Progressive progressions
March 2011; Vol. 3, No. 2
Something wonderful happened to me this year: I was assigned a new student, Chris (not his or her real name), who is a very talented pianist, and who studied with a fine teacher. Chris always arrives at every lesson motivated, eager, and excited, but even...
A survey of current methods: Bastien Piano Basics
March 2011; Vol. 3, No. 2
This issue continues Clavier Companion’s survey of piano methods. Each article in this series has three sections—an introductory synopsis by the Associate Editor, two articles written by teachers who have used the method extensively in their studios, and a response from the authors of the method surveyed...
Prokofiev’s Music for Children, Op. 65
March 2011; Vol. 3, No. 2
When Sergei Prokofiev returned to the Soviet Union to live after many years in the West, many were surprised; and he was probably even more surprised himself when his compositional style was soon publicly attacked and condemned by the Soviet government and press. Newly released...
What aspects of teaching rhythm are the most difficult for your intern teachers?”
March 2011; Vol. 3, No. 2
Yes, you may remember seeing this same topic previously in this Department—twice! When pedagogy teachers are confronted with this question (either artificially by us in this magazine, or in reality in their classrooms by the inherent complexity of helping other people learn how to teach...
A Trip Down Memory Lane: An Unmarked, Homemade Tape Recording Leads to a Reassessment of Salon Music and What Constitutes Musicality
September 2012; Vol. 4, No. 5
It started out as a “name that tune” exercise. In January 2010, my husband and I flew to New York to attend the annual Chamber Music America conference. During our visit, we had brunch with my brother Marc, a rock guitarist. In the course of...
Ruminations on Musicality
September 2012; Vol. 4, No. 5
The conversion of a series of black dots into a piece of music is a magical process, but one all too easily derailed. The alchemy occurs in two steps: the first step—relatively simple—converts dots into audible pitches, while the second—far more complex— converts pitches into...
How do you Create Solo Piano Arrangements from a Fake Book?
September 2012; Vol. 4, No. 5
Today’s jazz pianists learn to play within many different contexts. They might find themselves in a big band, a combo, or by themselves as keyboard soloists. As soloists, they must supply the harmony, rhythm, and melody while only being given a lead sheet version of...
Four Teachers and Facebook: Ideas for Improving Sight-Reading
September 2012; Vol. 4, No. 5
Earlier in the year, I established a private discussion group on Facebook with four teachers from around the country— Monica Allen, Laura Beauchamp-Williamson, Rebecca Pennington, and Scott Price. Our goal was to have some conversations about music reading which would lead to the sharing of ideas...
An Ethical Dilemma
September 2012; Vol. 4, No. 5
Most of us have, at some point in our lives, been urged to be the best that we can be—to work the hardest, study the longest, practice the most. But what if you hear that the person against whom you are competing for a job...
Charting the Future Course of Music History
September 2012; Vol. 4, No. 5
Not long ago, a professor of piano pedagogy at a prestigious collegiate institution asked me to be a guest lecturer for a day. The topic was technology. The class was attended by a fine group of young pianists who were completing work on a graduate...
Edna Golandsky on Taubman Technique
September 2012; Vol. 4, No. 5
It wasn’t so long ago that people aged 50 were considered elderly, and those 65 or more downright old. In 1940, you probably wouldn’t have reached the latter milestone anyway, since the average life expectancy for men was 60.8. You lived, you worked, you had...
Still on Fire or Burning Out?
May 2012; Vol. 4, No. 3
What type of music teacher burns out? Often she is an idealistic, “on fire” individual who does not have a firm pedagogic sense of what is real and what is fantasy. Someone who believes that all children can achieve a high level of mastery at...
What is the “Practice Toolbox” You Use With Your Students?
May 2012; Vol. 4, No. 3
Helping our students learn how to achieve expression, ease, and accuracy in their playing requires that we impart effective practice procedures. Some of these involve the how of playing, what we commonly call technique: awareness of how we move and use our bodies; how to...
Your Musical Future: Hints From the 2012 NAMM Show
May 2012; Vol. 4, No. 3
Virtually every industry has one or more trade associations that represent the industry as a whole. This is true for producers of car parts, toy manufacturers, medical suppliers, funeral homes, and so forth. Typically, these groups have trade shows that are open only to members...
The Delicate Art of Praise
November 2012; Vol. 4, No. 6
Music teachers are well acquainted with the positive effects of praise. Praise helps students feel that their work is acknowledged and appreciated, and it serves as an inspiration for further improvement of skills. There are, however, other possible and not infrequent reactions that may come...