Intermediate

Aural Tests: Learn to be a Good Listener

Aural Tests: Learn to be a Good Listener

What is exactly is meant when we talk about good musicianship? While your mind may jump to an image of a virtuoso pianist in mid-concert, it is not the playing of the instrument that makes a good musician. Rather, the skills that we come to rely on begin at a very early stage, ideally from the very first lesson.

The reason why it is important to consider what skills make us good musicians, is that it is entirely possible to pass a Grade 1-3 aural test without any wider understanding of how these tests fit into the music-making process. The world of aural is much deeper and richer than is suggested by the tests alone, and students who are unable to appreciate this will inevitably struggle when progressing to higher grades.

Sight-Reading: Make every second count

Sight-Reading: Make every second count

From the moment the examiner places the sight-reading test in front on your music stand, you will have a grand total of 30 seconds to make sense of what is on the page. This may seem like an absurdly short amount of time, particularly for those sitting higher grades where candidates are presented with an entire page of music. If you know how to use those precious seconds then you will be able to set yourself up for success.

Building Piano Technique

Building Piano Technique

What we call technique is the abilities that we have at our disposal to bring our musical ideas to life. It is really a very loose term encompassing the development of hand and bodily movements that will aid the musician. For the pianist, these movements include the strength, flexibility, coordination, independence and control of the fingers, hands and arm.

Fingering at the Piano

Fingering at the Piano

The fingers we choose to play our music with is one of the defining characteristics amongst pianists. Whilst some performers may hate putting their thumb on a black key because of the reduced contact, others may like the enhanced possibilities it opens up for the succeeding notes. Whilst some will spread their hand out to use as many fingers as possible for an arpeggio, others will consecutively use their 1st and 2nd fingers. Whilst some play octaves with fingers 1 and 5, others may also include 3 and 4 to create a legato effect. While some may repeat a note with the same finger, others may interchange the fingers used.