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On Sunday 12 and Monday 13 March, over the Labour Day weekend, the VMTA hosted its Autumn Workshop. During the two days, music teachers benefited greatly from attending a wide range of talks and practical sessions, as well as the opportunity to network with colleagues.

The workshop commenced with a day for piano teachers. The first presentation was given by Rodney Smith on behalf of the AMEB, in which he introduced the new Bastien piano series that has been integrated with P-Plate Piano. Rodney demonstrated at the piano while discussing ways in which the repertoire provides an extension of both technical and creative skills, and incorporates a graded approach to all aspects of learning. The more traditional pieces that teach reading, notation, rhythm and accidentals are balanced with pieces that include improvisation, syncopation and interchange of sections. An app in the book gives students the opportunity to record their performances and for the teacher to respond. The variety of the material will no doubt appeal to children with the colourful illustrations and the apps which are easy to use.

In the second session, Timothy Young, Head of Piano and Chamber Music at ANAM, gave an informative talk as he discussed some of the considerations in teaching Baroque repertoire. His demonstrations on the clavichord, followed by performances on the Yamaha grand, showed us how different our modern instrumental world is today from the time of Bach. He also highlighted the important influence of Baroque dance rhythms and their incorporation into the music of the time, particularly keyboard music. With the realisation that there are many ways to approach Baroque interpretation and performance, teachers need to read and listen to a wide variety of performers. Advice for practice included analysing each work, playing one line while singing another, writing fingering on the music clearly, developing dynamic levels for the different voices and developing a strong awareness of the harmonic structure and the use of hand pedalling. It is hoped there will be another opportunity to continue this discussion in the future.

In the afternoon, piano pedagogy specialist Jody Heald gave two insightful and practical sessions on how to develop a sound piano technique. She emphasised the underlying premise of reducing technique to its simplest elements. As a teacher, she said, you

Music and the TeacherMusic and the Teacher

Victorian Music Teachers’ Association Inc.

AUTUMN 2017

Autumn Workshop 2017

V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

Vol 43: 1 Autumn 2017 ISSN: 0047-8431

PO Box 629 Ph: (03) 5243 4200BELMONT VIC 3216 E: vmta@vmta.org.au

www.vmta.org.au

ABN: 81 423 528 825 Reg. Association No: A00370555

firstly need to know what outcome you want – be clear about where you’re heading. Jody spoke of being aware of using the whole body to play the piano, with relaxed arms and steely fingers. She demonstrated several exercises she uses in her own teaching to develop this. Jody also gave examples of practice exercises for passages from the Shostakovich Piano Concerto No. 2 in F Major and Rachmaninoff's third piano concerto.

In the second session, Jody played many elementary and intermediate pieces, explaining what elements of technique she teaches in each piece. She spoke frankly about the practicalities of responding to the different learning strengths of each student. Jody presented with humour and honesty and had the audience nodding and laughing. She also recommended several books on piano technique and talked about the history of the piano and how modern day piano technique has evolved with the development of the instrument. It was an entertaining afternoon with a wealth of practical ideas we can use straight away in our studios.

Following a successful and informative Day One, workshop attendees were delighted to be introduced to Jenny Gillan, a Kodaly expert and teacher at Victorian College of the Arts

Continued on page 7

ContentsAutumn Workshop 1

Council News 2

VMTA Events Calendar 5

Membership News 6

Developing Life Long Musicians 8

Yoga For Musicians 10

Francesca's Piano Lessons 13

AMEB News 14

Reviews 15

Vale 18

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V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

Council News

AcknowledgementsEditor: Genevieve NewtonPrinter: Snap Abbotsford/Richmond

DisclaimerPublication of any views, articles and advertisements in this journal does not by such publication carry the endorsement of the Council of the Victorian Music Teachers’ Association Inc. No responsibility is accepted by the Association, Editor, Publisher or Printer for accuracy of information or for errors or omissions.

VMTA Recommended Fees - 2017At the Annual General Meeting held on 24 May 2016, it was agreed that the following VMTA recommended fees be adopted in 2017:

Hourly Teaching Rates for Full Members

Private lesson $74

Group lesson (two or more students)

This is the total amount that the teacher would receive for a group lesson

$98

Accompanying Rates for Rehearsals, Performances and Examinations

Hourly rate for accompanying rehearsals, performances and examinations for Preliminary to Grade 3. This rate does not include administration, travel time and travel costs, which are extra and subject to negotiation. Rates for higher grades are subject to negotiation.

$74

Rates for Adjudicators and Official Eisteddfod Accompanists

Rates for a 3-hour session for adjudication/official eisteddfod accompanying, plus accommodation, travel and expenses where appropriate.

$237

The VMTA’s recommended minimum fees are widely recognised by the teaching profession throughout Victoria. This fee schedule is used as a guide by VMTA members, schools, music festivals, eisteddfods and members of the general public. Rate increases reflect annual CPI adjustments and may also take into account other factors such as national comparisons, industry standards and historical increases. The rates are revised once a year at the Annual General Meeting. Please note that these rates are to be used as a general guide only. Individual private studio charges and school-based employment arrangements are subject to negotiation by either party. If members have any queries regarding these rates, please contact the office on (03) 5243 4200.

Notice of 2017 AGMThe 2017 Annual General Meeting of the Victorian Music Teachers’ Association Inc. will be held on Monday 29 May 2017 in the Upstairs Ballroom at Bell’s Hotel, 157 Moray Street, South Melbourne, 3205 commencing at 7.30pm.

AGENDA

1. Minutes of the 2016 AGM

2. President’s report

3. Treasurer’s report: presentation of 2016 audited accounts

4. Appointment of seven (7) members of Council, for the period 2017-2020, in accordance with the VMTA’s Rules of Association

5. Recommended teaching rates for 2018

6. VMTA membership fees for 2018

Council Nominations

Council members whose terms expire and whose positions are due for re-election are Ms Anne Lewitzka and Mr Bronislaw Sozanski.

Council members who have been co-opted since the last AGM and whose positions are to be elected for a full term include Ms Robin Baker, Ms Serena Guo, Mr David Lempriere-Laughton, Ms Josie Thomas and Mr John Young.

Nomination forms for Council election can be downloaded from the VMTA website at www.vmta.org.au; alternatively please call or email the office to obtain a copy.

Nomination forms can be scanned and emailed to vmta@vmta.org.au or posted to VMTA, PO Box 629, Belmont, VIC, 3216. Nominations must be returned to the VMTA office by no later than 5pm on Monday 15 May, 2017.

Light refreshments will be served at the meeting. For catering purposes, if you wish to attend the AGM, please RSVP to Genevieve Newton, Email vmta@vmta.org.au by no later than Monday 22 May.

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VMTA Council MembersThe VMTA wishes to extend a warm welcome to the following members who have recently been co-opted to Council:

Robin Baker

Serena Guo

David Lempriere-Laughton

Josie Thomas

John Young

Each of these members brings to Council a wide range of skills and experience that are of great value to the successful governance of the VMTA. In this article, we have included some information about each new member.

We would also like to extend our sincere and heartfelt thanks to Ms Judy Dempster, who recently stood down from her role on Council. In addition to being a string teaching representative and magazine contributor, Judy has made a significant contribution to Council over the years. She remains a member of the VMTA and we wish her well in her future endeavours.

VMTA Councillors

President * Dr Julie Haskell

Vice President * Ms Heather McKenzie

Treasurer *+ Ms Elizabeth Mitchell

Councillors Ms Robin Baker

Ms Serena Guo

Mr David Lempriere-Laughton

Ms Anne Lewitzka

Mr Glenn Riddle

Mr Bronislaw Sozanski

Ms Josie Thomas

Mr John Young

*executive position + acting role

Robin Baker GRNCM, PPRNCM, LRAM

With 30 years’ experience and representing the fourth generation of a musical family, pianist Robin Baker enjoys a busy freelance career as an accompanist, piano teacher and chamber musician. Robin studied at the Royal Northern College of Music in the UK for her music degree and post-graduate studies, with teachers Derrick Wyndham and John Wilson. She spent many years overseas performing in concerts in Britain and Europe. Robin has recorded for the ABC and BBC, appeared as guest artist at ANAM, and is a staff pianist at the University of Melbourne and Monash University.

Robin also coaches students in her private teaching practice for scholarship auditions and competitions. She is passionate about working with the individual strengths of each student so they can learn and perform at their best, and so contribute to their self-esteem and confidence.

Throughout her whole career Robin has performed in piano trios, quartets and quintets, including touring Asia with the Szigeti Trio. She has been a tutor of chamber music at the University of Melbourne and continues to coach chamber groups in performance and rehearsal techniques in her studio. She accompanies regularly for the Suzuki Association and for their advanced student stream. Robin was an organiser of the Piano Accompanist Summer School and has been a regular tutor at the annual event. She has given masterclasses in both the UK and Melbourne.

Robin is excited about the opportunity of being on the VMTA Council and helping to provide members with the resources they need.

Siyuan (Serena) Guo MMusPT (Melb), BMus Ed (Melb), MMus Ed (Shanghai), LMusA, STCA-Pri

Siyuan Guo holds a Master of Music (Performance Teaching) and Bachelor of Music Education degree from the University of Melbourne, and a Master of Music Education degree from Shanghai Conservatory of Music. She was awarded the LMusA diploma with distinction and has been recognised as an accredited Suzuki Piano Teacher since 2016.

Siyuan has been teaching piano beginners and young students for over eight years. She is experienced in teaching students who have different culture and language backgrounds, as well as teaching twins and triplets. She is actively involved in numerous music events across Melbourne and currently works as a studio piano teacher.

Council News

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V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

David Lempriere-Laughton MMus (Juilliard), BMus (Hons) (Cleveland, USA), LMusA (Piano), AMusA (Piano & Violin), FTCL, LTCL

David Lempriere-Laughton is a highly sought after solo and collaborative pianist who currently maintains a successful career across Europe, the USA and Australasia. He has appeared in recital at Carnegie Hall, New York; Wigmore Hall, London; the Louvre, Paris; Jubilee Hall, Singapore; the Cologne Philharmonie; the Royal Concertgebouw of Amsterdam; the Dmitri Mitropolous Concert Hall of Athens and the Palais des Beaux Arts of Brussels. His performance of the Grieg Piano Concerto with the Geminiani Chamber Orchestra earned him the 1994 3MBS FM Performer of the Year Award and in 1997 he was one of the top ten finalists in the Cincinatti World Piano Competition. His numerous competition successes include first prize in the 1994 Hephzibah Menuhin Memorial Scholarship, 1995 Austral Salon Scholarship, 1997 Royal South Street Concerto Competition and 1998 Darius Milhaud Award and silver medal in both the Corpus Christi and Isabel Scionti International Piano Competitions.

An active chamber musician, David has collaborated with many of the world’s most celebrated artists, including cellist Alisa Weilerstein, violinist Karen Gomyo, blues musician Corky Siegel, soprano Valeria Esposito and actress Dame Harriet Walter. He has been featured at a variety of international festivals, including Ravinia, Van Cliburn, Caramoor, Brisbane and Bad-kissingen and as a teacher has mentored finalists and prize winners at major national music competitions in the UK and Japan.

Mr Lempriere-Laughton graduated from the Juilliard School in 2001 with a Master of Music Degree and is a Fellow of Trinity College London.

John Young MMusPT (Melb), BMus (Hons) (Melb), LMusA, GradDipEd

John Young graduated from the Victorian College of the Arts with a Bachelor of Music Performance (Honours), and completed the Master of Music Performance Teaching degree through the Melbourne Conservatorium of Music, The University of Melbourne.

He greatly enjoys teaching, piano performance and accompanying. John is Head of Keyboard at Xavier College. He was previously teaching piano at St Kevin’s College, Toorak and Lowther Hall Anglican Grammar School, Essendon. John has performed live on radio station 3MBS and regularly performs at various venues in Melbourne.

Josie Thomas BMus Ed (Melb), Cert Teach (Primary), Cert Singing (Primary Teaching)

Josie Thomas was born in the Netherlands and migrated to Australia with her family in the 1950s. She was initially taught piano by her sister, during which time she qualified as a Primary Teacher.

Josie was fortunate to have met the young Stephen McIntyre who accompanied the local parish choir for a while. Rehearsals were held in her family home. This exciting experience led Josie to a greater interest in developing her piano skills and specializing in music education.

After obtaining her Singing Teachers Certificate (Primary), Josie joined the Department of Education’s Music Branch as an itinerant music teacher. Wishing to further develop her knowledge and skills, Josie enrolled in a BMus Ed (Melb University). She majored in piano, studying with Vera Bradford, a pupil of Percy Grainger.

Josie also studied singing with Viola Morris. Upon completion of her degree, she joined the Melbourne Chorale Chamber Singers under Val Pyers and later Graham Abbott, in which she performed at the opening concert of Hamer Hall in 1982 and numerous concerts since then. Amongst the many notable conductors was Christopher Hogwood.

Over the years, Josie has taught classroom music and other subjects in many different schools covering all social backgrounds. She has held Music Coordination positions, initiated instrumental programs and has taught every level from Preschool to Year 12 in one capacity or another.

In 2007, Josie opened her own successful private piano studio where she specializes in teaching beginners and intermediate students.

Council News

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Student Concert Series 2017Open entry - all levels, all instruments, all welcome, including beginners! An informal, friendly and supportive performance opportunity for students of VMTA members.

The VMTA Student Concert Series is up and running again. There will be two concerts in Term 2, a Performance Day in Term 3, and one concert in Term 4. This year we have aligned our concert dates more closely with examination sessions, giving students who are preparing for an examination valuable performance experience. However, all students are encouraged to perform, whether they are preparing for an examination or not.

Term 2 Student Concerts Sunday 30 April, 2.00-4.00pm Saturday 27 May, 3.00-5.00pm

Term 3 Performance Day Sunday 13 August - Session 1: 2.00-3.30pm (AMEB Preliminary to

Grade 5 or equivalent)- Session 2: 4.00-5.30pm (AMEB Grade 6 to LMusA

or equivalent)

This will be an opportunity for students to perform on any instrument in front of an experienced presenter. Performers will receive a written critique sheet comprising feedback about their performance. Performers will also benefit from advice about preparing for examinations and performing in general. There will be two concerts, one for Preliminary to intermediate level students, and one for more advanced students. To help cover the cost of the presenter, there will be a small charge to perform. Information about the presenter will be advised in due course and bookings will open 4 weeks prior to the event. Please note that the Performance Day will not be suitable for beginners who have not yet reached AMEB Preliminary level or equivalent.

Term 4 Student Concert Saturday 21 October, 3.00-5.00pm

Spring Workshop 2017

SAVE THE DATE!

Announcing that our Spring Workshop will be held on Wednesday 4 and Thursday 5 October at St Kevin’s College, Toorak. Day 1 for piano teachers will feature a preview of the new Piano for Leisure Series, to be presented by AMEB. Day 2 for teachers of any instrument or voice will include a range of topics and presenters. More information about this event, including a full program will be emailed to members in Term 2.

Ticket prices:

Student Concerts - Term 2 and 4

Performer FREE

VMTA Member FREE

Adult $10

Child $5

Family $20

Performance Day - Term 3

Performer $15

VMTA Member FREE

Adult $10

Child $5

Family $20

The cost for a student to enrol in the Performance Day is $15 per student, per performance. Students may perform once only on their chosen instrument, however if they wish, they may perform twice on two different instruments. There is a special price for audience members who wish to attend both concerts. Please note that all performers must be booked in!

Venue: Richmond Uniting Church 314 Church Street, Richmond, Vic, 3121

Further Information and Bookings: For further information and to book, please visit the VMTA website at www.vmta.org.au/student-concert-series-2017 and follow the link to TryBooking. Online bookings will open approximately 4 weeks prior to each event.

Enquiries: Genevieve Newton Tel: (03) 5243 4200, Email: vmta@vmta.org.au

VMTA Events Calendar

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Welcome New MembersThe VMTA Council has pleasure in welcoming the following new members who have recently joined or been reinstated:

Full MemberMargaret Butcher Emily Calder Michelle Khoon Ching Chin Pek Sian (Pixie) Chong Meredith Connie Emma Cutting Dennis Deng Sally Dimsey Houston Dunleavy Tracey Edgar Deborah Gilchrist

Nicole Gooey Michael Lapina David Laughton Fiona Longfield Nadia Sartori Donna Tabone Hilary Travers

Associate MemberKaren Cornell Claire Young

Graduate MemberAnn Nguyen

Student MemberJohn Glover Lydia Wan

Affiliated Organisation MemberSt Cecilia Music Examinations

School MemberHillcrest Christian College Loreto Mandeville Hall MacRobertson Girls High School

Membership News

V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

Distinguished Teacher Award: Dr Anne LierseOn the evening of March 12, after the first day of our Autumn Workshop, current and past Council members, including three past Presidents, and staff gathered for a dinner to honour the lifetime achievements of Dr Anne Lierse, a long serving Council member, and indeed Acting President of the VMTA in 2008. Dr Lierse is a passionate music educator who served for many years as Director of Music at Melbourne High School, and who still teaches piano to twenty-one of their most fortunate Diploma students.

We presented Dr Lierse with a Distinguished Teacher Award. This is presented on occasion to a deserving music teacher who has inspired and guided instrumental students to achieve their very best, whilst instilling in them a lifelong love of music. Dr Lierse has championed the rights of all students to be given a music education from the earliest age through Primary and Secondary schooling. This annual award is not given lightly, the recipient always being a teacher who goes above and beyond in the pursuit of providing students with every opportunity to become the best musician they can be. Dr Lierse has done this consistently for many years, inspiring her students to become performers and teachers themselves. This means that her influence in music education will carry on for many years to come.

It was a wonderful opportunity for us all to come together to celebrate Dr Lierse’s distinguished career. We look forward to her continuing association with the VMTA, and members will surely meet her at various upcoming concerts and workshops.

Prize Winners 2017 Kault Piano PrizeThe VMTA Council congratulates Brandon Chew for being the winner of the 2017 Kault Piano Prize. This prestigious prize was established in 1998 by David Kault in memory of his mother, piano teacher Lyndall Kault and his father, Mendel Kault. Entries are open to piano students of VMTA members only. Applicants must have completed the requirements of the AMusA or LMusA Diploma and have achieved the required level of theory or musicianship.

Brandon Chew is currently a Year 11 student at Camberwell Grammar and has been studying piano with Majella Drew for the past five years. He began learning piano at the age of seven and violin at the age of ten. Whilst in middle school, Brandon began to take his music studies more seriously by participating in local eisteddfods and joining several ensembles at school. However, it was through his participation in some charity concerts at Deakin Edge at Federation Square, where money was raised for the poor in South Africa, Brandon truly began to understand the joy of helping others through his music.

After passing his AMusA in 2015, Brandon felt motivated to challenge himself further in his piano studies. Twelve months later, at the age of 16, he passed his LMusA with distinction, a feat he never dreamed was possible in the early days of his musical journey. He also earned half-colours in music at his school - a rare achievement for a Year 10 student.

Brandon still actively enjoys being involved in ensembles, both as a violinist and pianist. In the near future, he will be performing one of the duo piano parts in The Carnival of the Animals with an ensemble at Camberwell Grammar. He is very grateful for the skills he has learned through music, which he has been able to apply more widely in his life. In the future, he hopes to pursue a career that combines the disciplines of music and business.

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Secondary School. Jenny’s presentation highlighted the importance of cultivating student proficiency in the area of musicianship, including facets such as listening and identifying, comprehension, reading and writing, “inner hearing” and the ability to “see what you hear and hear what you see”. She discussed the benefits of the instrumental music student being able to sing and “inner hear” what is written on the stave, and introduced us to practical activities using solfa syllables, hand signs, and time names to develop pitch and rhythm. Jenny also highlighted the advantages of student involvement in choirs for developing their music skills and aural ability, and the correlation between student musicianship and their level of competence as performers.

Jenny discussed the extensive benefits of continual aural training - including learning repertoire faster, pre-empting problems, learning foreign concepts with greater ease, and better ensemble skills. She discussed the valuable resource Clever Echo, a method to promote student advancement in these areas, created by Deborah Smith. Jenny highlighted the advantages of pre-empting problematic areas for students when introducing new repertoire. She drew attention to the powerful learning advantages of dealing with the problematical areas first, arming students with helpful learning strategies and effective practice advice.

Following morning tea, Anna van Veldhuisen, Head of Music at Alice Miller School, presented Apps, Games and Activities for Developing Aural and Theory Skills Part 1. This session complimented the presentation by Jenny Gillan and introduced further concepts taking advantage of the ubiquity of technology in our schools. Anna demonstrated how technology can be used to introduce students to new concepts in music and keep lessons interesting. She discussed setting the appropriate levels of challenge and integrating applications and activities with current teaching practices. Anna also emphasised the importance of developing aural skills and introduced a number of great applications, including demonstrations on how to use them successfully.

During the lunch break, workshop participants mingled and discussed with enthusiasm the information they had received. Lunch also provided an opportunity for meeting new people, making important connections, learning from each other, and building on friendships. The caterers provided a variety of delectable lunch options including wraps, sandwiches, slices, freshly cut fruit, and more.

After lunch, there were two breakout sessions. Anna van Veldhuisen presented Apps, Games and Activities for Developing Aural and Theory Skills Part 2, which enabled teachers to apply some of the concepts introduced in the previous session. This was a lot of fun! The hands on singing using Solfa, and later in the session using movement, reinforced rhythm and aural skills with smiles. Plus, aural recognition of chord progressions while laughing at mistakes. Yes! That’s how things get better. Many of these can be adapted by the studio teacher. Anna gave several references for more apps and resources.

The other breakout session was presented by MSO cellist

Rachel Atkinson on the topic of VCE Music Performance and Investigation. As an experienced VCE performance teacher at VCASS, Rachel discussed strategies for selecting appropriate repertoire, the importance of considering the architecture of a program, continually refining technical work, approaches to learning, and dealing with performance anxiety. She invited workshop participants to contribute ideas and many valuable ideas were offered. She also discussed the immense value of creating as many performance opportunities as possible for students and training students to “act confidently”. Excellent practice strategies were discussed and Rachel demonstrated how she would work on a challenging section in a piece.

The workshop concluded with a presentation by Leanne Davine and Dr Tracey Edgar on Teaching Students with Special Needs: An Open Forum. Leanne and Tracey shared their views on special needs and introduced the audience to Temple Grandin. They discussed resources they found to be valuable for working with their special needs students. They drew attention to the importance of effective communication between teachers and families to maximise teacher awareness and preparedness. Lesson plan ideas were offered and Leanne and Tracey shared personal anecdotes from their teaching experiences.

The VMTA Autumn Workshop provided members with an opportunity for further professional development through the talks by expert presenters, excellent networking opportunities, new friendships and great discussions. We hope to see many more members at our forthcoming Spring Workshop to be held on Wednesday 4 and Thursday 5 October at St Kevin’s College, Toorak.

Anne Lewitzka, Robin Baker, John Young and Josie Thomas

V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

Autumn Workshop 2017 Continued from page 1

Timothy Young presents A Practical Approach to Playing Baroque Music on the Modern Piano.

Anna van Veldhuisen presents Apps, Games and Activities for Developing Aural and Theory Skills.

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Developing Life Long MusiciansBy Susan de Weger

For a large majority of children, music teachers and school music programs may be the only opportunity to acquire the skills and habits that lead to music participation throughout their lives. Despite the best efforts of teachers to create enjoyable music experiences for students, many children do not continue making music beyond school, with loss of interest cited as the primary reason for stopping.

V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

Most students will not wish to pursue a professional career in music, so how can teachers foster a love of music and of music participation in ways that 21st century students consider meaningful? How can students’ interests and future musical lives be prioritised in the teaching and rehearsal room?

Meaningful For Them

There is a striking divide between the music that students choose to listen to outside the music program and the repertoire studied during their music lessons; and the context in which they make music in school and the context in which they will make music in adulthood.

Putting the individual student first, not the syllabus or method first is the most important way to address the “loss of interest” that plagues our programs. Breaking this divide by asking them what they’re listening to, and finding a way to integrate their interests into lessons will keep students engaged and make connections to the music that is meaningful to them.

Teachers could anticipate the music experiences that could be meaningful for each individual student during their adulthood and find ways to support the technical and artistic needs required to realise those opportunities. Keyboard students who love pop music could be encouraged to learn their favourite songs from ear and sing in-tune alongside the traditional technical fundamentals. Keyboard students who are keen to

make music with others could be encouraged from an early age to practise and perform regularly with siblings and friends to develop key chamber ensemble skills.

Above all, every student should be encouraged to improve and create on their instrument. To find their unique musical voice and to trust their instincts. This is a challenging prospect for teachers who have been educated in the notated Western musical tradition but is a skill that transfers to future success beyond the stage. Melbourne based music educator Tim Topham writes extensively about the value of improvisation for students and offers a range of free resources for teachers.

Blur the Lines

Most adult music making takes place in community ensembles, so can teachers and school music programs create pathways for students to regularly engage, collaborate and perform with community music projects? If students had the opportunity to meet and work with their local community choral directors or orchestral conductors, would these experiences lead to an increase in the number of students who participated in these organisations as adults or who attended the concerts of these groups?

If senior students reviewed program guides for their local classical radio station and curated play lists with dates and times for listening, would they may be more likely to listen to that station and lend financial support as adults?

For keyboard students who do not have the opportunity of large ensembles, big brother / big sister programs which bring together junior and senior students to practise together regularly and perform together throughout the year could be an inspiring and motivating opportunity to make music with others.

Community Music Programs

Below is a list of suggested community music programs worth exploring:

• Australasian Orchestra• Australian Chamber Choir• Australian Doctor’s Orchestra • Australian Youth Band

Source: ABRSM Making Music Report #makingmusicreport

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• Community Music Victoria• Community Performing Arts Groups in Victoria

from www.bcl.com.au • Dandenong Ranges Music Council• Essendon Symphony• Geelong Symphony Orchestra• Grainger Wind Symphony• Heidelberg Symphony Orchestra• Kooyong Chamber Players• Melbourne Lawyers’ Orchestra• Melbourne Youth Orchestras• Monash Concert Band• Peninsula Chamber Musicians• Southern Voices• Stonnington Symphony• Victorian Amateur Chamber Music Society• Victorian Bands League• Victorian Youth Symphony Orchestra• Young Voices of Melbourne• Zelman Memorial Symphony Orchestra

New Education Models

For students wishing to study music at university, new education models offer flexible study options which mean it’s no longer an either/or choice for music vs STEM with many universities offering double degrees in music and STEM disciplines.

Music/ArtsUniversity of New South WalesUniversity of NewcastleUniversity of AdelaideAustralian National University Music Studies/Doctor of MedicineUniversity of Sydney

Music/ScienceMonash University University of New South Wales

Music/Social Sciences Australian National University

Music/BusinessAustralian National University

Music/CommerceUniversity of New South Wales

Music/EducationUniversity of New South Wales

Music/EngineeringUniversity of New South Wales

Music/LawMonash University University of New South WalesAustralian National University

University of Melbourne Bachelor of Music (3 yrs) + second Bachelor (2 yrs) = 5 yrsDiploma in Music (concurrent with Bachelor)

There are many pathways to dual study without the pressure and cost of a double degree. Breadth subjects offer a way for non-music majors to continue to be involved in performance and music study through subjects such as composition, music theory, musicology, music psychology and chamber music performance.

There are also a wide range of ensemble options available to students who are not music majors. These ensembles offer an opportunity to connect with others outside their field of study, to enhance performance skills and to continue to develop their technique and artistry. Here are a range of university based music opportunities for non-music majors.

• University of Melbourne Engineering Music Society• Monash University Philharmonic Society• Monash Big Band• Australian Medical Students Orchestra• Monash University Choral Society• RMIT Chamber Orchestra• Latrobe University Society of Music

Role Models

Finally, what music are you making? Can your students observe you engaged in music activities; and is it realistic to expect your students will include music in their adult lives if you are not modelling this?

V I C T O R I A N M U S I C T E A C H E R S ’ A S S O C I A T I O N I N C .

About the Author:

Susan de Weger changes things. First of all herself. Susan trained as a classical horn player, then left behind her broken musical identity to become a successful entrepreneur and consultant in the UK. Surprisingly, her musical skills came with her along the way. A return to Australia, a return to music—but this time with all her entrepreneurial drive, and a passion for transforming the music education system through her own lessons learned. Susan is the founder of Notable Values and is a newly appointed Associate Lecturer in Music Entrepreneurship at the Melbourne Conservatorium of Music. She lives in Melbourne with her husband and two sons. When not inspiring musicians to thrive on and beyond the stage, she raises beef cattle. Yes. Really.

"I've been around music my whole life, and started playing violin in year one of primary school, but I was always pushed towards a more practical career choice," says UNSW student Weber Yeh, 22. "Luckily, I also had a passion for engineering and finding out how things work." Yeh combines a bachelor of engineering/bachelor of music double degree at UNSW.Source: Dual degrees: why music and engineering sound like great bedfellows, SMH October 2015

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In these eloquent reflections, the great violinist Yehudi Menuhin not only describes the physical benefits of his yoga practice but also the knowledge he uncovered within himself by simply listening to his body. The following article represents my own experiences of incorporating yoga into my musical life as both a performer and a teacher. It is not intended as a detailed prescription of yoga practices for musicians, but rather a springboard for further individual exploration and discovery.

The word yoga means ‘union’ and, at its fundamental level, is a means of connecting the body and mind. Although there are many different traditions and styles, it is ultimately a practice that develops the habit of being aware in each moment. With a combination of physical and meditative practices, yoga focuses attention on the senses or 'inner body' encouraging a mindful state where each moment can be observed with openness, curiosity and acceptance. The senses can be considered our gateway to the present moment, where, although our mind often fluctuates between the past and the future, our bodies always exist in the here and now.

These ideals are paramount for a musician since all facets of music making, from initial study to concert performance, cannot exist but in the present, precisely when the sound is created. To perform, compose, practise

or even teach music we must be in a state of creative flow, informed by study, but guided in each moment by our musical instincts. Creativity is disrupted when our mind is distracted, we disconnect from our body, and are no longer in the moment.

Yoga can provide musicians with valuable and lifelong educational tools to help stay mindfully connected to the body. Rather than simply absorbing facts from an external source, yoga inspires learning through a process of personal observation, inquiry and reflection. This type of learning promotes creativity and encourages a student to ask the right questions, trust their own instincts and generally take initiative in the learning process. These skills are necessary to achieve spontaneous, joyful and sincere musical expression.

The breath is our bridge between the body and mind and is therefore the most powerful means we have for bringing our attention back to the present moment. Learning to consistently observe correct breathing, even while being physically, mentally or emotionally challenged, is one of the first teachings of yoga. Linking the breath to each movement turns any physical yoga practice into a form of 'moving meditation' making it easier to feel the body as an integrated unit and notice subtle changes and sensations. Practising such finely-tuned awareness on the yoga mat eventually develops the habit to move in the same way when making music.

The way we breathe has a direct effect on our nervous system and can alter our mood and bodily functions. Therefore, although our body can breathe automatically, it is also very useful to understand how to control our breathing patterns when needed. Yoga teaches many different breathing techniques all built upon the foundations of abdominal diaphragmatic breathing through the nose. Abdominal diaphragmatic breathing calms the mind, promotes endurance in physical activity, and generally maintains the normal functioning of our body systems. It primarily uses muscles in the lower torso resulting in the belly expanding slightly outwards on inhalation and returning inwards on exhalation. Ideally, we should be using this breath throughout our daily life and certainly while playing an instrument.

For musicians, consciously using nasal diaphragmatic breathing while playing can reduce performance anxiety and physical tension while improving coordination, agility, phrasing and sound quality. To be most beneficial, abdominal diaphragmatic breathing should be natural and

Yoga for Musiciansby Anna Carson

“First and foremost, of course, yoga made its contribution to my quest to understand consciously the mechanics of violin playing...all influences pointed toward less tension, more effective application of energy, the breaking down of resistance in every joint, the coordination of all motions into one motion; and illustrated the profound truth that strength comes not from strength but from the subtle comprehension of process, of proportion and balance.”

“Yoga taught me lessons it would have taken me years to learn by other means. Yoga was my compass.”

Yehudi Menuhin

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unforced, with a long, quiet exhalation. The exhalation acts like a controlled sigh, naturally slowing the heart rate and stimulating the parasympathetic (rest and relaxation) nervous system. The term 'deep breathing', often used in conjunction with relaxation techniques, can cause the misunderstanding that a faster, louder, fuller breath is ideal. However, this can easily become a form of hyperventilation resulting in dizziness, anxiousness and less oxygen circulating through the body. It is also important to breathe through the nose as mouth breathing usually stimulates the 'fight or flight' branch of the nervous system encouraging faster breaths into the chest. With this ‘reverse breathing’ pattern the belly contracts inwards and the chest expands and shoulders rise on inhalation.

Although optimal breathing techniques may be taught to those instrumentalists and vocalists who require their breath to produce sound, many musicians develop breathing habits that can even be the root cause of tension, anxiety and coordination issues. In my piano studio, I have observed many students habitually reverse breathe. Typically these students clench their belly or hold their breath while playing creating a cycle of tension which blocks natural musical flow. In my experience, this leads to insecure rhythm and pulse, tightening during technical challenges, inability to control sound and performance anxiety. Reverse breathing overuses the muscles of the upper back and neck resulting in fatigue, tension and a limited range of motion in this area. It follows that common issues for musicians such as raised shoulders, poor posture, blocked upper body movement or neck and upper back pain can be caused by incorrect breathing patterns. Utilising a natural abdominal breath must be the first step in achieving a long-term solution rather than just addressing the physical symptoms.

The best way to retrain breathing patterns at our instruments is to incorporate conscious breath awareness, such as yoga, into everyday life. This develops the habit of controlling our breath even as external circumstances change, which can be the key to a performer playing 'in the moment' rather than the moment getting the better of them. I have found that students enjoy taking short breathing breaks during their lessons and can immediately hear and feel positive differences in their playing when they control their breathing. I always begin teaching diaphragmatic breathing in a supine position with a light weight, book, or soft toy placed just beneath the navel. I have found this approach is the most effective way for

chronic chest breathers to actually feel the breath moving low in the torso.

Playing an instrument is an extremely dynamic activity, however, musicians often underestimate the physical condition needed to function at their best. As with an elite athlete, musicians require strength and flexibility combined with finely tuned proprioception and kinaesthetic awareness to achieve effortless, natural and effective movement at the instrument. All parts of our body need to work together for optimum performance and this must be experienced and understood by moving the body.

Unfortunately, in our modern lives, it doesn’t take long for sitting to replace moving. I have observed many young children who can no longer touch their toes, sit cross-legged on the floor, lift their torso from the ground (a baby’s ‘tummy time’) or crawl. These were activities that only a few years earlier occupied most of their day! Babies and toddlers instinctively know how to move their body as a whole and as a result have incredible strength and coordination. They can swing on monkey bars, climb trees or crawl the length of a house with complete ease. By constantly exploring new movement patterns children develop strong ‘reflexive stability’ which can be defined as “the body’s ability to anticipate movement before it actually happens and prepare the joints and muscles involved” (Anderson and Neupert, 2013, p. 48). When we stop moving, our reflexive stability ‘switches off’, meaning that our core muscles no longer support and initiate movement as they should. This begins a chain reaction of postural misalignments and muscular compensations, which for a musician can result in inefficient movement patterns leading to pain or injury.

Yoga can teach us how to move as an integrated unit again. As with many similar traditions, yoga considers the belly (specifically the area just below the navel) to be the body’s centre of energy and wisdom and the point from which we should initiate all movement. Moving from the belly encourages us to feel that our limbs radiate from our centre, with every movement being supported and guided by the central axis of the pelvis and spine. For musicians, ‘playing’ from the navel facilitates natural movement patterns such as reaching, twisting, swaying and bending which helps the brain build an accurate ‘body map’. Incorrect body mapping is always a factor in tension, fatigue and injury. For example, I have discovered my piano students often believe the elbow holds up their hand. Of course, the hand is ultimately supported by the

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shoulder girdle, which glides on the rib cage, which is attached to the spine, which connects to the legs via the pelvis. So, in reality, any movement of the fingers should involve the body from top to toe!

Yoga postures, practised with diaphragmatic breathing and the conscious intention to initiate all movement from the belly, will develop functional core strength and safe ranges of flexibility. Traditional core exercises, such as sit-ups, attempt to isolate particular muscles and are not effective at training an integrated and healthy core muscular system. They can also result in lower back pain, digestive problems and an overly tense abdomen that makes diaphragmatic breathing difficult. Instead, it is better (and more fun!) to rebuild strength by moving the whole body using movements that are contralateral and challenge our vestibular system. Most importantly, any exercises must be combined with diaphragmatic breathing. After all, the diaphragm is one of our most important core muscles.

Many people may find it paradoxical that flexibility is not a prerequisite for practicing yoga but you must be physically flexible to be a musician! Flexibility allows joints to move through their complete range of motion without any stress on related muscles, tendons and ligaments thus decreasing the chance of injury. It improves muscle balance throughout the body resulting in better posture, coordination, balance and agility. Regular stretching of our muscles is the best way to increase our flexibility, however the correct form of stretching is also important. Biomechanical science has proven that activities requiring dynamic movement, such as playing an instrument, benefit most from dynamic stretching. This means stretches should not be held statically for long periods but should use continuous movement to stretch muscles in all ranges of motion. Yoga postures performed with softness and fluidity using flowing circular movements that mobilise the spine offer many opportunities for dynamic stretching.

Learning yoga postures requires a precise knowledge of how individual body parts interact with each other and coordinate with external conditions. This improves proprioception and kinaethestic awareness, developing the skills to respond instantaneously to physical feedback. For a musician, factors such as a different acoustic, instrument or chair often demand changes to a studied movement pattern in order to achieve the desired musical expression. Therefore, it is not enough that a student comprehends how to execute a movement, they must also initiate subtle adjustments to their body when necessary.

By becoming consciously aware of even the smallest physical detail during a yoga practice, it becomes second nature to observe the body and adjust as required, while playing an instrument.

In conclusion, yoga encourages us to approach music making as an embodied sensory experience. This means our musical imagination (our mind) and the means with which we achieve our conception (our body), can be linked in a continuous stream of unbroken creativity where the music is felt in movement and our movements create the music. Yoga, like music, can only be ‘taught’ to a certain degree. Instead, it is more a way of being that develops over time yielding knowledge and growth unique to the practitioner’s needs, experience and understanding. Once again in the words of Menuhin:

“There are not many practical arts, sciences, and visions of human perfection of body, mind and soul which have been in practice over so long a period without attachment to a particular religious creed or catechism. Anyone can practise yoga...”

Bibliography

Anderson, T., & Neupert, G. (2013) Original strength. United Sates of America: www.xulonpress.com

Yoga for Musicians

About the Author:

Founder of the Australian Yoga and Music Academy (AYAMA), Anna Carson enjoys a varied career as a pianist, pedagogue, and yoga teacher. After graduating from the University of Queensland as a student of Max Olding, Anna continued her studies at the Australian National Academy of Music in Melbourne. Anna has performed as soloist with The Queensland Orchestra, Queensland Philharmonic Orchestra, Adelaide Symphony Orchestra and Orchestra Victoria and continues to present concerts throughout Australia. In 2012, Anna completed her initial yoga teacher training at the Australian Yoga Academy and has subsequently attended many short courses with teachers from varied physical disciplines. Drawing on her combined knowledge, Anna has taught ‘Yoga for Musicians’ classes at the AYAMA studio, Queensland Conservatorium, Monash University, the Australian National Academy of Music and the 2015 Australasian Piano Pedagogy Conference.

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Francesca Lachman and her family soon became good friends, and I was asked for advice about piano teachers (Francesca has been devoted to the piano since the age of three, but had never had consistent lessons). I took on this question as a matter of special concern, and tried to find out what would be best for her. Having never taught youngsters before, but knowing all the books they are routinely given for study purposes (Thompson, Agay, etc), I was sure she must learn to read music via Braille before anything else. But Francesca wasn’t keen on this idea at all. It was like trying to persuade her that castor oil was a delicious breakfast alternative (did I mention that Francesca is very stubborn?).

Finally, they wore me down. All right, come along and let’s see what we can do. Well, blow me down, if this isn’t the easiest person to teach! You just let her show you things that have caught her attention on CDs and at concerts and from which she plays snippets by ear, then show her how the music continues, go over it several times line by line, putting her fingers on the notes with the correct fingering so that she doesn’t run out of fingers on the turns, her father records the lesson, and a week later she comes back and plays the whole piece through smoothly, steadily, and note-perfectly. We started with Moonlight sonata, naturally, because that seemed easiest to handle because of the slow tempo, and she mastered that in two lessons, note-perfectly and emotion-perfectly. But tempo turned out not to be such a huge barrier, as she then mastered Rondo alla Turca in two lessons (and there are lots of twists and turns there). Bach’s first Prelude of course – perfect. We’re about to start on Golliwog’s Cakewalk. She loves the 18th variation of Rhapsody on a Theme of Paganini (Paganini was an ancestor of Francesca’s, but that’s not the reason she likes it: she responds with enthusiasm to all vibrant music).

I still think Francesca should learn to read music via Braille, but for the moment we’re doing just fine, thank you very much. Racing along. And I’m enjoying it so much, I’ve taken on some other students as well. They don’t have as good an ear as Francesca, but they do their best. And Francesca has taught me to listen carefully to what the student hears, and what they really need to know. It’s a good lesson. It works.

Editorial Note: Further to a recent article that appeared in the Herald Sun, we have heard that Francesca is still learning the piano and is doing very well.

Francesca's Piano Lessonsby Alan Kogoskowski

Three years ago I gave a recital at Bernie’s Musicland in Melbourne (St. James’s Palace, Carnegie Hall, Wigmore Hall, Bernie’s Musicland - it’s all the same: an appreciative audience always deserves the best one can give). One member of the audience was more attentive than most – an 11 year-old blind girl who got more sheer visceral impact from everything I played than almost anyone for whom I have ever played.

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Bastien New Traditions All in One Piano Course

As presented by AMEB at VMTA’s Autumn Workshop 2017

A new version of the Bastien All in One Course is now available in an Australian edition for the first time. This collaboration between Kjos Music Company, the publishers of Bastien New Traditions, and AMEB offers an indispensable resource for Australian teachers, students and parents.

The Bastien New Traditions All in One Course includes footnotes which reference AMEB’s own P-Plate Piano books. A broader repertoire-based learning experience is achieved which builds upon skills that are highlighted by the All in One Course. The course has been tailored for an Australian audience. Musical terminology such as ‘crotchet’ and ‘bar’ are used instead of the American equivalents.

Bastien New Traditions combines the basics of notation, fundamental piano technique and interpretation. The course includes approachable and fun pieces and exercises in attractive full-colour publications. The result is a comprehensive resource designed to be easy to use and enjoyable for teachers, students and parents alike.

Bastien New Traditions currently comprises five volumes: Primer A, Primer B, Level 1A, Level 1B and Level 2A. As a special service to our clients, AMEB publications are available to purchase from the AMEB Victoria office. Simply visit www.ameb.unimelb.edu.au to download an order form, or visit our office on First Floor, 259 Auburn Road, Hawthorn, VIC, 3122.

Piano for LeisureAdvance notice is provided to teachers of plans to release AMEB Piano for Leisure Series 4 at the end of 2017. These publications will be an additional resource to support the Piano for Leisure Syllabus. Piano for Leisure Series 4 will comprise grade books for Preliminary to Grade 8 and will feature a wide range of repertoire suitable for examination at each grade level. The works featured in Piano for Leisure Series 4 will be added to the Piano for Leisure syllabus. No grade book series will be withdrawn.

A preview of the new Piano for Leisure Series 4 will be presented at the VMTA’s forthcoming Spring Workshop 2017 to be held on Wednesday 4 and Thursday 5 October at St Kevin’s College, Toorak.

New Performance Evaluation ProgramAMEB Victoria is delighted to announce a new Performance Evaluation Program, offering an expanded range of instrumental and vocal evaluations, customised to the needs of specific students, teachers or schools.

Our research has shown that, while many students relish the challenge of traditional AMEB exams, others simply want to find out if they are progressing and receive objective feedback on how to improve and develop their performance skills. In response, AMEB Victoria is introducing the new Performance Evaluation Program to expand on AMEB’s current evaluation service, and complement the traditional range of examinations.

During the year AMEB Victoria will consult with teachers, parents and schools to find out what should be included in the program.

As an example, repertoire for a customised Performance Evaluation could be selected by the teacher to include work such as band or orchestral excerpts, and technical work could be included or excluded, as required. The program of work for evaluation would be provided to the assessor at the beginning of the Evaluation. Each candidate for Evaluation will receive a personal report containing comments on the work presented. While it is envisaged there will be no letter grade result, it would be possible for the assessor to give a numerical mark or letter grade to suit a teacher or school’s particular requirements, on request.

AMEB Victoria aims continuously to improve the promotion and recognition of musical achievement, and we look forward to working with you to develop a Performance Evaluation Program that will fulfil the needs of a greater number of students and teachers in Victoria. Teachers and schools who would like further information or would like to offer comments, feedback or suggestions can make contact via the Contact link on the AMEB Victoria website.

Musical Theatre SyllabusThe new Musical Theatre syllabus has been very popular. Developed for performers in musicals, eisteddfods, music academies and those preparing to be professional performers, this exciting new syllabus comes with a range of supporting publications and recorded accompaniments.

In 2016, Matthew Frampton became AMEB Victoria’s first successful Musical Theatre Licentiate candidate following the introduction of the new syllabus in 2015. His Licentiate diploma was conferred at the Conferring of Diplomas ceremony held in Wilson Hall, the University of Melbourne in March 2017.

Matthew developed a passion for singing and performing in musicals at school. He went on to complete a Bachelor of Music at Monash University and is now studying for a Master of Teaching, with the aim of pursuing a career as a performer and secondary vocal specialist.

Matthew says he would have loved to follow the Musical Theatre syllabus when he was at school. “Preparing for the Musical Theatre Licentiate exam helped me solidify everything I’ve developed over the years but also encouraged me to think critically and immerse myself in the repertoire,” Matthew says. He concluded: “The Licentiate was hard work but very rewarding, and I’m looking forward to using the syllabus to teach future Musical Theatre students.”

Recital Exams Trial

In 2017, AMEB will offer a new type of recital examination that will run alongside the traditional grade exams. Recital examinations in Violin, Flute, Trumpet and Drama & Communication will be trialled in 2017. The Recital examinations will assess repertoire only for instrumental music syllabuses, and Performance and Discussion components only for Drama & Communication. Recital exam syllabuses are available in digital PDF format only, and can be downloaded from the AMEB Victoria website free of charge. For more information, including answers to Frequently Asked Questions, go to: http://ameb.unimelb.edu.au/new-ameb-recital-exams/

AMEB News by Jeremy Fletcher (Client Relations Manager, AMEB Vic)

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ReviewsMargaret Brandman: Australian Music Education ResourcesReview by Ksenija Vojisavljevic

I first heard about the work of Australian composer and music educator Margaret Brandman from my mentor, Mrs Aliki Katsikas, a well known Melbourne-based piano, theory and musicianship pedagogue. My mentor recommended Margaret Brandman’s resources not only for piano students but for teachers as well. Through using these resources for my own advancement in teaching, and for giving the best musical care to my own two daughters, I became very familiar with their great training value.

Margaret Brandman’s pedagogical works, compositions, recordings and DVDs are impressive. She has co-authored the high school text Accent on Music with Lynn Lollback, and in addition to writing her own comprehensive theory series, she is one of the contributing writers to the AMEB Music Craft workbooks for Preliminary level and levels 1-4.

The Contemporary Aural Course, comprising book and audio recording, is excellent for providing ear training. Students of different age levels will have the same success with this course, which proceeds in mini steps with absolutely no gaps, and can be easily used either in a class situation or for the student’s individual training.

The Contemporary Piano Method Junior Primer and Levels 1-4 is a very comprehensive series of books which foster reading using a simplified interval and multi-key approach, plus technical, compositional and improvisational skills providing students with a knowledge of the language of music from every angle. As the vocabulary and grammar of musical language are mastered over the various levels, harmony and composition become part of the student’s natural way of expressing ideas. I find that as students move up through the levels, not only do they learn to perform their pieces but they also gain the skills to become a competent composer.

Pictorial Patterns for Keyboard Scales and Chords is an adjunct to the piano course providing students with fresh

perspectives on scale learning from the point of view of keyboard geography rather than notation. It also includes a very practical scale and chord practice planner to aid the teacher in developing a practice schedule for the student. The author demonstrates the concepts in the book and gives many practical teaching suggestions in her Geometry of the Piano and Symmetry of the Hands DVD which was first presented at the World Piano Teacher’s Conference in 2014 and for which she received their Diploma of Excellence in Piano Pedagogy. More information appears in the review of Pictorial Patterns by Abe Cytronowski which was published in MTA NSW’s Studio magazine some years ago (Ref: http://margaretbrandman.com/reviews.html).

Margaret Brandman’s catalogue of practical theory, chord and harmony books includes:

Contemporary Theory Primer

This book is designed for the complete beginner and focuses on interval recognition, knowledge of the Signpost Cs and the understanding of rhythm notation through the use of graphics that the students are required to colour in and then clap.

Contemporary Theory Workbooks 1 and 2

Book 1 covers simple intervals, clefs including C Clef, duration and simple time signatures, all major scales and key signatures, and five types of triads. Book 2 covers larger intervals, minor scales and keys, modulation, four-note chords, harmonic understanding, modes and more.

Contemporary Chord Workbooks 1 and 2

Book 1 covers instruction and includes plenty of written exercises for all types of triads, and four-note chords, plus information on chord tables. Book 2 covers instruction and written exercises in extended chords including 9ths, 11ths and 13ths. (Ref: http://margaretbrandman.com/books/chordreview.html)

Harmony Comes Together

This book includes a very practical approach to four-part harmony and features modern uses of chord progressions and a unique colour coding for the understanding of voicing.

In conjunction with her piano, theory and improvisation books, concepts are explored in her compositions for solo piano, many of which are included in AMEB and ANZCA syllabuses. Amongst these collections are The Blues and Boogie-Woogie, Contemporary Modal Pieces, Twelve Timely Pieces, It’s Easy to Improvise, and Six Contemporary Pieces and Three Sketches.

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Margaret Brandman’s compositional output includes orchestral and chamber works for various instruments and voice, plus concert works for solo piano. She has composed many songs including the song cycle Songs of Love and Desire (6 songs with lyrics by Mezzo Soprano Desiree Regina), and the Cosmic Wheel of the Zodiac (12 songs, one for each astrological star sign, with lyrics by astrologer and poet Benita Rainer). Selections from Songs of Love and Desire were performed at the World Forum concert held at St Catherine’s College in Oxford in 2012, and at Margaret’s Rhapsodies to Rhumbas concerts in Sydney in 2013 and 2014.

In September 2016, baritone Martin Cooke of the Bavarian State Opera Company, in association with Margaret on piano, premiered the Cosmic Wheel of the Zodiac song cycle at a concert held at Sydney Conservatorium. The choral setting of the songs in the cycle is scheduled to be recorded by PARMA Recordings and performed in concert by the Prague choir in Prague in September 2017. A DVD of Martin Cooke and Margaret performing the songs is available from her website. (Ref: http://margaretbrandman.com/perf.html)

Sensations, a CD of her orchestral works, was recorded by the Moravian Philharmonic Orchestra in the Czech Republic, and the compilation album Abrazo, which includes her Warm Winds in Havana suite for saxophone quartet and percussion, was recorded by the Javier Zalba ensemble in Cuba in 2015. Both of these CDs are produced by PARMA recordings in the USA.

Margaret Brandman’s works are being played on ABC Classic FM as well as on many international radio stations. The international and local reviews I have read have been very positive. The latest information I have is that her works on the Abrazo album have been downloaded from the Classical Discoveries website 238.5 million times!

For more information about Margaret Brandman’s works, including reviews of her books, and to hear samples of her compositions, visit her website: www.margaretbrandman.com. You can follow Margaret on Facebook at www.facebook.com/margaretbrandmanmusic and Twitter at www.twitter.com/margbrandmusic5

ReviewsNikolai Kapustin: Various Works(Schott)Review by Glenn Riddle

Teachers may not yet be familiar with the piano music of Ukrainian composer Nikolai Kapustin, but he is certainly one of the most prolific composers for the piano of the last 50 years, one whose music is increasingly becoming better known in the West. Born in Gorlovka in 1937, Kapustin has an impeccable Classical piano pedigree having studied with Alexander Goldenweiser at the Moscow Conservatory, yet these studies were complemented by a simultaneous interest in jazz, and throughout the 1960s he worked as jazz pianist, arranger and composer for various Big Bands, Jazz Orchestras and with his own jazz quintet.

Thus far, his piano music includes no less than 19 Piano Sonatas, 6 Piano Concertos, 24 Preludes and Fugues, collections of Preludes, Bagatelles, Etudes, Variations, Inventions and numerous individual pieces. Perhaps best known are the 8 Concert Etudes Op. 40 which are widely heard in international piano competitions and conservatory exams. The very attractive, and approachable by even young students, single movement Sonatina Op. 100 (published in 2000) recently appeared in the Trinity Grade 8 syllabus. CDs devoted to his piano music have been recorded by such eminent artists as Marc-Andre Hamelin and Stephen Osborne, and the composer himself has recorded at least eight CDs.

Schott has recently published Kapustin’s Piano Sonatas Nos 11, 14 and 18 (Op. 101, 120 and 135 respectively) as well as his Etude Courte Mais Transcendante (Op. 149) in authorised versions. The sonatas are substantial, ranging from 33 to 44 pages in length and are presented in clearly laid out, easy to read editions. Not for the faint hearted however, as each is a multi-movement of the fast-slow-fast variety, aimed at advanced level pianists seeking that highly idiomatic amalgam of Classical and Jazz traditions that Kapustin captures so successfully. Although technically demanding, Kapustin’s music always lies well under the fingers. A sure sense of rhythm is needed of course, as well as a feel for off-beat accents. A large hand span will help, as ninths and tenths often feature. The ten page Etude in particular, is generously and logically fingered. Each publication is warmly recommended to able pianists keen to explore deftly written, virtuosic piano music of the ‘notated improvisation’ variety. The editions might have been enhanced by some biographical information on the composer, as well as some performance notes, but this is a small quibble. If you don’t already know this composer’s music, you will be well rewarded and musically satisfied when you do.

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Dmitri Negrimovski: Tales of the Trees, Volume 1: 21 Picturesque Pieces for Young Piano Players(Alfred Music)Review by Robin Baker

This collection of 21 pieces is excellent for young pianists who are imaginative and love evoking the world of nature on the piano. Dimitri Negrimovski is a Russian composer, educator and pianist currently teaching in France, who wrote these pieces with the aim of using imaginative music to help pianists overcome technical difficulties, right from their early years of learning.

A useful feature is that all pieces are graded into one of four levels: Level 1 - Easy for 1-2 years of piano education; Level 2 – Easy to Moderate for 3-4 years of piano education (in my opinion these pieces are more of a moderate level, not easy); Level 3 – Intermediate for 5-6 years of piano education; Level 4 – Advanced for 7-8 years of piano education.

My favourite is the jazzy piece In the Park (No 2) for Moderate level. The Butterfly Bush (No 13) is beautiful with a very expressive legato swing to it for intermediate level

pianists. Storm (No 17 for intermediate level) sounds impressive, covering six octaves of the piano.

Sections of the easier pieces lie well under the hand, however it is the changes in hand position that are often a little complex and need care. All the pieces need to be studied fully to sound good. They often have dissonant

harmonies. A CD of all 21 pieces performed by the composer is included.

This book is a great choice if you're looking for something different for your young students to perform in a competition or concert. You can hear excerpts on YouTube at https://www.youtube.com/watch?v=4uVvczEFH2I. The music can be purchased online for around AUS$28.00.

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Reviews

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Dr Allan Zavod OAMDr Allan Zavod OAM passed away in November 2016, after a diagnosis in 2015 of a brain tumour. A graduate of Melbourne University, he completed a Bachelor of Music as a classical pianist. Nearing the completion of his degree, he played for Duke Ellington who was visiting Melbourne at the time. Ellington was so impressed that he subsequently arranged for Allan to commence studies at Berklee University in Boston.

Allan left Australia and became one of the youngest professors to ever be appointed to the teaching staff at Berklee, famous for its nurturing of jazz musicians. He lived in the USA for 30 years, where his career saw him tour and perform with Frank Zappa, Jean Luc Ponty, The Maynard Ferguson Big Band, Duke Ellington, Cab Calloway, Eric Clapton, Sting, the Glenn Miller and Woody Herman Orchestras, as well as many other famous names.

As a composer, he has written concertos which combine jazz and classical idioms together for numerous combinations. These include large ensemble works for the Environmental Symphony, which was performed by the Melbourne Symphony Orchestra in 2015 at Hamer Hall, works for piano solo and choral works, and numerous film and television scores. Documentaries and commercials were followed by compositions for live theatre and solo voice.

A long list of recordings and concert engagements saw him playing until September 2016, two months before he passed away. He received an Honorary Doctor of Music in 2009 from Melbourne University, awarded for his contribution to the field of jazz and classical fusion as performer and composer, and the posthumous award of OAM in the Australia Day Honours List in January 2017.

His personal charm, beautiful playing, flawless technique and great inspiration is sadly missed by all who knew him.

His website gives more detailed information, including recordings, videos and interviews - www.allanzavod.com

Anne Lewitzka

Dr Richard Divall OBE AOThe name Richard Divall has long been associated with singers and opera in Victoria and particularly to all those who attended the wonderful productions of the Victorian State Opera when he was Musical Director.

In more recent years he has been known as Artist-in-Residence at Queen’s College, Melbourne University, and an examiner at the Faculty of Music where his words of encouragement to students about to undertake a practical examination helped them to give their best performance.

His early years, after leaving school at 15, saw his interest in music awaken with piano lessons that had been organised by his mother. Seeking to further his knowledge about music, he started to teach himself from library books. He then took voice lessons at the Sydney Conservatorium for two years, after which training he was able to sing various roles in amateur operatic productions.

Around this time, he was Musical Producer for the ABC radio program Music Australis, presenting unknown works by Australian composers to the public. From these early experiences as a singer and as a conductor for Young Opera in Sydney, he received an invitation to work with Queensland Opera. Dame Joan Hammond had given her recommendation to his appointment in Brisbane. This was followed in due course with her request for him to return to Melbourne to take up the position of Musical Director of the newly established Victorian State Opera.

The decade that followed was enormously successful. Productions of The Magic Flute, The Trojans, Don Carlo, Samson and Delilah, The Pearl Fishers and several Wagner operas were amongst the highlights. In these years, the advice of Dr Divall was sought for the building of the new Arts Centre in Melbourne where he conducted the first performances at both the Concert Hall and the State Theatre.

His great interest in the nurturing of young talented singers saw him adjudicate the Sun Aria for twenty years. He also organised an Annual Chamber Music Festival, which was held at Dunkeld in the Western District.

He was awarded 3 Honorary Doctorates, an OBE and an AO. In his later years, he undertook a PhD, specialising in Maltese and early Australian music.

Dr Richard Divall was central to a great era of opera in Victoria and his work enriched the musical life of Australia.

Anne Lewitzka

Vale

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