Series 17 – Part 2 (some answers)

There’s really no bad news, not even a single bit: the AMEB’s Series 17 is a collection that does exceptionally well in catering for the vast range of interests, urgencies and fixations of the Australian piano teaching world. David Lockett and the review team (Glenn Riddle, Jody Heald and Helen Smith) have taken a meticulous approach to delivering a series of repertoire collections that will serve the assessment process – as well as piano pedagogy – well. Let’s start with that grade-deflation question. Have we seen a shift in the goal posts of any of the grades? Is Preliminary continuing the march to Grade One standard repertoire?! Short answer – no. All the pieces are very well graded. There are some easier and some harder pieces in each grade collection, but nothing to elicit outrage or confusion. More detail from me soon in a separate post. Appropriate length? Delightfully so! Very few works that take too many pages, and none that are garrulous

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How Hard Is a Piece of Music: June 2010 Installment

Exam boards release new graded material from time to time, unpredictably in the case of the AMEB, every two years like clockwork in the case of the ABRSM, and it’s an exciting moment when piano teachers get to take a look at the new material they can/will use with their students over the next few years. Particularly exciting when a personal favourite makes the cut, or an appealing piece one hasn’t come across before, but the downside is always possible: discovering inclusions that simply are too hard for students to seriously consider performing them in a graded assessment context. ABRSM doesn’t often stray in this regard – in fact, I’d say that teachers with more than 20 years experience would say that the selections have been getting easier (not harder) over the years. But the AMEB, with its 100+ pieces per grade syllabus, seems to lurch all over the place in terms of the grading of pieces, often with the

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P Plate Piano Book 2: Composers

Today marks the first day P Plate Piano is available for sale in Australia, and I’ve been too sick to drag myself out of bed, let alone get into a shop to see how they might have this beautiful looking series displayed.  [If you want to see the cover design it’s currently up as the splash page for the still-under-construction website http://www.pplatepiano.com.au%5D But I think I might have enough energy (having been asleep most of the day, and having Tom at his grandparents’ place), to write up a quick piece about the composers who are included in P Plate Piano Book 2. Of course, I’ve used many of the composers whose work featured in P Plate Piano Book 1, so I won’t detail these composers, except to list them: Anita Milne (yes, my mum, who now has her pieces in 4 publications), Jane Sebba (pieces from her fabulous Piano Magic method books), Daniel Gottlob Türk (composer from the Classical period who

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