![]() ![]() But wasn’t the tradeoff completely worth it? She was so excited to learn this piece after her exam was over, because she was already completely in love with it. True, she definitely didn’t have to work as hard to read that piece, as she was able to “fall back” on her ear much more. She started playing little sections of the score to demonstrate to me this unfathomable beauty. The next week at her lesson she asked me a very serious question: All she had to do is listen to the piece while following along with the score. ![]() So to transition her into a piece we would be working on once the exam was over, I decided to give her a listening assignment. She had been working on a 40 Piece Challenge that year and learning music at a wide variety of levels.Īs we moved towards the exam, though, I didn’t want to give her more challenging repertoire because I knew it would just get ignored in favour of exam work. I recently had a very dedicated, musical, and academically-strong 12-year-old student who was about to take her grade 5 piano exam. And they don’t just listen to my own playing: My students are quite used to seeing listening assignments on their assignment sheets. These days, however, I regularly play for my students. I was so concerned with making sure my students could read independently that I forgot to inspire them, or to help them be musical. I played their exam pieces so they could choose selections, and occasionally demonstrated small sections – but not often. Repertoire Thenįor the first 7 or so years of my piano teaching, I almost never played for my students. Teenagers might be improvising over an accompaniment which continually changes metre, and having to guess the new time signature as we play. ![]() ![]() My littlest students could be listening for loud sounds vs soft sounds, or clapping the beat with a jump on the first beat of the bar. NowĪhem…we’re teaching music making, right?įrom the start, I now teach listening skills as an integrated part of lessons. Everything in my training was telling me that listening comes last. I don’t remember even receiving much advice on how to listen for the answers, just the tests being drilled until I got it right. In my own piano education, these tests were practiced a few weeks before the exam. Piano students are missing out on all the wonderful benefits of ear training. I’m just not happy that these are the only aural skills taught in most piano lessons here in Ireland. □ Reload the page a few times if you see orange widgets instead of books and music.I’m not criticising them – I’m glad there is a listening portion of practical exams. … Endeavour, even with a poor voice, to sing at sight without the aid of your instrument in that way your ear for music will constantly improve." □ "Developing the ear is of the utmost importance. In lessons there is a synthesis of various teaching methods which are complemented by the ABRSM approach when pupils are preparing for exams. The orientation for this particular page is primarily the ABRSM board but if you are looking for further literature and books with exercises for all levels check out the Aural Skills Page. There are various teaching systems and terms including the solfège. A compilation of materials for learning aural skills for the grade two test.ĭownload the ABRSM Aural Trainer app to prepare for grades 1 - 8.Īural skills consist of listening, sight-singing, clapping rhythms and dictation. ![]()
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