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AUSTRALIAN COMPOSERS In Print 

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IF BACH BACH WERE  WERE ALIVE TODAY

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LADY GAGA  CHRISTOPHER NORTON

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Suitable for use with the AMEB Piano and Piano for Leisure syllabuses

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PIANO SERIES 15 (Preliminary to Grade 7) Including gradebooks and handbooks

Piano Sight Reading (2004) Piano technical WoRk (2008)

 AUSTRALIAN PIANO PIANO ANTHOLOGY  ANTHOLOGY  (Preliminary to Fourth Grade) (Fifth to Eighth Grade)

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PIANO STUDIES AND BAROQUE WORKS (First grade to Fourth Grade)

PIANO FOR LEISURE SERIES 3 (Preliminary to Grade 7) Including grade books and handbooks

Piano foR leiSuRe SeRieS 2 (Preliminary to Grade 7) Including grade books and handbooks

PIANO FOR LEISURE SERIES 1 (Preliminary to Grade 7) Including grade books and CDs and notes

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 AUSTRALIAN PIANO PIANO ANTHOLOGY  ANTHOLOGY  (Preliminary to Fourth Grade) (Fifth to Eighth Grade)

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PIANO STUDIES AND BAROQUE WORKS (First grade to Fourth Grade)

PIANO FOR LEISURE SERIES 3 (Preliminary to Grade 7) Including grade books and handbooks

Piano foR leiSuRe SeRieS 2 (Preliminary to Grade 7) Including grade books and handbooks

PIANO FOR LEISURE SERIES 1 (Preliminary to Grade 7) Including grade books and CDs and notes

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J o  oi  i n     t o  n od    a  d    y  a y  a n  n d  d r e  ec   ce    e   iv i    e     a f r  e re    e  e    b  v  e oo  o   ok    !  k !  

OUT NOW!

Piano Divas and now Piano Divas Encore

CHARTING HITS

PIANO · VOCAL · GUITAR

 We have eally enjyed ptting this magazine tgethe  We and have lved lved getting t knw s many f y, the pian teaches f Astalia, at wkshps, wkshps, cnfeences,  via email and n Facebk. Facebk.  We hpe y enjy eading this magazine and nding  We t abt the many geat g eat new pblicatins that we hpe  will enhance and enich y y teaching. teaching. If y wld like like additinal cpies f this magazine f y stdi  teaching staff, please let s knw.  A special thank y t the many pian teaches and thes  wh have cntibted t this editin f the magazine. Special thanks als t Yamaha Astalia f the gges image f the pian n  fnt cve cve (I bet we all wish  we had ne f f thse in  hmes/stdis!). hmes/stdis!).  We wld lve t hea y espnse t the magazine  We and als nd t what y wld like t see in the next isse. Please feel fee t email y feedback thgh t astalianpian@hallenad.cm.a

Adele · Set Fire To The Rain Kelly Clarkson · What Doesn't Kill You (Stronger) Demi Lovato · Skyscraper David Guetta feat. Sia · Titanium  Jessie J · Domino Christina Perri · A Thousand Years

GINA WAKE ULISHI

LL USIC ISTIUTI

TYLT

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6 more gorgeous pianistic arrangements  from the best female artists of today. today.  Adele, Sia, Jessie J, Demi Lovato, Kelly Clarkson and Christina Perri.

contents 10 Things You Should Do Before Your Child Begins Piano Lessons ....................................................... 4 P Plate Piano ....................................................................................... ....................................................................................... 8 5 Minutes with... Australian Piano Teachers ................................... 12 Australian Composers Composers in Print.......................................................... 14 Cp P- Cp Nn ........................................... 20 Adult Beginners................................................................................. 22 Social Media ..................................................................................... 23 Hal Leonard Student Piano Library.................................................. 26 Piano Duets ....................................................................................... 28 Helen Marlais’ Succeeding at the Piano........................................ 30 AMEB Online ..................................................................................... 32 Cp Nn Pn F ................................................. 33 Ux- W’   u?............................................................... u?............................................................... 34

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 What does a  fog  have to do with my piano students?

My children love stories.  We ead anything they get thei hands n. Althgh we ae lcky engh t have a hge cllectin f bks at hme,  we visit the libay at least nce each week, mainly s I d nt get t bed as I am fced t ead each sty ve and ve again! Bt thee ae 5 sties I neve tie f eading t them. Since we discveed the Freddie the Frog  bks, my daghtes (aged 4 and 2) have becme familia with the technical langage f msic.  The CDs that ae packaged with the bks ae played in the ca n lng jneys and it wams my heat t hea the gils clapping hythms, singing alng with Feddie and Eli and sing msical tems ( “so Mummy, largo must mean slowly”   – Elvie ag ed 4). I can’t wait t see hw qickly the gils pgess when the time cmes f them t begin f mal msic taining! Gina Wake – Editor  (Pian Teache Magazine)

things y shld d by Elissa Milne  For Parents  This is a qick checklist f things t d, by, lean and decide befe y child has thei vey st pian lessn. Wking y way thgh this checklist will speed p y child’s leaning cve, pssibly by mnths (maybe me!), and nce y’ve cveed evey item belw y will be a spebly eqipped paent enteing int the le f nting the gwth f a new little ( nt s little) pianist.

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Buy a piano. This may  may nt seem like a n-baine t y. In case it’s nt, let me explain. Y child will nt make pgess witht a pian at hme n which they can pactice between lessns. S ntil y have a pian dn’t bthe ganising t take pian lessns... nless y gal is t pay f eally expensive babysitting.

Put the piano in a part of the house that isn’t a. lonely and/or b. where the only TV is. Tw f the biggest easns childen dn’t end p pactising is becase they’e eithe lnely in the glmmest/ mst distant m f the hse  becase eveyne else wants t  watch the televisin and the pian is in the same m. Having the pian hidden away cmmnicates that the pian is nt smething n mal  sefl; having the pian and tv cmpeting f acstic space is jst asking f cnict in y family.

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If you have an acoustic piano, keep it tuned! This is me f an administative bden than it is a maj expense (y need t nd a pian tne, bk them p, and then be at the hse while they tne the pian), bt if y pian is t f tne y child(en) will nd playing the pian fa less pleasant, and y wn’t enjy heaing the pian played all that mch eithe. Have the piano in your house for months – even years – before  your child begins lessons.  This is abt develping a sense f the eveyday abt the instment (the pian is a pat f nmal life) as  well as allwing the child t exple the instment qite thghly pi t lessns beginning. T which end….

FrEDDIE CrEATor AND AuTHor SHAroN BurCH

Freddie the Frog books are available From yoUr FavoUrite mUsiC retailer

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Magazine  PAGE 5

 I’m sure readers of this article will be able to contribute more great ideas for things parents can do before their child begins piano lessons, but these are my top 10. If every new student had these items covered… Well, I can dream, can’t I?! 

before y child begins pian lessns Encourage your child to play around with the piano prior to beginning lessons.  Y can’t beak a pian by playing it, and y child will develp a sense f familiaity with the layt f the keys (black ntes in gps f 2 and 3 placed between white ntes) and the way the keys make snds (high snds twads the ight, lw snds twads the left) as well as diffeent effects the pian can make (sfte snds when y pess me gently, sstained snds when y depess the pedal, etc.). This saves time in the st weeks f lessns and, me imptantly, means that y child will have a cndence when being asked t ty ‘new’ things n the pian in these st few weeks and mnths.

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Purchase a chair/piano stool/piano bench that is height adjustable. Sitting at the ight height is a hge pat f what makes playing the pian cmftable and efftless, and sitting at the  wng height can pevent the pianist fm ceating beatifl snds. Dn’t make d with cshins – ganise a pemanently available means f y child t sit with maximm ease at the pian.

Notice what your child discovers at the piano, and (when the time is right) talk about their discoveries with them. Des y child play the same thing ( vaiatins f the same thing) evey time they get nea the pian? o d they expeiment with ne kind f snd f a few days and then mve n? D they ty t pick t tnes,  ae they me inteested in pian le-playing? D they play acss the fll length f the keybad,  estict themselves t ne aea?

Nticing the way y child expeiments is an essential fndatin t being able t talk abt what they ae ding. And talking abt what y child des is an essential pat f validating and cnslidating the discveies they ae making. It desn’t matte if y’e nt se f the exact msical tem, talk abt the kinds f feelings the snds eect, what the snds emind y f, and ask y child t talk abt thei intentins, ideas and eectins. Sme pianist gestes ae gentle, thes ae cheeky, while yet thes can be vey sad indeed. Stating y child’s pianistic jney by talking abt emtin, attitde and texte (smth/spiky, f instance) pts y child at an enms advantage in cmmnicating with thes abt thei playing.

NEW!

Make sure your child knows the difference between their right and left sides.  This is a bigge isse than simply knwing the ight hand fm the left; having y child be awae that they can ceate an actin n ne side f thei bdy and then mi that actin n the the develps physical-spatial awaeness that will be immensely benecial when leaning new skills at the keybad. Which is t say: having a child pactice jmping t the left  jmping t the ight will help them be bette pianists. Anything that asks a child t d things with thei bdy in tems f left and ight will lay the fndatin f physical ency at the keybad. Make sure your child knows their alphabet. From A t o G. And maybe back again. This wn’t be cveed in the st lessn (nmally), bt if y child ndestands that the msical alphabet ges  A B C D E F G A B C D E F G A B, etc., they’ll save at least half a lessn. And if y child can think thgh thse lettes backwads y’ve pbably saved tw me whle lessns ve the cse f the st yea. Show your child a treble and bass clef. And explain that the treble is for high notes, the bass for low notes. If y have n idea what a teble clef is then Ggle it. This is jst a symbl, bt the me familia y child is with what these symbls lk like the easie it will be f a teache t intdce new ideas qickly ding the st yea  s f lessns. The teble clef in paticla is an ft-sed symbl t epesent msic – y child may well have seen this symbl aleady and jst neve ndestd what it meant (it means the ntes n it ae in the tp half f the pian). Being cndent distingishing these tw symbls cld save half a lessn  s at least thee times in the cse f the st 12-18 mnths.

CLASSIC

COLLECTIONS Schirmer Performance Editions ae designed f pian stdents and thei teaches as well as pfessinal pianists. Pedaggical in nate, these editins ffe insightfl intepetive sggestins, petinent ngeing, and histical and stylistic cmmentay. Pepaed by enwned atists/teaches, these pblicatins pvide an accate,  well-infmed sce esce f pianists.

Doctor Gradus ad Parnassum

Golliwogg’s cake walk 

(performance excerpt) (performance excerpt)

 Y can see and hea examples at:

 www.halleonard.com

 What is Vellum paper?  Vellm is a type f pape-like witing sface that has been sed f centies in vais fms. Ancient vellm was made fm the skin f mammals sch as calves  gats. Mden vellm is made fm wd plp cttn bes that have been teated.  Vellm geneally is me dable than pape and is mst ften sed f special dcments  the manscipts that ae meant t be peseved.  The creamy colour of vellum paper makes reading these editions easy on the eye.

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Magazine  PAGE 7

Can I use these editions for my exams? Of course you can!  The Debssy Childen’s Cne albm feated hee incldes Jimb’s Lllaby (Gade 6 AMEB),  The Little Shephed (Gade 6 AMEB Pian f Leise), Glliwg’s Cakewalk (Gade 7 AMEB bth syllabses) and me besides! F me infmatin n each bk y can g t www.halleonard.com, ente Schirmer Performance Editions  in the qick seach bx and hit ente. Y can see excepts, dwnlad the cntents list f each bk and hea a pefmance except.

P Plate Piano piano teaching to inspire today’s young musicians by Joan Skilbeck 

diplma stdents. Mak has als been an AMEB examine f the past f yeas and is ne f the st examines t assess candidates cmpleting the P Plate Pian pgam.

M M

ak Giffiths says that the intdctin f the AMEB’s P Plate Pian int his teaching pgam has helped inspie his stdents t want t lean.  “The pieces snd s gd that the childen eally want t play them. They ae mtivated t pactise and ae inspied t keep stdying the pian,” Mak says. “I pt this dwn t the P Plate Pian pgam being develped f tday’s stdents. S many f the childen I teach ae lking f me instant gaticatin and like t take sme cntl in thei leaning. With P Plate Pian, becase they ecgnise and elate t the snds and hythms f the epetie, they ae detemined t pefm the pieces. They ae als encaged t make ceative decisins abt hw they will play the pieces and this allws them t take wneship f the msic.”

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Plate Pian is a seies f thee bks that take a beginne pianist fm thei st tt t AMEB peliminay pian level. The msic has been selected by espected msic edcat Elissa Milne, with an emphasis n encaging pefmance and ceativity. Leaning is sppted thgh a dedicated P Plate Pian website with a ange f teaching esces and stimlating activities f stdents. A Hall f Fame shwcasing stdent pefmances via YTbe and an nline stdent diay ae the feates f the website. Mak Gifths has been teaching pian pfessinally f me than 15 yeas. He has his wn stdi and diects the Yng Beginne Keybad/Pian pgams and teaches Pian and Ealy Childhd Msic at Qeensland’s Gifth univesity Yng Cnsevatim. His stdents ange fm the vey yng, thgh t stdents with special needs and

ak ses the P Plate Pian pgam in cnjnctin with the me taditinal tts and a vaiety f the msic s that his yng stdents ae pvided with a ange f msical expeience and inspiatin. He always invlves them in the selectin f epetie s that the chsen pgam has a pedaggical basis as well as appeal f the child. “It’s s imptant t mtivate stdents t keep ging and I have leaned ve the yeas that ffeing them msic that they want t play is ccial t this,” Mak ntes. “The ange f styles and techniqes cveed in the P Plate Pian pieces has made it easy f me t gide the childen’s selectin s that we can fcs n paticla technical aspects that need t be develped thgh leaning pieces they want t pefm. The pgam makes a hge cntibtin t the epetie available f stdents wh ae n lnge beginnes bt ae nt yet eady t pepae f Peliminay level exams,” Mak said.

“The pictures, stories and activities that come with each piece are great”, Mak adds. “They eally engage the stdent’s imaginatin and thee is s mch t bild my teaching n. I paticlaly like the pictes f the keybad and nges f each hand that ae als gd sppt f paents wh ae spevising pactice at hme,” he said. “The bks ae

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ncltteed, inspiatinal and even little childen,  wh can’t necessaily ead yet, can see the pictes and keybad gegaphy.” Mak ses the P Plate Pian epetie as pat f his teaching pgam with six-yea-ld Scalett and he eight-yea-ld bthe Hay (picted). “Scalett is wking n The Sad Fame in Bk 1 at the mment,” Mak says. “In this piece she’s expeimenting with sing ats and shaps and expling the maj and min tnal qalities that can

says. “recding my stdents’ pefmances has als becme an imptant pat f my teaching and the idea f watching the stdents pefming the same pieces in the P Plate Pian Hall f Fame is a geat way t challenge and mtivate the childen.”  The ptin f a nn-gaded assessment is available n cmpletin f each P Plate Pian bk t intdce the exam expeience t stdents. Each stdent eceives a witten ept fm the exam-

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Magazine  PAGE 9

Plate Pian assessment expeience,” Mak says. “repts and maks ae eally nly imptant t the teaches and paents. In the P Plate Pian setting, I fcs n making each stdent’s exam a psitive expeience. The epts I wite ae f teaches t encage thei stdents in fte lessns, einfcing what has hpeflly been a geat expeience f the childen.”  “I’ve nticed that the childen cming int thei secnd P Plate Pian exam geet me like an ld

“I’ve come to realise that enjoyment is the most important part of performance...”  be ceated by intechanging them. It’s a geat way t bing this they t life and at the same time Scalett is able t make he wn decisins abt hw she wants the piece t snd in pefmance.” “Hay is pepaing Tittle Tattle fm Bk 2 f the end-f-tem cncet,” Mak adds. “This has been an imptant piece f helping him develp dynamic cntl in each hand. The title f the piece aleady descibes chatteing vices s it’s easy t talk abt which vice is leading the cn vesatin and needs t bght t in this cntext, athe than jst telling him t make the left hand sfte at ba six. Scalett and Hay ae vey mch lking fwad t leaning a det fm the P Plate Pian epetie and pefming it in a cncet late in the yea.”

ine and a ceticate at the end f the assessment.  A P Plate Pian licence is awaded n cmpletin f the assessment f Bk 3.  Thgh being a P Plate Pian examine, Mak is amazed at hw mch the childen enjy the assessment expeience. Childen’s cmments sch as ‘That was s cl and I even gt a ceticate at the end,’ have challenged his wn thinking abt stdents and exams.

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’ve cme t ealise that enjyment is the mst imptant pat f pefmance and that’s  what the stdents seem t gain fm thei P

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he P Plate Pian pgam is als pving t be a geat hit with the paents and Mak emphasises hw imptant paent invlvement is t stdent leaning. “As a teache, I spend a geat deal f time bilding the paentstdent-teache tiangle. This is essential t mtivating the childen and develping thei self discipline t pactise. I believe that when paents enjy listening t the msic and ae enthsiastic abt thei child’s playing, the child is me likely t enjy making msic and cntine with thei stdy. I’ve fnd that with P Plate Pian, the paents lve the pieces and thee is a lt f scpe f them t be invlved in the msic making. Thei enthsiasm bs ff n the childen.” Mak ntes that the dedicated P Plate Pian  website is a teic sppt t the stdents, paents and teaches and an imptant pat f sing tday’s technlgies t enhance teaching and leaning. “When I tld Scalett that she cld keep an nline diay as pat f the pgam, she  was as excited abt this as she was abt pefming he pieces and cldn’t wait t g nt the website and ente he ‘secet passwd’,” he

Scarlett and Harry enjoy playing the pieces  from the AMEB’s P Plate Piano program, complete with costumes and props to make their  performances come to life 

fiend,” Mak says. “They ae mch me elaxed and cndent than they wee f thei st exam.” Mak wld like t see teaches becme me elaxed abt the P Plate Pian exams t. “The idea is f the stdents t have fn pefming. It’s nt abt being 100% pefect and it’s cetainly nt a eectin n the qality f the teaching if ttal pefectin isn’t achieved,” Mak emphasises.

K 

nwing Elissa Milne is behind the P Plate Pian pgam is a geat selling pint f Mak. “Elissa’s enthsiasm is infectis. He wkshps and the nline ttials n the P Plate Pian website whee she demnstates the pieces and ffes sggestins and tips f teaching them add a geat deal f vale t the pgam  – f bth teaches and paents,” he says. “Elissa als emphasises the imptance f nt pshing  stdents t qickly bt athe enjying them and thei leaning – that’s a geat philsphy.” Mak believes that the P Plate Pian pgam demnstates the AMEB’s ecgnitin f tday’s teaching and leaning envinment, paticlaly f yng stdents. “The pgam elates t the childen f tday, allws them t be actively in vlved in thei leaning and ffes a geat ange f exible epetie f them t enjy pefming fm a yng age. P Plate Pian cntibtes a bad ealy leaning expeience in a vey apppiate famewk that is se t help encage stdents t cntine thei stdy and enjyment f msic thgh thei life. F me, that’s what teaching is all abt.”

If Bach wee alive tday, his name wld be...

...or Bruno Mars, Madonna, P!nk or Eminem.  Well, pehaps nt bt indeed J.S. Bach taght his sns sing the msic f his time – ppla dances, peldes and execises by living cmpses. It wld neve have cced t him t seek t pieces in the styles and hythms ne hnded yeas ld. He expected his bys t thive in the msical wld f thei time.  A billiant new seies has been develped wking n thse same pinciples. The  American Popular Piano (APP)Seies will have stdents: Develping taditinal pianistic and msical skills thgh msic in cntempay ppla styles; · Being mtivated t pactice by wking n msic that is familia, fn, and that they can’t wait t play; · · Nting thei ceativity and spntaneity thgh a se fiendly mdla appach t impvisatin; Enjying egla ensemble playing  · ...and nding pleasure in a lifelong relationship with music!

 Try this at home with one of your students... Ensemble 23

The Girl OnThe Beach

americanpopularpiano

The Girl OnThe Beach When played on one piano, Piano Solo plays only lh one octave higher  Languidly =132

ChristopherNorton Languidly

8

22 RHYTHM SECTION

PIANO SOLO

=132

 ____onG?

ChristopherNorton

REPERTOIRE americanpopularpiano 7

popular styles!

REPERTOIRE americanpopularpiano

 ____onA?  ____onF?

popular styles!

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REPERTOIRE americanpopularpiano

5 5

popular styles!

5

REPERTOIRE americanpopularpiano 4

popular styles!

REPERTOIRE

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by chris topher norto n

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traditional skills!

edito r scott mcbrid e smith

traditional skills!

popular styles!

cresc.

cresc.

by chris topher norton

edito r scott mcbride smit h

traditional skills! 13

by christopher norto n

13

edito r scott mcbride smith

traditional skills!

dim. dim.

by christopher norto n

edito r scott mcbrid e smith

Detection Question: Label the intervals used in the l eft hand in mm. 1-7. ©Novus Via Music Group Inc. 2006 . All rights reserved.

©Novus Via Music Group Inc. 2006. All rights reserved. by chris topher norton

Notes:

traditional skills!

Notes:

edito r scott mcbride smit h

5 

minutes with...  Astalian Pian Teaches Christina Bond - QLD 

I love to play.... msic fm the rmantic peid and Jazz. I als lve Hngaian and Spanish msic (s mch passin) My ideal number of students.... engh that allws me t ean an incme, bt nt s many that I can’t give them individal attentin and cate t thei specic needs. And 40 stdents. I’d love to learn more about.... histy f msic and pian. My stdents ae always asking thse cly “why” qestins and I like t explain things fm an evltinay standpint.  To unwind from a long day of piano teaching I.... sf the intenet, lking f new teaching ideas.

 Angela Turner - QLD 

I’ve always wanted to teach.... acts in mvies and TV shws wh petend t play the pian… many f them lk fa t awkwad! My favourite time of the teaching year.... Afte mid-yea beak. Discveing hw mch the stdents have wked and leaned themselves,  what new pieces they have stated. o heaing abt thei hlidays! Earliest/latest lesson you’ve ever given?  The latest pian lessn nished at 1am! My stdent was ecding a CD in a ecding stdi at the time. In a nmal teaching week, thee ae tw lng days whee I tinely nish at 10pm. Best concert I’ve been to recently.... Yvgeny Kissin’s ecital at the Bisbane Festival. one f the mst memable cncet expeiences f my life.

 Tim Topham - VIC 

I nd inspiration for my teaching.... fm my teache, Caline Almnte! Evey time I g f a lessn

I feel inspied - by watching he play and hw she teaches – and it all bs ff n my stdents. I’m als a vacis eade f bigaphies (eg. Chpin, Liszt, Baenbim), blgs fm the teaches and bks abt teaching and talent develpment (Talent is oveated, The Talent Cde, etc.). Best concert I’ve been to recently.... I lve dance msic s I’ve been t qite a few dance paties bt as fa as ecitals g, Jvanni-rey De Ped’s pefmances in Wagga in Jly wee abslte stand-ts. James rhdes at the ecital cente ecently was als geat fn – I dn’t think I’m t likely t hea the f-bmb dpped s casally by a cncet pianist n stage eve again!!

Kathryn Knoll - WA

I nd inspiration for my teaching.... fm the teaches. I have leant s mch fm meeting and

talking with the teaches, and am gatefl that we have a geat netwk f them in my aea. one f the best things f my teaching has been t stat playing and having lessns again. It helps me emembe what it’s like as a msic stdent, and pts me me in tch with my wn stdents. Best concert I’ve been to recently... I eceived a phne call at 10am n a Snday mning, asking me t play the Timpani f a 2pm cncet f Handel’s ‘Messiah’. I hadn’t played that wk befe, bt it was a eal bzz! Playing Timpani f the ‘Halleljah Chs’ was extemely exhilaating.

 Thembi Shears - QLD 

I love to play.... Chpin! And Tchaikvsky! I’m sch a rmantic gil. Best thing about teaching the piano in the 21st century?  The ability t say ‘Listen t as many diffeent ecdings as y can, seach iTnes and YTbe’, and ecding pieces / difclt hythms f stdents n thei iPhnes! My favourite time of the teaching year.... I lve the end f the yea peid when AMEB exams ae ve, and we wind dwn with dets and cals. Althgh I jst had a ‘Hallween’ themed stdi cncet (cmplete with ve-the-tp decatins and cstmes) which was s mch fn. I’d love to learn more about.... one day I wld LoVE t stdy jazz pian.

I

 Andrea Harrison –-NSW 

My favourite time of the teaching year.... jst befe exams when eveyne can play thei pieces & actally pefm AND my “Extavagandea” – twice yealy stdent cncet/paties! Earliest/latest lesson you’ve ever given?  7am is ealiest…bt many ni stdents lessns/discssins can g n twads midnight  late! I’d love to learn more about.... eveything, especially the nivese, thanks t Pfess Bian Cx I nd inspiration for my teaching.... in eveything! Evey expeience affects hw y teach. Bt seeing & heaing –  playing - msic live pbably has the biggest effect. Cetainly ging t teache wkshps makes a hge impessin – shaing ideas & stategies, heaing new ways f ding things & new pieces f msic. The Ntn/Milne wkshp in Jly 2011 was awesme!

Kylie Hall - SA

I love to play.... Wndefl ballads that can take y n a msical jney fll f intepetatin and style. Disney msic and msicals ae als a favite – sally vey meldic and sme with a fn “nvelty” style. Geshwin is als a favite cmpse. My ideal number of students.... Teaching is nt a che f me, althgh my caee is teaching and nning a msic schl (with nealy 400 stdents). The nmbe f stdents I cently teach is appximately 40. I nd i nspiration for my teaching.... Many f my teaches pvide me with new, ythfl and inspiing ideas, binging thei jy and lve f msic and teaching t stdents.

Megan Sullivan - VIC 

I’ve always wanted to teach....  well int ld age as my tt did. Best thing about teaching the piano in the 21st century?  I meet fabls yng peple (and I wn’t hea any citicism f the cent geneatin), ipds, digital ecding devices.  To unwind from a long day of piano teaching I.... have a glass f ed bt nly n 5 days - mandaty 2  AFDs pe week. I love to play.... accmpaniments, and make msic with the peple. My favourite time of the teaching year.... Lcal eisteddfd time when I can sit f 3 days elaxing and enjying the pefmances. I’d love to learn more about.... teaching tips fm the teaches, hw t ganise technical wk siées, hw t ganise Pactice-a-thns.

Brenda Hunting - QLD 

I nd i nspiration for my teaching.... anywhee I can. I’ve fnd lts f geat teaching tips n Facebk

ecently! I enjy  MTAQ teache netwk meetings, whee teaches can get tgethe and pl thei ideas. Best thing about teaching the piano in the 21st century?  Having access t the intenet - lking p geat pefmances n YTbe, nding ecdings f nsal epetie, plading vides f my wn stdents’ pefmances, accessing amazing stdent esces that I wld neve have engh time t pepae myself, having sme Skype lessns with Edna Glandsky in New Yk (and msing abt the pssibilities f my teaching via Skype next yea when ne f my stdents will be mving t fa away t tavel) ... the list ges n.

 Josie Thomas - VIC 

Best thing about teaching the piano in the 21st century? 1.  The massive inteactin pssible with technlgy sch as the expse thgh Y Tbe, scial media. obseving many msical intepetatins, eseach, access t fn msical games linked t many f the chestas. The Astalian Pian Teaches Hb has many excellent links t elevant msic edcatin mattes! 2. using msic sftwae t ceate! 3. Pehaps best f all, the many excellent methds and infmatin available, nline and ff line, enabling s t each t t stdents. Leaning msic has becme s vaied and many fn ideas help t make it me elevant. This eqals lifelng enjyment and cnnectin with peple in a meaningfl way.  Whethe  nt stdents becme pfessinals is ielevant.

 Angela Fox - SA

My favourite time of the teaching year.... Tem 4 and Chistmas time is geat t e-enthse stdents  with Chistmas cals etc. I lve the lk n beginning stdents’ faces when they play ‘Jingle Bells’ and can actally hea what they ae playing and can sing alng! By the 10 th stdent it’s time f anthe cal!!! It’s als fn f the stdents wh have dne thei exams. Fesh, fn epetie t lk fwad t. Best concert I’ve been to recently... Wicked! – f the secnd time. once in Melbne, nce in  Adelaide. Lve the msicals!  To unwind from a long day of piano teaching I.... ead a gd bk, watch mindless TV and seach the intenet f me msic!!

I

Magazine  PAGE 13

s  r  e  s o      p  m    o  C n   a   i   a   Aus tr  IN PrINT

Ian Ladd

“ …don’t take these pieces too seriously.” 

Ian Ladd is a Geelng bn cmpse and teache wh believes that stdents shld be expsed t as wide a vaiety f msical styles as pssible.  These tw vlmes f Pian Gves ae witten f the elementay t intemediate pianist and intdce stdents t a ange f cntempay styles, inclding ck ‘n’ ll, bles and jazz. Ian had a lt f fn witing these pieces and he hpes that y stdents have jst as mch fn playing them. He isses a waning hweve… “remembe, dn’t take these pieces t seisly”!

Larry Sitsky “ …even the simplest settings have some kind of twist .”  Lay Sitsky is egaded as ne f the mst imptant ges in Astalian msic, making his mak as a cmpse, pianist, teache, ath and schla. His wks have been cmmissined by many leading Astalian and intenatinal bdies inclding the Sydney Intenatinal Pian cmpetitin, the ABC and Msica Viva. Fast fact: Lay Sitsky was the st Astalian t be invited t the uSSr n a cltal exchange visit, ganised by the Astalian Depatment f Feign Affais in 1977. Centy Pian Cllectin ses flk msic fm a ange f cltes f which Sitsky feels a pesnal afnity. In essence it is a tibte t what Astalia is nw: a mlticltal cnty.

Margaret Sutherland Five Fast Facts: 1. Magaet Stheland was bn in Adelaide in 1897 2. She was a stdent f Si Anld Bax in Lndn ding the 1920s 3. Ding Wld Wa II she aanged midday chambe msic cncets f the red Css 4. She was instmental in pmting the plan f the pesent Victian Ats Cente 5. He wk spans me than fty-ve yeas and ve ninety cmpsitins

It was Magaet Stheland wh pineeed new msic in the st half f this centy in Astalia, at a time when Astalian cmpses expeienced pblic indiffeence and a pfnd sense f islatin. She als labed nde the exteme disadvantage f being a  wman in Astalia. Bt f he example, it is nlikely that Astalia wld have pdced sch a plifeatin f wmen cmpses.

 The msic in this vlme has been ecded by David Lckett in the  ABC classics elease -

 Margaret Sutherland: The Piano Music  (ABC Classics 441 934 2)

Miriam Hyde  As a cmpse, msician, teache and pianist, Miiam Hyde has made an tstanding cntibtin t the msical clte f Astalia, especially in the eld f edcatinal msic. Hyde said f he msic: “I feel my msic can be a efge f what beaty and peace can still be mnipesent...the timph f gd ve evil. I make n aplgies f witing fm the heat.” Did y knw? Miiam Hyde wte he mch-lved pian wk reveie when she was 13.

Comprehensive notes from the composer give a rare insight into each work.

I

Sonny Chua Mst f Snny Cha’s pblished msic was pimaily witten as edcatinal wks f his stdents. These wks wee cmpsed  with attentin t develping pefmance techniqes and awaeness f intelligent design. Cha’s msic is cently listed n all Astalian examinatin syllabi. Snny Cha’s msic eveals an accmlatin and assimilatin f seemingly incngs ideas, displaying the se f a bad palette, with myiad inences fm classical, pp, jazz, ck, flk t “techn” msic.

Christina De Beus Qeensland based cmpse Chistina De Bes is heavily epesented n the ANZCA syllabs. He playfl tnes inclde Dancing Catepillas, Cane Tad Tang, Mexican Jmping Beans, Fandang Flavs and Tiddley What?  The titles f Chistine’s bks ae jst as fn: Cckach Pie, Spide Milkshake, Pdgy Bdgie Bgie, Slicky the Snail, Ginea Pig Jig, Slg ‘n Bg Sp, and Temite Mnchies.

Elissa Milne Elissa’s hit seies Getting t… has evltinised pian teaching. Encaging stdents t lean at least 40 pieces each yea, Elissa has pineeed a new beed f liteay pian stdents. Elissa’s wn cmpsitins ae epesented n all maj examinatin syllabi acss the wld. Elissa’s st fay int pblishing was with he st cmpsitins Little Peppes and Peppebx Jazz. Elissa’s blg - Ideas about music and about playing, learning and teaching the piano, with unexpected extras  is ead by thsands f pian teaches acss the glbe. Y can ead it t: elissamilne.wdpess.cm

PREPARATION FOR PIANO EXAMS CDINCLUDED

E  I  

HALLEONARD STUDENTPIANOLIBRARY

E  L  I   I   H E  E 

EDITED BY ELISSA MILNE  Worksby

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 Allerme

 /    C 

Bastien Davidsson Gillock Gretchaninoff  Handel Klose Mancini Milne Morricone Norton Rodgers Saint-Saens Schaum Sebba Strauss  Wedgwood

Daniel McFarlane Melbne bn cmpse Daniel McFalane lives in Bisbane with his wife, Melanie (a fme-pian teache), dg Bella and sn-t-be baby nmbe ne! Daniel stated cmpsing in 2005 becase his stdents needed me epetie that snded “cl”. His st piece “Synk” was s well eceived by his stdents that he jst kept n cmpsing! Synk is feated in his bk: Spesnics Bk Tw.  When he is nt teaching pian, cmpsing  examining, Daniel likes t keep t. In fact, Daniel wn a gld medal epesenting  Astalia at the 1998 Wld Jni Athletics Champinships! Check t Daniel’s msic at www.danielmcfalane.cm

 More Australian Composers will feature in the next edition of Piano Teacher Magazine.  Tell s which Astalian cmpse y stdents lve t play at astalianpian@hallenad.cm.a and we will send y a cpy f ne f the bks feated hee.

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Magazine  PAGE 15

EASY PIANO

What’s NeW

INSTRUMENTAL HITS FOR EASY PIANO

THIRTY PIECES FOR CHILDREN OP 27

Cherry Lane

Dmitri Kabalevsky

26 melodies from stage, screen and radio arranged for easy piano, including: Baby Elephant Walk · Bonanza · Chariots of Fire · Theme from E.T. · The Godfather (Love Theme) · Love Story · The March of the Siamese Children · Peter Gunn · The Pink Panther · Tequila · Tubular Bells · and more. 2501683

Kabalevsky’s pedagogical works develop real musical culture in children. These unique and inventive works of piano literature for the early intermediate student have earned their place as perennial favourites among teachers. BK/CD. 296753

Brand New Piano Titles

NINETEEN LITTLE PRELUDES J.S. Bach Bach’s intermediate level little preludes are gems to be played for pure enjoyment, for any recital, or as steps toward the more challenging Well-Tempered Clavier. Contains extensive discussion and examples on Baroque ornamentation. BK/CD. 296786 

CZERNY PRACTICAL METHOD FOR BEG OP 599 Czerny / Edwards Czerny’s popular piano exercises are now available in an easy-to-read edition with performance and historical notes. Includes two CDs of performances demonstrating how the pieces may be thought of as real literature rather than mechanical etudes. BK/CD. 296844

PIANO DUET

LADY GAGA FUGUE Gaga / Dettori Pop and contrapuntal styles have never had so much fun together! Based on the hit song “Bad Romance” made popular by the pop artist Lady Gaga, this irresistible duet arrangement is crafted in the style of a three-voice fugue. The voices are carefully divided between the primo and secondo parts, making it easily accessible for intermediate-level students. 296880 

BOOSEY AND HAWKES PIANO ANTHOLOGY Boosey & Hawkes

Jennifer Linn

New collection featuring works by the most prominent Boosey & Hawkes composers including Bernstein, Britten, Carter, Copland, Ginastera, Kats-Chernin, Lees, Stravinsky, Thomson, and others. With previously unpublished works by Argento and Górecki. Ideal for advanced high school and tertiary players. M051246601

This four-volume piano repertoire series is designed to lead students seamlessly from the earliest classics to the intermediate masterworks. The graded pieces are presented in a progressive order and feature a variety of classical favourites essential to any piano student’s educational foundation. 25 pieces by Gurlitt, Hook, Türk, Diabelli, Kohler, Pachel bel, Reinagle and more. Book 1 296870 Book 2 296871 Book 3 296872 Book 4 296873

REFERENCE

PIANO TEACHERS GUIDE

TO CREATIVE COMPOSITION Carol Klose Designed to assist teachers who wish to introduce their students to creative composition but have limited lesson time available and feel the need for some direction in starting and continuing the creative process. Suggestions in the concise Lesson Plans help bring about gradual changes and improvements that are enough to keep the piece developing, and, more importantly, to keep the student immersed and motivated in the process. 296828 

 JOURNEY THROUGH THE CLASSICS

RAGTIME PIANO SIMPLY AUTHENTIC 23 ragtime favourites! Players will enjoy the characteristic syncopation and accented stride piano style that makes these ragtime tunes simply authentic. Includes: Bees-Wax Rag • The Chrysanthemum • Cotton Time • Crab Apples • Dill Pickles • The Entertainer • Tiger Rag • Too Much Mustard • Wild Cherries Rag • and more. 312323

 JAZZ ETUDE INSPIRATIONS INTERMEDIATE PIANO SOLOS

BIGTIME KIDS SONGS Faber Piano Adventures Intermediate pianists will enjoy this fun-lled collection of favourite kids’ songs, arranged to show off their pianistic skills. A wide variety of styles and sounds allow students to entertain family and friends with expressive performances. Songs include: (Meet) The Flintstones · Cruella de Vil · Flight of the Bumble Bee · I’m a Believer · Linus and Lucy · and more. FF3005 

CLASSIC JAZZ PIANO SOLOS

Jeremy Siskind

Cherry Lane Music

 A collection of eight original piano etudes inspired by some of the most important jazz pianists in history. Etudes in the style of legendary greats will help students master some technical challenges posed by each artist’s individual style. Tunes include: Count on Me • Hand Battle • Jelly Roll Me Home • Minor Tyner • Oscar’s Bounce • Pineapple Woman • Repeat After Me • Tears Falling on Still Water. 296860 

Lush piano solo arrangements with chord names for 23 spectacular jazz gems: Bag’s New Groove · Bouncing with Bud · Dol phin Dance · Filthy McNasty · Lady Day · Minor Swing · Rifftide · Un Poco Loco · Up Jumped Spring · Valse Hot · Watermelon Man · and many more! 1529

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 available from your favourite music store!

PIANO

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Magazine  PAGE 17

PIANO AEROBICS

ADULT POPULAR FAVORITES 2

BLUES LICKS FOR PIANO

Wayne Hawkins

 All I Have to Do Is Dream • Georgia on My Mind • I Just Called to Say I Love You • I’m a Believer • Memory • Never on a Sun day • On My Own • One Fine Day • Satin Doll • That’ll Be the Day • We Are the World • Your Song. The accompanying CD includes orchestrated accompaniments at practice and performance tempos. BK/CD. 296842 

Blake Neeley Cherry Lane Music 

PIANO ADVENTURES TECHNIQUE & ARTISTRY BK 4

SIGHTREADING BOOK

Faber Piano Adventures

Level 1 students can have lots of fun while developing strong sightreading skills. This inventive course uses sets of exercises based on melodic and rhythmic patterns from the Level 1 Lesson Book. Students play one exercise a day, while enjoying the entertaining musical art that guides their sightreading progress. FF3013

 A multi-style, 40-week workout program for building real-world technique. Often when students decide to play in contempo rary styles, they lack the chops for the job. The exercises in Piano Aerobics will introduce students to styles such as jazz, salsa, swing, rock, blues, new age, gospel, stride and bossa nova, and help them play with more musical air. BK/CD. 311863

FUNTIME KIDS Faber Piano Adventures This new collection of kids’ songs will entertain and encourage the early intermediate pianist. Carefully graded for Level 3A-3B students to enjoy, this collection includes: You’ve Got a Friend in Me · Consider Yourself · Be Our Guest · Yellow Submarine · Walking on Sunshine · The  Addam ’s Fam ily T heme · and m ore. FF3004

The new Level 4 Technique & Artistry Book combines two elements of pianism: technical skill and artistic performance. This smooth, integrated approach builds basic elements of piano technique, always directed toward an artistic goal. Four powerful exercises called Technique Secrets help intermediate students build a strong technical foundation. Artistry Magic pieces at the end of each unit explore expressive playing. FF3012 

Playing the blues builds your nger dexterity, improves your improvisational skills, and gives you a better understanding of harmonic structure. Even if you already know something about the blues - its rhythm, scales, and special effects - you’ll still benet from the many great blues licks and helpful hints that are packed inside. 2500036 

Faber Piano Adventures

J      A    Z     Z    

 JAZZ HANON

 JAZZ PIANO COMPING

Peter Deneff  Musicians Institute Press

Suzanne Davis Berklee Press

Now available with a play-along CD! This one-on-one lesson with Musicians Institute instructor Peter Deneff features 50 exercises for the beginning to professional jazz pianist, covering: angular lines, large intervals, pentatonic patterns, blues scales, irregular chromatic melodies, double-note patterns, suggested ngerings, suggestions for practice, and more.BK/CD. 696478 

Comping is the practice of using chords to accompany a melody. The book begins with triads and voice leading, and progresses through altered seventh-chord spread voicings for two hands, covering many different techniques for using harmony and rhythm. The accompanying CD lets you practice with a small jazz combo. Suitable for all major jazz styles. BK/CD. 50449614

KEYBOARD STYLE INTRO TO JAZZ PIANO Mark Harrison From comping to soloing, you’ll learn the theory, the tools, and the techniques used by jazz pros. The accompanying CD dem onstrates many of the music examples in the book. Covers: jazz chords and progressions; jazz swing and bossa nova comping; voicings and patterns; melodic treatment; soloing techniques; how to play from a fake book; and more. BK/CD. 312088 

PIANO ADVENTURES PROFESSIONAL DEVELOPMENT

 ALL NEW! This brilliant new Teacher Guide offers lesson plans, pedagogy pointers and a fantastic “see it in action” section where you can watch each piece being taught!

This really is the ultimate teacher guide, complete with DVD footage of every piece

To look inside the teacher s’ guide go to the fabulous Piano Adventures website:

www.pianoadventures.com

Faber Piano Adventures – Primer Level Student-Centered Curriculum

Teacher Guide Sightreading

New!

Flashcards

LESSON BOOK 

Theory

Technique & Artistry

I Can Read Music Book 1

PreTime  Piano Primer Supplementary Series ®

Performance

Popular

Gold Star Performance Popular Repertoire

Achievement Solo & Duet Sheets

Christmas

Classics

Favorites

Rock ’n Roll

DuetTime® Christmas

Jazz & Blues

Hymns

Kids’ Songs

Christm as

Pre-Reading Christm as

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Magazine  PAGE 19

Dear Colleagues,  We ae delighted t annnce the 2nd editin f Pian Adventes ® Pime and Level 1. While we have made small impvements t Pian Adventes® ve the yeas, this is  st maj evisin. Me and me stdents nw mve int Level 1 afte cmpleting the My Fist Pian Advente® seies. While smthing that tansitin,  we als tk the pptnity t efesh the Pime Level.

So what has changed?  Six New Musical and Pedagogical Features: New Progress Chart

Enhanced Reading Strategies

 The Lessn bks nw pen with a pgess chat f qick efeence and easy lessn planning. Incldes detailed celatins f the ce bks: Lessn,  They, Techniqe & Atisty, and Pefmance.

 The Pime adds an additinal eading stategy with new pieces f leaning Bass C-D-E-F-G ntes. Level 1 pens with “E-G-B Mse” (fm My Fist Pian Advente® ) f vey effective eview and a head stat ientatin t new ntes.

New Pieces/New Musical Twists  We’ve added additinal pages t pvide new epetie  – pieces which ae destined t becme stdent favites! Cntining the path f My Fist Pian  Advente®, the stdent encntes msical themes by Mzat, Haydn, Beethven, and Tchaikvsky, pls flk meldies fm and the wld. We’ve als “spiced” p many iginal pieces f lively msical discvey and pianistic applicatins f the “Techniqe Secets.”

Integration Between Lesson and Theory Books  The They Bk nw tightly paallels the atwk, sbject, and pedaggy f the lessn Bk t ffe me chesive teaching and leaning. F example, Cpy Cat Mews f leaning steps and skips in the Pime They Bk.

Challenge Section Improvisation Activities  We’e delighted t ffe impvisatin activities in the They Bks that ae clsely linked t msical adventes fm the Lessn Bks. Ceativity is tapped by venting deep int the cave n black keys, enjying a Feis wheel ide with the C 5-nge scale, and ceating a Dinsa Dance sing the G 5-nge scale.

 The Level 1 Lessn Bk incldes an ptinal Challenge Sectin at the end f the bk. These delightfl pages peview me 5-nge scales, intdced hee as ff-the-staff keybad pattens.  This ffes teache exibility f tanspsitin f Level 1 pieces and f the ceative activities that highlight adity and tactile leaning.

o pblicatins have always gwn fm he needs f the stdents in y stdi. S we’e cndent that y’ll see me achievement... and me stdent smiles!  Wamest wishes,

Nancy Fabe

randall Fabe

Table of Contents 1  Introduction to Playing

           T            I            N            U

   n   s  o   e  s     L 

   y    r   e  o     h     T

Sitting at the Piano

4

3, 4

Making a Round Hand Shape

5

3, 4

Finger Numbers

6

Finger Flashcards

7

The Pecking Rooster (for Left Hand)

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The Pecking Hen (for Right Hand)

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Two Black Ants

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Two Blackbirds

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Into the Cave

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Three Little Kittens

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6-7

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 Basic Rhythms

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 You can visit our website for a closer look at www.PianoAdventures.com/SecondEdition Or email [email protected] for a copy of the second edition brochure  12  1  11  2  1 0  3  9  4  8  7 65

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Brand New! Microjazz Christmas 20 jazz intepetatins f taditinal Chistmas cals.  Available: Intemediate (Gade 5)  Advanced (Gade 8)

Christopher Norton CoMPoSEr ProFILE  New Zealand

 Microjazz Collections  now come with CD! 

Chistphe Ntn was bn in New Zealand in 1953. He began cmpsing at the age f 14, and, by the age f 16, had an chestal wk pefmed and badcast. Having cmpleted an hns degee in msic fm otag univesity, Dnedin, in 1974, Chistphe met with sme sccess as a pianist in New Zealand, playing with the New Zealand Symphny chesta and badcasting n the Cncet Pgamme. At the same time, he  was teaching msic in lcal high schls, beginning t feelance as a cmpse and aange, and had als stated t play keybads in a ck band, having becming inteested in jazz and pp.

Preludes Collections : Late intemediate pieces, lnge, me cmplex msically and mch me demanding technically. Gade 5-8 level. Rock Preludes Latin Preludes Country Preludes  Jazz Preludes Concert Collections  ae BK/CD cllectins f impvisatins n  well-knwn tnes. Cllectin 1: Chistmas, Nsey rhymes and  Ameican flk sngs Collection 2 : English flksngs, spiitals and classical pieces. Gade 5-8 level. Microstyles – Hge bmpe cllectin Bks 1-4 cmplete with CD. Pieces fm this cllectin ae inclded n exam syllabi Gade 1-5 level

Stylistic collections  f the intemediate playe – n hade than Gade Five level Microlatin Microswing Microrock  Microballads Gade 1-5 level. Guide to Microjazz  – a niqe insight int Chistphe Ntn’s msic and hw best t teach it.

 England  Cming t the uK in 1977 n a univesity Schlaship, Chistphe stdied cmpsitin at Yk univesity with  Wilfed Melles and David Blake, witing a vaiety f pieces, inclding chal wks, chestal pieces, pian msic and msicals.  While playing in vais bands, he stated t expeiment  with cmbinatins f styles that cssed the divide between his classical backgnd, and me cntempay ppla styles. His ealiest pblicatins wee with univesal Editin in Lndn, and inclded Carol Jazz  —  impvisatins n Chistmas tnes—and Sing’n’Swing , f chi, pian and pecssin.

 Microjazz  In 1983, Chistphe was signed by Bsey & Hawkes, and the st f the Micjazz seies seies appeaed —  msic which appealed geatly t childen and teenages bt was sfciently ted in the classical taditin t be sefl as teaching mateial.  The seies has expanded ve 20 yeas t inclde msic f all f the maj instments with pian, ensemble bks and midi le backings. It is nw the biggest selling msic seies f Bsey & Hawkes, with ve a millin sales t date.

Boosey & Hawkes   The sccess f Micjazz was fllwed by many the awad-winning pblicatins f Bsey & Hawkes. Chistphe’s bestselling titles inclde the Essential Gides t Pp, Latin and Jazz Styles; the rck, Cnty, Latin and Jazz Pian Peldes; the Big Beats playalng seies (called “Micjazz f the next geneatin” by Pian Magazine); and the Chistphe Ntn Cncet Cllectins f iginal epetie f sl pian.

Today  Chistphe Ntn is nw well established as a cmpse, pdce, aange and edcatinalist and has  witten stage msicals, ballet sces, pian msic, ppla sngs and chestal msic as well as jingles and signate tnes f TV and adi. Chistphe lectes all ve the wld n aspects f his  wk and likes t integate taditinal teaching methds  with aspects f mden technlgy. He has als fnd time t pdce hge nmbes f albms f the gspel maket, with eleases wldwide selling in excess f 1,000,000 nits.

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“Cynics are people who know the price of everything and the value of nothing.” 

Pice

- Oscar Wilde 

 Vale f  Bks

I feqently hea pian teaches say that they simply cannt ask paents t by bks f msic as the cst will be beynd the each f the family bdget. Meantime, I’ve neve nce head a paent cmplain that they  wanted thei child t lean t play the pian witht sing ( having t by) msic.

by Elissa Milne

It’s an inteesting scilgical divide: the paent wh is keen t pvide edcatinal pptnities f thei child, and the teache wh is xated n pviding a bdget expeience.  Thee ae tw implicatins, edcatinally speaking, when a teache limits a stdent’s expse t msical sces: 1. The stdent has limited eading pptnities (with the pedictable eslt that the stdent des nt develp excellent eading skills). 2. The stdent has limited msical pefmance expeiences (with the pedictable eslt that the stdent stggles t bing cntext and nance t thei pefmances as they each Gade 4/5/6 standad). I’ve never met a parent who wishes their child to experience these educational limitations.

What parents do want for their children? 

 What’s Wrong With Just Using Photocopies? • It limits stdents’ msical expeiences t assigned epetie. • It edces pptnities f stdents t exple and ead new msic. • It’s stealing fm cmpses wh stggle t make a living the same way y (and the paents f y stdents) d. • It’s nethical t se smething  witht pemissin  payment.

1. An enjyment f playing the pian 2. An ability t play all kinds f msic 3. Pian playing skills they can se f the est f thei lives, in bth scial and individal settings.  And paents jst expect that nce a child has been taking pian lessns f lng engh that they will knw hw t ead msic. S while teaches ae bsy saving paents mney by sing the abslte minimm f bks, thse same paents ae ff scing pint msic shps lking f new mateial they’d lve t hea thei child play. Why? Becase paents think that fesh and fabls msic will cntibte t thei child’s enjyment, help develp thei ability and facilitate thei child sing thei pianistic skills in scial settings.  And y knw what? Paents ae ight! AND playing me msic develps eading skills in a way n sight eading tt can ival.  Thee ae amazing pint msic (and the!) esces we can se with  stdents these days – it’s time f pian teaches t stat acting as advcates f edcatinal pptnity and t leave wying abt the bills t the paents.

You can read more from this article by Elissa Milne on her blog at http://elissamilne.wordpress.com/

 Two Top Tips for Teachers • Tell paents at the stat f the yea hw mch they shld bdget f msic pchases thght the yea. $150 pe annm is a gd minimm ge, and bette stdents might need t spend $200-250 pe yea. • Neve aplgise f assigning a new bk!  That wld be like aplgising f giving lessns! Stdents want t lean new pieces (and paents ae gatefl t listen t new msic ding pactice sessins!).

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Magazine  PAGE 21

Over 50,000 piano students across Australia are currently enjoying the Getting to...series; are yours? PREPARATION FOR AMEB AND OTHER PIANO EXAMS

PREPARATION FOR AMEB AND OTHER PIANO EXAMS I

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Hee is an easy AMEB efeence Getting t... gide f y. remembe t always check y cent syllabs t ascetain the exact eqiements, befe pesenting f examinatin.

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Getting to Preliminary

Getting to Grade One – New Mix

Diabelli Bagatelle (op.125 N.7) – List B Peliminay  Haydn Qadille – List B Peliminay  Hook  Gavtta – List B Peliminay  Kabalevsky The Little Hedgehg – List A Peliminay  Kodosa Allegett Leggie – List C Peliminay  Milne Salt and Peppe – List C Peliminay  Mozart Minet in F Maj (PFL Pelim) Reinagle Pmenade - List A Gade one Schostakovich Mach (PFL Pelim) Shostakovich Mach, ops 69 N.1 - List C Gade one  Telemann Gavtte in C Maj - List A Gade one

Bastien He Dwn (PFL Gade one) Chapple Tang (PFL Gade one) Diamond I’m a Believe (PFL Gade one) Mizzy Addams Family Theme (PFL Gade one) Norton Staiway (PFL Gade one) Palmer Calyps rhmba (PFL Gade one)  Tchaikovsky rssian Dance (PFL Gade one)  Verdi Macia Tiphale (PFL Gade one)  Webber Phantm f t he opea (PFL Gade one)

Getting to Preliminary – New Mix Heumann Malagenea (PFL Pelim) Morricone Gd Bad ugly (PFL Pelim) Norton Stttin’ – List C Peliminay  Rodgers D re Mi (PFL Pelim) Saint-Saëns ryal Mach f the Lin (PFL Pelim) Schaum Big Beat (PFL Pelim)  Wedgewood Bave Knight (PFL Pelim)  Wedgewood In the Eyes f the Tige (PFL Pelim)

Getting to Grade One Bach Ai (PLF Gade one) Bach Ai (BWV Anh 131), fm the Anna Magdalena Ntebk - List A Gade one Bartok  A Tyshp Tne - List C Gade one Bartok The Lst Cat - List C Gade one Burgmuller Aabesqe, ops 100, N.2 - List A Gade one Clementi Snatina in C, op.36 N.1 1st mvement – List B Gade T hee Clementi Snatina in C, op.36 N1, 1st mvement - List B Gade one Crews Cann fm Kann Kapes Duncombe Snatina in C - List B Gade one Goedicke Dance - List B Gade one Graupner Bee List A Gade one Haydn Minet - List B Gade one Houlihan Albatss - List C Gade one Milne Chase – List C Peliminay  Mozart Menett – List B Peliminay  Mozart Minet in F - List B Gade one Reinagle Minet List A Gade one Steibelt Adagi - List B Gade one

Getting to Grade Two Bach Msette - List A Gade one Bach/Petzold Menet in G - Li st A Gade Tw Bailey Tw-Pat Intentin - List C Gade Tw Bartok  rhythmic Dance - List C Gade Tw Beethoven Snatina in G, 1st mvement - Lis t B Gade Tw Beethoven Snatina in G, 2nd mvement - List B Gade Tw Chapple Lazy Days - List C Gade Tw Clementi Snatina in C, op.36 N.1 2nd mvements - List B Gade Thee Clementi Snatina in C, op.36 N.1 3d mvements - List B Gade Thee Clementi Snatina in C, op.36, N.1, 3d mvement - List B Gade Thee Handel Impetinence - List A Gade Tw Hassler Ecssaise op.38 N.23 - List B Gade Tw Milne Gld rsh - List A Gade Tw Pachelbel Fge in C Maj - List A Gade Tw Peeters Chagin d’enfant - List C Gade Tw Petzold Minet in G (PFL Gade Tw) Purcell Ai in D min - List A Gade Tw Purcell Hnpipe - List A Gade Tw  Vanhal Allegett - List A Gade Tw

Getting to Grade Two – New Mix  Joplin Entetaine (PFL Gade Tw) Norton In the Bag (PFL Gade Tw) Norton In the Bag - List C Gade Tw Schmitz Jazz Inventin - List C Gade Tw

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“I love these collections, but can I use them in my exams? 

he Getting t... seies is a hmegwn Astalian msic pblishing initiative that has develped int a phenmenn. oiginally intended t be n me than a thee bk seies, Getting t Peliminay, Getting t Gade one and Getting t Gade Tw wee lanched in octbe 2003. Eight years and ten new books later , the Getting t... seies has tansfmed teaching (and leaning) the pian f many acss Astalia and New Zealand.

Each bk cntains ghly 30 pieces f the best edcatinal pian epetie fm the Baqe thgh t the pesent day, ganised in a lgical teaching seqence which develps pianistic and pefmance skills as well as pviding stdents with an extadinay beadth f msical expeience fm thei ealiest yeas.

Yes! 

Nt jst a cllectin f ld favites, nt jst a cllectin f new mastepieces, the Getting t... seies is an essential cmpnent f y pian teaching in 2012 and f yeas t cme.

PREPARATION FOR AMEB AND OTHER PIANO EXAMS

PREPARATION FOR AMEB AND OTHER PIANO EXAMS

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HALLEONARD STUDENT PIANOLIBRARY

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SECONDEDITION

PREPARATION FOR AMEB AND OTHER PIANO EXAMS

Purcell Rameau Schumann Seiber  Ticciati  Wiener 

1

Zipoli

Getting to Grade Three

Getting to Grade Four

Bach Plnaise - List A Gade Thee Bach Pelde in C, BWV 939 - Lis t A Gade Thee Bartok  Teasing Sng (Neck-lied) - List C Gade Thee Beethoven Snatina in F, 1st mvement - List B Gade Thee Burgmuller Hamny f the Angels, ops 100, N.21 - List A Gade F Coburn Flicky rllicky Wind - List A Gade Thee Cornick  Bles in Tw - List B Gade Tw Gillock Castanets - List C Gade Thee Heller Stdy in A min, ops 47, N.3 - List A Gade Thee Kabalevsky Tccatina - List C Gade Thee Khatchaturian Meldy (‘Ivan Sings’) - List C Gade Thee Kuhlau Snatina in C, ops 20, N.1, 2nd mvements - List B Gade Five Maykapar Fleeting Visi - List C Gade Thee Mendelssohn rmanze - List B Gade Thee Purcell Festival rnd - List A Gade F Purcell Hnpipe in E min - List A Gade Thee Schmann Wild ride, ops 68, N.8 - List B Gade Thee

 Adams Witches in the Wind - List C Gade F Beethoven Snatina in F, 2nd mvement - List B Gade Thee Chopin Pelde, ops 28, N.6 - List B Gade F Clementi Snatina in C, ops 36 N.3,1st & 2nd mvements - List B Gade F Dello Ji Paye f the Matad - List C Gade F Fischer Chacnne - List A Gade F Grieg Eln Dance, ops 12, N.4 - List B Gade F Handel Cante fm Site in F maj (HWV 427) - List A Gade F Heller Stdy, ops 47, N.23 - List A Gade F Kabalevsky Dance, ops 27, N.27 ( 21) - List A Gade F Kabalevsky Etde in A min, ops 27, N.3 - List A Gade F Schumann Sicilianisch, ops 68, N.11 - List B Gade F Shostakovich Clckwk Dll - List C Gade F

Getting to Grade Three – New Mix Chua Midnight Snack - List C Gade Thee Gershwin Fascinating rhythm (PFL Gade Thee) Mozart Theme fm Symphny Nmbe 40 (PFL Gade Thee) Saint-Saëns Finale fm Canival f the Animals (PFL Gade Thee) Sculthorpe Sea Chant - List C Gade Thee  Tansman Petite reveie - List C Gade Tw

Getting to Grade Five Bach Tw Pat Inventin in F - List A Gade Five Bailey Left Hand Dive - List D Gade Five Debussy Le petit nege (The Little Niga) - List D Gade Five Granados Vals Petic, N.6 fm 7 Valses petics - List C Gade Five Grieg Aietta, ops 12, N.1 - List C Gade Five Khatchaturian Etde - List A Gade Five Kuhlau Snatina in C, ops 20, N.1, 1st mvements - L ist B Gade Five Schumann Knight rpet, ops 68, N.12 - List C Gade Five

Did you know that you can also use pieces from the Getting to books for your ANZCA, NZMEB, St Cecilia, Trinity Guild Hall and ABRSM exams? *Correct at time of printing. Always check your syllabus before presenting for examination

Magazine  PAGE 23

Where to begin with 

 Adult Beginners Is it ever too late to learn the piano? Probably not, although by 3am the neighbours do tend to complain. But seriously now, it genuinely is never too late and we have all noticed a surge in the number of adults signing up for lessons. Here are some resources that will help you teach your 21st century adult beginners.

Hal Leonard Student Piano Library Adult Piano Method by: Barbara Kreader, Fred Kern, Mona Rejino, Phillip Keveren This method begins with improvisation and features lots of visual tips and aural exercises using the accompanying (brilliant!) CDs. Creativity is encouraged throughout the method and Lessons, Solos, Technique and Theory are integrated. *If your student likes this method there are additional correlated books they will love! Popular Favorites, Christmas Favorites, Traditional Hymns and the brand NEW Popular Hits. Pianoworks by Janet and Allan Bullard The first 14 pages of Pianoworks contain loads of information for those adult beginners who like to read and fully understand new concepts before putting them into practise. This book (with CD) is packed with more than forty pieces including a great mix of classical, traditional and new compositions – each carefully chosen to reinforce the technical points made. *Pianoworks Christmas and Pianoworks Collections provide students with additional repertoire to explore. Check them out at your favourite music store. Lovely arrangements of pieces your adults will really want to play!

Adult Piano Adventures by Nancy and Randall Faber The Adult Piano Adventures All-In-One Lesson book (Solos, Technique, Theory) will take your student from learning the names of the piano keys to playing beautiful music. With its succinct way of explaining lessons, your student will be sure to make a lot of progress even if they are partially self-studying (perhaps they can only make it to lessons every other week). CDs are optional.

 And a few other books to consider...

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Magazine  PAGE 25

   A    I    D    E    M    L    A    I    C    O    S

Once upon a time... the suburbs were born, and piano teachers found themselves increasingly isolated, working in home studios far away from shops, offices, factories and workshops where others spent their days. As schools emptied in the mid-afternoon so piano teachers would embark on the busiest period of their day, with lessons often wrapping up late into the evening (too late to contemplate social engagements). This isolation was more than social - having no colleagues with whom to compare notes, brainstorm ideas or make plans meant that piano teachers had a extremely lonely professional existence “...I love the Australian Piano Teachers’ Music Hub on as well. facebook, it gives interesting Piano teachers’ associations worked to bridge this isolation, tips, hints and articles that and monthly association meetings were often the only collegiate allow me to continually contact piano teachers had throughout the year, with the question and improving my exception of annual or biannual conferences. teaching. “ But somewhere between the birth of the internet and the arrival of – Christina QLD Piano Facebook this situation has changed; not only can teachers chat Teacher and HUB member about their teaching challenges in online forums and reflect on their teaching praxis via blogs (their own, or the blogs of other teachers), but their conversations now reach beyond their local area to teachers from around the world. Even more extraordinary, teachers can tweet questions in the middle of a piano lesson with every expectation of getting an answer or some advice within just a few minutes. How teachers connect with their community has also changed dramatically. Websites for piano teaching studios are now quite common, with teachers listing their teaching philosophy right alongside their fee schedule. The annual public recital is now augmented by students posting their performances on YouTube any time they feel their playing is up to it! Researching repertoire has a whole new dimension these days, with many publishers providing audio samples of works in their catalogue. And as for general knowledge, students can unearth many arcane details via wikipedia and watch short video clips with experts talking on topics such as the development of the fortepiano and the rise of the solo recital.

So, how connected are you? How much are you participating in this new global professional conversation?! And how much are  you taking advantage of the immediacy of knowledge in the 21st century?

Find us on Twitter @ PianoTeacherHub

“…I have just discovered the  Australian Piano Teachers’ Music Hub and am really enjoying reading your posts and have printed off a few articles for students to read on my pin-up board. Thank you for the inspiration and contact (I’m sure you understand how being a private music teacher is sometimes a little lonely.)”

Find us on

– Cathy WA Piano Teacher and HUB member 

facebook

And now the Hal Leonard Student Piano Library is even better! The All-In-One Piano Lessons Books A, B, C, and D combine selected pages from the original Piano Lessons, Technique, Solos, Theory Workbook, and Practice Games into one easyto-manage book. The book/CD offers students a variety of styles and moods, and includes the “best ever” teacher accompaniments. The audio CD is playable on any CD player. For Windows and Mac computer users, the CD is enhanced so you can also access MIDI files for each song.

g uppn 

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Magazine  PAGE 27

Hal Leonard Student Piano Library

Simply the Best! The best pieces

The best accompaniments The most creativity

t c Np

I want to tell  you a story about my friend,  Angelina. ngelina and I met almst 30 yeas ag, as pimay schl stdents wh shaed a pian teache. In he wisdm,  teache pt s tgethe as det patnes f a Chistmas cncet ne yea.

 A

Many f my vey favite childhd memies invlve Angelina and I and playing pian dets. I emembe tavelling t a cnty cmpetitin, nly t aive t nd selves the nly nes enteed in the det sectin (we wn!). I emembe pefming f a schl cncet and laghing s mch at  wn theatics ding the pefmance that we liteally made the pian shake (we still managed t pefm t the ve y end f the piece thgh, despite teas f laghte!).  We played dets tgethe f 10 yeas at schl and have since emained fiends. We have attended each the’s weddings, and nw when we get tgethe we dazzle (?) each the’s childen with sing enditins f  favite dets the Nwegian Cadle Sng and the Cat’s Mew.  Thgh that ealy intdctin t ensemble playing I discveed that the eal jy f making msic is nt playing n y wn bt playing with thes. S, hee ae a whle bnch f cllectins that y can se in y pian teaching that will make the wld f diffeence t a yng pianist.

Snny Cha’s Many Hands – One Piano  incldes teats sch as Day in the Life f a T rex, Thee Blind Latin Mice Det and We’ve gt rhythm Sextet and many me. Each piece is exhilaating t play and has little challenges  – watch t f instctins t “knck playes 2 and 3 ff thei chais” s that playe 1 can take ve that sectin f the keybad!

Benstein’s 10 Selections from Candide aanged by Chalie Hamn ae ideal f Intemediate Pianists (abt AMEB Gade 4-5) Incldes: ovete • The Best f All Pssible  Wlds • I Am Easily Assimilated • Make o Gaden Gw • amng thes.

If y ae lking f smething festive this yea, pehaps DuetTime Piano Christmas  wld sit y needs. A lvely selectin f cals y stdents will knw, the tnes pass fm ne playe t anthe and they mstly stay and the 5-nge psitin. Denitely ne t check t f y littlies.

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Magazine  PAGE 29

a u  S  h a  s t  r   r  e  a i    y  o u  T  h  l   r  d   e b a n   p  u e  c o  e s t   i   a   p  y   s  n o  t  m e  m  o f   t  o r  i   @   a n  e s  h a  o r  i  e  l  e o  s w   e w  w  i  l   l   l   d  u  r  e c  n a  i  t  h  e t   e i  v   r   u s  c o  e  d     a t   l  l  e  a F  . co  c t  i   R   m  o n  E  E   . a  !   u 

 A couple of brand new publications to look out for: Irving Berlin Piano Duos - aanged f 2 Pians, 4 Hands Beatifl d aangements f: Cheek t Cheek • They Say It’s Wndefl • (I Wnde  Why?) Y’e Jst in Lve.

Cmpiled and edited by Helen Malais, the In Recital  dets ae denitely wth checking t. Thee ae six gaded levels in the iginal seies and he band new title is In Recital for the Advancing Pianist .  These atistic dets ae beatifl and ashy, ideal f ecitals and cmpetitins and ae in a geat mix f styles inclding taditinal, flk sngs, agtime and classical themes.

 Tour for Two - 1 Pian, 4 Hands  Take a t and the wld with these fn and stylistic pian dets witten f stdents at the Gade 3-4 level. The shee vaiety cmbined with the iginal cmpsitinal style f Egénie rchelle make this a  valable cllectin sitable f cmpetitins and ecitals. Pieces inclde: Deset Caavan • Highland Fling • Latin Nights • rickshaw ride • rssian Dance • Swingtime.

Lady Gaga Fugue, anyone?  With over 42 volumes, the Hal Leonard Duet Play Along series is denitely worth checking out. With everything from Glee to Andrew Lloyd Webber, The Sound of Music, Wicked, Lennon McCartney to Les Miserables, there is something for everyone.

Helen Marlais’

Succeeding atAthe Piano Method for Everyone

®

Helen Marlais’

Succeeding at the Piano®

Overview 

Scceeding at the Pian ® is a cmpehensive methd that will establish a stdent’s msical fndatin and lve f pian playing. Nte eading, intevallic eading, hythm, techniqe, they, and msicianship ae cnsistently einfced thght. • Nte eading is leaned thgh a cmbinatin f Middle C, intevallic, and mlti-key appaches. • rhythm is intenalised thgh clapping, tapping, cnting ald, and speaking the lyics. • Techniqe is integated ight int the Lessn Bk. • Mtivatinal msic by mltiple cmpses. • “Befe playing” and “Afte playing” pints develp msicianship, pactice habits, and listening skills. • The CD’s ae innvative and edcatinal–stdents even get the pptnity t play with a sting qatet accmpaniment. • Stdents ae intdced t the elements f msicality as ealy as the Pepaaty level. • reading, hythm, techniqe, they, ea taining, playing by ea, msic hist y, cmpsitin and engaging msic ae integated thght the ciclm. • The CD has bth pactice and pefmance tacks with Helen ffeing emindes and einfcement afte each piece. • The beatifl and engaging illstatins all have a pat t play in the leaning pcess. • Stdents lean by ‘Discvey Leaning’ which encages active engagement and pmtes mtivatin.

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 Australia/New Zealand Tour Review  Ealy last yea, D. Helen Malais ted Astalia and New Zealand giving wkshps n he exceptinal new pian methd, Scceeding at the Pian®. Hndeds f teaches attended and all wee captivated and inspied by Helen’s engaging pesentatin n hw t teach the methd, diffeent pactice stategies she ses in he wn teaching, sefl tips and ticks t mtivate stdents and mch me. F many teaches, this was thei st expse t Scceeding at the Pian®, and thei temendsly psitive espnse indicates that it wn’t be lng befe Scceeding at the Pian® is a pian methd f chice f Astalian and New Zealand pian teaches. Lk t f Helen’s next visit in late 2013/2014!

Now Available! Helen Marlais’

Succeeding at the Piano® Grade 3

Grade 3 expands on the concepts introduced in earlier levels and teaches new ones including: New time signatures of 3/8, 6/8 and cut time; Compound meter; Triads and inversions; IV chord and I-IV-I cadence; I-IV-I-V7-I in C, G, and F Major; Syncopation; Intervals of a 7th and an octave; Triplets; Swing rhythm; Chromaticism; and The three forms of the minor scale in the key A and D. Creative and diverse activities keep students motivated as new concepts are reinforced. Counting exercises guide students to internalise rhythms and understand them easily. Short games such as matching or fill in the blank reinforce terms and symbols. All of these activities promote a well-rounded musician.

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Magazine  PAGE 31

What is Helen up to at the moment? Since etning fm he tw-week t f Astalia and New Zealand, Helen has been bsy wking n the nal levels f Scceeding at the Pian. She pesented a shwcase at the Natinal Msic Teache’s Cnventin in Mach 2012, and pesented at the Alabama, Califnia, Mississippi, and Delawae state cnventins. In Jly last yea she pesented at the Natinal Cnventin f Keybad Pedaggy, and then went n a 5 week t thgh 22 cities in the uS and Canada. She als hsted a 20th/21st centy pian festival at Gand Valley State univesity. Ding that event she and he hsband played a ecital n the legenday  Vladimi Hwitz’ pian. In ealy 2012, she pesented wkshps and gave maste classes and ecitals in ohi, Flida, and Texas. The espnse t Scceeding at the Pian at all f these events has been delightflly psitive. Helen cntines t teach he yng pivate stdents, bt has taken a sabbatical fm he nivesity psitin, which gives he me time t wite.

5 things you didn’t know about Helen • Helen was bn in Gizia, Italy, and lves making fantastic Italian meals! Evey Septembe she makes hmemade Italian tmat sace fm ganic tmates s that thee is geat sace t eat thght the  winte! • Helen maied he hsband and sl mate, clainettist Ath Campbell in 1998. They d nt have childen and Helen feels this may fel he cmmitment t yng peple’s edcatin. • one f Helen’s hbbies is gadening and she emplys the neighbhd childen t  wate he gaden when she is n t! • once when Helen and he hsband wee n cncet t in Tkey, a man in the Gand Bazaa ffeed t tade a hed f his camels f Helen! Ftnately Ath said N! • In he stdi, she has mnthly pef mance classes. In late octbe the stdents wee playing pian in thei Hallween cstmes!

 AMEB Online Revolutionising Theory W puc   n w   ffn? AMEB Online Theory courses are found at amebtheory.edu.au and teach the subject matter contained in the Grade 1 and Grade 2 Theory of Music syllabuses. AMEB Online Exams are found at amebexams.edu.au. The online exams are exactly the same as traditional written AMEB exams but they are completed on a computer over the internet.

d  cu ncu  x? No. The courses teach the material found in the syllabus. At the end of the course the student will be prepared for the exam. If the student wants to do t he exam they need to purchase the exam in addition to the course.

“The main reason my students do online exams is

convenience.

I don’t have to wait for exam schedules. The kids really like doing exams this way and it saves me time as the practice exams are marked automatically. I can check up on what the kids are doing through my teacher login and students can do the exam whenever they want to. I even had a student do an exam when she was away on holiday at a friend’s house!” Jnnf Nwc, pn teacher and examiner

 really happy

“I am with online theory exams for my students. Students like to use technology and we don’t have to go into the city to do the exams. A student came and told me today that she had done three practice exams over the weekend – she would never talk about a written test like that.” rwn J, Fu n  c, on C

d i    ? No. Students can do the courses and exams separately or do the course and follow it with an exam.

d i n    nn cu f i ju wn    x? No. Students may learn theory at school or with a private teacher or be self taught. Students can prepare for an exam in whatever way suits them. Students can do an online exam without completing an online course

d un  cc? Yes. Students who successfully complete online theory exams receive their certicates in the mail. Certicates for online exams are identical to those for written exams completed on paper.

hw  i  ? Go to amebtheory.edu.au or amebexams.edu.au and look at the tutorials and practice examples.

W  i  f p? If you want to know how to purchase an online courses and exams or need help with the sites please phone AMEB on 1300 725 709 or email of[email protected].

Do your Theory of Music, Musicianship or Music Craft exam online.  AMEB written

exams are now online at www.amebexams.edu.au

flexible | convenient | immediate results | online tutorials | practice exams

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Magazine  PAGE 33

Christopher  Norton Piano Festivals Australia & New Zealand September/October 2012

W  Cp Nn? London based composer, arranger, educationalist and producer Christopher Norton is universally regarded as the leader in his eld. World-famous for the Microjazz series, Christopher’s other award-winning titles include the Concert Collections of original solo piano repertoire; the Essential Guides to pop styles; and the Piano Preludes. Christopher’s publications are represented on the AMEB, ANZCA, NZMEB and other examination syllabi widely used in Australia and New Zealand.

W   Cp Nn pn F? Over a 2 day period, Christopher Norton works with groups of students (Improvisation Workshops) and individuals (Master-classes). At the end of the second day, there is a Gala Concert at which most of the students perform – either solo, duetting with the composer or in their improvisation groups.

Qu f cn n f Cp Nn Pn F: The Christopher Norton Event was tremendous! Christopher taught the students in a calm yet innovative way. The closing concert was sold out and was a wonderful opportunity for the many students who performed. I’ve rarely seen such happy and condent young performers! Taking into account the $250 donation that the FMTA had pledged to the event, the Norton weekend earned approx. $1070 for our general fund!  Margaret MacDonald, Fredericton Music Teachers Association, Canada

It turns out Christopher Norton is not just a talented and prolic composer, he is truly a master teacher! From our youngest ve-year-old to our most advanced adult, Mr. Norton made everyone feel at ease while achieving incredible results in their playing. I watched in awe as our students responded to telling observations about technique and musicality. One mother said the difference in her child’s playing was like “removing a screen” after hearing years of “timid” playing from her daughter. The improv camp was wonderful and we hope Mr. Norton will come and visit again! Leslie Gereghty, Recreational Music Center, San Diego, USA

hw  b  F? If you are interested in running a Christopher Norton Piano Festival in your city or town, or if you would like to know how your students could participate in one, please contact Gina at Hal Leonard Australia.

Cnc: gn W Email: [email protected] Ph: 0419 896 832

Urtext...  what’s it all about?  What does Urtext mean?  An utext editin f a wk f classical msic is a pinted vesin intended t epdce the iginal intentin f the cmpse as exactly as pssible, witht any added  changed mateial.

 Why choose Urtext? Pianists sally chse an text editin when they want t sight an athitative  vesin f the text.

 The History of Henle  The diplmat, plitician and indstial magnate Günte Henle (1899-1979) lit pn the ight idea at the ight time. on 20 octbe 1948 he fnded his “pblishing hse f utext editins”. An accmplished pianist himself, he ealised that thee wee scacely any editins that accately epdced the cmpse’s msical text. Mst editins wee maed by nnecessay and ften incect additins fm late edits and aanges. Sn afte fnding the pblishing hse, the geat atists f the time began t shwe him with enthsiastic paise and ecgnitin. F tgethe with a small team f specialists, Günte Henle devted n less cae t the twad appeaance f his utext editins than t thei msiclgical cntents. Each Henle editin has t fll extemely high standads:  • athitative msical text • makings f pactical se • speb engaving • peface in thee langages (Geman, English, Fench); • citical cmmentay in at least tw langages (Geman, English, geneally  als Fench); • dability (pape, binding).

 Also, look out for these great Peters Urtext editions in-store:

INTRODUCING A BRAND NEW SERIES OF POPULAR PIANO BOOKS GRADED TO EXAMINATION STANDARDS!

grade 2, grade 3 aNd grade 4 Each book comprises 10 pieces covering 5 styles: Well known pop songs • Classical favourites Film/TV • Jazz/Blues • Traditional

l u f vu 1 n each grade out soon!

Use them as extra list works or as fun pieces to play, condent that the educational value correlates to the standard of AMEB and other piano exams.A great way to motivate your students!

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Magazine  PAGE 35

want more than notes n  p?

musical gifts available from your favourite music retailer  1401 Keyboard pencil | 5612 Latte Mug | 48600 Confetti Notes | SOAP 1605 | Bentcils 5002 Umbrella | 14550 Hologram spiral notebooks | 4407 Writing tablets Chopin Liszt | 2329 Tote Bags