Today I attended the EPTA Autumn Conference and AGM and enjoyed an excellent day. I would not have believed that anyone could be so inspiring on the topic of Scales and Aural Awareness as Murray McLachlan was this morning! I've come back with lots of imaginative ideas for making scales interesting and linking them with aural work.

Murray was followed by Sally Chappell talking about her experiences of children's music making in Cuba, South Africa and Hungary (and we had a short talk from Claudina, a Cuban piano teacher, about her country's music school system). Unlike here, all these countries start with a very thorough practical groundwork in pulse, rhythm and singing, including sight singing, before they start an instrument (hi Cyrilla!), with resultant ease of playing on the chosen instrument.

After the AGM there was a really fantastic concert by this year's winners of the EPTA composers competition, which is open to EPTA teachers and their students. Most played their own compositions, with a couple of exceptions where the composer introduced the piece, letting someone else play it as it was at the moment more difficult than they could manage in order to to do it justice. The youngest composer was just eight years old, and without exception all presented their performances confidently and clearly enjoyed what they were doing. There was such a variety of imaginative pieces too.

The day finished with a recital by William Fong. I had to leave to catch a train after the first item (Mozart Sonata in B flat major K333), which was a pity as his extremely expressive playing was a joy to listen to.

This is the first time I have been to an EPTA event and I found the other members there very friendly and welcoming. I look forward to going to future events.

Are there any other Forum members who are EPTA members?

Now why on earth would you think of me in this context, Suepea??

Seriously, though - when is this country going to wake up and realise the benefits of the approaches in these countries? Wouldn't instrumental teachers be delighted to know that their pupils could already read, write, hear and understand music before they had their first lesson with them? And that they could already sight-sing the first pieces that they were asked to play??

*Big Sigh*

I know that Hammerklavier has met Murray McLachlan on several Chet's Piano Courses and has always told me how fantastic he is. I'd be interested to hear of the ideas he shared with you today.

Great that you had such a good day!

I have considered joining but, at the moment, they would not put me "on the list" as I don't have a teacher's qualification and it seems a bit daft to pay unless they would. I was told that might be changing after the AGM, did you hear anything about it?

Here are some of his ideas:

Thinking of having an aural "palette of colours" to apply artistry and imagination to scales. This can include variations in articulation and dynamics and the use of ideas such as moving like a snake, a bird, an elephant or other animals. Speed of scale and touch will suit whatever animal is chosen. Older students could imagine the scales sounding like instruments of the orchestra - e.g. organ, cello, harp.

Use of different articulation in each hand - legato/staccato. Variations of attack in legato/staccato playing.

Comparison of key qualities - are some keys "brighter" than others.

If you have two pianos ask your student about how you are playing the scale e.g. cres/dim. Play different keys simultaneously - involves listening and synchonisation. Use metronome and record playing for self-criticism.

Play in 3rds, 6ths etc for awareness of intervals. Start on different degrees of the scale - link with modes.

Use different rhythms and variations in breath control e.g. breathe in for 4 notes, out for 4 notes.
Play 2 against 3, 3 against 4.

Do scales over an octave apart, also Russian scales (parallel motion for 2 octaves up, contrary motion 2 octaves and back again, parallel for 2 octaves and varaiations thereof)

Look for and identify scalic passages and snippets in pieces. This can help with memorising. Experiment with "colour" in same.

Do scales related to pieces being learnt. Duet lesson - start with scales in key of piece.

Be aware of finger control variation - thumbs are clumsy.

You can join EPTA as an unqualified teacher and enjoy all the benefits except that of being included on the list of teachers. You do not necessarily have to have a formal qualification, but you do have to either submit a personal portfolio or gain a suitable qualification. At the AGM the proposal to revoke Associate (unqualified) membership was not passed, but the time limit of five years to gain suitable qualifications was removed. Guidance on both these methods is given on the website. Look here. Please note that a motion was passed at the AGM to raise the annual subscription to £62 for individual members. This has been necessary because of the fact that much of your subscription goes towards public liability insurance when you are teaching and the fact that EPTA is a comparitively small organisation which is very pro-active in providing continuing professional development. (ISM is currently £130 per annum for individual membership.)

My children have been so lucky at their school. They have a brilliant Head and, through careful budgeting we have a resident music teacher. She takes all the music lessons and does alot of work on rhythmic games, pulse, note recognition and a huge amount of singing of all types of songs. Also Nativity plays, Year 6 production, and gets the children playing instuments regularly in front of parents. We do have a thriving and wonderful music base at the school.

I have recently taken on a pupil from their school and her understanding of rhythm is amazing compared to others.

Have to say, I am also aware of other schools in Cheshire who use the music service to bring in a music specialist to do all the music lessons. So there are some schools out there getting it right.

Your school is very fortunate, Miochy.