So here today is the beginning of the series, specific print books and resources out there for piano teachers to use in lessons.
#Aural exam series#
My reading has led me to devise something of a series on Aural Development: Print Resources, Tech Resources, Resources for Early Development and finally, Auditory Processing: Information for Music Teachers. It is so vast that I am really just covering the tip of the iceberg currently and would like to further research some paths before I draw any conclusions worth sharing.
It is a very broad topic when looking at auditory processing, how it works, what dysfunctions can be present and how we utilise different techniques in order to benefit our students’ musical education. I am still reading through much of the research. I want to learn more and gain more understanding to be a better teacher. Medical journals, text books, auditory processing diagnosis and management specialists and parents with children with auditory processing issues. Why? What happens after the first bar of music that they can’t remember the rest? How can I assist them to increase their aural memory and attention span? What is it specifically that is causing this issue? Rhythmic clapping is mostly ok, as long as it isn’t too long, but adding the melody to remember seems to short out their fuse. In particular this stems from a couple of students who struggle to remember simple short phrases (think 2 bars of 4/4) to sing back. Singing and aural development has always been a part of my teaching but I feel the need to do some further research and find some more tools to work with some specific students. It is probably better demonstrated than written down.Recently I have been considering the ways I develop aural skills with my students and other alternatives that may be available. Or take modulations to the dominant and sub-dominant in minor keys, which are quite unlike modulations from minor keys: in minor keys the dominant feels far away (and if you can make it a major chord in your head, it will sound dominant-y, but the modulation to the sub-dominant often feels like a shot of caffeine, because the most obvious way to the sub-dominant is through its dominanat a.k.a. an interrupted cadence feels like it is going to be a perfect cadence, until suddenly, at the last moment, the rug is pulled from under your feet. At Grade 1, if you can’t decide whether the music is in two or three beats in the bar, it is likely in three - one of the characteristics of man being bi-pedal, is that we find two beats in the bar more obvious, in my experience.įor cadences and modulations at Grades 7 and 8, I am a great believer in being familiar with what they feel like, rather than trying to work them out mechanically, e.g.
(Entrainment is a deeply embedded reaction to music, and is rarely wrong). Sometimes it is simple little things that make the difference: for example, if you can’t clap the beat for early grades, try tapping your foot.
#Aural exam how to#
Sometimes, other instrumental teachers are reluctant to take their students through practice aural tests for the higher grades - perhaps because of a lack of lesson time, or because the tests need advanced keyboard skills to administer them.Ī lot of the time, there is a technique for tackling the questions, and you simply have to learn how to do it and practice. Fergus Black prepares students for aural tests at Grades 6,7 and 8, and for auditions.
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