ABRSM Teacher Development

Teaching & Learning Principles

Case Study 2
A piano lesson was being taught by a fairly experienced young teacher. It was explained to
me that the young boy about to have a lesson (early years, pre Grade 1) was enthusiastic
and lively, sometimes unfocussed, but making good progress, just beginning to play pieces
from a piano tutor. The lesson would consist of reinforcing some aural work on pulse and
rhythm, some simple improvisation and specific work on a piece had had started in the
previous lesson.
When the pupil arrived it was clear he was not just
distracted but not even happy to sit at the piano.
He went straight to the back of the room to play
with some percussion instruments unrelated to
the lesson, brushing past his teacher with barely a
‘hello’. The teacher, surprised but not phased, joined
the boy at the back, picked up another percussion
instrument and asked the pupil to imitate some
rhythmic ideas. Whilst this worked for a short while
the pupil soon put down his instrument and with no
eye contact started commenting on the metal bars
in the windows. The teacher mentioned that there
were bars in music too and asked the boy to come to
the piano so she could show him. He was reluctant to
do so but the teacher then engaged him with some
further pulse and rhythm games revolving around
3 and 4 beats in a bar. Finally he agreed to sit down
and ‘play something’ on the piano but refused to play
the piece he had been preparing, instead choosing
to freely improvise. The teacher, taking this as a cue,
started talking about possible moods and pictures
these musical sketches might represent and worked
with him on some ideas and sounds.
The lesson thereafter lost and regained focus with an
enormous amount of creative adaptability from the
teacher. It rarely reflected the proposed lesson plan
but a good amount of learning took place and the
pupil was kept engaged without any frustration or
resorting to discipline.
After the lesson the teacher was extraordinarily
apologetic. She had never before seen the boy behave
like this, felt that the lesson had been chaotic and
didn’t reflect well on her teaching.
In fact (as I told the teacher) this ranked, and still ranks,
as one of the best lessons I have seen taught. The
adaptability and imagination of the teacher was second
to none, turning every possibly distraction across the
30mins into an opportunity for learning. It was obvious
from the pupil’s attitude that any attempt to ‘discipline’
him would have been counter-productive. A wide range
of musicianship skills had been covered and challenged,
the boy’s relationship with the instrument and music
enhanced by the creative improvisation. Some elements
of technique had been addressed within this activity and
the teacher had even managed to integrate elements of
the piece he was meant to be learning even though the
boy refused to attempt the actual composition.
The following day I received a phone call from the
teacher telling me that she had just found out the boy’s
father had died the day before, but the mother felt life
should continue as normal for him. No mention was
made of this to her at the time but the mother had
phoned up to see how he had behaved.
We all have some preconception about how a lesson
might transpire and it is good to be proactive with
context and planning. Adaptability, empathy and
reactive teaching are also essential however. The best
strategies are those where learning and reinforcement
of musicianship are at their heart but also relate to the
needs and interests of the pupil; this may mean some
quick and nimble thinking to instantly devise creative
and imaginative new approaches to the same end.
Good teaching is pupil-centred and bespoke.
A one-size-fits-all approach to a lesson will
always reveal its flaws and weaknesses
over time.

Supporting the teaching and learning of music

in partnership with the Royal Schools of Music
Royal Academy of Music | Royal College of Music
Royal Northern College of Music | Royal Conservatoire of Scotland
www.abrsm.org  facebook.com/abrsm
@abrsm  ABRSM YouTube
ABRSM Teacher Development
Teaching & Learning Principles

Case Study 1
A few years ago, a pupil came to my teaching studio for regular flute lessons, having
previously learned the flute with a piano teacher. Naturally, over the first couple of years,
there were a few areas that we needed to develop relating specifically to flute technique;
however, her former lessons – where she had largely progressed through playing with the
piano accompaniments, independently of specific flute-teacher-guidance – meant she
brought with her self-reliance, motivation and a high level of musicality.
As this student worked through grades six and It was a beautiful and generously-sized room, with
seven, as well as widening her repertoire and musical a high ceiling, plain plaster walls, wooden floor and
communication she developed surer finger and minimalist décor, and this gave the room a very
rhythmic technique plus more advanced techniques resonant acoustic. It all suddenly clicked into place;
such as control of vibrato and double-tonguing for without realising why, my pupil had failed to practice
quick articulation. When it came to her tone, which the techniques associated with tone and projection,
was naturally rather quiet and private, I was keen as everything in this room was naturally amplified
to encourage my pupil to develop the techniques by the space in which she played most regularly! In
of projection, breathing and support demanded by every other atmosphere - such as bigger performance
her advanced level; being such a capable learner, spaces or smaller/drier ones (e.g. my teaching studio,
this student demonstrated her grasp of these ideas filled with musical books and a piano to soak up the
in lessons, which greatly benefitted her musical sound) her normal approach to playing was unable to
communication. However by the following week’s achieve the clarity and volume that she heard when
lesson, it was all forgotten again. Developing the she was practising.
techniques of good tone became a topic we had
to keep coming back to, more than any other; for From that day onwards, my student understood how
someone who was so competent in all other regards, important it was to choose a different room for her
this puzzled me. Each time we addressed this area I practice, one with less of an echo. Within weeks
tried to build upon my explanations, to ensure they she had learned to sustain her successful tonal
took root, and I was reassured of her understanding of techniques across several lessons, and it became
the techniques, reflected back in her lesson-playing. common practice for her to project her musical ideas
At her best, her musical ideas were augmented by persuasively, whatever the room-size. I am delighted
what she was learning to use to progress with her to say my pupil continued to develop her abilities and
tone, and she particularly commented on how it felt went on to deservedly gain the grade eight she to
like she took far bigger breaths than she was used to; which she aspired.
by the next week, however, she repeatedly went back
to square one.
Owing to unusual circumstances, one day I had
occasion to visit this pupil at her home to teach her
there instead. She lived in a big house, and I was
shown in to her dining room for the lesson, which
my student told me was the room in which she did
all her practice.

Supporting the teaching and learning of music

in partnership with the Royal Schools of Music
Royal Academy of Music | Royal College of Music
Royal Northern College of Music | Royal Conservatoire of Scotland
www.abrsm.org  facebook.com/abrsm
@abrsm  ABRSM YouTube
ABRSM Teacher Development
Teaching & Learning Principles
Contextual Statements
In preparation for writing contextual studies on two of your own pupils, we will
explore a few basic questions you could consider in considering the pupil’s present
context; a case-study is also given as a model.
1. How old is the pupil?
Pupils of different ages respond to different
teaching and learning styles.
2. What family does this pupil have?
There are family issues which – if we are aware of
them – can affect the way your pupil learns and
reacts e.g. if there are musicians in the fami-
ly; if your pupil is a carer or has lost relatives/
has relatives who are very unwell; if they have a
sibling (and whether that sibling is also learning
music) etc. It would be inappropriate to ask a
young person some of these questions outright;
the information may be offered by asking the
responsible adult for the pupil (or your manager
if you work in an institution) if there is “anything I
need to know?”
3. Does this pupil have special needs?
As above, asking a pupil directly about any
special needs is not appropriate, however it is
important to be aware of any specific needs,
learning difficulties or medical issues which
could affect the pupil whilst they are in your care.
Pupils with special needs may respond better
if – through your awareness of the condition - are
able to make small adaptations to your teaching
style to suit their learning, physical limitations
and/or processing. In addition, pupils with specif-
ic needs may be entitled to adaptated conditions
if they are entered for a music exam.
4. What is your current assessment of
their playing level?
This judgement feeds back into the repertoire and
techniques you may approach with your pupil. It
also may reflect how independently they learn
too; be aware that a beginner pupil may be more
dependent on their teacher for guidance, even if
they are older/an adult. The opposite is also true;
a young, advanced player, may resent too much
“spoon-feeding.”
5. Where are the gaps in your pupils’ musical
development?
We all learn some things more easily than others,
so all pupils have their strengths and weaknesses;
our job, as music teachers, is to encourage devel-
opment of what comes easily whilst addressing
any shortcomings. In some pupils, significant
gaps in their learning to date may be apparent;
these could be inherited from another teacher, or
you may notice you need to apply yourself to a
neglected area of your own teaching.
6. How does your pupil learn?
As mentioned above, all pupils can learn some
things more easily than others. There are many
models for assessing learning-styles in educa-
tion which you may like to read about. What’s
important to your pupil’s development is that
you understand them and adapt your teaching
style, whilst also continuing to challenge them
– but with careful awareness - in the areas they
in which they find it harder to progress. As well
as varying your approach with each pupil, notice
how they each learn at their own pace too: push
them too slowly and they’ll lose momentum and
interest; at too fast a speed they’re being set up
to fail. It’s essential to find a balance.
7. What is your pupil’s motivation to learn this
musical instrument?
There are any number of reasons to start and
continuing learning an instrument; whether it is
to play a particular piece, because of parental
influence (or pressure), to be a member of an or-
chestra or band, or because of a specific moment
of inspiration, knowing can help us nurture that
motivation.
Overall Assessment: write a short paragraph
as to how the contextual statement affects
your teaching of this pupil.
CASE STUDY
Contextual Statements
1. How old is the pupil? 5. Where are the gaps in your pupils’
The pupil is a girl, aged 15 years old. musical development?
This pupil makes rhythmic mistakes easily
2. What family does this pupil have?
and their sight-reading and aural skills need
I am in regular contact with the mother of this
development; their many particular strengths
pupil; the household consists of both parents
include tone and practising effectively.
and also a sister. The mother is somewhat
musical, and the family are very encouraging of 6. How does your pupil learn?
the pupil’s musical ambitions. This pupil learns quickest by ear. She doesn’t
want to be time-pressured or take music as an
3. Does this pupil have special needs?
academic subject, as she wants to maintain the
Yes, this pupil has dyslexia and is eligible for
enjoyment of her playing.
extra time in their exams. No adaptations to the
music are required. 7. What is your pupil’s motivation to
learn this musical instrument?
4. What is your current assessment
The music is the main inspiration for this pupil,
of their playing level?
particularly including pieces in a lyrical style and
This pupil has taken their grade seven exam
a number of works she already knows (however
and it is their ambition to take grade eight.
she is happy to be introduced to music that
Grades one to five were taken before this pupil
is new to her too). It’s important to this pupil
came to me.
to continue to make progress; at the moment
grade eight is her aim and she is becoming
increasingly independent as a musician.

OVERALL:
This pupil is motivated by the right repertoire and a balanced pace which ensures she makes
progress without being under significant pressure. She is an independent learner and her parents are
encouraging without being too demanding or interfering; similarly, I encourage a self-reliant approach
where possible. Although no adaptations are required to this pupil’s printed music to help her with her
dyslexia, my awareness of her condition gives me the chance to allow extra time for processing details
pointed out in the score, and to encourage an extra level of consistency developing muscle-memory
and ear-patterns. I can also ensure that I apply for access requirements when I enter this pupil for music
exams. I encourage this pupil to listen to recordings and use the Practice Partner app when playing at
home - both suit her learning-style. In addition, I am gently pursuing an agenda to cover more sight-
reading in lessons, which will also address some of the rhythmic issues; to this end, I have suggested
to this pupil to join a musical ensemble, to further develop all-round musical skills - including sight-
reading and listening – as well as being great fun for her!

Supporting the teaching and learning of music

in partnership with the Royal Schools of Music
Royal Academy of Music | Royal College of Music
Royal Northern College of Music | Royal Conservatoire of Scotland
www.abrsm.org  facebook.com/abrsm
@abrsm  ABRSM YouTube