Discovery Blog

5 Reasons to Attend The Piano Conference: NCKP 2025 Online Event

Written By Sara Ernst, Megan Hall

The online event of The Piano Conference: NCKP 2025 is just around the corner! Events will occur from June 6-8 and will be packed with music, social events, concerts, and more. If you have not registered, there’s still more time. Learn more and register by clicking here.

1. Accessibility

The Piano Conference Online Event is accessible internationally, and features live and pre-recorded sessions in 4 languages: English, Spanish, Portuguese, Mandarin, and Korean. To facilitate access, all sessions have English subtitles. This is a rare opportunity to learn from global pedagogues with intercultural perspectives and education.

Want to attend but need financial support? Check out these resources.

Plus, your online event registration can be used towards your registration at the In-Person Conference in Lombard, Illinois. Email conference@francesclarkcenter.org for assistance.

2. Inspiring keynote speaker Gilles Comeau

Gilles Comeau is a Fellow of the Royal Society of Canada, a senior scientist at the Institute of Mental Health Research at The Royal, the founding director of the University of Ottawa Music and Health Research Institute, the director and principal researcher of the Piano Pedagogy Research Laboratory, and a professor at the School of Music at the University of Ottawa. He conducts multidisciplinary research on music and health, including the study of music and wellbeing for people with dementia, the impact of music on individuals experiencing mental illness, and the investigation of various interventions for musicians’ mental health. 

His session will discuss the intersection of scientific research and music pedagogy, and will answer meaningful questions such as:

  • What can research do to contribute to better knowledge about music teaching and learning? 
  • What has research to say about motivation or music reading?
  • What has research to say about pain and injuries or performance anxiety?

Join us on Saturday, June 7, 2025, 1:00PM EDT to learn more!

Gilles Comeau

3. Opening concert

The opening concert features 9 international performers from our community, featuring a variety of repertoire across genres, including jazz, contemporary repertoire, and works for two pianos. Keep scrolling to view the program!

The Piano Conference: Opening Concert Program

June 6, 2025, 7:00PM EDT 

Dongwon Shin and HaEun Yang

Song Suite for Two Pianos | George Gershwin (1898–1937), arr. Logan Skelton

The Man I Love (1924)

Fascinating Rhythm (1924)

HaEun Kim

Clouds | Florence Price (1887–1953)

Xiao Liang

Numa Ame | Zhang Zhao (b. 1964)

Natalie Landowski

Concert Krakowiak | Grażyna Bacewicz (1909–1969)

Daniel Baer

Dance of Avoidance | Robert Savage (1951–1993), II. Largo

Hyeji Seo

Nocturno Nazqueño | Gabriela Lena Frank (b. 1972)

Molly Sanford

Jupiter’s Moons | Judith Lang Zaimont (b. 1945)

II. Europa

III. Leda

Pei-Chen Chen and Mengjie Xiong

Taiwanese Rhapsody for Two Pianos (1998) | Huang Huang (b. 1958)

4. Session archives

The Piano Conference Online Event archives will be available to registrants for three months after the event, allowing attendees to re-watch recorded sessions at their leisure, or to catch any sessions that they missed during the live event.  

An image displaying the online conference platform.

5. Curated committee tracks

Our 15 committees have carefully curated new programs for 2025 based on relevant topics in piano education.  These selected sessions are integrated directly into the conference schedule. Our committee topics include:

  • Young Musicians: Birth to Age 9
  • Advocacy and Community Impact
  • Business and Entrepreneurship
  • Collaborative Performance
  • Creative Music Making
  • Inclusive Teaching
  • Independent Music Teachers
  • International
  • New Professionals
  • Performance Practice
  • Research
  • Teacher Education in Higher Ed
  • Teaching Adults
  • Technology
  • Wellness
Participants at The Piano Conference: NCKP.

Do you have research you want to share with the piano pedagogy community? Submit a proposal to NCKP by clicking here, or submit a manuscript to the Journal of Piano Research by clicking here.

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5 Things You Might Not Know About Dan Zhaoyi

Written By Tsz Hin Lam

We would like to thank Tsz Hin Lam for this article on Dan Zhaoyi. Interested in learning more about Dan Zhaoyi? Attend this session at The Piano Conference: NCKP 2025 online conference on Sunday, June 8, 5:00-5:25pm EDT. Learn more and register for the online and in-person conference here.

A person sitting on a piano AI-generated content may be incorrect.
Dan Zhaoyi

1. Dan, born 1940, was a student of renowned Chinese pianist Zhou Guangren.

Zhou Guangren, who was born in Hannover, Germany, in 1928 to Chinese parents pursuing their studies abroad. In 1933, she returned to China with her family and settled in Shanghai. Zhou was a Chinese pianist and pedagogue who served as a tenured professor and former head of the Piano Department at the Central Conservatory of Music in China. She was the first Chinese pianist to win an award at an international piano competition and was hailed as the “Soul of Chinese Piano Education.”1

A person smiling for the camera AI-generated content may be incorrect.
Zhou Guangren

2. Record-Breaking Students!

Over 26 of Dan’s students have collectively won 70 international piano competition awards, including 26 first-place prizes.2 This achievement underscores his exceptional impact on the global piano scene. He has mentored some of the most celebrated pianists, including Yundi Li, who won the prestigious International Chopin Piano Competition in 2000, and Zhang Haochen, the first Chinese winner of the Van Cliburn International Piano Competition in 2009.

A person and child playing piano AI-generated content may be incorrect.
Yundi Li and Dan Zhaoyi

3. Prolific Author:

In addition to his teaching legacy, Dan has authored pivotal works on piano pedagogy, such as Piano Teaching and Guidance for Children, New Paths Piano Fundamental Course, and Dan Zhaoyi’s Piano Teaching Essays. These publications have become indispensable resources for piano students and educators, not only in China but across the globe.

A book cover with a hand on a keyboard AI-generated content may be incorrect.
Book Cover of Piano Teaching and Guidance for Children

4. Chinese Characteristics in Piano Teaching Approaches

Dan’s approach to piano education emphasizes not only technical proficiency but also a deep appreciation for music, which may include elements and pieces that resonate with Chinese musical traditions and values. This makes his materials unique and well-received in China. Dan’s teaching materials, such as his New Paths Piano Fundamental Course, are known for incorporating elements that reflect Chinese characteristics. This series is described as having “scientific, systematic, national, and interesting features,”3 which suggests a thoughtful integration of Chinese national music into the curriculum.

新路径钢琴基础教程：网络教学版.一星级電子書，作者但昭义主编- EPUB | Rakuten Kobo 香港
Book Cover of New Paths Piano Fundamental Course

5. “Godfather” of Piano Education in China

Dan stands as one of China’s most influential piano pedagogues of the twentieth and twenty-first centuries. With a teaching career spanning over six decades, he has earned the revered title of “Godfather of Piano Education”4 due to his significant contributions to nurturing world-class Chinese pianists.

Notes
  1. Piano League, “Zhou Guangren, “Soul of Chinese Piano Education”, Dies at 94,” Piano League (Blog), March 7, 2022, https://thepianoleague.com/news/guangren-zhou-soul-of-chinese-piano-education-dies-at-94/. 
  2. “Dan Zhaoyi – Professor Emerita, Shenzhen Arts School,” Bay PianoFest, Artcial Music Foundation, accessed May 24, 2025, https://baypianofest.org/dan-zhaoyi. 
  3. “Artistic Director,” China Shenzhen International Piano Concerto Competition, published 2018, accessed May 24, 2025, https://www.csipcc.com.cn/about-us/artistic-director/. 
  4. Qian Zhang, “Dan Zhaoyi: ‘Godfather’ of Piano Education,” Shenzhen Daily, (2018), https://web.archive.org/web/20181024171055/http:/www.szdaily.com/content/2018-10/19/content_21155125.htm.
Resources

“Artistic Director.” China Shenzhen International Piano Concerto Competition. Published 2018. Accessed May 24, 2025. https://www.csipcc.com.cn/about-us/artistic-director/. 

“Dan Zhaoyi – Professor Emerita, Shenzhen Arts School.” Bay PianoFest. Artcial Music Foundation. Accessed May 24, 2025. https://baypianofest.org/dan-zhaoyi. 

Piano League. “Zhou Guangren, “Soul of Chinese Piano Education”, Dies at 94.” Piano League (Blog). March 7, 2022. https://thepianoleague.com/news/guangren-zhou-soul-of-chinese-piano-education-dies-at-94/. 

Zhang, Qian. “Dan Zhaoyi: ‘Godfather’ of Piano Education.” Shenzhen Daily, (2018). https://web.archive.org/web/20181024171055/http:/www.szdaily.com/content/2018-10/19/content_21155125.htm.

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Frances Clark Center Awards Inaugural Community Impact Grants Initiative to Support Inclusive Piano Education

Written By Piano Inspires

The Frances Clark Center has announced the recipients of its first-ever Community Impact Grants Initiative, a national program supporting innovative, community-driven projects in piano education. Funded by the Elvina Pearce Education Fund, the initiative provides grants of $500 to $2,500 to individuals and organizations whose work expands access, fosters inclusion, and strengthens community engagement through piano education. “In alignment with our mission, we are honored to partner with our community as they innovate for meaningful impact and transformative change. We recognize each of the recipients for their powerful work as they serve their students and communities through music,” said Dr. Jennifer Snow, President and CEO of The Frances Clark Center.

Among this year’s recipients is Kelly Hooper of Community Music School in Allentown, Pennsylvania, whose Free-To-Be program creates a relaxed and inclusive recital environment for neurodiverse students. With grant support, the school will purchase a projector and screen and provide neurodiversity-focused teacher training. Hooper noted that this support “allows us to get the project off the ground and give more students the opportunity to perform in an environment that works well for them.”

Kelly Hooper
Zaiba Sheikh

In Charlotte, North Carolina, Zaiba Sheikh will launch the Community Piano Lab, a summer pilot that matches early-career piano educators with at-risk youth at a local support center. Sheikh shared that she was “deeply grateful that The Frances Clark Center believes in this project,” explaining that the lab will not only give aspiring teachers mentoring experience but also “help integrate music within the support systems of our foster families.”

Raphaelita Justice, based in Pottstown, Pennsylvania, is launching a free, monthly group piano program for children and adults at the public library. Designed to be welcoming, inclusive, and accessible, the program will provide keyboards, outreach support, and digital learning materials to connect with families who may not otherwise have access to music education. Justice shared that the grant “represents a chance to open the door to music education for families who may have never thought it was possible” and expressed her hope to create “a space where children and adults feel seen, supported, and inspired through music.”

Raphaelita Justice
Penny Lazarus

In Lowell, Massachusetts, piano educator Penny Lazarus will use her grant to fund Fun Friday, an event at the International Institute of New England where young pianists will accompany refugee families in group singing and explore global musical traditions. Lazarus described the event as “a way to prove that our lives are richer because of our diversity.” She emphasized, “now is a good time to spotlight immigration resettlement programs to ensure our communities’ commitment to understanding that humanity is most beautiful when it represents a kaleidoscope of color and culture.”

Thanks to the generosity of The Frances Clark Center, the recipients of the 2025 Community Impact Grants Initiative have the resources to create lasting change in communities nationwide while advancing piano education. 

“It has been an honor to lead a dedicated cohort of piano teachers, all of whom are deeply committed to advancing piano education and creating meaningful change in their communities,” said Dr. Leah Claiborne, Director of Diversity, Equity, and Inclusion at The Frances Clark Center. “Over the past several months, we’ve brought together inspiring experts and practitioners, and now, thanks to the Community Impact Grants Initiative, educators across the country will receive funding to expand their impact through music and community engagement. This is a pivotal moment for the arts, one where investment and support can make all the difference. I’m thrilled to have guided a new initiative that not only helps communities thrive but also ensures that piano education remains a powerful force for connection, creativity, and impact.”

Join Us at The Piano Conference: NCKP Online

To learn more about these impactful projects and hear directly from the grant recipients, we invite you to attend The Piano Conference: NCKP Online on June 7-8, 2025. The Frances Clark Center will be hosting a special Community Impact Grant session during the conference, providing a national platform to showcase these educators’ important work. For details and registration, visit https://pianoinspires.com/nckp-the-piano-conference/.

Projects were selected through a national review process for their innovation, feasibility, and community impact. The Center will open its next round of Community Impact Grants Initiative applications in early 2026.

For more information, visit https://pianoinspires.com/impact-grants/.

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5 Things You Might Not Know About Mélanie Bonis (1858–1937)

Written By McKenna Girdeen

We would like to thank McKenna Girdeen for this article on Mélanie Bonis. Interested in learning more about Bonis? Attend this session at The Piano Conference: NCKP 2025 in-person conference on Thursday, July 24, 2025, 1:30-2:20pm CDT. Learn more and register for the online and in-person conference here.

Mélanie Bonis, a largely underrepresented composer, remains unknown to many musicians  today. However, a revival of her work is currently underway. Bonis (1858–1937) was a prolific French composer and pedagogue, whose children’s collections were popular during her lifetime.  Due to gender-based discrimination in a male-dominated field, her works faded into obscurity  after her death. A handful of researchers are working to resurrect her music, although there is still  a lack of scores, recordings, and scholarly resources available in English. Influences from  Debussy, Ravel, and Fauré highlight how Bonis’ contributions can expand the representation of  early 20th-century French style, offering a more historically informed portrayal that has  traditionally been dominated by male composers.

1. Bonis wrote over 300 compositions across various genres.

Bonis was a prolific composer, writing over 300 works. The majority of these were for  piano, with around 160 specifically intended for pedagogical purposes. Bonis also wrote more  advanced piano pieces, such as Femmes de Légende, a collection of concert pieces each inspired by a legendary female figure. Although she primarily composed for piano and voice, her output also  includes music for orchestra, chamber ensembles, and organ. Notable performance pieces for piano include Ballade, Op. 27, Romance sans paroles en la bémol majeur, Op. 29, and Barcarolle, Op.  41. Go take a listen!

“Mel Bonis,” 1900s. Mel Bonis collection, Association Mel Bonis. Bru Zane Mediabase. Available at: https://www.bruzanemediabase.com/en/node/14745.

2. Her style blends elements of Romanticism and Impressionism.

Bonis’ music blends elements of both Impressionism and Romanticism, characterized by lyrical melodies and colorful, idiomatic piano textures. Her works are tonal yet infused with chromaticism and adventurous harmonies. Her style shows parallels with Debussy’s, particularly in La Cathédrale blessée, Op. 107, which shows similarities to Debussy’s La Cathédral engloutie. Bonis’ music also reflects influences from composers like Ravel, Fauré, and Chopin. These connections highlight how her work can broaden the representation of the early twentieth-century French style to offer a more inclusive perspective that has traditionally been dominated by male composers.

“Mel Bonis,” undated. Mel Bonis collection, Association Mel Bonis. Bru Zane Mediabase. Available at:  https://www.bruzanemediabase.com/en/node/14762.

3. She was a classmate of Claude Debussy.

Bonis studied at the Paris Conservatoire where she studied under César Franck and became  peers with Claude Debussy and Gabriel Pierné. Her parents showed little support for her musical  pursuits, believing that this type of career was unsuitable for a woman. It was Franck who  encouraged her enrollment at the Conservatoire. There, she quickly proved her exceptional talent by winning numerous composition competitions, receiving high praises from her mentors, and  establishing herself as one of the top students in her class. However, despite these successes, Bonis continued to face challenges due to her gender, struggling with internal doubts and encountering prejudice.

“Mélanie Bonis,” c. 1880. Mel Bonis collection, Association Mel Bonis. Bru Zane Mediabase. Available at:  https://www.bruzanemediabase.com/en/node/14750.

4. She used “Mel” to publish her works androgynously.

Bonis faced significant challenges as a woman in a male-dominated field, enduring gender-based discrimination while also adhering to societal expectations of being a housewife and  managing the household. Despite her attempts to challenge these barriers, such as adopting the  gender-ambiguous pseudonym “Mel Bonis,” the cultural landscape of France and expectations of women composers during her time shaped her work output and impacted her lasting success.  Letters exchanged with peers and mentors reveal the psychological toll of these gender  expectations, including a fear of being undervalued, despite the accomplishments and praise she  received. 

Additionally, Bonis’ parents forced her to leave the Paris Conservatoire after a fellow student  she became romantically involved with had proposed to her. They arranged a marriage for her to  a 47-year-old man with five children. Expected to fulfill domestic duties as a wife and mother,  she took a break from her musical career for several years.

“Mel Bonis (at the end of her life),” c. 1930s. Mel Bonis collection, Association Mel Bonis. Bru Zane  Mediabase. Available at: https://www.bruzanemediabase.com/en/node/14746.

5. Bonis composed pedagogical works that expose early twentieth-century French repertoire to a variety of levels.

These works offer valuable educational content for students ranging from early-to-late  intermediate levels while introducing them to early twentieth-century French piano music. Some of her collections were specifically written with pedagogical intent, similar to the children’s pieces of composers like Schumann and Tchaikovsky, and these collections were popular during her time. Her Scènes enfantines employs techniques suitable for early-intermediate learners. This collection features a variety of articulation, melodic voicing in both hands, dynamic contrasts,  and hand independence. Further, the descriptive titles and narrative annotations in the score help young students connect personally with the music.

In addition to these pedagogical works, many of her other pieces also provide rich  educational value, such as Cinq pieces pour piano. This late-intermediate-level collection  exposes students to octaves, sixteenth-note passages, and finger independence in multi-voice writing.

“17 Pièces enfantines (Mel Bonis),” 1926. Mel Bonis collection, Association Mel Bonis. Bru Zane  Mediabase. Available at: https://www.bruzanemediabase.com/en/node/14755.

Including Bonis’ works in the intermediate repertoire addresses two deficiencies in the  representation of twentieth-century French repertoire: the lack of female representation and the scarcity of early-to-mid-intermediate-level materials. Students can develop essential technical skills and explore musical styles already represented by key male figures, but through the perspective of a female composer. This not only acknowledges that women were contributors of  the time but also enriches the portrayal of the early twentieth-century French music landscape. Incorporating Mel Bonis into the intermediate repertoire would support the ongoing efforts to revive her works and offer students the opportunity to experience the early twentieth-century  French music through the perspective of a female composer whose contributions were  overshadowed by the gender biases of her era.

Resources

Bonis, Mel. Souvenirs et rèflexions [Memories and reflections]. Edited by Jeanne Brochot. Les éditions du Nant d’enfer, 1974. 

Bonis, Mel and Charles Koechlin, et. al. Correspondance choisie de Mel Bonis [Selected correspondence from Mel Bonis]. Selected with commentary by Christine Géliot. Les Amis de la musique française, 2007. 

Étienne, Jardin. Mel Bonis (1858–1937): Parcours d’une compositrice de la Belle Époque [Mel Bonis (1858–1937): Journey of a Belle Époque composer]. Venice, Italy: Actes Sud/Palazzetto Bru Zane, 2020. 

Géliot, Christine. Mel Bonis: Femme et compositeur (1858–1937) [Mel Bonis: Woman and composer]. Editions L’Harmattan, 2000.

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Happy 90th Birthday to Marvin Blickenstaff!

Written By Kairy Koshoeva, Kate Logan, Deborah Rodgers, Mary Kelly, Mary Louise Hooley-Carlisle, Pete Jutras, Kristin Cahill

Thanks to the generosity of supporters around the world, The Marvin Blickenstaff Teaching Excellence Fund is advancing high-quality teacher education and raising the standard of piano instruction. We invite you to join this meaningful effort by making a contribution to help complete this tribute in time for his milestone birthday. Gifts can be made online at pianoinspires.com/marvin-blickenstaff.

Marvin Blickenstaff

From Kairy Koshoeva: 

Celebrating Marvelous Marvin: A Heartfelt Tribute to a National Treasure

Happy 90th Birthday, Marvin! What a truly remarkable milestone this is! His birthday is a beautiful reminder for all of us to honor and celebrate him every day. He is undeniably a national treasure, and we are so blessed to have him in our lives.

As I reflect on the unforgettable adventures Marvin and I have embarked on together—from the stunning Grand Canyon to the breathtaking Grand Teton, Yellowstone, and out in Idaho—I am filled with profound gratitude. Being part of the ‘Fabulous 4’ with dear friends Charl and Reyes has been a wonderful gift. The memories we’ve created are indelibly etched in my heart, and the time spent with him is among my most cherished experiences. His remarkable presence has shaped my life in ways I can hardly express.

He has graciously welcomed me into his home during the holidays year after year. His warmth and hospitality have added a special touch to my Thanksgiving and Christmas celebrations, making me feel like part of a true family. He has become my chosen family in the US, and that bond is one I will forever hold dear.

His unwavering support at every recital and concert has an immeasurable impact on me. Whether during the Goldberg Variations, Rachmaninoff’s Piano Concerto No. 3, or our joyful four-hand duet performances at family gatherings, his presence always filled the room with love and happiness.

 

Kairy Koshoeva and Marvin Blickenstaff at the piano.

I am profoundly thankful for the wisdom and guidance he’s generously shared with me over the years. His kindness in mentoring my students has created a ripple effect that has touched us all, and the lessons he’s imparted will resonate for many years. His book is an invaluable resource for piano teachers, and I couldn’t be prouder of him as I eagerly look forward to hearing him perform at Carnegie Hall!

With my admiration and heartfelt gratitude, I want Marvin to know how deeply he is valued and loved.

Kairy

From Kate Logan: 

Wishing Marvin a very happy 90th birthday—and belated congratulations on the establishment of the Marvin Blickenstaff Teaching Excellence Fund! I feel so privileged to have been one of his many piano students over the years. I look back with immense gratitude toward the role that piano played in my otherwise chaotic life at that time, especially in high school, and how his patience and gift for teaching helped me to understand my own potential for making music. I’m awed by how his generosity and selflessness has touched so many, and am so glad to have the opportunity to celebrate him!

All the best,

Kathryn (Kate) Logan

From Deborah Rodgers: 

Marvin’s deep passion for his craft has truly inspired not just me and my students, but thousands of others as well. I’m so happy that during my time as president, PMTA had the honor of recognizing him with their highest Teacher of the Year award. There’s no one more deserving. Thank you, Marvin, for all the years of guidance you’ve given to my students—it’s made a lasting impact.

Deborah Rodgers 

Deborah Rodgers with Marvin Blickenstaff.

From Mary Kelly:

Marvin, congratulations on your return to Carnegie Hall!  My husband Richard and I are so pleased to be able to attend your concert. I was fortunate to know Louise Goss and Frances Clark from a very early age. They both held Marvin in the highest esteem and I often heard his name over the years. But it was only when I joined the Board of The Frances Clark Center in 2006 that I came to know him personally. I remember watching several of the Master classes he gave at various conferences. His courtesy, generosity, passion and ability to connect with his students was not only instructive but extremely moving. But over the years at our Board meetings and retreats I realized that in fact, this was simply the way he lived his life; that he exercised those essential qualities of humanity and compassion in everything he did. What a legacy to have so many students learn from him and so many friends and colleagues experience his unfailing kindness. It was a great honor to serve on the Board with Marvin along with Sam, Louise, Leslie, and all those who created the New School for Music Study and The Frances Clark Center. Congratulations again!  He is truly ageless and I wish him all the very best now and always.

 Mary Kelly

From Mary Louise Hooley-Carlisle:

Marvin has poured his whole being into a lifetime of self-giving for the good of others so that we can become the persons we are meant to be. I have known Marvin since 1978, when I was a freshman and he was a new professor at Goshen College. During these nearly fifty years since, he has been for me my most nurturing and formative piano teacher, an inspirational performer, the greatest of all time pedagogy professor, my wise and beloved mentor, and a generous colleague. Through it all, he has been a faithful friend. He’s celebrated with me at my best and forgiven me at my worst, but always cheering for my well-being and success. On this occasion of his 90th birthday, I heartily congratulate him on all his achievements and thank you for modeling excellence, most especially for your life-shaping goodness. My prayer for him is that the blessing he’s been to others may return to him a thousand-fold, and may he be filled with love, joy, and peace, today and always. I cherish his presence in my life.  ~ Mary Louise 

From Nina Austria: 

About fourteen years ago when I was just nine years old, I had the incredible fortune of beginning piano lessons with Marvin. What I didn’t realize then was that this would become one of the most transformative experiences of my life. I studied with Marvin all through high school, and thanks to him, I eagerly looked forward to every Tuesday evening. His captivating anecdotes and stories about the composers and the music we studied made each lesson so special. Through my time with Marvin, I quickly came to understand that being able to learn and make music is a privilege and a gift.

He always knew exactly what to say to help me improve, grow, and stay inspired. Marvin inspires a deep and natural respect from his students, as we all feel motivated to meet the standard of dedication and love for music that he so generously shares with us. Beyond being an extraordinary teacher, he is an incredible human being who educates the whole person. He has touched the lives of so many, and I consider it one of my life’s greatest blessings to be able to call Marvin Blickenstaff my mentor and my friend. To this day, we have remained close, and I carry with me a love for music and the piano that would not exist without Marvin.

Warm regards,

Nina Austria

Marvin Blickenstaff with Nina Austria.

From Pete Jutras:  

It has been a true honor and privilege to know and work with Marvin for over twenty-five years. I will always treasure our time working together on articles for Keyboard Companion and Clavier Companion, and many committees relating to NCKP. The chance to work with him on the editing of Inspired Piano Teaching is a highlight of my life, and something for which I will forever be proud. Most of all, however, I cherish our friendship, and the warmth and love he selflessly distributes to everyone around him. The world is such a better place from his teaching, his presence, and his humanity.  

Pete Jutras

Marvin Blickenstaff with Pete Jutras.

From Kristin Cahill:

The first time I saw Marvin teach was at the Goshen College Piano Camp when I was Robert Vandall’s student. I was a sophomore in high school, and Bob and Karen drove me to Goshen from Ohio so I could participate. Mr. Vandall was the featured composer that year, and I also remember meeting Beverly Lapp and Marilyn Neely.

I was in awe watching Marvin give lectures and master classes, and I remember playing Bach’s Invention No. 13 in A Minor for him. While there, I also met Mary Rose Jordan, and thought about how lucky she was to have him as her teacher. To this day, I have fond memories of that week in Goshen.  

Fast forward sixteen years, and I was looking to relocate somewhere in the United States after living in Barcelona. My teaching needed a lot of guidance, and when searching, I came across the New School for Music Study. After being hired, I couldn’t believe I would have the chance to work with Mr. Blickenstaff!

Observing his PEPS classes during my first year at NSMS was the highlight of my week. I loved watching how he connected with students and brought out the best in their playing. Over the years, I had the privilege of seeing him give numerous talks, workshops, performances, and lessons.

Not only is he a phenomenal musician, he also opens his home and heart to so many people. It is very special to have met Sara Faye’s family at holiday gatherings. His house is full of music, warmth, pianos, orchids, and mugs as we gather there.  

Thank you, Marvin, for being a visionary, mentor, and friend. Happy 90th birthday! Can’t wait to celebrate 100 with him!  

Kristin Cahill

Kairy Koshoeva, Marvin Blickenstaff, and Kristin Cahill.

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5 Things You Might Not Know About Abby Whiteside

Written By Stephen Marquiss

We would like to thank Stephen Marquiss for this article on Abby Whiteside. Interested in learning more about Whiteside? Attend this session at The Piano Conference: NCKP 2025 online event on Saturday, June 7, 2025, 1:30-1:55pm CDT. Learn more and register for the conference here.

1. Abby Whiteside (1881-1956) transformed her teaching after admitting only her talented students progressed.

She was history’s humblest piano teacher. This realisation kickstarted a lifetime of open-minded exploration. Whiteside became determined that, given the best tools, the less gifted could play as well as the most talented. She left essays which, whilst brilliant and beautiful, some perceive to be disjointed or abstruse in places. This could be because she continued to revise and refine her ideas literally until her deathbed. It could also be because her audacious innovations present a serious challenge to pedagogical orthodoxy.

Abby Whiteside’s book, On Piano Playing: Indispensables of Piano Playing, Mastering the Chopin Etudes, and Other Essays.

2. Whiteside devised ingenious, unorthodox tools so that all could play.

She identified central tenets in technique, common in the most talented players, which were often overlooked in conventional pedagogy. Chief amongst these are the roles of the upper arm, torso, ears and emotional connection. She was openly critical of any aspects of technical orthodoxy that neglected these. She believed that the fingers must cede control of power and dexterity to the larger levers, the torso and the ears. She devised many ‘set-ups,’ ‘patterns,’ and activities, such as ‘splashing’ on random keys and improvising, to empower all pianists to play to their potential.  

Pianist performing outside

3. Whiteside tested her tools on Chopin’s most notorious études.

She believed these were the ultimate barometer of technique, owing to their idiosyncratic repeated patterns and figurations. If anything impedes the technique, one can barely complete a few bars without tensing up unduly. Whiteside highlighted elephants in the practice room such as the common practice of isolating the hands and fingers from the flowing whole-body coordination and of trying to attain virtuosity without the crucial role of emotional engagement. She believed many to be practising essentially irrelevant coordination. Her tools focus on rebuilding more instinctive, ergonomic practice habits.

Chopin: Etude in G-sharp Minor, Op. 25, No. 2

4. Inspired by dance, Whiteside centralized the ‘emotional rhythm’ in technique.

She coined this term for the flowing state invoked by the performer’s authentic connection to the music, combined with the activity this awakens in the torso. Such activity could be overt swaying or ‘bouncing’ against the sitting bones or simple alertness, as in the tennis player receiving a serve or the ‘athletic tension’ between dancers. She believed attempting to attain velocity and exquisite musical control without activating this central component was akin to trying to perfect swimming technique by playing golf.

A woman gracefully dances by the sea at sunset, capturing emotion and nature's beauty.

5. Inspired by jazz, Whiteside prioritized playing by ear.

She believed this invoked a simpler, more direct, efficient coordination than playing predominantly by sight, rote, or ‘muscle/motor’ memory. Without the middleman of the score, the fingers are directed economically by the ‘aural image’ of the music in the mind’s ear. A central aim in practice thus becomes to take the music ‘off the page’ when starting with the score, such that one can hum it in the inner ear. This can be a journey for pianists who have become accustomed to pushing down keys in response to primarily visual cues, although the rewards are great.

A fashionable musician in a mint green suit plays trumpet outdoors, exuding creativity.

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Campos Internacionais Disponíveis – Inscreva-se Já!

Written By Piano Inspires

A Conferência de Piano expandiu seu escopo para incluir campos em coreano, mandarim, inglês, espanhol e português.* Todas as sessões em línguas estrangeiras incluirão legendas em inglês para torná-las acessíveis a todos.

A inscrição completa na conferência inclui acesso ao evento online e aos arquivos do evento online. Inscreva-se agora para conferir apresentações de especialistas, professores e pesquisadores do mundo todo!

Conferência Online: 7 a 8 de junho de 2025

Cúpula e Conferência Presencial: 23 a 26 de julho de 2025

INSCREVA-SE

*A inscrição para os campos em espanhol e português é gratuita para residentes de países com desigualdades monetárias. Inscreva-se aqui e selecione Evento en línea NCKP: Sección Internacional – Español ou Evento online NCKP: Campo Internacional – Português no momento da inscrição.

Quer saber mais sobre o evento online e o Campo Internacional da Conferência? O presidente do comitê, Luis Sanchez, compartilha o que esperar da Conferência de Piano: NCKP 2025.

Saiba MaiS
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国际会议分会场开放 。 立即注册！

Written By Piano Inspires

钢琴峰会已扩展至韩语、普通话、英语、西班牙语和葡萄牙语分会场。*所有外语会议均提供英文字幕，方便所有人观看。

完整的会议注册包含在线活动和在线活动档案的访问权限。立即注册，聆听来自世界各地教师和研究人员的专家演讲！

在线会议：2025年6月7日至8日

线下峰会及会议：2025年7月23日至26日

注册

想了解更多关于在线活动和国际会议分会场的信息？委员会主席Luis Sanchez将分享2025年钢琴会议（NCKP）的精彩内容。

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국제 트랙 개설. 지금 등록하세요!

Written By Piano Inspires

피아노 컨퍼런스는 한국어, 중국어(만다린어), 영어, 스페인어, 포르투갈어 트랙을 포함하도록 그 범위를 확장하였습니다.* 모든 외국어 세션에는 영어 자막이 제공되어 누구나 쉽게 접근할 수 있습니다.

전체 컨퍼런스 등록 시 온라인 행사 및 온라인 자료 아카이브에 접근할 수 있습니다.

지금 등록하셔서 전 세계의 교사들과 연구자들의 전문적인 발표를 직접 경험해 보세요! 

온라인 컨퍼런스: 2025년 6월 7-8일 Online Conference: June 7-8, 2025

현장 서밋 및 컨퍼런스: 2025년 7월 23-26일 

등록

*환율 불균형이 있는 국가의 거주자는 스페인어 및 포르투갈어 트랙에 무료로 등록할 수 있습니다. 등록 시 Evento en línea NCKP: Sección Internacional – Español 또는 Evento online NCKP: Campo Internacional – Português를 선택해 주세요.

온라인 행사 및 국제 컨퍼런스 트랙에 대해 더 알고 싶으신가요? 국제 위원회 위원장 루이 산체즈 박사가 NCKP 2025: 피아노 컨퍼런스에서 기대할 내용을 소개합니다. 

더 보기
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Programación internacional disponible ¡Regístrate ahora!

Written By Piano Inspires

La Conferencia de Piano ha ampliado su alcance para incluir programación en coreano, mandarín, inglés, español y portugués.* Todas las sesiones en idiomas extranjeros incluirán subtítulos en inglés para que sean accesibles para todos.

La inscripción completa a la conferencia incluye acceso al evento en línea y a sus archivos. ¡Regístrate ahora para disfrutar de presentaciones de expertos, profesores e investigadores de todo el mundo!

Conferencia en línea: 7 y 8 de junio de 2025

Cumbre y conferencia presenciales: 23-26 de julio de 2025

REGÍSTRATE

*La inscripción a las pistas en español y portugués es gratuita para residentes de países con desigualdades económicas. Regístrate aquí y selecciona “Evento en línea NCKP: Sección Internacional – Español” o “Evento en línea NCKP: Campo Internacional – Portugués” al registrarte.

¿Quieres saber más sobre el evento en línea y la Pista de la Conferencia Internacional? El presidente del comité, Luis Sánchez, comparte qué esperar de la Conferencia de Piano: NCKP 2025.

LEER MÁS
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5 Reasons You Should Learn “Arirang”

Written By Kowoon Lee

We would like to thank Kowoon Lee for this article on the Korean song, Arirang. Interested in learning more about Arirang? Attend this session at The Piano Conference: NCKP 2025 on Thursday, July 24, 2025, 1:30-1:55pm CDT. Learn more and register for the conference here.

A view of Seoul, South Korea. Photo credit 라성민.

1. Cultural Understanding

As Korean culture continues to gain global influence through K-pop, Korean cinema, TV shows, and dramas, learning the quintessential Korean folk song Arirang can serve as a bridge to a deeper appreciation of Korean art, language, and traditions. Arirang is more than just a song; it embodies the culture, history, and spirit of Korea. It represents Korea––our emotional and cultural identity. In the Korean language, the word “we”—“우리” [Uri]—is commonly used in daily language. We say “our country” instead of “my country” and “our mom” instead of “my mom.” Arirang expresses Han, an internalized feeling of deep sorrow, resentment, grief, regret, and anger. We sing Arirang not only in moments of sadness, but also in moments of joy and longing. Do you have Korean piano students? Are you friends with Koreans? Learning about and connecting with this song offers a unique opportunity to appreciate Korean traditions and cultural heritage. It also shows your appreciation for Korean culture to those around you.

The 2017 Jeongseon Arirang Concert by the Jeongseon Arirang Art Troupe in Taipei, Taiwan

2. UNESCO Recognition

Arirang is listed as a UNESCO Intangible Cultural Heritage (ICH). ICH encompasses the practices, expressions, knowledge, and skills that communities recognize as cultural heritage. This living cultural heritage includes oral traditions, performing arts, social practices, rituals, nature-related knowledge, and traditional craftsmanship. Preserving these traditions reinforces identity and fosters respect for cultural diversity.

3. Personal Growth

Learning about new cultures challenges your way of thinking, making you more adaptable, open-minded, and resourceful. It provides insight into how others think, feel, and experience the world, fostering empathy and respect. This deeper understanding helps you appreciate the perspectives of people from different backgrounds and supports your personal growth, enhancing problem-solving skills and cognitive abilities. By learning the iconic Korean folk song Arirang, you not only recognize and respect diversity, but also contribute to a more inclusive world. 

Globe held by diverse people

4. Expand Your Repertoire

Whether for teaching, performance, or both, expanding your repertoire is always exciting. Arirang is an excellent starting point to explore Korean culture and to better understand the traditional musical language of Korea. In addition to learning about Arirang, you will also be introduced to works by three Korean women composers, opening up opportunities for further research. This will diversify your teaching and performing repertoire, setting you apart from others.

From left to right: Jungyoon Wie, Eunhye Kim, and Misook Kim

5. Endless Possibilities for Pianists

As pianists, we all know that it is impossible to learn every single piano piece in the world. Arirang, an oral traditional folk song, has around 3,600 variations across approximately sixty versions. Is it too much to learn at once? Perhaps. While learning them all might seem daunting, my presentation will provide a comprehensive overview of Arirang and the piano music inspired by it. Don’t miss the chance to broaden your musical horizons at The Piano Conference: NCKP 2025! 

A stack of Henle Edition piano books
Sources

Article

Lee, Dong-Kyu. “A Study of ‘Jeongseon Arirang’ by Min-Hyeong Lee: Elements of Korean Traditional Folk Music.” The Choral Journal 61, no. 4 (2020): 63–74. https://www.jstor.org/stable/27034992.

Website

UNESCO. “Arirang, Lyrical Folk Song in the Republic of Korea.” Accessed February 25, 2025. https://ich.unesco.org/en/RL/arirang-lyrical-folk-song-in-the-republic-of-korea-00445.

News Journal

Babe, Ann. “How the South Korean Language Was Designed to Unify.” BBC, December 18, 2017. https://www.bbc.com/travel/article/20171217-why-south-koreans-rarely-use-the-word-me.

Media

Foundation for the Promotion of Traditional Performing Arts. “The Story of Arirang.” Posted May 28, 2014, by YouTube, 8:09. https://youtu.be/CxxpFegNLik?si=9o6CMLI2h0u1MZ8Y.

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Teaching Us to Be Our Best Selves: The Power of a Piano Teacher

Written By Heather Smith, Piano Inspires, Megan Hall, Kairy Koshoeva

We welcome you to celebrate your own teacher by sharing a tribute with us and donating to The Frances Clark Center. Students, parents, and colleagues are honoring piano teachers from their communities as part of the “Power of a Piano Teacher” campaign.

Laurie Stevens and Megan Hall after Megan’s master’s recital.

The teachers featured here are making profound contributions to students at all stages, from the youngest beginners to college students, and to those who study later in life. These inspirational, personal stories testify of the timeless impact piano teachers have on their students and their communities.

Join us by honoring your teacher today through the “Power of a Piano Teacher” campaign.

Megan Hall honors Laurie Stevens

I vividly remember the first time my mother was called in to talk with my teacher after a piano lesson. My heart rate increased and I was certain I was in trouble. “She’s reading all the notes and rhythms,” she said to me and my mom, “but she’s always in a rush. She’s not playing musically.” For the next three years, Laurie worked with me on musicality, voicing, balance, phrasing, and rubato. She encouraged me to play for others in my community and in my church. She saw my potential and refused to accept anything less than my best. I am forever grateful to her for unlocking my musicality and for teaching me with her very best self, even when it was uncomfortable or challenging for me. Her honesty, encouragement, and kindness changed the course of my life.

Kairy Koshoeva honors Monique Duphil

Monique Duphil, my exceptional piano teacher at Oberlin Conservatory of Music, left an indelible mark on the lives of her students, instilling in us a deep and lasting passion for music. I will forever cherish the lessons she imparted, which inspire and uplift me. Her ability to convey emotion through music was unparalleled, and one of the most unforgettable experiences was hearing her performance of Ravel’s Piano Concerto, particularly the second movement. Her interpretation was nothing short of sublime, and it remains the most beautiful rendition of the piece I have ever heard. Monique was a master of the piano, and every piece she played showcased her remarkable skill, artistry, and deep understanding of the transformative power of music.

Monique’s legacy extended beyond the piano; she taught us the importance of humanity, kindness, and compassion. Her nurturing presence was felt by everyone who had the privilege of knowing her. She was more than a teacher—she was a guide, a mentor, and a friend. Through her, we learned that music has the power to not only elevate the soul but also to bring people together and change the world for the better. Monique made it her life’s work to help others, whether through the beauty of her music or her thoughtful and caring approach to teaching.

Her influence was not confined to the music studio. She touched the lives of her students in ways that went beyond the piano keys, fostering a sense of empathy and social responsibility. Monique’s commitment to improving the world was evident in everything she did, from encouraging us to connect with our communities to her active role in supporting environmental and humanitarian causes.

At the age of 88, Monique passed away, leaving a legacy that will forever resonate in the hearts of those who had the privilege to learn from her. She departed from us, much like the 88 keys of the piano she loved dearly. On behalf of all of her students, I offer my deepest gratitude for the profound impact she had on our lives. Through her, we learned not only how to play piano and master our craft but also how to approach life with grace, generosity, and compassion.

Rest in peace, dear Monique Duphil. Your teachings and kindness will forever live on in our hearts, and the world is better for having had you in it. Thank you for everything you gave to us, for your music, your wisdom, and for being a shining example of what it means to lead a life of purpose and love.

Kairy Koshoeva with Monique Duphil.

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What to Expect at The Piano Conference: NCKP 2025

Written By Derek Kealii Polischuk, Sara Ernst

From the Inclusive Teaching Track and Keyboard Lab Presentations

The Committees of The Piano Conference: NCKP 2025 work to research, compile, or otherwise address issues of ongoing significance to our participants and the piano teaching public in meaningful and substantive ways. As we eagerly anticipate NCKP 2025, we asked our committee chairs to give us a sneak peek into their respective tracks. Keep reading to see what you can expect from the Inclusive Teaching Track and from the Keyboard Lab Presentations! Please note that the schedule of The Piano Conference: NCKP is subject to change. The most up-to-date listing can be found here.

Inclusive Teaching

By Derek Kealii Polischuk, Chair

Online: Saturday, June 7, 2pm-2:30pm

In-Person: Saturday, July 26, 10:30am-12:30pm

The Inclusive Teaching Committee is passionate about expanding the boundaries of inclusivity and accessibility in piano teaching and is excited to share these topics with the broader piano teaching community at The Piano Conference. This track will present a diverse array of topics related to teaching students with special needs. 

Jacob Womack, a father of two children with autism and a teacher of music classes and piano to students with autism, will share his insights and provide practical teaching strategies for working with students with Autism Spectrum Disorders. Sungyeon Ahn, an organizer of the Celebrating the Spectrum Piano Festival at Michigan State, will present strategies for organizing events for students with special needs. Participants will gain practical insights on how to organize accessible events that empower students and create a welcoming environment.

Scott Price will demonstrate specialized vocabulary and concise, detailed teaching strategies to help students with autism create expressive performances in a session titled Absolutely! Pathways to Expression and Artistry for Special Learners. Olivia Colomaio will present adaptive pedagogy for dyslexic students, including nontraditional score reading, rhythm study, and annotation strategies. 

A panel of five leaders in the piano teaching and special needs field will answer questions and discuss issues related to studio management, teaching techniques, repertoire, and performance situations. This year’s programming will be particularly accessible to all teachers as presenters will give key takeaways that piano teachers will be able to take directly to their studios in the upcoming year.

Keyboard Labs

By Sara Ernst, Director of Teacher Engagement

A unique aspect of The Piano Conference is an on-site keyboard lab, which allows presenters to guide attendees through hands-on playing activities. The lab itself will have a multi-keyboard setup using the latest Yamaha technologies. The program features labs on a wide variety of topics such as improvisation, lead sheets, composition, and collaboration. 

Keyboard Lab Presentations at The Piano Conference: NCKP 2025

Chart Your Course! Creative Classroom Activities for Teaching Lead Sheets and Chord Charts

Davis Dorrough and Olivia Ellis, Thursday, July 24, 2025, 11:30 AM to 12:20 PM CDT

Deeper, Not Wider: Exploring Creativity through Familiar Repertoire

Hannah Mayo and Krista Jadro, Saturday, July 26, 2025 10:30 to 10:55 AM CDT

Integrating Improvisation into Piano Lessons: Hands-On Session

Joseph Harkins, Agnieszka Lasko, and Kristina Lee, Thursday, July 24, 2025 10:30 to 11:20 AM CDT

Making Happy Humans with Engaging Group Piano Lessons

Mario Ajero, Saturday, July 26, 2025, 11:30 to 11:55 AM CDT

Young Keying in on Collaboration: Activities for the Group Piano Classroom

Jenna Klein, Friday, July 25, 2025 10:00 to 10:50 AM CDT

Three Enjoyable Group Teaching Techniques Your Adult Students Will Appreciate

Debra Perez, Friday, July 25, 2025, 11:30 to 11:55 AM CDT

Dancing with the Scales!: Integrating Chord Progressions, Scales, and World Music in Group Piano

Diana Dumlavwalla and Melody Morrison, Saturday, July 26, 2025 12:00 to 12:25 PM CDT

Using the Music of Taylor, Billie, and Coldplay to Explore Improvisation Using Orff-Schulwerk Techniques

Paul Myatt, Saturday, July 26, 2025, 9:00 to 9:50 AM CDT

Demystifying Composition: Accessible Techniques for All Musicians

Melody Morrison, Friday, July 25, 2025 11:00 to 11:25 AM CDT

Sight-Reading with Our Little Beginners: An Integrative Approach

Florencia Zuloaga, Saturday, July 26, 2025, 11:00 to 11:25 AM CDT

From Ink to Improv: Classical Scores Reimagined as Jazz Lead Sheets

Samuel Gingher, Saturday, June 7, 2025 2:30 to 3:20 PM CDT

Attendees at The Piano Conference: NCKP 2023.

Join us for The Piano Conference: NCKP 2025 as we gather together in person and online. The Piano Conference seeks to explore the challenges and opportunities facing our international community at this inflection point for the profession. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 8, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

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Piano Inspires Podcast: 2025 Lifetime Achievement Award Winners

Written By Pamela Pike, Barbara Fast, Susanna Garcia, William Chapman Nyaho

The Frances Clark Center recognizes Barbara Fast, Susanna Garcia, Gary Ingle, William Chapman Nyaho, and Craig Sale as recipients of the 2025 Frances Clark Center Lifetime Achievement Award. Each of these recipients exemplifies outstanding dedication to the field of music and piano teaching. Their influential contributions in the field of piano pedagogy have impacted our profession across the country and internationally. All are welcome to join us at The Piano Conference: NCKP 2025 to celebrate these extraordinary individuals. Full conference registration includes four days of engagement, including the summit, concerts, keynotes, PEDx presentations, and more, as well as access to the online event and online event archives. Student, Single-Day, and Online-Only registration options are also available. Early-bird registration is available until May 8, 2025, at 11:59 PM Pacific. Subscribers receive an additional 10% off; log into PianoInspires.com and go to ‘My Discounts’  to find your discount code. Learn more and register for The Piano Conference by clicking here.

Gary Ingle
Susanna Garcia
Craig Sale
William Chapman Nyaho
Barbara Fast

Barbara Fast

Barbara Fast: Then I also couldn’t decide about, should I do social work? That was a big thing at the time at Bethel College where I went. In my sophomore year, I did one semester working in a halfway house and I thought, “Nope, I miss practicing too much.” And so that was just very informative. You know, try out the things and, you know, I really feel when I’m working with students, you are going to have failures in life. You’re going to try out things, but they are what is going to inform you in your life. Your failures help you become who you are. You’ve got to have some failures to become who you are. You just have to. 

Pamela Pike: Yes, absolutely. I mean, this is such an important point. You know, and they inform, they help us, as you mentioned, you know, discover we think we’re interested in something, but when we see what that really involves, we realize, no, something else means more to us. Where do we want to spend our valuable time? 

BF: Yes. Absolutely. 

Susie Garcia

Susanna Garcia: But what I want to inspire others to do is to understand that there’s boxes like this in every archive, in every library, all over the world waiting to be discovered. ‘m going to promise you that there are going to be dozens, if not hundreds, of African American composers whose music has never been published. And this is why history is important, and this is why honesty about history is important, you know. I do think it’s important to know why the music wasn’t published. I’m just not able to say for sure why that was. But I think that’s part of the research process. And I hope if you’re a young pianist or a young scholar hearing this podcast and looking for a topic for your doctoral work you know, just going into these libraries and cataloging what’s in there for the world to see would be changing the world and being truthful and honest about music history.

William Chapman Nyaho

Music is such a big healer. We’re humans and it is our arts and culture that defines us and not, you know, how much we can make in the stock market and so on and so forth. If we can find music that we can connect to or as performers or as teachers [and] explain to others what resonates with me and what I’m giving to you as a gift, you know, [that] can help. I mean, music is a way to bring relief to people. You just don’t know who you’re going to touch or heal in a recital just because the person’s had a terrible day and they bought this ticket to come and hear you play. And, “Oh my gosh, they played something which is kind of different. Oh, that’s something I recognize.”

If you enjoyed these excerpts from Piano Inspires Podcast, listen to the entire episodes on Apple Podcasts, Spotify, YouTube, or our website!

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5 Things You Might Not Know About the Ergonomically Scaled Piano Keyboard

Written By Piano Inspires, Camila de Oliviera

We would like to thank Camila de Oliviera for this article on the Ergonomically Scaled Piano Keyboard (ESPK). Interested in learning more about the EPSK? Attend her session at The Piano Conference: NCKP 2025 on Thursday, July 24, 2025, 12:00-12:25pm CDT. Learn more and register for the conference here.

Camila de Oliviera

1. Playing an ESPK doesn’t mean you lose the ability to play a conventional keyboard.

Many pianists worry that switching to an Ergonomically Scaled Piano Keyboard (ESPK) will make it difficult to return to a standard-sized keyboard. However, research and experience show that pianists who become comfortable with an ESPK can easily adapt between different keyboard sizes,  just like violinists who switch between violin and viola. The brain and hands develop flexibility,  making it possible to transition smoothly between keyboards of different dimensions.

An example of the ESPK.

2. You can adapt, just close your eyes! 

An effective strategy to adjust and build muscle memory on the ESPK is playing with eyes closed. Stephen Hough, in his insights on piano playing, explained that when one sense is removed, the other senses become more attuned and compensatory. By focusing on practicing on the ESPK while relying entirely on tactile and auditory feedback, a new memory of the distances between the keys will be developed.

An example of the ESPK.

3. The feeling of ease is transferable to the standard keyboard.

Once you learn to play octave passages on an ESPK, the perception of reduced stretch can transfer  to a conventional keyboard. Pianists often experience a recalibration of their spatial awareness; playing octaves on an ESPK allows them to internalize a more relaxed hand position, reducing  unnecessary tension. When returning to a standard-sized keyboard, this improved sense of  efficiency can enhance control and ease, even if the physical demands are greater. This transferability suggests that practicing on an ESPK can be a valuable tool for developing a more  ergonomic and adaptable technique overall.

4. Omitting notes is okay!

For small-handed pianists, omitting certain notes in a chord or passage can be an effective strategy without affecting the integrity of the music. If a note is already being played in a different octave or is part of the harmonic series, its omission is unlikely to be perceived and does not compromise the harmonic structure. In many cases, omitting such notes can even enhance playability and musicality, allowing the pianist to focus on the more essential notes of the passage and produce a cleaner, more comfortable performance. This approach is a practical solution that respects both the technical  limitations of the pianist and the musical demands of the piece.

A score demonstrating a note omission.

5. Achieving legato in octaves is easy!

For small-handed pianists, achieving legato in octave passages can be a challenge. However, playing on an ESPK offers a new level of ease, enabling them to alternate fingerings like 1-4 and 1-5 without excessive movement or shifting. Since they no longer need to play at the edge of the keys to reach octaves, they can maintain a more natural hand position, resulting in greater efficiency and comfort in achieving legato.

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piano inspires logo, black with colored stripes in the tail of the piano