Sonny Chua

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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The Hal Leonard Australia 40 Piece Challenge 2013: suggestions for getting started

In 2013 Hal Leonard Australia is running a 40 Piece Challenge. And I’m very excited by this news. The challenge is to teachers primarily – can your students each learn at least 40 new pieces in 2013?! This challenge is not a random, out-of-the-blue event. There’s a massive back-story to the development of this 40-Piece Challenge, which you can read about here. But the point of the whole exercise is to encourage students to learn, perform and experience far more music than our exam-focussed culture usually allows. And to do so in order for students to develop much better reading skills and much broader musicianship, which will lead our students to be more likely to play the piano for the rest of their lives (no matter what grade exam they make it to before they stop taking piano lessons). This post isn’t about convincing you that this challenge is a good idea – there are plenty of posts I’ve written

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Classical Music Futures Summit: Quick Points

I spent today (July 12) at the Sydney Conservatorium of Music at an event importantly titled the Classical Music Futures Summit, having scored a lucky last-minute invitation to be part of the talkfest. So lately invited was I (somewhere between 6 and 2 weeks ago, depending on how you interpret the invitation) that the sheet listing the participants, explaining who they worked with/for, what they did/had done, along with their email addresses, didn’t include me. Which was fine – I’m very well-accustomed to people asking me who on earth I am. This was my first experience at an event run by a professional facilitator, and I’ve come away from the day with a sense of awe at the quick-witted skillfulness displayed throughout the event, quickly sifting ideas into themes, managing the time-ego tug-of-war, and working to deliver both forward momentum and a sense of ownership to the participants. Truly inspiring work. I’ve also come away from the day thrilled to

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