Month: January 2015

ABRSM Diploma Exam Preparation Seminar 【英國皇家音樂學院文憑考試預備講座 】


ABRSM diploma seminar


Please click on this link to leave your contacts in the form, thank you. 請到連結留下姓名,電話號碼,及電郵,以作領取入場票之用。

More updates on our Facebook event.

TWSoM Student Concert 2015 Photo Album 學生音樂會 2015 相片簿

Dear all,

Some photos from the student concert have been posted. Please go to the following link for your viewing, thank you!
More soon.

音樂會相片現可在上面連結看到。謝謝。
Cheers,

Teresa Wong


鋼琴導師訓練課程



上學期我們開設了一個嶄新的課程:鋼琴導師訓練課程。這對我校來說是個新嘗試,我感到非常的興奮。今個學期我再開始這個課程,當中亦加插了更多的元素,修改了某些課程上的資料。

得到了上學期導師學員的反映和意見, 我加插了音樂歷史,音樂理論分析的原素,亦有導師互動教學、課堂觀察及反映等等。希望導師在學習理論之餘,亦有機會作實習,互相學習。

其實我一向都很欣賞鋼琴導師來向我學習。因為其實本身已經是其他人的老師,但也肯繼續進修,來跟我學習,很難能可貴的。我自己自從上個月到日本跟其他老師學習,感到非常的開心。那是一個很特別的機會,學習了很多方面的東西,實在是影響了我對音樂、教學甚至生命上的看法和感受。所以,我真的很鼓勵老師一起來學習。因為我相信我有很多資料可以提供給大家,令到大家的教學、分析、欣賞、理解音樂與鋼琴技巧表達方面可以有更大的進步,更大的空間發展,亦令到學生有更大的進步。這真是一舉多得的。

由於這個是小班制的課程,因此要滿足每一個人的上課時間是比較困難的。所以,今天我有了新的想法:學員可以選擇上全個課程,亦可以每個星期上課,自由選擇上任何一個星期的課堂。當然我鼓勵所有人都讀整個課程,尤其是想在本校任教的是一定要上完整個課程的。但為了鼓勵新的學員對本校或本人認識尚淺的導師來說,選擇只上一至三個課堂其實也不為過的(當然上完整課程的費用是會比較低的)。重要的是學習到有關的知識。所以如果有興趣上課的鋼琴導師,請直接聯絡我們吧。我們可以將課程的大鋼給你看一看的。

我們是準備二月要開始課程了(報了名的學員請耐心等待!)。

P.S. 下一個課程由六月份開始。報名要從速啦!



For English: Piano Pedagogy Course Level I


黃穎妍


On Practice




"Let's Practice Together!"
“Let’s Practice Together!”

PRACTICE IS A FOCUSED, ORGANIZED AND RATIONAL ACTIVITY.


Many have a misconception that practice is something they do randomly in a set period of time without a plan ahead or knowing what exactly to do and achieve yet hope to get the result they “desire” (? it almost does not make sense to even use the word “desire” as they do not have no set goal in mind what to get from the practice).


I cannot stress enough that we need to structure our practice sessions in a way that we can maximize the result out of every single one of them. And let me just say it again: playing through a piece without thinking about what to do in that playing through is NOT practice. It is an enjoyment of its own, but certainly not a practice.

For most of us if not all, practice is a luxurious business, as we lead such a busy life in this modern world full of distraction in terms of technology and entertainment, not to say work and personal life. So every single minute of our practice is precious and we must make the most out of it.

Now, how do we practice efficiently and effectively?

First, we need FOCUS.

Focus on what we are doing with our fingers, palms and arms. Focus on how we place the fingers precisely on the surfaces of the keys, how we use them to attack the notes, how much weight we use under the fingers to attack the notes, how much weight we are holding the notes with the fingers, how we release the notes: are we pushing the notes off with the fingers, or are we bringing the fingers off the keys with our upper arms? (the latter one is the most efficient and best way for tone control/production and weight transfer/release).


But to complement with Focus, we need AWARENESS.

Be aware of what exactly we are doing and what we are not doing: what we are doing to prevent us from playing most efficiently and effectively, and what we can do to be otherwise.

How do we bring awareness to our practice?

By simply, OBSERVATION.

Observe carefully what we are doing with our fingers, wrists and palms, observe our FEELING when we are using them: Do they feel good? Do they feel right? Do they feel easy? These are the feelings you should have when you get the technique right. You should be able to feel much more effortlessness in your playing and execution. You should feel EASE and FREEDOM in your arms and your whole body. You should be able to maneuver your body in such a SMOOTH FLOW that is in sync with the music that you are expressing.

Feel what we are feeling in our body and hands is vital for quicker progress in our practice.

We can only see so much with our physical eyes. In order to understand how the technique truly works and is working in us, we must feel if they are happening under our fingers and in our body.

So I am going to say something very “spiritual” or “new-age-y” now: USE OUR INNER EYES. Music is an expression, it is an expression of our emotion, and emotion can only be felt not seen. We can use words to describe it, yet the only way to understand it is to feel it, ourselves – meaning no one else can feel how we feel, no one else but we can feel ultimately if the technique is really there. We ourselves eventually are responsible for it and be the judge of it. But once we feel it, we get it.

To know how to play a piece at a deeper level, we need UNDERSTANDING.

To Understand a piece means that we need to know what it is trying to say. That means we have to know why the notes are organized in that way they are, in terms of pitch (melodic intervals) and duration (note value) relations in a linear way (a single line/voice) and a co-relational way (with other lines/voices) respectively. Thus, the easy term of such seemingly complicated task is ANALYSIS that most drags to engage themselves in, however, rather important in knowing what to present in a piece in one’s playing.

Last but not the least (I know, such a cliché phrase but I am using it anyway), LISTENING.

Listen to the TONE we are making. Is that what we want? If you don’t know what you want, go find it first. Listen to the great pianists whom you enjoy their playing, listen to the QUALITY of it, find out the reason WHY you like that playing. Then try to achieve the similar tone on the piano with your own two hands (yes, you know that’s one of my piano bible book titles). You can make it. Try anyway.

FOCUS. BE AWARE. OBSERVE. FEEL. UNDERSTAND. LISTEN. All at the same time.


Until the next post,

Teresa Wong