MTB Teaching Diploma — Level 4 (Instrumental) — RV1.04

Explore each module below for the Syllabus (Key Areas & Elements) and the accompanying Level Expectations. Beneath these we have provided some learning guidance and useful links to support your preparation. Expand a module to begin.

Instrumental/vocal performance requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Instrumental/vocal performance — Instrumental/vocal performance

Level Expectations

Instrumental/vocal performance: To play music at MTB Grade 7 level or above
Instrumental/vocal performance: To play for not less than 12 minutes
Instrumental/vocal performance: There is guidance that 15 minutes should be the maximum duration
Instrumental/vocal performance: This does NOT need to be in a performance situation
Instrumental/vocal performance: This is to assess proficiency on your chosen instrument/voice

Select an instrument family to view instrument‑specific units, expectations, and learning guidance.

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Units will appear once an instrument family is selected.

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Select an instrument family above to display the units for Module 2.

Strings

Posture, movement, co‑ordination, breathing, tension, and medical awareness while playing.

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Coordination — How this all works together
Breathing — Breathing
Tension — Tension
Some medical conditions which you might encounter — Medical conditions

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement including fine motor control and balance
How this all works together: To have knowledge of how all these elements can coordinate
Breathing: To have a clear understanding of the aspects of breathing as it relates to playing your instrument
Tension: To have a detailed understanding of tension in relation to your instrument and the possible physical issues arising from excess tension
Medical conditions: To have knowledge of medical conditions which might arise as you play your instrument

Structure & workings; instrument care; bow construction, tension, rosin, cleaning, routine maintenance.

Key Areas & Key Elements

Brief History — Early History, Later Significant Developments
Structure and Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required?
Structure and Maintenance of the Bow — Construction, Workings, Tension, Rosin and Cleaning, Routine Maintenance and Rehairing
Explore Your Instrument — Explore Your Instrument in the Light of its Structure and Workings

Level Expectations

Early History: To have some knowledge of the development of your instrument as it relates to performance practice
Later Significant Developments: To have some knowledge of later significant developments of your instrument as it relates to performance practice
To have reflected on your ability to maintain: The Neck; Scroll; Pegs and Peg Box; Nut; Fingerboard; Bridge; ‘f’ Holes; Tailpiece; Accessories (Endpin, Adjusters)
Construction: To have some knowledge of the construction of the bow
Workings: To have some knowledge of the workings of the bow
Tension: To have a view on the required tension of the bow
Rosin and Cleaning: To have a view on the application of rosin and how to clean the bow
Routine Maintenance and Rehairing: To have view on routine maintenance and knowledge of how to access rehairing services
Explore Your Instrument in the Light of its Structure and Workings: To have appropriate knowledge of the structure and workings of your instrument

Posture; right hand; left hand; co‑ordination — teaching fundamentals and progressive practice.

Key Areas & Key Elements

Posture — The fundamentals of posture
The Right Hand — Bow hold, Bowing, Orientation of the bow - legato, Bow control, Dynamics, Bowing patterns and techniques, String crossing, Pizzicato (including left hand)
The Left Hand — Shape, The fingers, The arm, Extensions, Positions, Shifting, Vibrato, Thumb positions, Double stopping, Harmonics
Co-ordination — The principles of co-ordination, Velocity

Level Expectations

The fundamentals of posture: To have the confidence and ability to teach the fundamentals of posture
The Right Hand: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required
The Left Hand: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required
The principles of co-ordination: To be able to assist pupils in acquiring skills in coordination
Velocity: To be able to assist pupils to develop the ability to play fast

Diagnosing by listening/looking/feeling; notation pitfalls; remedies for rhythm, tone, intonation, fluency.

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm, Extraneous noises, Excess tension, Tone production, Projection, Communication, Poor sense of style and expression, Fluency, memory, concentration, Lack of architectural awareness
Looking for Faults — Posture, Correct execution of specific movements
Feeling Faults — Pupil’s feelings, Teachers feeling pupils’ movements, Pupil manipulation by the teacher, Energy transference (psychology)
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played, The fingerboard ‘map’, Memory and programming
Remedies — Inaccuracies of notes and rhythms, Tone and projection, Extraneous noises, Excess tension, Style and expression, Fluency, memory, concentration, Lack of architectural awareness
Intonation — Inconsistent left-hand positions, Inaccurate distribution of fingers, Poor intonation resulting from shifts, Finger spacings between strings, Balancing’ harmonic’ and ‘melodic’ elements of intonation

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have an awareness of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions
Lack of architectural awareness: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Posture Correct execution of specific movements: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through looking
Pupil’s feelings Teachers feeling pupils’ movements Pupil manipulation by the teacher Energy transference (psychology): To have the confidence and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 1, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
The fingerboard ‘map’: To have a comprehensive understanding of ‘cello topography and the varied ways in which pupils perceive it
Memory and programming: To understand the roles of memory and programming whilst playing. This does not relate to ‘playing from memory’
Remedies: To have the confidence and ability to offer remedies relating to the issues listed in the Key Elements
Intonation: To have the confidence and ability to offer helpful teaching strategies relating to the issues listed in the Key Elements

First lessons; checking basic technique; progress; imagination & fun; introducing new things; appropriate repertoire.

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian, Accessing an Instrument, Exploring the Reasons for Starting, Goals, Logistics – Time, Place, Cost, Payment
The First Lesson — First Meeting, Structure, Content, Positivity, Patterns For the Future, Expectations
The First Few Lessons — Checking Basic Technique, Progress, Musical Imagination, Fun, Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on accessing instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
First Meeting: The ability to negotiate/steer a first meeting
Structure: The ability to structure a first lesson
Content: The knowledge to know suitable content for a first lesson
Positivity: An awareness of the need for positivity during first lessons
Patterns For the Future: A view on how to engender patterns of learning for future development
Expectations: An ability to communicate realistic expectations for progress
Checking Basic Technique: The ability to appreciate what is meant by ‘basic technique and the ability to check its development
Progress: The ability to observe and check progress
Musical Imagination: To be able to engage with the level of imagination displayed by the pupil
Fun: Read as it means to you and your pupils
Musicianship: Introducing New Things – Techniques, Musical Material, Pieces, Musicianship; To have a clear ability to introduce new things
Knowledge of Available Material: To have a knowledge of available appropriate material with regard to any pupil’s situation and the desire to progress

Classical Guitar

Classical guitar posture and movement basics: balance, breathing, tension awareness, and injury prevention.

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Co-ordination — How this all works together
Tension — Tension
Some medical conditions which you might encounter — Medical conditions

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement
How this all works together: To have a clear understanding of how elements in this unit can affect coordination
Tension: To have a detailed understanding of tension in relation to your instrument and the possible physical issues arising from excess tension
Medical conditions: To have some knowledge of medical conditions which might arise from playing your instrument. Have awareness of how these might be observed/avoided and, at what point, further advice should be sought.

Guitar structure, basic maintenance boundaries, and right‑hand nail use and care.

Key Areas & Key Elements

Brief History and Related Instruments — Early History Later Significant Developments Other plucked string instruments
Explore Your Instrument — Explore Your Instrument in terms of its structure and workings
Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required? Tuning
Use of right hand finger nails when introduced to the student. — Length Shaping Maintainance Repair

Level Expectations

Early History: To have some knowledge of the development of your instrument as it relates to performance practice
Later Significant Developments: To have some knowledge of later significant developments of your instrument as it relates to performance practice
Other Plucked String Instruments: A knowledge of related plucked string instruments and the implications regarding how music written for these instruments may be performed on the Classical Guitar
Explore Your Instrument in the Light of its Structure and Workings: To have a detailed knowledge of the structure of your instrument
To have reflected on your ability to maintain: The Neck; Head; Machine heads; Nut; Fingerboard; Frets; Bridge; Saddle;
Length: To have knowledge of the required length of fingernails.
Workings: To have knowledge of how fingernails enhance technique.
Shaping: To have views on the best shape of fingernails when striking the strings.
Routine Maintenance and Repairing: To have knowledge of routine maintenance and how to repair damaged or warn nails.

How to teach classical guitar posture and right/left hand technique, plus coordination development.

Key Areas & Key Elements

Teaching Posture — The fundamentals of posture
Teaching The Right Hand — Arm and hand position Apoyando stokes Tirando Strokes Dynamics Chords Scales and arpeggio techniques String crossing Pizzicato Harmonics
Teaching The Left Hand — Shape The fingers The arm Extensions Positions Basic Shifting
Teaching Co-ordination — The principles of co-ordination
Practice — Expectations around practice Amount of practice Ways to practise

Level Expectations

The fundamentals of posture: To have the ability to teach the fundamentals of posture and have a clear understanding of why this is important
Playing Position: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required; have a clear understanding of why they are important
Playing Position: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required; have a clear understanding of why they are important
The principles of co-ordination: To be able to assist pupils in acquiring and improving skills in coordination
Practice: To have strategies, the confidence and ability to teach and explain the key elements listed

Diagnosing faults (listening, looking, feeling) and offering practical remedies on classical guitar.

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of pitch and rhythm Tone production and projection Poor sense of expression Fluency
Looking for Faults — Posture Correct execution of specific movements
Feeling Faults — Pupil’s feelings Teachers feeling pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Remedies — Inaccuracies of notes and rhythms Fluency, concentration Tone and projection Inconsistent left-hand positions Inaccurate distribution of fingers Poor tone resulting from shifts
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played The Fingerboard Map Muscle Memory and learning strategies

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions such as faults in notes, rhythm, posture and technique
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for faults: To have the experience, confidence and ability to diagnose issues of posture and the execution of specific movements through looking
To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 3, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
To have the experience, confidence and ability to offer remedies relating to the issues listed in the Key Elements
To have the experience, confidence and ability to offer helpful teaching strategies relating to the issues listed in the Key Elements
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
The fingerboard ‘map’: To have a comprehensive understanding of guitar topography and the varied ways in which pupils perceive it
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’

Planning first lessons for classical guitar, establishing fundamentals, and choosing suitable early material.

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Accessing an Instrument Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — Checking Basic Technique Progress Musical Imagination Fun Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on how to access instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Musical Imagination: To be able to engage with the level of imagination displayed by the pupil
Fun: As it means to you and your pupils
Musicianship: To have an ability to introduce new things
Knowledge of Available Material: To have a knowledge of available appropriate material for pupils at all levels, taking account of their situation/desire to progress

Piano

Piano posture, movement, breathing, tension awareness, and injury prevention for safe, confident playing.

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Co-ordination — Co-ordination between hands Co-ordination of hands and feet when pedaling
Tension — Tension
Some medical conditions which you might encounter — Muscle/body injury/strain

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement including fine motor control and balance
Co-ordination: To have a clear understanding of how elements in this unit can affect co-ordination
Tension: To have a detailed understanding of tension in relation to playing your instrument and the possible physical issues arising from excess tension
Muscle/body injury/strain: To have knowledge of muscle strain or other injury which might arise from playing your instrument. Have an awareness of how these might be avoided, observed and, at what point, further advice should be sought.

Exploring the piano (acoustic or digital): basic structure, care, maintenance, and safe use.

Key Areas & Key Elements

Brief History — Early History Later Significant Developments Temperament Other keyboard instruments
Explore Your Instrument — Explore Your Instrument in terms of its structure and workings
Tuning — To what extent can you maintain your instrument before professional input is required?
Buying equipment — Suitable instruments Suitable accessories

Level Expectations

Early History: To have some knowledge of the development of your instrument as it relates to performance practice
Later Significant Developments: To have some knowledge of later significant developments of your instrument as it relates to performance practice
Temperament: A detailed understanding of equal temperament and earlier unequal temperament used on keyboard instruments
Other Keyboard Instruments: A knowledge of related keyboard instruments and the implications regarding how music written for these instruments may be performed on the piano
Explore Your Instrument in the Light of its Structure and Workings: To have a detailed knowledge of the structure of your instrument
Tuning: A detailed understanding of how a piano is tuned, measures you can take to prolong the tuning of an acoustic piano or lifespan of an electric piano? When is it necessary to bring in professional help?
Buying equipment: To be able to provide helpful advice about buying a suitable instrument and accessories

Core piano technique and how to teach it: sound production, coordination, reading, and musical development.

Key Areas & Key Elements

Teaching Posture — The fundamentals of posture
Teaching Playing Position — Finger shape Hand shape Wrist position Forearm position Shoulders
Teaching Co-ordination — The principles of co-ordination
Teaching Touch — Dynamics Staccato Legato Accents Slurred couplets Balance between hands/fingers
Teaching Pedaling — Correct foot position Co-ordination with hands/ pedal up and down as chord sounds Awareness of harmonic changes
Practise — Expectations around practice Amount of practice Ways to practice

Level Expectations

The fundamentals of posture: To have the ability to teach the fundamentals of posture and have a clear understanding of why this is important
Playing Position: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required; have a clear understanding of why they are important
The principles of co-ordination: To be able to assist pupils in acquiring and improving skills in coordination between the hands and when pedaling
The principles of touch: To have strategies, the confidence and ability to teach the principles of touch with regards to finger action and position, to achieve dynamics, articulation and balance between hands/fingers
The principles of pedaling: To have strategies, the confidence and ability to teach the principles of correct pedaling on the piano
Practice: To have strategies, the confidence and ability to teach and explain the key elements listed

Diagnosing issues and applying solutions: rhythm, tone, coordination, accuracy, fluency, memory, and confidence.

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm Pedaling Touch Tone production and projection Poor sense of expression Fluency
Looking for Faults — Posture Hands and wrists Fingering Correct execution of specific movements
Feeling Faults — Pupil’s feelings Teachers feeling pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Reading Music — Pitch notation Rhythm Expression markings Phrasing Other musical notation or symbols
Remedies — Inaccuracies of notes and rhythms Tone and projection Touch Changes of hand position fingering Fluency, memory
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played The Keyboard Muscle Memory and learning strategies

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions such as faults in notes, rhythm, posture and technique
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through looking
Feeling Faults: To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 3, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
Reading Music: To have the ability to explain and offer helpful teaching strategies relating to the issues listed in the key elements
Remedies: To have the experience, confidence and ability to offer remedies relating to the issues listed in the Key Elements
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
The keyboard: To have a comprehensive understanding the varied ways in which pupils perceive the keyboard
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’

Planning effective first lessons: checking basics, keeping it musical, selecting suitable materials, and building good habits.

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Accessing an Instrument Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — The first lesson Checking Basic Technique Progress Musical Imagination Fun Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on how to access instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
The First Lesson: The ability to structure a first lesson
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Musical Imagination: To be able to engage with the level of imagination displayed by the pupil
Fun: As it means to you and your pupils
Musicianship: To have an ability to introduce new things
Knowledge of Available Material: To have a knowledge of available appropriate material for pupils at all levels, taking account of their situation/desire to progress

Wind & Brass

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Coordination — How this all works together
Breathing — How breathing affects pitch, How breathing affects phrasing How breathing affects tone quality
Tension — Tension
Some medical conditions which you might encounter — Muscle/body injury/strain

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement including fine motor control and balance
Co-ordination: To have a clear understand how elements in this unit can affect co-ordination
Breathing: To have a detailed understanding of the aspects which are affected by breathing when playing your instrument
Tension: To have a detailed understanding of tension in relation to playing your instrument and the possible physical issues arising from excess tension
Muscle/body injury/strain: To have knowledge of muscle strain/bruising or other injury which might arise from playing your instrument. Have an awareness of how these might be avoided, observed and, at what point, further advice should be sought.

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Brief History — Early History Later Significant Developments
Explore Your Instrument — Explore Your Instrument in terms of its structure and workings
Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required?
Buying equipment — Suitable instruments Suitable accessories

Level Expectations

Early History: To have some knowledge of the development of your instrument as it relates to performance practice
Later Significant Developments: To have some knowledge of later significant developments of your instrument as it relates to performance practice
Explore Your Instrument in the Light of its Structure and Workings: To have a detailed knowledge of the structure of your instrument
To have reflected on your ability to maintain: The reed/mouthpiece; valves/keys/slides, any other parts of your instrument
Buying equipment: To be able to provide helpful advice about buying a suitable instrument and accessories

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Teaching Posture — The fundamentals of posture
Teaching The Right/Left Hand — Holding your instrument Valves/keys Finger shape Alternative fingerings
Teaching The Embouchure — Shape The lips Muscles Use in different registers Strength Stamina
Teaching Co-ordination — The principles of co-ordination
Teaching Articulation — The tongue Staccato Legato tonguing Accents slurs
Teaching Breath control — Support Inhaling exhaling
Practise — Expectations around practice Amount of practice Ways to practice

Level Expectations

The fundamentals of posture: To have the ability to teach the fundamentals of posture and have a clear understanding of why this is important
The Right/Left Hand: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required; have a clear understanding of why they are important
The Embouchure: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required; have a clear understanding of why they are important
The principles of co-ordination: To be able to assist pupils in acquiring and improving skills in coordination
The principles of tonguing and articulation: To have strategies, the confidence and ability to teach the principles of tonguing and different types of articulation
The principles of breathing and breath control: To have strategies, the confidence and ability to teach the principles of breathing on your instrument
Practice: To have strategies, the confidence and ability to teach and explain the key elements listed

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm Intonation Tone production and projection Articulation Poor sense of expression Fluency
Looking for Faults — Posture Fingering Correct execution of specific movements Breathing Embouchure
Feeling Faults — Pupil’s feelings Teachers feeling pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played Valves/keys/slide positions/harmonics Muscle Memory and learning strategies
Reading Music — Pitch notation Rhythm Expression markings Phrasing Other musical notation or symbols
Remedies — Inaccuracies of notes and rhythms Tone and projection Articulation Fluency, memory embouchure
Intonation — Tuning your instrument Why individual notes are out of tune Why registers are out of tune

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions such as faults in notes, rhythm, posture and technique
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through looking
Feeling Faults: To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 3, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
The keyboard: To have a comprehensive understanding the varied ways in which pupils perceive the combinations/use of - valves/keys/slide positions/harmonics (as relevant to your instrument)
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’
Reading Music: To have the ability to explain and offer helpful teaching strategies relating to the issues listed in the key elements
Remedies: To have the experience, confidence and ability to offer remedies relating to the issues listed in the Key Elements
Intonation: To have experience, confidence and ability to offer helpful teaching strategies relating to the issues listed in the Key Elements

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Accessing an Instrument Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — Checking Basic Technique Progress Musical Imagination Fun Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on how to access instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Musical Imagination: To be able to engage with the level of imagination displayed by the pupil
Fun: As it means to you and your pupils
Musicianship: To have an ability to introduce new things
Knowledge of Available Material: To have a knowledge of available appropriate material for pupils at all levels, taking account of their situation/desire to progress

Singing

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Posture, stance and movement — Posture, stance and movement in relation to singing
Breathing — Breathing
Tension — Tension
Some medical conditions which you might encounter — Voice Disorders

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Breathing: To have a detailed understanding of the breathing mechanism
Tension: To have a detailed understanding of tension in relation to singing and the possible physical issues arising from excess tension
Voice disorders: To have knowledge of voice disorders, an understanding of how these might be observed and at what point further advice should be sought.

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Best practice before and after singing — Why warm up? Wake up the body Warm up the voice Why warm down?
Breathing and breath management Phonation Resonance — Balanced posture Effective breathing Flexibility Breath control Phonation Resonance

Level Expectations

Why Warm up: To have a detailed understanding of the benefits of physical and vocal warm ups.
Why Warm down: To have a detailed understanding of the benefits of a warm down
Breathing and breath management: To have a clear understanding of breath management in relationship to singing.
Phonation: To have a clear understanding of the function of the larynx and vocal folds
Resonance: To have a clear understanding of how to explore resonance

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Teaching posture and stance — The fundamentals of posture, stance and movement
Teaching musicianship — Music Theory Aural Musical Fluency Pulse Phrasing Dynamics Articulation
Teaching consonants and vowels: the jaw, the lips, teeth, tongue and soft palate — Vowels Consonants Modifications Diction Release in the face and jaw
Teaching communication & memorisation — Communication for singers Memorisation
Teaching vocal registers — Vocal registers
Practise — Expectations around practice Amount of practice Ways to practice

Level Expectations

Posture and stance: To have the ability to teach the fundamentals of posture, stance and movement. and have a clear understanding of why this is important
Teaching musicianship: To have the confidence and ability to teach the Key Elements listed as well as any other elements which might be required and have a clear understanding of why they are important
Teaching consonants and vowels: the jaw, the lips, teeth, tongue and soft palate: To have the experience, confidence and ability to teach the key elements listed as well as any other elements which might be required.
Communication for singers: A clear understanding of the core elements of communication for singers and have a clear understanding of why this is important
Memorisation: A clear understanding of the effects of memorising songs on communication.
Vocal Registers: To show a detailed understanding of vocal registers and the ability to teach how to access them.
Practice: To have the experience, confidence and ability to teach and explain the key elements listed

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice slips and to be able to deal with them
Listening for Faults — Basic inaccuracies of pitch and rhythm Poor sense of expression Tone and Projection
Looking for Faults — Posture and stance, tension and performance technique
Feeling Faults — Pupil’s feelings and sensations Teachers’ feelings and sensations Energy transference (psychology) Demonstrating vs describing
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is performed
Remedies — Tone stability Projection Intonation

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst singing and their capacity to find solutions such as faults in notes, rhythm, posture and technique
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through looking - have the ability to give guidance in posture and stance, releasing tension and performance technique.
Feeling Faults: To have the experience and ability to consider the listed Key Elements. However, note Module 3, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is peformed: To have an awareness of the potential consequences of music notation on the way that music is played
Remedies: To have the experience, confidence and ability to offer helpful teaching strategies relating to improving the listed Key Elements.

Instrument-specific requirements and guidance for your Level 3 submission.

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — First Meeting Structure Content Adaptability Positivity Checking Basic Technique Progress Musical Imagination Fun Introducing New Things – Exercises, Pieces, Technique, Music styles and genres, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
First Meeting: Discovery and introduction.
Structure: The ability to structure pupil focussed early lessons.
Content: Suitable content for a first lessons.
Adaptability: Factors including pupil’s age, musical experience, natural ability, co-ordination, vocal range, core beliefs and type of learner.
Positivity: An understanding of the effects of positivity during first lessons.
The First Lesson: The ability to structure a first lesson
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Musical Imagination: To be able to engage with the level of imagination displayed by the pupil
Fun: As it means to you and your pupils
Musicianship: To have an ability to introduce new things
Knowledge of Available Material: To have a knowledge of available appropriate material for pupils at all levels, taking account of their situation/desire to progress

Drums & Percussion

Percussion Instrument

Choose a percussion instrument:

Units will appear once a percussion instrument is selected.

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Select a percussion instrument above to display the units for Drums & Percussion.

Snare Drum

Posture, movement, setup, grip, stick choice, tension, and hearing safety for snare drum.

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Instrument Set Up — Height Adjustment of Snare Drum or Practice Pad to playing height in relation to the pupil.
Grip choice — Matched Grip Orthodox Grip.
Stick Choice — The size of the pupil's hand and fingers in relation to stick choice.
Tension — Tension
Noise and Hearing Protection — Dangers connected with excessive volume
Wrist and hand injury — Over-extension of wrists or wrist angles. Blister to hands

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement, including fine motor control and balance
Instrument Set Up: The ability to adjust the height of the snare drum to the correct waist height of the pupil.
Grip choice: To have a clear understanding of the difference between the two grips and the implications of these
Stick choice: To have a clear understanding of why stick Choice is crucial to fundamental performance
Tension: To have a detailed understanding of tension in relation to playing your instrument and the possible physical issues arising from excess tension
Noise and Hearing Protection: A clear understanding that percussion can create excessive volume, the dangers, and safety measures that can be taken to manage this
Over-extension of wrists or wrist angles: The ability to spot over-extension of wrists or grip angles and a clear understanding of the problems associated with this
Blister to hands: The awareness that overplaying or excessive volume may create blisters or poor grip.

Snare structure, tuning, storage, buying basics, and safety considerations.

Key Areas & Key Elements

Structure and Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required?
Storage — General care of the instrument when not in use.
Buying equipment — Suitable instruments Suitable accessories
Stick Harm — Splinters rim-punch sticks as weapons.

Level Expectations

Structure and Maintenance of instruments: A detailed understanding of how to adjust head tension and snare tension suitable for lessons/ tuning and why this is important
Structure and Maintenance of instruments: A detailed understanding of how to adjust the batter head tension and snare tension quickly to the correct tension for teaching and why this is important
Structure and Maintenance of instruments: A detailed understanding of head choice and head replacement/Snare choice and snare replacement and why this is important
Storage: The ability to understand the correct way to store and pack down a snare drum and snare stand
Buying equipment: To be able to provide detailed advice about buying a suitable instrument and accessories
Stick Harm: A clear understanding of potential hazards when playing and how to avoid these

Stroke execution, rudiments, coordination, dynamics, rhythm/notation, tonal awareness, and practice guidance.

Key Areas & Key Elements

Teaching Stroke execution — The fundamentals of stroke execution. Stroke and tap execution.
Teaching Rudiments — Rolls – timed lengths. The Standard 26 snare drum. Rudiments
Teaching Co-ordination — The principles of coordination
Teaching Articulation and expression — Dynamics Accents
Teaching Rhythm & Notation — Rhythm Notation Counting systems
Advanced techniques — finger-kicking mallet playing brush playing multiple-bounce technique
Teaching Tonal awareness — Snares off Rim-Shot Rim-Click Other ways to change tone
Practice — Expectations around practice Amount of practice Ways to practice

Level Expectations

Stroke execution: The ability to explain and to have a detailed understanding of the fundamentals of stroke execution and why this is important
Stroke and tap execution: To have a clear understanding of the difference between stroke and tap execution on a snare drum
Timed-length Rolls: To have a clear understanding of the different timed-length rolls.
Rudiments: To have a detailed understanding of, and the ability to teach, the snare drum rudiments (as defined by PAS) and their importance.
The principles of coordination: To be able to assist pupils in acquiring and improving skills in coordination
Articulation and expression: The ability to clearly understand how dynamics and phrasing are executed and why this is important
Rhythm and notation: To have a detailed understanding of rhythm, notation and counting systems relating to snare drum playing and the ability to teach these
Advanced techniques: A detailed knowledge of the advanced snare drum techniques listed in the Key Elements and to have strategies to teach them
Tonal awareness: To have a detailed understanding of how to change the tone on a snare drum (snares off, rim-shot, rim-click, etc.) when playing and a clear understanding of why this is important
Practice: To have the experience, confidence and ability to teach and explain the key elements listed

Diagnosing faults by listening, looking, and feeling; remedies for rhythm, technique, dynamics, and tension.

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm Counting errors Fluency
Looking for Faults — Wrist angle problems Correct execution of specific movements Rudimental errors Dynamic errors
Feeling Faults — Pupil’s feelings Teachers feeling pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played Muscle Memory and learning strategies

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions, such as faults in rhythm, posture and technique.
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements by observing the pupil’s playing.
Feeling Faults: To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 1, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’

Early lesson structure, basic technique checks, progress records, fun activities, and suitable early repertoire.

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Accessing an Instrument Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — Checking Basic Technique Progress Fun Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on how to access instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Fun: As it means to you and your pupils
Introducing New Things: Techniques, Musical Material, Pieces,
Musicianship: To have an ability to introduce new things
Knowledge of Available Material: To have some knowledge of available appropriate material which might be used in First Lessons

Drum Kit

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Instrument Set Up — Height Adjustment of the instrument to the playing height in relation to the pupil.
Grip choice — Matched Grip Orthodox Grip
Stick Choice — Stick Choice Awareness.
Tension — Tension
Noise and Hearing Protection — Dangers connected with excessive volume
Wrist and hand injury — Over-extension of wrists or wrist angles. Blisters to the fingers.

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement, including fine motor control and balance
Instrument Set Up: The ability to adjust the whole kit to a suitable height for the pupil
Grip choice: To have a clear understanding of the difference between the two grips and the implications of these
Stick choice: To have a clear understanding of why stick Choice is crucial to fundamental performance
Tension: To have a detailed understanding of tension in relation to playing your instrument and the possible physical issues arising from excess tension
Noise and Hearing Protection: A clear understanding that percussion can create excessive volume, the dangers, and safety measures that can be taken to manage this
Over-extension of wrists or wrist angles: The ability to spot over-extension of wrists or grip angles when moving across the kit and a clear understanding of the problems associated with this
Blister to hands: The awareness that drum kit playing leads to blistering on the sensitive sides of the fingers and possible remedies

Key Areas & Key Elements

Structure and Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required?
Storage — General care of the instrument when not in use.
Buying equipment — Suitable instruments Suitable accessories
Access — The awareness of limited access to instruments

Level Expectations

Structure and Maintenance of instruments: A detailed understanding of how to tune acoustic drumheads and the importance of this
Structure and Maintenance of instruments: A clear understanding of how to adjust all the stands to the correct height and angle for the pupil and to adjust the snare tension for clear tone production and why this is important
Structure and Maintenance of instruments: The ability to check the condition of all the stands and supports for wear and damage and why this is important
Storage: The ability to understand the correct way to store and the possible pack-down of a drum kit
Buying equipment and where an acoustic or an electronic kit would be suitable: To be able to provide detailed advice about buying suitable equipment
Access: An understanding of the limited nature of access to performance instruments for practice by the student and possible solutions

Key Areas & Key Elements

Teaching Stroke execution — The fundamentals of stroke execution.
Teaching Advanced Techniques — Advanced groove structure. Advanced fills and solo ideas Double-Pedal technique.
Teaching Co-ordination — The principles of coordination
Teaching Articulation and expression — Dynamics Phrasing
Teaching Rhythm & Notation — Rhythm Notation Counting systems Stylistic Awareness
Advanced techniques — Brush Control. Comping and developing themes within a genre (Swing). Advanced rudimental control. Accent Sequences. Ghost notes
Teaching Tonal awareness — Dynamic Spectrum
Practice — Expectations around practice Amount of practice Ways to practice

Level Expectations

Stroke execution: The ability to explain and to have a detailed understanding of the fundamentals of stroke execution and why this is important
Grooves: A detailed knowledge of Latin-American, linear and Swing grooves.
Fills and solo ideas: A detailed knowledge of more advanced rhythm fills, movement and solo ideas.
Double-Pedalling: A detailed understanding of double pedalling technique and how this could be incorporated into drum kit playing.
The principles of coordination: To be able to assist pupils in acquiring and improving skills in coordination and independence across the drum kit.
Articulation and expression: The ability to clearly understand how dynamics and phrasing are executed and why this is important
Rhythm and notation: To have a detailed understanding of rhythm, notation, style awareness and counting systems relating to drum kit playing and the ability to teach these
Fundamentals of Music Theory: A clear understanding of how music theory is important for drum kit players and strategies to teach this
Advanced techniques: A clear understanding of the advanced drum kit techniques listed in the Key Elements and to have strategies to teach these
Dynamic awareness: The ability to maintain dynamic levels and vary cymbal colour and tone and a clear understanding of why this is important
Practice: To have the experience, confidence and ability to teach and explain the key elements listed

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm Counting errors Fluency
Looking for Faults — Wrist angle problems Correct execution of specific movements Sticking errors Stylistic errors
Feeling Faults — Pupil’s feelings Teachers feel pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played The drum kit layout Muscle Memory and learning strategies

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions, such as faults in rhythm, posture and technique.
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements by observing the pupil’s playing.
Feeling Faults: To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 1, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
The drum kit layout: To have a comprehensive understanding the varied ways in which pupils perceive the layout of the drum kit
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Accessing an Instrument Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — Checking Basic Technique Progress Fun Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on how to access instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Fun: As it means to you and your pupils
Introducing New Things: Techniques, Musical Material, Pieces,
Musicianship: To have the ability to introduce new things
Knowledge of Available Material: To have a knowledge of available appropriate material for pupils at all levels, taking account of their situation/desire to progress

Tuned Percussion (Mallets)

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Instrument Set Up — Height Adjustment of the instrument to the playing height in relation to the pupil.
Grip choice — Three-Mallet Grip Four-Mallet Grip Stevens, Burton & Traditional Grip
Mallet Choice — Mallet Choice Awareness.
Tension — Tension
Noise and Hearing Protection — Dangers connected with excessive volume
Wrist and hand injury — Over-extension of wrists or wrist angles. Blisters to the fingers.

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement, including fine motor control and balance
Instrument Set Up: The ability to adjust the instrument to the correct waist height of the pupil. Where the instrument is of a fixed height, how would the correct height be achieved?
Grip choice: To have a clear understanding of the difference between the three grips (Using Stevens, Burton & Traditional) when playing three or four mallet pieces and the implications of these
Stick choice: : To have a clear understanding of why Mallet Choice is crucial to fundamental performance.
Tension: To have a detailed understanding of tension in relation to playing your instrument and the possible physical issues arising from excess tension
Noise and Hearing Protection: A clear understanding that percussion can create excessive volume, the dangers, and safety measures that can be taken to manage this
Over-extension of wrists or wrist angles: The ability to spot over-extension of wrists or grip angles and a clear understanding of the problems associated with this
Blister to hands: The awareness that three and four-mallet playing leads to blistering on the sensitive sides of the fingers and possible remedies

Key Areas & Key Elements

Structure and Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required?
Storage — General care of the instrument when not in use.
Buying equipment — Suitable instruments Suitable accessories
Access — The awareness of limited access to instruments

Level Expectations

Structure and Maintenance of instruments: To have a detailed understanding of how to check suspension cord tension and all adjustments for security and why this is important
Structure and Maintenance of instruments: To have a clear understanding of how to assess the suspension cord and bars for damage or wear and why this is important
Structure and Maintenance of instruments: To have a clear understanding of how to check the condition of mallets used and why this is important
Storage: The ability to understand the correct way to store and the possible pack-down of a tuned percussion instrument and why this is important
Buying equipment: To be able to provide detailed advice about buying a suitable instrument and accessories
Access: An understanding of the limited nature of access to performance instruments for practice by the student and possible solutions

Key Areas & Key Elements

Teaching Stroke execution — The fundamentals of stroke execution.
Teaching Advanced Techniques — Three-mallet Playing Four-mallet Playing Pedalling on Vibe
Teaching Co-ordination — The principles of coordination
Teaching Articulation and expression — Dynamics Phrasing
Teaching Rhythm & Notation — Rhythm Notation Counting systems Music theory
Advanced techniques — Doubles Rolls and trills, rippling. Choral playing with rolling. Bar Dampening
Teaching Tonal awareness — Mallet Choice and tone production
Practice — Expectations around practice Amount of practice Ways to practice

Level Expectations

Stroke execution: The ability to explain and to have a detailed understanding of the fundamentals of stroke execution and why this is important
Three-Mallet Playing: A detailed understanding of three-mallet techniques in both chords and movement patterns and strategies to teach this
Four-Mallet Playing: A detailed understanding of four-mallet techniques in both chords and movement patterns and strategies to teach this
Pedalling: A detailed understanding of pedalling techniques when playing the vibe and strategies to teach these
The principles of coordination: To be able to assist pupils in acquiring and improving skills in coordination
Articulation and expression: The ability to clearly understand how dynamics and phrasing are executed and why this is important
Rhythm and notation: To have a detailed understanding of rhythm, notation, style awareness and counting systems relating to tuned percussion playing and the ability to teach these
Fundamentals of Music Theory: A clear understanding of how music theory is important for tuned percussion players and strategies to teach this
Advanced techniques: A clear understanding of the advanced tuned percussion techniques listed in the Key Elements and to have strategies to teach these
Tonal awareness: To have a detailed understanding of how mallet choice affects tonal outcomes and when a change of mallet might be appropriate during a performance
Practice: To have the experience, confidence and ability to teach and explain the key elements listed

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm Counting errors Fluency
Looking for Faults — Wrist angle problems Correct execution of specific movements Key errors Dynamic errors
Feeling Faults — Pupil’s feelings Teachers feel pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played The keyboard layout Muscle Memory and learning strategies

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions, such as faults in rhythm, posture and technique.
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements by observing the pupil’s playing.
Feeling Faults: To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 1, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
The keyboard layout: To have a comprehensive understanding the varied ways in which pupils perceive the layout of the bars on a tuned percussion instrument
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’

Key Areas & Key Elements

Before the First Lesson — Liaising with Parent/Guardian Accessing an Instrument Exploring the Reasons for Starting Goals Logistics – Time, Place, Cost, Payment
The First Few Lessons — Checking Basic Technique Progress Fun Introducing New Things – Techniques, Musical Material, Pieces, Musicianship
Appropriate Repertoire — Knowledge of Available Material

Level Expectations

Liaising with Parent/Guardian: To have developed appropriate skills in liaising with parents/guardians
Accessing an Instrument: To have appropriate knowledge to be able to advise pupils on how to access instruments
Exploring the Reasons for Starting: To have reflected on the reasons for embarking on learning a musical instrument and the ability to explore this with a parent/guardian
Goals: To be able to establish what the teaching goals are
Logistics – Time, Place, Cost, Payment: To be able to negotiate the items listed in Key Elements
Checking Basic Technique: To have an understanding of what is meant by ‘basic technique and the ability to check its development
Progress: To understand why it is important to observe and check progress
Fun: As it means to you and your pupils
Introducing New Things: Techniques, Musical Material, Pieces,
Musicianship: To have the ability to introduce new things
Knowledge of Available Material: To have some knowledge of available appropriate material which might be used in First Lessons

Timpani

Key Areas & Key Elements

Posture — Posture in relation to your instrument
Posture and Movement — Posture in relation to movement
Instrument Set Up — Height Adjustment of the instrument to the playing height in relation to the pupil.
Grip choice — Matched Grip French Grip
Mallet Choice — Mallet Choice Awareness.
Tension — Tension
Noise and Hearing Protection — Dangers connected with excessive volume
Wrist and hand injury — Over-extension of wrists or wrist angles. Blisters to the fingers.

Level Expectations

Posture in relation to your instrument: To have a detailed understanding of posture in relation to your instrument and the possible physical issues arising from poor posture
Posture in relation to movement: To have a clear understanding of the aspects of posture which relate to movement, including fine motor control and balance
Instrument Set Up: The ability to adjust the instrument to the correct waist height of the pupil. Where the instrument is of a fixed height, how would the correct height be achieved?
Grip choice: To have a clear understanding of the difference between the two grips and the implications of these
Mallet choice: To have a clear understanding of why Mallet Choice is crucial to fundamental performance.
Tension: To have a detailed understanding of tension in relation to playing your instrument and the possible physical issues arising from excess tension
Noise and Hearing Protection: A clear understanding that percussion can create excessive volume, the dangers, and safety measures that can be taken to manage this
Over-extension of wrists or wrist angles: The ability to spot over-extension of wrists or grip angles when moving across the kit and a clear understanding of the problems associated with this
Blister to hands: The awareness that timpani playing can lead to blistering on the sensitive sides of the fingers

Key Areas & Key Elements

Structure and Maintenance of Instrument — To what extent can you maintain your instrument before professional input is required?
Storage — General care of the instrument when not in use.
Buying equipment — Suitable instruments Suitable accessories
Access — The awareness of limited access to instruments

Level Expectations

Structure and Maintenance of instruments: To have a detailed understanding of how to balance a timpani head and clean the heads, and why this is important
Structure and Maintenance of instruments: To have a clear understanding of how to adjust the timpani tuning gauge (where fitted).
Structure and Maintenance of instruments: To have a clear understanding of how to check the condition of mallets used and why this is important
Storage: To have a clear understanding of the correct way to store, and the possible pack-down, of timpani and why this is important
Buying equipment or adapting already owned equipment: To be able to provide detailed advice about buying suitable practice equipment or how to adapt a setup at home for practice.
Access: A clear understanding of the limited nature of access to performance instruments for practice by the student and possible solutions

Key Areas & Key Elements

Teaching Stroke execution — The fundamentals of stroke execution.
Teaching Advanced Techniques — Three and four-drum movement Dampening and sequential Dampening Pedalling
Teaching Co-ordination — The principles of coordination
Teaching Articulation and expression — Dynamics Phrasing
Teaching Rhythm & Notation — Rhythm Notation Counting systems Music theory
Advanced techniques — Doubles and cross-over sticking Rolls and Sforzando Roll technique. Choral playing and sight lines. Sequential Dampening Tuning Techniques
Teaching Tonal awareness — Mallet Choice and tone production
Practice — Expectations around practice Amount of practice Ways to practice

Level Expectations

Stroke execution: The ability to explain and to have a detailed understanding of the fundamentals of stroke execution and why this is important
Three or Four-Drum Playing: To have a detailed understanding of techniques to move smoothly between drums in either a three or four-drum setup
Dampening: To have a detailed understanding of dampening and sequential dampening techniques
Pedalling: To have a detailed understanding of pedalling techniques when playing pedal timpani
The principles of coordination: To be able to assist pupils in acquiring and improving skills in coordination across three or four drums
Articulation and expression: The ability to clearly understand how dynamics and phrasing are executed and why this is important
Rhythm and notation: To have a detailed understanding of, and the ability to teach, rhythm, notation and counting systems relating to timpani playing
Fundamentals of Music Theory: To have a clear understanding of how music theory is important for timpani players
Advanced techniques: A clear understanding of the advanced timpani techniques listed in the Key Elements and to have strategies to teach these
Tonal awareness: To have a detailed understanding of how mallet choice affects tonal outcomes and when a change of mallet might be appropriate during a performance.
Practice: To have the experience, confidence and ability to teach and explain the key elements listed

Key Areas & Key Elements

The Pupils’ Perspective — The pupil’s ability to notice faults and to be able to deal with them
Listening for Faults — Basic inaccuracies of rhythm Counting errors Fluency
Looking for Faults — Wrist angle problems Correct execution of specific movements Sticking errors Dampening errors
Feeling Faults — Pupil’s feelings Teachers feel pupils’ movements Pupil manipulation by the teacher Energy transference (psychology) Tension
Understanding the Causes of Faults — The appearance of notation can influence the way in which the music is played Muscle Memory and learning strategies

Level Expectations

The pupil’s ability to notice faults and to be able to deal with them: To have a clear understanding of pupils’ perception regarding inaccuracies whilst playing and their capacity to find solutions, such as faults in rhythm, posture and technique.
Listening for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements through listening
Looking for Faults: To have the experience, confidence and ability to diagnose issues listed in the Key Elements by observing the pupil’s playing.
Feeling Faults: To have the experience and ability to diagnose issues listed in the Key Elements through feeling for faults as identified in the Key Elements list. However, note Module 1, Units 1 & 2, especially in relation to the laws of trespass as applied to people.
The appearance of notation can influence the way in which the music is played: To have an awareness of the potential consequences of music notation on the way that music is played
Muscle Memory and learning strategies: To understand the roles of muscle memory and learning/practice strategies whilst playing. This does not relate to ‘playing from memory’