1. Manuel Ponce was the earliest internationally successful Mexican composer of classical music.
The Mexican composer Manuel María Ponce Cuéllar was musically active in the first half of the 20th century. The European-influenced Ponce was the earliest internationally successful Mexican composer of classical music. A prolific composer, Manuel Ponce wrote orchestral suites and symphonic poems; three concertos, one each for piano, guitar and violin; chamber works; and over 400 works for piano.
2. Brazilian composer Chiquinha Gonzaga was a champion of human rights and joined the abolitionist movement that ended slavery in Brazil in 1888.
Gonzaga was a noted pianist of the choro style, a Brazilian genre often marked by its jaunty, fast dance-like rhythms. Her output is comprised of dance music including waltzes, polkas, Brazilian tangos, and gavottes, among others. She was also a champion of human rights and joined the abolitionist movement that ended slavery in Brazil in 1888.
3. Argentine composer Alberto Ginastera studied with Aaron Copland, and his student, Astor Piazzolla, also studied with Nadia Boulanger.
Ginastera was an Argentinian composer of classical music. He is considered to be one of the most important 20th-century classical composers. Many of Ginastera’s works were inspired by the Gauchesco tradition. The gaucho, or landless native horseman of the plains, is a symbol of Argentina.
4. By the young age of 16, Brazilian composer Cacilda Borges Barbosa was working with the famed composer Heitor Villa-Lobos to bring music into elementary education. She was also one of the pioneers of electronic music in Brazil.
Barbosa was a Brazilian composer. By the age of 16, she was working with the famed composer Hector Villa-Lobos to bring music into elementary education. With the help of choreographer, Clara Semeles, they devised a new system of notation that combined musical and rhythmic symbols to graphically represent bodily gestures.
5. Piazzolla was a student of Ginastera as well as famed pedagogue Nadia Boulanger, who urged him to continue to compose in his distinct style.
Piazzolla was a student of Ginastera as well as famed pedagogue Nadia Boulanger, who urged him to continue to compose in his distinct style. Piazzolla was fascinated by tango music and is known for creating a new tango that combined elements of jazz and western classical music.
In his Summer 2023 article “Breaking Out of the House of Corrections,” Craig Sale gave practical advice about how to develop independent learners and motivated students. Here are five tips for providing student-centered feedback from his article. Read the full article at https://pianoinspires.com/article/breaking-out-of-the-house-of-corrections/.
1. When working on technique, provide good models and then ask students about the sounds they will be producing.
“Students can have established goals for how their technical work should sound, feel, and look. When the beginning student is presented with a good model, the feedback on their technique can and should become a collaborative effort. If the student has seen and felt what firm fingertips are…, they can be asked to evaluate their own fingers. This is far more meaningful than having the teacher criticize the weak finger joint.”
2. Before giving feedback, ask the student for their thoughts.
“The student may not be as critical as desired; they might be too hard on themselves; or their area of focus may not really be relevant to the problem at hand. Regardless of these things, the teacher must first address their response—it must be valued and respected. Then, the teacher can add their thoughts, perhaps throwing new ideas into the mix.”
3. Provide a model for constructive evaluation.
“Through the feedback they provide, teachers serve as models of constructive evaluation. For example, instead of saying “Your wrist was far too low. Try it again keeping it higher,” the teacher can say “Did you hear some unevenness during the crossings? That unevenness in rhythm and tone is common during crossings. I wonder if the crossings might be less awkward if you try it keeping your wrist more level.”
4. Let the student show you their progress by offering choices.
“One simple way to begin to break out of this predictable, corrective pattern is to offer choices to the student. “Would you like to play the whole piece or start with a specific section?” “Which practice tempo would you like to start with today?” Simply doing this gives the student a participatory role in the lesson and implies that they know something about how their practice is going.”
5. Create an environment that encourages evaluation through teamwork.
“When a problem presents itself, teacher and student should try to find the solution together. The teacher can use questions that offer options for the student. For example—“What happens if you play it without the pedal?” “What happens when you keep your fingers closer to the keys?” “Let’s try some staccato practice. How does it feel now?” In these situations, the teacher serves as a resource for options to try, not a corrective instructor. It cannot be overemphasized that no feedback of any kind will achieve the desired goal if the student does not demonstrate in the lesson that they can successfully pursue the new goal during the next week’s practice.”
We would like to thank Sheryl Iott for collaboration on this post. We encourage you to watch Sheryl’s archived webinar titled, “Music Cognition: Patterns, Predictions and Practice,” by clicking here. Want to watch, but not yet a subscriber? Subscribe now for only $7.99/mo or $36/year.
1.Practice doesn’t make perfect.
Not even perfect practice! What practice does is establish a series of habits—motions in response to thoughts (or the lack thereof). Mindful practice and observation of the results of intentional effort can create a faster and more secure learning pathway.
2. Practice doesn’t require playing.
In fact, a lot of really effective practice happens using various mental practice/rehearsal strategies. Many might be familiar with mental practice for memorization—mental practice is one of the best ways to learn, check, and reinforce our memory—but mental practice can also be implemented in other ways. For example, in between repetitions of something that you are drilling, you might plan/imagine the passage and your actions, execute, and then observe and evaluate what you did, how it felt, and what its result was. Mental imagery practice actually reinforces many components of learning that contribute to performance security as well as the flexibility required to adapt on the spot to a different instrument, changes in acoustics based on the size or seating of an audience, and subtle differences in interpretation from collaborators during performance.
3. Music reading is important, so you probably shouldn’t teach it at the first lesson.
Unless a student has had experience reading music already, first lessons are better spent doing things like exploring the instrument, learning rote songs, playing call and response rhythms, and honing a relaxed and appropriate physical approach. A solid musical foundation, based in the development of audiation, lays important groundwork for music reading, just like a rich and varied speaking vocabulary helps young people learn to read.
4. The right side of your brain does more than “run” the left side of your body, and vice versa.
Everyone knows that much of the motor signaling to your body comes from the opposite hemisphere of the brain. But both hemispheres of the brain are always active in any activity, no matter what you are doing. There are also various roles played by each hemisphere, such as the left side of the brain’s preference for processing isolated pieces of information, narrow/focused attention, and prioritizing the expected, including quick selection of what seems to be the best solution based on what it already knows, compared with the right side of the brain, which deals better with the sense of the whole (the “Gestalt”), breadth/flexibility of attention, seeing things within their context, embracing of new experiences, and remembering/distinguishing between various things that may be quite closely related.
There are even differences in musical processing, with the left brain more effectively processing basic/metrical rhythms, and focusing on the sequencing of time, whereas the right brain does better with melody/tone/timbre/pitch processing, more complex rhythms, harmony and intonation.
Since we want to involve all of these components in music learning, and add to that the importance of a firm neural network for hands-together playing for pianists, hands-together learning alternating with hands-separate practice is crucial at even the earliest stages of learning new repertoire. We can go about this through careful structuring of various hands-together practice, such as playing one hand while tapping the rhythm of the other; scaffolding practice where we only play the downbeat or strong beats of one hand against the complete other part; or other chunking strategies such as playing blocked chords instead of patterned accompaniments, etc.
5. Musicians can, and do, multitask.
While we are playing, whether we are reading a new piece or playing something familiar, we take in or remember the next chunk of information and send that information to the part of our brain that triggers the physical response. As we are executing that physical response, our brain is processing the next chunk of information, ideally while our sensory inputs are analyzing the result of our physical execution. Since each of these components utilizes a different cognitive “system,” we are, in fact, multitasking. What this means for us in practice is that the larger and more coherent our “chunks” are, and the more reliably our physical responses are programmed in response to those chunks through mindful and observant practice, the better each of those systems will work in coordination with each other.
Check out Anna Beth Rucker’s presentation at the NCKP 2023: The Piano Conference online event,How to Choose and Use Sight-Reading Apps to Enhance Student Learning Experience, on June 11, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!
In recent years, sight-reading apps have quickly populated app stores and captured the minds of young learners. Not only are children more adept at using technology than ever before, they are drawn to interactive learning experiences. As teachers, this presents a motivating opportunity; however, effectively incorporating a new software into your studio can be overwhelming. With a tight teaching schedule, a flood of apps to choose from, and a studio of unique students to consider, where do you start? This post will provide a step-by-step guide for successfully incorporating a sight-reading app into your studio.
Step 1: Choose the Right App
The first step is to choose the app that is right for you and your students. To simplify this process, Irem Ozay and I are presenting a session titled, “How to Choose and Use Sight-Reading Apps” at the NCKP 2023 online conference. During the session, we will provide a breakdown of the six most useful sight-reading apps that will include their pros, cons, and features. In just twenty minutes, we will share everything you need to know to make an informed decision in choosing an app that aligns with your teaching goals and studio needs. You can register for the conference here.
Pro tip: If you aren’t able to make our session live, it will be archived until September 10, 2023 on the conference platform.
Step 2: Implement the App
1. Download and Test the App
While the initial steps of choosing and downloading the app may seem obvious, don’t overlook the significance of thoroughly exploring the app yourself. It’s crucial that you develop a complete understanding of the app, such as:
All the settings options
How it sequences lessons or exercises
What the student experience will be while using the app (and therefore what are reasonable expectations of use for the student)
The means of teacher involvement
If there are extra requirements for use (such as a MIDI-enabled keyboard) and how to set those up within and outside of the app
Billing procedures (where applicable)
Conducting thorough due diligence at this stage will make the rest of the implementation steps much easier.
2. Determine How You Will Use It in Your Studio
Next, it’s important to think about the logistics of incorporating the app into your studio. Will your students have a copy at home, or will you only have a copy at your studio? Further, determine when students will be expected to use the app: throughout the week, before lessons, during lessons, or at group classes. If you plan to use it in a group setting, will you need the app downloaded on multiple devices or will students each need to bring their own device? Plan to verify that your students have devices that meet the minimum device requirements for the app, and develop a contingency plan for any students who do not.
Deciding how you plan to use the software within your studio will enable you to make efficient decisions for a quick implementation and to allocate time within your curriculum and lessons that utilizes the app to its full potential.
3. Decide How to Manage Costs
Regardless of the payment structure within the app, you will need to decide how to manage the fees. You may choose to consider it part of your students’ tuition, add it into your yearly studio book fee, or have the parents pay for it directly through the app.
Make sure parents are aware of the fee associated with the app, as well as how adding the app to your instructional plan will add long-term benefits and trackable progress to their child’s piano education.
4. Communicate with Parents
Clear communication with parents and students is the key to maximizing app effectiveness. For parents, make sure they understand the benefit of the sight-reading app and how it will serve to enhance their child’s learning experience. You can do this by explaining how the app integrates into your teaching philosophy and why you have determined it is a beneficial addition to your curriculum. Inform them of the billing information, the expectation of use throughout the week, and a few instructions on how to technically support their child while using the app. You may also provide for them a written version of these instructions, with links to appropriate app support pages for additional technical assistance. Remember to regularly update parents on their child’s progress—many apps make this easy through gamification and milestone settings. And, of course, address any questions or concerns parents may have throughout the process.
5. Communicate with Students
Lastly, dedicate time to familiarize your students with the app and clearly communicate your expectations. While this may initially take time away from other lesson activities, it is absolutely critical students understand the app and your expectations of use in order for them to receive the maximum benefits. The progress they will make will far outweigh the time invested in the initial setup. During this onboarding process, explain how you plan to use the app in their lessons or home practice, how often they are expected to use it, how to navigate the app, and how and when you will be tracking their progress. Encourage them to explore the app and to have fun! Your enthusiasm and support during these early stages will influence their attitude as they adapt to this new learning tool.
If you take the time to implement a sight-reading app into your studio following these steps, you will experience a seamless addition of a powerful new teaching tool in your studio and will be well on your way to seeing the objective, trackable progress sight-reading apps are able to provide. Happy sight reading!
QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
Don’t miss Shuk-Ki Wong’s presentation at NCKP 2023: The Piano Conference online event,Embracing Diversity in Your Studio: A Pedagogical Exploration of Underrepresented Chinese Keyboard Literature, on June 10, 2023 from 4:30-4:55PM. There’s still time to Register for NCKP 2023!
1. Only 1.77% of scheduled pieces in concert halls were composed by Asian composers.
Despite efforts to diversify music and concert programming, works of long-deceased white male composers still make up 76.4% in 2021-2022 season programming in concert halls around the globe.1 While there is marginal improvement in the representation of Black and women composers (with 3.39% and 7.7% of the 20,400 works performed respectively), Asian composers only comprise 1.77%––a total of 361 works were presented on stage last year. Such data shows the urgency to accelerate change by actively boosting diversity and inclusion in our studio and programming.
Fig. 1. Total number of scheduled pieces in 2021-2022 concert halls. Data from Equality & Diversity in Global Repertoire, a report published by Donne––Women in Music in 2022.
2. Learning diverse repertoire is an enriching musical experience that sparks creativity and collaboration with students.
As the student population continues to become more diverse, it is critical to support our learners by providing an enriching musical experience that connects students’ upbringing, as well as their rich, unique musical cultures. The perpetual foreign stereotype of Asian Americans has not only caused identity denial in Asian students, but also contributes to the invisibility of such a student body. Being open-minded and accepting of Asian repertoire can transform our studio into a creative space for interactive music activities while embracing diverse cultures. For instance, imitating Asian musical instruments on the piano and experimenting with simple music writing with non-Western notation systems are great ways to (re)introduce the richness and significance of Asian musical cultures to our students.
3. Asian student-musicians may face more barriers in classical music than you think.
The deep-rooted model minority stereotypes of Asian and Asian-identified students create a number of obstacles in music learning. In addition to emotional distress, invalidation of achievements, and conflicts with peers and family members, such misconceptions may also lead to the neglect of musical development and limitations to resource access. For instance, students may be falsely assumed to understand musical concepts faster, come from a background with economic advantage, and face less systemic racism and discrimination.2 An initial step to embracing Asian repertoire is a powerful agent for social change while elevating Asian and Asian-identified students.
4. Diversifying standard repertoire does more beyond connecting minority students.
While we witness the power of introducing refreshing repertoire in the connection and growth in students, such endeavors foster belongingness in our students, especially pianists in the historically marginalized community. All young musicians need a safe musical space that embraces their backgrounds and identities. They also need to see themselves in this deep-seated, white-centric classical music world. Not only can diversifying standard repertoire reaffirm the uniqueness of our diverse students, but also uplift and empower students of color while enabling other learners to recognize the artistic values of musical works beyond tradition.
5. Yes, we really can make a difference in our students!
Never underestimate the impact an inclusive and comprehensive teaching approach can have on our students––it is far beyond just learning new and diverse repertoire. We expose our students to diverse music, equip them necessary skills to navigate this fast-growing multicultural society, and create awareness of diverse cultures while advocating for marginalized populations through our studio. We can and we are making a difference!
QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
“Equality & Diversity in Global Repertoire,” Equality & Diversity in Global Repertoire (Donne, Women in Music, September 2022), https://donne-uk.org/wp-content/uploads/2021/03/Donne-Report-2022.pdf.
Angela Kim and Christine J. Yeh, “Stereotypes of Asian American Students,” Stereotypes of Asian American students (The Educational Resources Information Center, February 2002), https://files.eric.ed.gov/fulltext/ED462510.pdf.
Don’t forget to check out Felipe Calle‘s presentation at NCKP 2023: The Piano Conference,The Piano Works of Jaime Leon: A Pedagogical Approach, on June 11, 2023 from 4:30-4:55PM during our online event. Register now for NCKP 2023!
1. Jaime León was born in 1921 in Cartagena, Colombia, a colonial city on the Caribbean coast.
His father, an executive for an American company, brought the young León and his family to the U.S. León was raised between San Francisco, California, and New Jersey, where he took his first piano lessons. During his early years and young adulthood, he studied at The Juilliard School under the guidance of Carl Friedberg, once a student of Clara Schumann.
Jaime León in 1928.
Carl Friedberg (1872-1955)
Jaime León in 1948.
2. León’s music was influenced by American music from the first half of the twentieth century.
While working at Tin Pan Alley and Broadway in the 1940s, León was fond of the rhythms of other styles such as swing, blues, and boogie-woogie. Moreover, his music developed a deeply lyrical quality inspired by his appreciation of Gershwin’s songs. He started writing music in 1946 when he composed a theme and variations work inspired by Brahms’s Variations on a Theme by Schumann, Opus 23. His output includes many art songs, which are widely regarded as examples of his excellent craftsmanship.
3. León’s career in the US was varied and extensive.
He worked as a freelance repetiteur and conductor of ballet, opera, and music-hall in New York and Texas. His achievements included being the Assistant Conductor of the American Ballet Theater in Washington D.C. where he premiered Duke Ellington’s ballet The River in 1971. In 1948, he assumed the role of Director at the National Conservatory in Colombia, but political unrest forced him to leave the same year.
Jaime León as a conductor in the pit, 1950.
“Blues” from Made in USA , Jaime León
4. León’s piano music remains unpublished and is seldom performed.
Despite his brevity, his output skillfully blends American vernacular and academic languages, influenced by composers such as Gershwin, Copland, Piston, and Cole Porter.
5. The Five Preludes “Made in U.S.A.” were premiered by the dedicatee, Teresa Gomez, the first Afro-Colombian pianist.
Despite confronting racism in the early stages of her career, Gomez has been hailed as one of the most renowned South American pianists and was chosen to play in the last presidential inauguration in July 2022.
Check out Pei-Chen Chen‘s presentation at NCKP 2023: The Piano Conference,It’s Never Too Late – Lived Experiences of Amateur Adult Piano Learners, on June 11, 2023 from 3:00-3:25PM during our online event. Register now for NCKP 2023!
1. They take lessons to fulfill a long held-dream.
Fulfilling a long-held dream is one of the most common motivations for adult piano students (P. J. Jutras, 2006; Kim, 2015; Parker, 2006; Polischuk, 2019; Uszler et al., 1999). Many career-aged adult piano learners delay piano study for different reasons, and they will often wait patiently until their life is ready. Common factors that affect their decision to learn include finding enough time to practice, having the physical space for a piano, and mental readiness.
2. They are self-motivated.
Adult learners are self-motivated and self-directed in their learning. While many young learners have extrinsic pressure and expectations from their parents and others (Fisher, 2010; Polischuk, 2019; Uszler et al., 1999), adults are more intrinsically motivated. Adult piano learners want to improve their piano playing with different goals in mind. Most of their motivations are internal, including the desire for a better quality of life, greater self-confidence, and self-actualization.
3. They like to make conscious and meaningful decisions in their learning.
Career-aged adult piano learners like to learn at their own pace, preferring an individualized curriculum with repertoire that they want to learn. They learn better when the lesson style is customized to fit their needs (MacKeracher, 2004). This means it is important for teachers and students to discuss method books and repertoire choices to create an engaging learning environment (Coutts, 2018; Mizok-Taylor, 2008).
4. They acknowledge the challenges of being an adult learner.
Career-aged adult piano learners acknowledge their mental and physical difficulties while learning and practicing the piano. Feeling mental frustration and discomfort in practice is a common issue for them. However, they are also able to recognize that frustration comes from their own self-judgment. They often hear their own “inner critic,” feel self-conscious, and have negative self-judgments while learning the piano. (Bissell, 1984; Fisher, 2010).
In addition to mental discomfort, career-aged adult piano learners may also experience physical challenges, including feeling a lack of coordination when playing the piano. Many piano educators also believe adults need more time to transfer theoretical knowledge into physical playing energy (Fisher, 2010; Kim, 2015; Polischuk, 2019; Uszler et al., 1999). Hand-eye coordination and the cognitive process of learning to read music are also common challenges adults may experience (Kim, 2015). This lack of coordination can cause career-aged adult piano learners to feel self-conscious and frustrated. The discomfort for adult piano learners is both mental and physical, and often mental aspects will influence physical aspects and vice versa.
5. They feel joy and make meaningful connections between music and life.
Despite the challenges of learning piano, career-aged adult piano learners enjoy playing music and having music in their lives. They find that being able to play music is meaningful and gives them a sense of joy. Sharing music with others and making social connections can also bring them joy. Many educators believe that music is a leisure activity, and adult students enjoy the social opportunity to interact and share music with others (Fisher, 2010; Kronish, 2005; McQueen, 2013; Polischuk, 2019; Uszler et al., 1999).
SOURCES Bissell, P. M. (1984). “Group Keyboard and the Adult Market.” American Music Teacher, 34(1), 12–17.
Coutts, L. (2018). “Selecting Motivating Repertoire for Adult Piano Students: A Transformative Pedagogical Approach.” British Journal of Music Education, 35(3), 285–299. https://doi.org/10.1017/S0265051718000074.
Fisher, C. (2010). “Group Piano and the Adult Hobby Student.” In Teaching Piano in Groups (pp. 189–211). Oxford University Press.
Jutras, P. (2006). “The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students.” Journal of Research in Music Education, 54(2), 97–110. https://doi.org/10.1177/002242940605400202
Kim, K. R., Peter Jutras, Seon Joo. (2015). “Adult perspectives of learning musical instruments”— Kathryn Roulston, Peter Jutras, Seon Joo Kim, 2015. International Journal of Music Education, 33(3). http://journals.sagepub.com/doi/10.1177/0255761415584291
Kronish, N. B. (2005). “Social, cultural, and psychological influences on three promising piano students’ decisions to continue taking piano lessons” [Ph.D., McGill University (Canada)]. http://search.proquest.com/docview/305364045/abstract/173826EAF88C45AEPQ/12
MacKeracher, D. (2004). Making Sense of Adult Learning. University of Toronto Press Incorporated.
McQueen, M. V., Susan Hallam, Andrea Creech, Hilary. (2013). “Different ways of experiencing music-making in later life: Creative music sessions for older learners in East London” – Maria Varvarigou, Susan Hallam, Andrea Creech, Hilary McQueen, 2013. Research Studies in Music Education, 35(1). http://journals.sagepub.com/doi/10.1177/1321103X13478863
Mizok-Taylor, R. J. (2008). “Promoting self-directed learning in adult piano instruction” [D.M.A., West Virginia University]. http://search.proquest.com/docview/304448652/abstract/B327D2A3DC5F4856PQ/1
Parker, E. (2006). Piano Pedagogy: A Practical Approach. Longbow Pub
Polischuk, D. K. (2019). “Teaching Adult Pianists.” In Transformational Piano Teaching (pp. 21– 35). Oxford University. Uszler, M., Gordon, S., & McBride-Smith, S. (1999). “The Adult Student.” In The Well-Tempered Keyboard Teacher (2nd ed. edition, pp. 147–179). Schirmer.
Don’t miss Megan Rich‘s Lightning Talk at NCKP 2023: The Piano Conference,Singing in the Piano Lesson: Zoltán Kodály’s 333 Elementary Exercises in Solfège Singing, on July 26, 2023 from 4:00-4:50PM during our in-person event. Register now for NCKP 2023!
1. Sing!
Zoltan Kodály said that “To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.”1 To develop singing and reading, Kodály wrote a book of sequential solfege exercises titled 333 Elementary Exercises in Solfege Singing.2
2. Use Folk Music
Kodály educator Jean Sinor said that “Content [of music education] should be generated by the music: initially by the folk music of the people and later by the folk music of other peoples and the finest examples of composed music.”3 Folk music is effective because of its familiarity and simplicity, and the use of varied folk music from different regions can greatly enhance piano lessons.
“Children learn effectively from the act of play.”
~ L. S. Vygotsky
3. Speak
Kodály educators use rhythm syllables and chants as a kinesthetic tool to help students internalize a steady beat and rhythm. The Kodály Music Education Institute of Australia published their helpful Rhythm Syllable Chart4 in 2003.
4. Play
Children learn effectively from the act of play.5 Music lessons that incorporate games and music are not only more fun, but often more effective. The following three websites have resources for Kodály-inspired music games:
Provide an opportunity in every lesson for beautiful music-making. Whether playing or singing, students need the opportunity to participate in ensemble music and in music for music’s sake. As Kodály said, “If we ourselves sing often, this provides a deep experience of happiness in music. Through our own musical activities, we learn to know the pulsation, rhythm, and shape of melody. The enjoyment given encourages the study of instruments and the listening to other pieces of music as well.”6
Don’t miss Cecilia Lo-Chien Kao‘s presentation at NCKP 2023: The Piano Conference,Piano as Orchestra: Creating Artful Orchestral Reductions, on June 11, 2023 from 2:00-2:50PM during our online event. Register now for NCKP 2023!
1. Listen to a Recording
When you are learning a new orchestral reduction, it is very important to listen to the original orchestral version of the piece. You want your ears to absorb and be familiar with the orchestral sonority and its characters.
2. Play What You Hear, Not What You See
Remember that an orchestral reduction is the composer or arranger’s piano realization of the piece and not a complete reproduction of the original score. This requires a different approach than playing an instrumental sonata! After listening to the recording and studying the full score, try to focus on the bigger musical picture of the piece and play what you hear as the most important musical elements.
3. Keep the Rhythm (Consider Orchestral Timing vs. Pianistic Timing)
An orchestra can create a lot of rhythmic drive and energy. Remember that a pianist also represents the conductor when playing a reduction. No matter how complicated a passage is, it is important to prioritize rhythmic integrity. If you are playing with a fluctuating tempo to accommodate the difficulty of the reduction, you may consider simplifying or rearranging the reduction
4. Interpreting Orchestral Dynamics vs. Piano Dynamics
The dynamics in the reduction are relative to the full score. In order to maintain the sound and character of the orchestra, it is important to consider the orchestration when interpreting dynamics.
5. Rethink Orchestral Sonority and Clarity on the Piano
The orchestra can have a very rich and resonant sonority when the entire ensemble is playing at a strong dynamic. In order to replicate that kind of sonority on the piano, you may use the sustain pedal to help give resonance or to “moisturize” the sound in addition to playing fuller or stronger. No matter how you are using the pedal, it is important to maintain clarity and good voicing on the piano since each individual instrument has clarity in the orchestra, even when playing at a loud dynamic.
QUICK LINKS FOR NCKP 2023: THE PIANO CONFERENCE
REGISTER: Register for the conference. Full, online-only, student, and single-day registrations available!
Don’t miss Clinton Pratt’s presentation at NCKP 2023: The Piano Conference,From Solo to School, on July 26, 2023 from 1:30-2:20PM. Register for NCKP 2023 before May 1, 2023 to receive the early bird discount!
1. Have a clear call-to-action.
Don’t confuse prospective clients with too many things to do. Should they call you? Email you? Fill out the form? Book a lesson? Go to your Facebook page? Have one thing you want them to do, make that clear, and put it on every page.
2. Less is more!
French Designer Antoine de Saint-Exupery said “a designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.” Don’t overwhelm potential clients with too many things to read and look at. Have only 3-4 pages, with minimal text on each page.
3. Photos of happy students making music.
Photos of pianos and cozy waiting rooms are great, but people want to see other people! They want to know that your students are having a good time, so show smiling faces of happy customers.
4. “About” page: not a lengthy academic bio!
Honestly, most people don’t care about your credentials and lengthy resume. They just want to know that you’ll give them a good experience.
A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.
Antoine de Saint-Exupery
On your about page, instead of a long boring biography, tell a story that people can relate to. Keep it personal, write in first person, and focus on what they will get.
5. Reviews!
Social proof and credibility are important! If people see lots of positive reviews about your studio, they are much more likely to take the next step.
Check out Sarah Rushing’s archived webinar of Margaret Bonds: Troubled Water, where she explores the preparation, practice, and interpretation of this unique piece.
1. Margaret Bonds was raised by four independent, career-oriented women.
At the tender age of four, Bonds’s parents divorced. Instead of growing up in a traditional family structure, Bonds was raised by her mother, two aunts, and maternal grandmother. These strong women supported Bonds in her passion for composing, helping her to see a life beyond the stereotypical roles women were otherwise expected to adopt in the 1920s and 30s. After her divorce, Margaret’s mother chose to readopt her maiden name, Bonds, perhaps later inspiring Margaret to keep her own surname when she married. Bonds continued to defy cultural norms throughout her life, including when she chose to move to Los Angeles alone, without her husband or 21-year-old daughter, in order to pursue new directions in her career.1
2. When Margaret was young, the Bonds family took in several Black artists, including Florence Price.
Margaret’s mother, Estella Bonds, opened the family home to the large community of Black artists in Chicago. As a result, the young Margaret frequently interacted with the likes of Will Marion Cook, Lillian Evanti, Abbie Mitchell, and Langston Hughes. Florence Price became a more permanent visitor, living with the Bonds family for a time. The community Estella created supported Price personally and professionally, often helping with tasks such as copying, extracting, and correcting scores. Soon after, Margaret studied composition with Price.2
The community Estella created supported Price personally and professionally…
3. Bonds was admitted to Northwestern University at the young age of 16.
While at Northwestern, Bonds experienced profound racism. Though she was allowed to study and attend classes, she wasn’t permitted to live on campus or use the facilities. Instead, she frequented the Evanston Public Library, where she first encountered the poetry of Langston Hughes. Hughes would become an important source of friendship and artistic inspiration later in her life, as she later set many of his poems to music.3, 4
4. Bonds was the first Black soloist to appear with the Chicago Symphony Orchestra.
Bonds performed Price’s Piano Concerto at the 1933 World’s Fair held in Chicago. This performance was preceded by another notable achievement for the young composer: winning the Wanamaker Prize in 1932 for her vocal composition, Sea Ghost. These accomplishments helped launch the young musician’s career.5
5. Bonds considered herself a musician and humanitarian, working tirelessly to dispel racial discrimination.
In addition to her activity as a composer, Bonds was passionate about performing and promoting the music of other Black musicians. In 1947, she hired a manager who helped her organize a series of concerts and lectures at Historically Black Colleges and Universities throughout the south. In the 1960s, she embarked on a similar project in New York City.5
Peebles, Sarah Louise. “The Use of the Spiritual in the Piano Works of Two African American Women Composers – Florence B. Price and Margaret Bonds.” The University of Mississippi, 2008.
Walker-Hill, Helen. From Spirituals to Symphonies: African-American Women Composers and Their Music. Westport, CT: Greenwood Press, 2002.
Green, Mildred Denby. Black Women Composers: A Genesis. Boston: Twayne Publishers, 1983.
Walker-Hill, Helen. From Spirituals to Symphonies: African-American Women Composers and Their Music. Westport, CT: Greenwood Press, 2002.
1.When referring to his own music, Debussy hated the term “impressionism.”
The life of most composers includes small, or even lengthy battles in how their music is received and understood; Debussy was no exception. Due to his overt association with painters like Claude Monet and poets like Stéphane Mallarmé, a newspaper critic was the first to link the aural qualities of Debussy’s music with the visual qualities of Impressionism. In 1908, Debussy wrote to a publisher expressing his frustration saying, “I’m attempting ‘something different,’ realities in some sense – what imbeciles call impressionism, just about the least appropriate term possible.’1
2. He had an alter ego named “Monsieur Croche.”
Literally meaning “Mr. Eighth Note,” Debussy frequently used this pseudonym as a way to channel his more critical and sometimes unorthodox opinions on music and art. Writing as Monsieur Croche for various journals and newspapers, he commented on topics ranging from the operas of Richard Wagner to the “futility of the symphony since Beethoven.”2
In an essay focused on virtuosos, he wrote, “The attraction of the virtuoso for the public is very much like that of the circus for the crowd. There is always hope that something dangerous will happen.”3
In 1908, Debussy wrote to a publisher expressing his frustration saying, ‘I’m attempting ‘something different,’ realities in some sense – what imbeciles call impressionism, just about the least appropriate term possible.’
3. His favorite piano was an upright Bechstein.
In the early part of the twentieth century, piano brands in Europe were about as abundant as today’s selection of pasta sauce in your local grocery store. While Debussy worked with and showed admiration for many piano makers, he is often quoted praising one company in particular saying, “Piano music should be written only for the Bechstein.”4
Much of the sonority and color we have come to love about Debussy’s music was made possible in part by the tone and resonant qualities of his home piano – an upright Bechstein Model 8.
Edgar Allan Poe
4. He loved the works of Edgar Allan Poe.
In his café nightlife, Debussy relished the opportunity to talk with others about Edgar Allan Poe.5 He even wrote two pieces of theatre based on stories of Poe’s, The Devil in the Belfry and The Fall of the House of Usher. While only fragments of these works remain, we know Debussy sought to replicate the fear and anguish of Poe’s works in a new form of condensed opera.6
5. You can hear him play some of his own works.
Debussy lived in the early years of sound recording technology, and you can hear him play fourteen of his own pieces “recorded” onto six piano rolls. These include “La soirée dans Grenade” from Estampes, the entire set of Children’s Corner, and “La Cathédrale engloutie” from Preludes I. While Debussy was elated with the sound quality of these recordings, his performances are free and eccentric – inviting discussion, and even controversy, about how we interpret his scores.7
Other resources you might enjoy
PIANO MAGAZINE ARTICLE: The Recorded Legacy of Claude Debussy by Chris Madden
François Lesure and Roy Howat, “Debussy, (Achille-)Claude,” Grove Music Online. 2001; Accessed 9 Feb. 2023, oxfordmusiconline-com.uc.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000007353.
Claude Debussy, “Monsieur Croche Antidilletante,” in Three Classics in the Aesthetics of Music (New York: Dover Publications, 1962), 8-72.
Ibid, 22.
“1966 Bechstein Model Upright Piano | Debussy’s Favorite Piano,” Cunningham Piano Company, June 6, 2017, https://www.cunninghampiano.com/debussys-favorite-piano/.
François Lesure and Marie Rolf, Claude Debussy (Rochester, NY: University of Rochester Press, 2019), 79.
Lesure and Howat, “Debussy, (Achille-)Claude.”
Peter Jost, “Debussy in Urtext – Part 3: Debussy’s recordings of his piano music,” G. Henle Verlag (blog), May 21, 2018, https://www.henle.de/blog/en/2018/05/21/debussy-in-urtext-%E2%80%93-part-3-debussy%E2%80%99s-recordings-of-his-piano-music/.
1.He was a founding member of the Society of Romanian Composers.
Also known as the Romanian Composers’ Society (Societatea Compozitorilor Romani), this organization was founded by Romanian composers George Enescu, Stan Golestan, and several of their contemporaries, including Filip Lazăr. The Society’s goals were oriented towards the publication of new works by Romanian composers and the preservation of Romanian folk material. This led to the creation of the Union of Romanian Composers and Musicologists (Uniunea Compozitorilor și Muzicologilor din România) based in Bucharest, which exists to this day.
2. Lazăr is pronounced “LAH-zur” rather than “luh-ZAR”.
In the Romanian language, the letter “ă” with the upside down cap on top indicates a certain sound and inflection. To most native English speakers, the inclination may be to put the emphasis on the second syllable, especially because of the accented vowel. In Romanian, however, this particular accent on the “ă” typically indicates the opposite and has a more closed sounding vowel. For example, take the village, Bătăr in western Romania. With both capped “ă”s accented, the pronunciation sounds closer to the English word “butter.”
3. The music of Lazăr and other Romanian composers is a largely untapped body of repertoire waiting to be explored.
It may take some searching, but Lazăr’s music can be found. There is much unexplored repertoire just waiting to be further researched and recorded! Exploring the published works is a great start; the major publishers of Lazăr’s music include Durand, Salabert, Max Eschig, Heugel, Vienna Universal Edition, and Editura Muzicală Grafoart.
Pièces minuscules pour les enfants, Op.16
Groupe des Six
4. Lazăr was among the founders of the Triton Society of Contemporary Music in Paris.
Pierre-Octave Ferroud founded Triton, a chamber music society based in Paris that promoted new music. On its executive committee were composers such as Poulenc, Milhaud, Honegger, Martinů, and Prokofiev. It is noteworthy to mention that three of these members were also part of the important group of twentieth-century French composers called Les Six. What is lesser known is that Filip Lazăr was not only a respected contemporary of Les Six and the Triton Society, but also a founding member of the latter. This is in part due to his residency and activity in France from the late 1920s to the end of his life.
5. Outside of composition, Lazăr was a touring concert pianist who performed many contemporary works of the time.
The fact that Filip Lazăr was a concert pianist speaks to the pianism of his compositions. His prolific performances of his contemporaries’ works certainly influenced his own compositions, and particularly those composed during his time in France. Combining Romanian folk influence and later avant garde compositional styles with refined pianism, Lazăr’s works for the piano are idiomatic and imaginative.
Don’t miss Angela Miller-Niles’s Inspiring Artistry contribution about Chaminade’s Aubade, which includes information on how to effectively teach the piece, all the way from preparation to performance.
1. She was the first woman to receive the Légion d’honneur in 1913.
The Légion d’honneur is the highest French order of merit. At 56, Chaminade was enjoying worldwide popularity at this time. Fellow composer Ambroise Thomas stated, “This is not a woman who composes, but a composer who is a woman.”1
2. At 44, she married music publisher Louis-Mathieu Carbonel. They never lived together and it was widely considered a marriage of convenience.
Carbonel was twenty years older than Chaminade and was a long-time acquaintance of Chaminade’s mother. It was well-publicized that the two did not live together and Chaminade required a “platonic union.” They never had any children, but Carbonel accompanied her on concert tours, possibly to help her acquire safer lodging options. He died of a lung disease after six years of marriage; Chaminade never remarried.
3. Georges Bizet was a family friend and he encouraged Chaminade’s parents to let her study music. He called her “My Little Mozart.”
Georges Bizet lived close to the Chaminade family and her parents knew him well. He heard Chaminade play some of her own compositions when she was around eight years old, and he encouraged her parents to let her study music formally. Her parents, especially her father, initially disapproved of her music studies as they assumed she would be an ordinary housewife without need of a musical education.
Georges Bizet
Piano rolls of Chaminade’s works produced by Aeolian
4. Chaminade made piano rolls and gramophone recordings during her lifetime.
Chaminade made several piano rolls and gramophone recordings during her life, many of which are popular with collectors. Several of her recordings were produced into piano rolls between 1901-1914, and Aeolian produced additional piano rolls of her music after World War I. Her six gramophone recordings for the Gramophone and Typewriter Company, which feature her own works, are especially well-known. Several of her recordings were re-issued on compact disc and can be found online today.
Chaminade’s Gramaphone Recordings
5. Chaminade’s tour of the United States in 1908 included several Eastern and Midwestern cities, including Boston, Philadelphia, Washington, D.C., Chicago, and Minneapolis.
Before this tour began, hundreds of Chaminade Clubs already existed throughout the United States. Her tour helped solidify her popularity in the United States and encouraged women to study and perform music. Today, many of these clubs are still active, hosting musical events that highlight female composers and performers.
We encourage you to watch Holly Kessis’ archived webinar here: “Piano Inspires… Innovation in Practice“with Igor Lipinski, Brianna Matzke, Joy Morin, Melody Ng, Jason Sifford, and Jennifer Snow. This webinar is a celebration of innovation in organizations, teaching practices, and teacher education.
1. Less is more.
It’s easy to get overwhelmed with ideas, so start by picking one era or genre of piano music to focus on and stick to it. What style of music do your students perform especially well? Have you had success in your studio with music by Russian composers, miniatures from the Romantic period, popular tunes, or movie soundtracks? You could even concentrate on repertoire related to one specific word (some examples: “autumn” or “celebration” or “colors”). Make sure that whatever you pick still has enough variety to encompass a whole recital.
2. Survey your students.
What inspires your students in their music-making? Maybe some of them are learning about music from the 1960s at school and ask about playing by The Beatles or Janis Joplin. Perhaps you have a few students struggling to stay motivated but light up when you mention a tune from their favorite video game. I had one child who gravitated towards quirky Kabalevsky pieces and only wanted to play those at recitals! Following your students’ interests will keep performances exciting and can lead to new possibilities for those students for whom the new genre or composer is new.
3. Go outside of your comfort zone.
Is there an artist or music style that you would love to make more time to discover? In the beginning of 2021, I started searching for music outside of the typical western styles I was used to and eventually created a “Music from Around the World” theme including beginner and intermediate songs from Africa, Asia, and South America. More preparation was involved, but this certainly broadened my horizons as a teacher trained in the classical tradition and exposed my students to appealing tunes they wouldn’t be exposed to otherwise.
4. Think “interdisciplinary”.
Solo piano study doesn’t exist in a vacuum.Are there other art forms that could be combined with your students’ musical performances to add depth? Maybe you have some budding artists in your studio who could create artwork to go along with their pieces. Videos displaying landscapes or abstract animations could add to the mood of your students’ performances. Even collaborating with children taking dance classes or playing different instruments besides piano can pique the interest of the audience.
5. Pick a new place!
Who says your recital has to be at a usual performance space? Reach out to small businesses in your community like a local coffee shop to see if they have the time and space for a small concert. Perhaps a neighboring retirement home or arts council center has an hour set aside in their schedule every week for outside performances. It’s important to get your students used to playing in new and different environments, and the commercial exposure for your studio is a plus.
