, most of the preludes, chorales, inventions and selected dances in that book were simply too hard for me to learn let alone sight-read.

Fast-forward on, as a teacher myself now, I have been obsessed with helping my pupils over the years to be successful at reading at sight (as well as helping them to develop good musical ears!) Partly fueled by my own inadequacies and knowing that developing good sight-reading ability just helps students learn songs so much quicker. Also, good sight-reading skills enable them to fit into ensemble playing with greater ease.

I am a big fan of the Paul Harris series “Improve Your Sight-Reading!” so was very interested to stumble on a new series by the same author and publisher (Faber Music) with the extended title “Improve Your Sight-Reading! A piece a week (Piano).”

The purpose of this series is to give students a new piece to learn each week (or two weeks max.) so as to help them avoid the trap of just laboriously learning exam pieces my memory. Rather than merely sight-read the piece, the composer’s introductory comments encourage them to fully learn the piece but with the idea that a short new song each week will really build their music reading confidence. There is a lot of material. 26 pieces in the grade 1 book with a wide variety of styles designed to appeal to the modern student. The pieces are fun often featuring interesting techniques and the evocative titles. There are three activity pages (musical terms word search, crossword and some quite innovative “detective” activities involving analyzing the pieces that the student has been learning).

So what about the pieces? Are they any good? You’ll be glad to know that my sight-reading skills have significantly improved from those spotty teenage days of Bach and therefore I have “road-tested” this material for possible use in my lessons.

I have to say that although none of the songs are going to massive hits in my music studio, they are very well written from the perspective of a person just developing a little bit of confidence in reading music. They are very accessible which I like and give a real chance to teach the importance of a steady pulse and to incorporate dynamics and articulation as an important part of the storytelling. Overall I am quite impressed and I am seriously considering how to incorporate them into my students’ lessons. I think between exam preparation they could really help students build their reading skills in a gentle and imaginative way. I am sure that some of the pieces would be revisited by students. I think this series will be an excellent supplement to aid teaching students to enjoy the pleasure that reading music brings.

Oh well, I’m going “Bach” for more! (Sorry!)

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