鋼琴考試

學生考試考幾級或何時考試,應該是老師決定的,因為只有老師才能判斷學生的能力及進度。勉強考試得到的只是一個數字,而不是音樂的修養及對音樂的欣賞。曾有家長前來面見,只希望子女在中學前”搞掂”八級,其他曲目及音樂知識免問,我直接地問該家長:”學琴的意義何在?”

認真學習鋼琴

現今的香港,學習鋼琴的小朋友越來越多,正面的說法可以是 : 音樂普及化了,小朋友整體的音樂水平及修養也相對提昇。對身為鋼琴老師的我,卻存在一個疑問 : 普及,是因為”人有我有”的心態嗎? 學生會否因此而不認真?

首先要說的,應該是小朋友是否懂得珍惜,現在大多數人生活較富足,小朋友自然覺得所有機會和物質都是理所當然的;另外,多數小朋友都不是十分渴望學琴的,而是家長想他們學琴,他們自然心想:不是我想學的,是你迫我學的……這樣的小朋友,學琴怎會認真呢?

鋼琴也是一個學科,只是上課形式跟學校不同而已,鋼琴課堂後,也要回家溫習,即是每天練琴,初學者更要溫習音名,學習看五線譜。想子女認真學琴,家長也要出一分力,相信家長會著子女先完成功課才玩耍及上街,練琴也是一樣,學生應先練好琴才玩,鋼琴課堂也不應因為要”玩”而隨便取消,因為子女會覺得”玩”比學琴重要,小朋友怎會認真對待鋼琴這個學科呢?

另外,不要以為上了鋼琴課等於懂得彈琴,上課後回家認真地每天練習的學生才會懂得彈琴,這樣的學生還會感受到彈琴的樂趣。各位家長及學生,現在就把練琴成為生活的一部份吧!

學生、家長及老師的三角關係

在Dr. Martha Baker-Jordan寫的Practical Piano Pedagogy中,其中一個Chapter說明了鋼琴教學學生與家長的重要性。
 Successful piano teaching derives from more than just the effort and skill of the piano teacher. It requires the dedicated involvement of three or (as family structure indicates) four people.
 THE TEACHER
The teacher’s responsibility is to teach. The true meaning of teaching is to insure that students learn not only the content of a lesson but also how to practice it on their own.
 THE STUDENT
The student’s responsibility is to practice properly and pay attention in the piano lesson. For intermediate student, they should learn to practise piano without parental reminders and making sure all materials get to the lesson.
 THE PARENTS
The parents’ responsibility is to support the student and to see the child practices his assignments regularly.Other parental responsibilities include :
1) Providing a good, well-tuned piano
2) Providing a piano bench of the correct height
3) Getting the student to the lessons on time
4) Paying tuition on time
5) Attending recitals and other activities at which parental attendance is expected
6) Asking the child to play regularly for the parents
7) Being supportive, interested, and encouraging.
 **The ages 11 through 14 are years of many changes in the lives of adolescent students, and it can be quite difficult to teach this age group. their world is moving out from the family structure and more into the realm of peer association and approval. The intermediate student is more concerned about pleasing and impressing peers than a piano teacher or parents. Parents do not assume your child would have more self-discipline as they grows older.
 Dr. Martha Baker-Jordan, Practical Piano Pedagogy, The Definitive Text for piano teachers and pedagogy students, (Warner Bros. Publications, 2003, 2004)

Your Musical Child

培養孩子的音樂路的方法節錄於Your Musical Child : Inspiring Kids to Play and Sing for Keeps, By Jessica Baron Turner, MA

1. Stand firm in your commitment to your child’s music education. You child will
benefit from hearing  a clear message that making music is important and valuable.
2. Find kind, thoughtful, experienced teachers for you child. Ask for their reference so you
can talk to current or former pupils.
3. Participate in your child’s music lessons when appropriate. Coming into lessons for the
first and last five minutes helps you child get settled and deeps you current with what
he/she is learning.
4. Motivate and inspire your child to engage fully in making music rather than pressuring
him to succeed.
5. If practicing becomes problematic for your child, find ways to adjust his/her approach.
Do not let practice problems escalate. Change is Good.
6. Keep a record or a journal marking your child’s musical experiences and high points.
Include art, photos and videos. This will make is efforts easy to see and celebrate.
7. Enjoy music together every chance you get.

沒有翻譯文章,很抱歉!
孩子學習音樂的道路其實並不孤單,除了老師外,家長也必須努力。Miss Wong的父母都不懂彈琴,但家中的唱片和電視間中播放的音樂節目卻陪伴我成長,令我漸漸愛上音樂。練琴其實是頗痛苦的事,幸好有家人的鞭策及鼓勵,我才能堅持到底。

Memorization Techniques

When first learning a new piece, it is essential to accurately read the notes, rhythm and develop a general feel for the overall concept of the piece. Student should form correct first impressions, because mistakes learned early are difficult to eradicate, and may cause problems in a performance.

Here is the correct memorization procedures :
1) Slow and careful practice
2) Attention to tempo, phrasing, dynamics, pedal, fingering
3) Learning the form of the piece
4) Developing the correct kinesthetic (muscular) relax necessary for a secure performance
5) Understanding the harmonic structure of the piece
6) Mental practice
7) Playing one hand and miming the other

James W.Bastien, How to Teach Piano Successfully, (Neil A. Kjos Music Company San Diego, California, 1995)

演奏級

最近多了學生和家長問我演奏級的問題,我在此與大家解釋及分享。
學生考畢八級,便可按程度預備演奏級的曲目,所謂演奏級,其實也有幾個級別 :
英國皇家音樂學院 : ARSM–>DipABRSM–>LRSM–>FRSM
倫敦聖三一音樂學院 : Advanced Certificate–>ATCL–>LTCL–>FTCL

英國皇家音樂學院的文憑試(ARSM除外)包括Performance, Quick study, Programme notes和Viva Voce(口試 : 問有關作曲家、樂曲、歷史等問題),考試必須全科及格,否則該部份要重考。

倫敦聖三一音樂學院的文憑試只包括Performance和programme notes。

大部份老師及學生都會考倫敦聖三一音樂學院的演奏文憑,及格率比英國皇家音樂學院的較高。雖然及格率較高,但始終都是一張文憑,並不是想象中的容易,一定要努力、集中和堅持。

倫敦聖三一音樂學院網址 : http://www.trinitycollege.com/site/?id=230
英國皇家音樂學院網址 :     http://hk.abrsm.org/en/our-exams/diplomas/Extracts from