Judge Not: the question of assessment (beginners)

The really big question when talking about assessing piano/instrumental students is: are external assessments of piano students a motivational tool, encouraging serious effort which certainly would not be made if an external assessment (and the possibility of failure) were not looming OR are piano exams something that strips time from the lesson that could have been spent developing a wider knowledge of the repertoire, a more varied technical expertise and a broader set of musicianship skills? A firmly believed, but often not-expressed, view amongst piano teachers is that the use of graded assessments often ends up being a way for students (and their parents) to compare themselves with their peers, and this competitive perspective can undermine the motivational benefits that an assessment deadline can deliver. I’ve recently been spending a great deal of time considering the benefits of assessments for beginner pianists, many of whom may be as young as five years of age.  It can be exciting for beginner

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How hard is a piece of music?

For piano teachers working in countries with a strong examination culture (this means anywhere that is, or once was, part of the former British Empire/current Commonwealth) there is a general consensus about how hard certain pieces of piano music are.  And this general consensus revolves around an idea of ‘grading’ – that a piece of music ‘is’ Grade One, or Grade Five, or Grade Eight. No one ever talks very much about what makes a piece have Grade One-like qualities rather than the qualities of a Grade Two piece.  But, within a teaching culture where the lesson is almost entirely focussed on the exam, teachers develop an acceptance of the gradings given to pieces by the examination boards they choose to use, and this becomes the basis for intuiting a degree of difficulty for new repertoire.  If the piece ‘feels’ like Grade Four, then Grade Four it must be. The challenge to grading new repertoire is most keenly felt when grading

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