How To Teach Concerti - Part 2
In my previous post, I gave some suggestions for which concerti might be appropriate for pre-college students to learn, as well as some prerequisites for studying concerti. That post was prompted by my friend Andrea Miller over at Music Studio Startup asking me to come discuss this question in one of her Clubhouse chats. The chat was super fun! It also made me realize that I had a few other thoughts that I could offer in a part 2 of this topic on my blog.
I also decided to make a How To Teach video specifically on the first movement of the Haydn Concerto in D Major, Hob XIII:11, which is linked below.
Skills and Knowledge Required to play this piece well:
D major key signature, scales, chords, and inversions
Scales and chords in closely related keys (A major - dominant, E major - secondary dominant, B minor - relative minor)
Blocked and broken octave technique
Ability to block through long series of chords to hear the harmonic movement
Ability to hear and understand improvisatory effects, such as the addition of half steps in the beginning of the recapitulation
Ability to clearly execute a syncopated rhythm between the hands in the second theme
In addition to the prerequisite skills that I listed in that first post, here are some specifics to this movement. Note that I reference the fact that there are multiple cadenza options available for performers; my favorite for students is the one in the Peters edition by Bruno Hinze-Reinhold.
One question that came up in the chat was the value of concerto competitions. I have had students participate in these over the years, and I have worked as a collaborative pianist for several other students in various competitions. These generally tend to be offered by youth symphonies, semi-professional local symphony orchestras, or even high school music programs. Typically, preparation of only one movement is required for competitions geared towards pre-college students. Sometimes there are specifications around repertoire due to the ability of the orchestra, but many times the competition will accept any standard piece. This can be a great experience for students if they have already developed a healthy mindset around performance and competition, and of course, each competition should be judged on its own, since there are so many variables affecting the individual experience.
Preparing for a competition means that a student must work with the pianist that will accompany him or her in the competition. Many teachers prefer to do this themselves, which begs the question of whether or not students should pay for that service. Personally, I have usually included rehearsal as part of the lesson time, so I did not need to bill for rehearsal time. Sometimes I have gifted my competition time, and other times I have charged for it, depending on the event. I do think it’s important for students and families to know that this is a premium service, and that the cost is therefore a significant hourly fee. However, it’s up to the teacher to determine exactly how he or she would like to handle this.
Lastly, another teacher on the chat recommended the Pianist's Guide to Standard Teaching and Performance Concertos by Christopher Hahn. If I had seen this book, I had completely forgotten about it. This is a great resource in addition to the NFMC leveled listing of concertos, with much more information included. Thanks, Carissa!
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